These triple 'waves' may be oriented either way, e.g. Aa6-4 and Ab4-70:
The distance between and arrangement of the waves seem never to be regular and the appearance varies, cfr e.g. Ab7-70 and Ab6-23:
Sometimes a little 'eye' appears on the 'wave crest', Aa3-41 and Aa6-74:
The 'waves' may be close together at one of the ends, as in Aa6-66 and Ab6-61:
After some hesitation, I have recognized that there may be glyphs which are combined with GD43, as in Ab6-35 and Aa8-14:
Aruku Kurenga (B) Notable combinations are seen in Ba10-28, Bb8-23 and Bb10-11:
In Bb4-39 the top part has been compressed into another type of sign:
Mamari (C) 'Flowing' GD31 glyphs appear in Ca3-7, Ca10-3 and Cb10-15:
Odd marginal cases are Cb14-17 and Cb11-16:
Also marginal are a few glyphs which belong to GD35 but which (I guess) have signs of GD31 in them (Ca12-3 and Cb1-23--24)
Finally, my intution finds allusion to GD31 in the unusual Ca1-25 (GD14):
Échancrée (D) Da3-108 seems to allude to GD31 (cfr Cb14-17):
Keiti (E) Ea3-20 is an example with GD31 as the head of GD11:
The rest of the texts The texts above have been used as a kind of 'test ground' to see if the definitions could be used. For the rest of the texts the same principles have been used, although less stringently. The experiences gained have been relied upon rather than what is written above about what characterizes the glyph type. There may be a few extra glyph added, which would not have been so with a strict application of the written definitions. On the other hand there has been no attempt to ignore glyphs which according to the written definitions ought to belong to the glyph type. |