Brightmoonic Script
(brmn)

Brightmoonic script is a mora-based "syllabary", where each letter corresponds to one of the morae permitted by the phonotactic rules of Brightmoonese; except for the tonal part, which is represented separately by non-letter graphemes. So there are graphemes representing, for example, |ɦˠᵝᴀ|, |ᴙ|, |ɴᶞᴇ|, |ʔ|, |hˠᶞᵝɪ|, |˩|. It evolved from a former, nowadays-abandonded and mostly-forgotten, logographic script (itself derived from a form of the old Ancientic script), and was tailored specifically to represent the Brightmoonese language, so it is well-suited to represent this language (unlike segmental scripts such as the Latin alphabet), although Brightmoonic graphemes represent Brightmoonese's phonological units at the mora level (rather than at the lower featural level), the underlying featuremes being overtly represented only partially, and thus is not in a general sense a featural script (unlike Old Garric script, or Korean hangul). It has also been adapted to represent some other languages (most notably, the related, but notably phonologically-divergent, Devlanese, that has no native script). In these respects, it is just like Japanese kana (a mora-based syllabary evolved from the Chinese logographic script in order to represent Japanese phonology specifically, but that has also been adapted to represent some other related and non-related languages, like Ainu and the Japonic Ryukyuan languages). A better term for this kind of script might be "morabary", or prehaps "morary" (or maybe "kanabary", or even "kanary", although the latter would likely incite puns).

Samples:

There are 110 graphemes that are considered "letters" (as opposed to "non-letter" graphemes like numerals and punctuation). Each letter represents either a bare strictureme, or a combination of strictureme + coloratureme + apertureme. That is, each letter represents one of the phonotactically-allowed morae in Brightmoonese, without the tonal part. Tonemes are represented separately by a set of graphemes that are not considered letters, but rather a kind of punctuation (somewhat like the situation with the apostrophe in English orthography).

Traditionally, each letter except those representing bare stricturemes is assigned to one of 7 color/hue classes, and to one of 3 weight/lightness classes, and every letter is assigned to one of 5 texture/shape classes. These classes and the notions they encode originate in the traditional terms devised by Brightmoonian grammarians to describe the phonology of the language and correspond to the underlying featuremes: the color/hue classes correspond to coloraturemes, the weight/size classes correspond to aperturemes, and the texture/shape classes to stricturemes.

• Color/hue letter classes: Each non-compound coloratureme is associated with a primary color (in the traditional paint-mixing sense): backness |ˠ| with yellow, frontness |ᶞ| with blue, labiality |ᵝ| with red. Then, their combinations are assigned to the colors obtained when paint-mixing their primary components: |ˠᵝ| with orange, |ˠᶞ| with green, |ᶞᵝ| with purple, and finally |ˠᶞᵝ| with grey (although in reality the mixing of red + yellow + blue paints tends to result in a rather brownish, rather than greyish, mixture). The 5 letters representing bare stricturemes are considered to be transparent/colorless or white.
• Weight/size letter classes: closedness |ɪ| is considered light/thin/small (and also associated with visual lightness), openness |ᴀ| is considered heavy/fat/big (and also associated with visual darkness), whereas midness |ᴇ| is considered the average/normal weight/size. The 5 letters representing bare stricturemes are then considered to be floating/weightless.
• Texture/shape letter classes: approximantness |ɦ| is considered smooth/round/circular/ethereal; trilledness |ᴙ| is considered rough/coarse/granular/ruffled/spiral; nasality |ɴ| is considered soft/mushy/amorphous/dense; plosiveness |ʔ| is considered sharp/piercing/pointy/triangular/brittle; and fricativity |h| is considered hard/flat/square/orthogonal.

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