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The Yorùbá numeral system explained using the Kikọ script. x.com/i/article/2106…
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The kikọ script retweeted
Here is the first sci-fi written in Yorùbá language. It's available on selar, Check it out here: selar.com/19p0ub
Thank you for your anticipated support and promotion.
Thank you for your anticipated support and promotion.
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The kikọ script retweeted
Thank you for asking this question. I was wondering when someone would ask how I arrived at that symbol.
In Ìṣẹ̀ṣe cosmology, we have the Òde Ọ̀run (the invisible realm) and Ilé Ayé (the physical realm). Those two names are represented by the two circles/dots at the bottom. Some of the Irunmọlẹs, and the Òrìṣàs, can travel within this two realms which is why their symbol affixed before their name has two dots, with a horizontal bar on top. They are the beings that take our prayers to God (crossing the horizontal bar). That sole remaining dot on top, stands for the supreme realm, the realm of Olódùmarè, distant and incomprehensible to us humans. It is from that vantage point that all things can be understood hence why it is figuratively on top "overseeing" every other thing below and beyond. Or at least that is how I tend to think of it.
In the absence of capital letters in the Kikọ script, I felt something was needed that still marked divine importance.
In Ìṣẹ̀ṣe cosmology, we have the Òde Ọ̀run (the invisible realm) and Ilé Ayé (the physical realm). Those two names are represented by the two circles/dots at the bottom. Some of the Irunmọlẹs, and the Òrìṣàs, can travel within this two realms which is why their symbol affixed before their name has two dots, with a horizontal bar on top. They are the beings that take our prayers to God (crossing the horizontal bar). That sole remaining dot on top, stands for the supreme realm, the realm of Olódùmarè, distant and incomprehensible to us humans. It is from that vantage point that all things can be understood hence why it is figuratively on top "overseeing" every other thing below and beyond. Or at least that is how I tend to think of it.
In the absence of capital letters in the Kikọ script, I felt something was needed that still marked divine importance.
@kikoscript What's the reason the logograph for supreme being is specifically 3 dots like ⟨∴⟩? Is it based on the triune god philosophy of Christianity (trinitarianism) or something else?
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The kikọ script retweeted
Thank you very much for asking these important questions. We do have a way of writing nasal n and m, I was just slow to announcing the revision because I was still testing it.
Nasal "n/ń/ǹ" when alone have their own letter. When together with a word, they take on two possible ely when it occurs after a word, the other for both at the start of a word, or after a non nasalized vowel (o,e). One thing to note is that these nasal "n" and "m", are to be never written in their tonal forms similar to consonant letter "n" and "m". Only "tone marks" are allowed as the image shows. However, it is preferred if no tone marks are added to the nasal consonant letter.
I am still formulating the orthography rule on this. It will likely remain open ended to the whims of the writer. I personally don't like the little circles before the word "kan", which is why I often use it's logogram form or might write the nasal letter form of "n".
Nasal "n/ń/ǹ" when alone have their own letter. When together with a word, they take on two possible ely when it occurs after a word, the other for both at the start of a word, or after a non nasalized vowel (o,e). One thing to note is that these nasal "n" and "m", are to be never written in their tonal forms similar to consonant letter "n" and "m". Only "tone marks" are allowed as the image shows. However, it is preferred if no tone marks are added to the nasal consonant letter.
I am still formulating the orthography rule on this. It will likely remain open ended to the whims of the writer. I personally don't like the little circles before the word "kan", which is why I often use it's logogram form or might write the nasal letter form of "n".
@kikoscript I've a question that's unrelated to this post: Did you ever think of making an independent letter for /n/ (perhaps even other nasals like /ŋ, ɳ, ɲ, m, ɱ/ since they can be their own onset syllables in certain African languages), like how the Japanese syllabary does with ん/ン?
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Thank you very much for asking these important questions. We do have a way of writing nasal n and m, I was just slow to announcing the revision because I was still testing it.
Nasal "n/ń/ǹ" when alone have their own letter. When together with a word, they take on two possible ely when it occurs after a word, the other for both at the start of a word, or after a non nasalized vowel (o,e). One thing to note is that these nasal "n" and "m", are to be never written in their tonal forms similar to consonant letter "n" and "m". Only "tone marks" are allowed as the image shows. However, it is preferred if no tone marks are added to the nasal consonant letter.
I am still formulating the orthography rule on this. It will likely remain open ended to the whims of the writer. I personally don't like the little circles before the word "kan", which is why I often use it's logogram form or might write the nasal letter form of "n".
Nasal "n/ń/ǹ" when alone have their own letter. When together with a word, they take on two possible ely when it occurs after a word, the other for both at the start of a word, or after a non nasalized vowel (o,e). One thing to note is that these nasal "n" and "m", are to be never written in their tonal forms similar to consonant letter "n" and "m". Only "tone marks" are allowed as the image shows. However, it is preferred if no tone marks are added to the nasal consonant letter.
I am still formulating the orthography rule on this. It will likely remain open ended to the whims of the writer. I personally don't like the little circles before the word "kan", which is why I often use it's logogram form or might write the nasal letter form of "n".
@kikoscript I've a question that's unrelated to this post: Did you ever think of making an independent letter for /n/ (perhaps even other nasals like /ŋ, ɳ, ɲ, m, ɱ/ since they can be their own onset syllables in certain African languages), like how the Japanese syllabary does with ん/ン?
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Thank you for asking this question. I was wondering when someone would ask how I arrived at that symbol.
In Ìṣẹ̀ṣe cosmology, we have the Òde Ọ̀run (the invisible realm) and Ilé Ayé (the physical realm). Those two names are represented by the two circles/dots at the bottom. Some of the Irunmọlẹs, and the Òrìṣàs, can travel within this two realms which is why their symbol affixed before their name has two dots, with a horizontal bar on top. They are the beings that take our prayers to God (crossing the horizontal bar). That sole remaining dot on top, stands for the supreme realm, the realm of Olódùmarè, distant and incomprehensible to us humans. It is from that vantage point that all things can be understood hence why it is figuratively on top "overseeing" every other thing below and beyond. Or at least that is how I tend to think of it.
In the absence of capital letters in the Kikọ script, I felt something was needed that still marked divine importance.
In Ìṣẹ̀ṣe cosmology, we have the Òde Ọ̀run (the invisible realm) and Ilé Ayé (the physical realm). Those two names are represented by the two circles/dots at the bottom. Some of the Irunmọlẹs, and the Òrìṣàs, can travel within this two realms which is why their symbol affixed before their name has two dots, with a horizontal bar on top. They are the beings that take our prayers to God (crossing the horizontal bar). That sole remaining dot on top, stands for the supreme realm, the realm of Olódùmarè, distant and incomprehensible to us humans. It is from that vantage point that all things can be understood hence why it is figuratively on top "overseeing" every other thing below and beyond. Or at least that is how I tend to think of it.
In the absence of capital letters in the Kikọ script, I felt something was needed that still marked divine importance.
@kikoscript What's the reason the logograph for supreme being is specifically 3 dots like ⟨∴⟩? Is it based on the triune god philosophy of Christianity (trinitarianism) or something else?
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Àgbálùmọ́ font by ColumnType in use
🔥 6 DAYS TO GO!
THE BATTLE FOR WEST AFRICA!
Africa’s geopolitical future. The lessons of the Songhai and Oyo Empires. One powerful conversation!
📅 6 November 2026 | 2:00 PM
📍 St. Pancras Community Association, London.
🎟️ Get your tickets on Eventbrite: eventbrite.com/e/geopolitics-……
Be part of the conversation. Be part of the future!
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The kikọ script retweeted
Buy ÌRÌN ÀJÒ S'ÍNÚ AYÉDIMÉJÌ by Bode Oje on Selar | Selar share.google/N3Hxn5ONpVx1Ww…
The first sci-fi written in the Yoruba language.
The first TRUE sci-fi written in an indigenous Nigerian language.
The first sci-fi written in the Yoruba language.
The first TRUE sci-fi written in an indigenous Nigerian language.
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The kikọ script retweeted
Super excited to announce that Fer Factor has been selected as one of the recipients of the Google Play Indie Games Fund in Africa!
This is a big milestone for the studio and an exciting step forward for what we’re building.
Thank you to everyone who has supported us ❤️
This is a big milestone for the studio and an exciting step forward for what we’re building.
Thank you to everyone who has supported us ❤️
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The kikọ script retweeted
This is the first time I am introducing the cardinal number sign. An article is in the works further discussing the Kikọ numeral system (500-1 billion) and where this comes into usage. In the older version of the numeral system (still viewable on our website), we used a dot on top of the number to make it cardinal (reminiscent of an idea borrowed from the N'ko script). We are dropping that mark in preference of the cardinal symbol.
One thing to ponder on ahead of this topic is that the Kikọ numeral system is specifically designed for writing Yorùbá numerals in a prose context. It is not a numeral system for actual mathematical calculations, tho it can be used as such by making use of it just as it is done in the Indic numeral base 10 system, or through a mix approach (that might come with it's own challenges).
One thing to ponder on ahead of this topic is that the Kikọ numeral system is specifically designed for writing Yorùbá numerals in a prose context. It is not a numeral system for actual mathematical calculations, tho it can be used as such by making use of it just as it is done in the Indic numeral base 10 system, or through a mix approach (that might come with it's own challenges).
[2/2]
During the development of the Kikọ script, significant thought was given to this evolutionary process. Experiments were conducted using paper, kalams, pens, and Chinese calligraphy brushes to determine the most natural shapes for Yorùbá. As a result, Kikọ features a eally suited for marking Yorùbá tones. There is also a philosophical side: the interplay of curves and rigid lines was a deliberate choice to accentuate the script's aesthetic appeal alongside its functionality. We personally observed that in design and art that slight “imperfections” often heighten visual beauty.
Instagram - instagram.com/kohetype/
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This is the first time I am introducing the cardinal number sign. An article is in the works further discussing the Kikọ numeral system (500-1 billion) and where this comes into usage. In the older version of the numeral system (still viewable on our website), we used a dot on top of the number to make it cardinal (reminiscent of an idea borrowed from the N'ko script). We are dropping that mark in preference of the cardinal symbol.
One thing to ponder on ahead of this topic is that the Kikọ numeral system is specifically designed for writing Yorùbá numerals in a prose context. It is not a numeral system for actual mathematical calculations, tho it can be used as such by making use of it just as it is done in the Indic numeral base 10 system, or through a mix approach (that might come with it's own challenges).
One thing to ponder on ahead of this topic is that the Kikọ numeral system is specifically designed for writing Yorùbá numerals in a prose context. It is not a numeral system for actual mathematical calculations, tho it can be used as such by making use of it just as it is done in the Indic numeral base 10 system, or through a mix approach (that might come with it's own challenges).
[2/2]
During the development of the Kikọ script, significant thought was given to this evolutionary process. Experiments were conducted using paper, kalams, pens, and Chinese calligraphy brushes to determine the most natural shapes for Yorùbá. As a result, Kikọ features a eally suited for marking Yorùbá tones. There is also a philosophical side: the interplay of curves and rigid lines was a deliberate choice to accentuate the script's aesthetic appeal alongside its functionality. We personally observed that in design and art that slight “imperfections” often heighten visual beauty.
Instagram - instagram.com/kohetype/
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The kikọ script retweeted
[2/2]
During the development of the Kikọ script, significant thought was given to this evolutionary process. Experiments were conducted using paper, kalams, pens, and Chinese calligraphy brushes to determine the most natural shapes for Yorùbá. As a result, Kikọ features a eally suited for marking Yorùbá tones. There is also a philosophical side: the interplay of curves and rigid lines was a deliberate choice to accentuate the script's aesthetic appeal alongside its functionality. We personally observed that in design and art that slight “imperfections” often heighten visual beauty.
Instagram - instagram.com/kohetype/
During the development of the Kikọ script, significant thought was given to this evolutionary process. Experiments were conducted using paper, kalams, pens, and Chinese calligraphy brushes to determine the most natural shapes for Yorùbá. As a result, Kikọ features a eally suited for marking Yorùbá tones. There is also a philosophical side: the interplay of curves and rigid lines was a deliberate choice to accentuate the script's aesthetic appeal alongside its functionality. We personally observed that in design and art that slight “imperfections” often heighten visual beauty.
Instagram - instagram.com/kohetype/
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The kikọ script retweeted
[1/2] 𝘮𝘰𝘳𝘦 𝘵𝘰 𝘳𝘦𝘢𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘤𝘰𝘮𝘮𝘦𝘯𝘵𝘴
This week, we continue the Kọhe project on Instagram, focusing on the Kikọ script. You might be curious about the origins of the Kikọ script, its influences, its history, and what preceded its recent iteration.
Kikọ to both existing and historical writing systems, with its most apparent influence originating from South Indian scripts. What gives Kikọ its unique appearance is this harmonious blend of ideas, inspirations, and influences. We analyzed the development histories and design advantages (and disadvantages) of numerous scripts, selecting only the best elements to adapt for Yorùbá.
What makes a writing system feel natural is its "ductus"—a term in linguistics and typography referring to the "path of writing" or its "flow." A ductus evolves through constant usage as writers seek more efficient character forms for ease and comfort. This process is closely tied to physical mediums such as brushes, kalams, paper, stone, tree bark, and leaves. For example, Egyptian Hieroglyphics originated as logograms and phonograms. The cursive Hieratic script developed to streamline writing, which then evolved into Demotic, and ultimately influenced Coptic.
continue reading below...
This week, we continue the Kọhe project on Instagram, focusing on the Kikọ script. You might be curious about the origins of the Kikọ script, its influences, its history, and what preceded its recent iteration.
Kikọ to both existing and historical writing systems, with its most apparent influence originating from South Indian scripts. What gives Kikọ its unique appearance is this harmonious blend of ideas, inspirations, and influences. We analyzed the development histories and design advantages (and disadvantages) of numerous scripts, selecting only the best elements to adapt for Yorùbá.
What makes a writing system feel natural is its "ductus"—a term in linguistics and typography referring to the "path of writing" or its "flow." A ductus evolves through constant usage as writers seek more efficient character forms for ease and comfort. This process is closely tied to physical mediums such as brushes, kalams, paper, stone, tree bark, and leaves. For example, Egyptian Hieroglyphics originated as logograms and phonograms. The cursive Hieratic script developed to streamline writing, which then evolved into Demotic, and ultimately influenced Coptic.
continue reading below...
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[1/2] 𝘮𝘰𝘳𝘦 𝘵𝘰 𝘳𝘦𝘢𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘤𝘰𝘮𝘮𝘦𝘯𝘵𝘴
This week, we continue the Kọhe project on Instagram, focusing on the Kikọ script. You might be curious about the origins of the Kikọ script, its influences, its history, and what preceded its recent iteration.
Kikọ to both existing and historical writing systems, with its most apparent influence originating from South Indian scripts. What gives Kikọ its unique appearance is this harmonious blend of ideas, inspirations, and influences. We analyzed the development histories and design advantages (and disadvantages) of numerous scripts, selecting only the best elements to adapt for Yorùbá.
What makes a writing system feel natural is its "ductus"—a term in linguistics and typography referring to the "path of writing" or its "flow." A ductus evolves through constant usage as writers seek more efficient character forms for ease and comfort. This process is closely tied to physical mediums such as brushes, kalams, paper, stone, tree bark, and leaves. For example, Egyptian Hieroglyphics originated as logograms and phonograms. The cursive Hieratic script developed to streamline writing, which then evolved into Demotic, and ultimately influenced Coptic.
continue reading below...
This week, we continue the Kọhe project on Instagram, focusing on the Kikọ script. You might be curious about the origins of the Kikọ script, its influences, its history, and what preceded its recent iteration.
Kikọ to both existing and historical writing systems, with its most apparent influence originating from South Indian scripts. What gives Kikọ its unique appearance is this harmonious blend of ideas, inspirations, and influences. We analyzed the development histories and design advantages (and disadvantages) of numerous scripts, selecting only the best elements to adapt for Yorùbá.
What makes a writing system feel natural is its "ductus"—a term in linguistics and typography referring to the "path of writing" or its "flow." A ductus evolves through constant usage as writers seek more efficient character forms for ease and comfort. This process is closely tied to physical mediums such as brushes, kalams, paper, stone, tree bark, and leaves. For example, Egyptian Hieroglyphics originated as logograms and phonograms. The cursive Hieratic script developed to streamline writing, which then evolved into Demotic, and ultimately influenced Coptic.
continue reading below...
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[2/2]
During the development of the Kikọ script, significant thought was given to this evolutionary process. Experiments were conducted using paper, kalams, pens, and Chinese calligraphy brushes to determine the most natural shapes for Yorùbá. As a result, Kikọ features a eally suited for marking Yorùbá tones. There is also a philosophical side: the interplay of curves and rigid lines was a deliberate choice to accentuate the script's aesthetic appeal alongside its functionality. We personally observed that in design and art that slight “imperfections” often heighten visual beauty.
Instagram - instagram.com/kohetype/
During the development of the Kikọ script, significant thought was given to this evolutionary process. Experiments were conducted using paper, kalams, pens, and Chinese calligraphy brushes to determine the most natural shapes for Yorùbá. As a result, Kikọ features a eally suited for marking Yorùbá tones. There is also a philosophical side: the interplay of curves and rigid lines was a deliberate choice to accentuate the script's aesthetic appeal alongside its functionality. We personally observed that in design and art that slight “imperfections” often heighten visual beauty.
Instagram - instagram.com/kohetype/
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The kikọ script retweeted
[1/2]
I and an Ethiopian started Kọhe Type on Instagram (kohetype) a while back, focused on font design and development. It is our design lab where we experiment with ideas, learn from each other and beyond, and improve our practice.
The name Kọhe is a bringing together of " meaning to write in Yorùbá, and "he/ሄ" which is a syllable letter taken from "ሆሄ/hohe" which as a word stands for another way of referring to the Ethiopic script.
Part of our core focus is language use and representation in the font design space. We make use of Amharic, Yorùbá, and English. This is our first written piece briefly explaining the Ethiopic script.
In referring to the Ethiopic script in Yorùbá, we made use of the preferred Ethiopian term "ፊደል/Fidäl", Yorùbánised as "Fídẹ́lì" rather than a Yorùbánisation of "Ge'ez" or "Ethiopic".
Just like with Kikọ, the Ethiopic script is an Abugida writing system but one with a very long history. It is the oldest African writing system still widely used today, perhaps second only to the Coptic script.
More Images in second tweet
Our Instagram - instagram.com/kohetype/
I and an Ethiopian started Kọhe Type on Instagram (kohetype) a while back, focused on font design and development. It is our design lab where we experiment with ideas, learn from each other and beyond, and improve our practice.
The name Kọhe is a bringing together of " meaning to write in Yorùbá, and "he/ሄ" which is a syllable letter taken from "ሆሄ/hohe" which as a word stands for another way of referring to the Ethiopic script.
Part of our core focus is language use and representation in the font design space. We make use of Amharic, Yorùbá, and English. This is our first written piece briefly explaining the Ethiopic script.
In referring to the Ethiopic script in Yorùbá, we made use of the preferred Ethiopian term "ፊደል/Fidäl", Yorùbánised as "Fídẹ́lì" rather than a Yorùbánisation of "Ge'ez" or "Ethiopic".
Just like with Kikọ, the Ethiopic script is an Abugida writing system but one with a very long history. It is the oldest African writing system still widely used today, perhaps second only to the Coptic script.
More Images in second tweet
Our Instagram - instagram.com/kohetype/
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[1/2]
I and an Ethiopian started Kọhe Type on Instagram (kohetype) a while back, focused on font design and development. It is our design lab where we experiment with ideas, learn from each other and beyond, and improve our practice.
The name Kọhe is a bringing together of " meaning to write in Yorùbá, and "he/ሄ" which is a syllable letter taken from "ሆሄ/hohe" which as a word stands for another way of referring to the Ethiopic script.
Part of our core focus is language use and representation in the font design space. We make use of Amharic, Yorùbá, and English. This is our first written piece briefly explaining the Ethiopic script.
In referring to the Ethiopic script in Yorùbá, we made use of the preferred Ethiopian term "ፊደል/Fidäl", Yorùbánised as "Fídẹ́lì" rather than a Yorùbánisation of "Ge'ez" or "Ethiopic".
Just like with Kikọ, the Ethiopic script is an Abugida writing system but one with a very long history. It is the oldest African writing system still widely used today, perhaps second only to the Coptic script.
More Images in second tweet
Our Instagram - instagram.com/kohetype/
I and an Ethiopian started Kọhe Type on Instagram (kohetype) a while back, focused on font design and development. It is our design lab where we experiment with ideas, learn from each other and beyond, and improve our practice.
The name Kọhe is a bringing together of " meaning to write in Yorùbá, and "he/ሄ" which is a syllable letter taken from "ሆሄ/hohe" which as a word stands for another way of referring to the Ethiopic script.
Part of our core focus is language use and representation in the font design space. We make use of Amharic, Yorùbá, and English. This is our first written piece briefly explaining the Ethiopic script.
In referring to the Ethiopic script in Yorùbá, we made use of the preferred Ethiopian term "ፊደል/Fidäl", Yorùbánised as "Fídẹ́lì" rather than a Yorùbánisation of "Ge'ez" or "Ethiopic".
Just like with Kikọ, the Ethiopic script is an Abugida writing system but one with a very long history. It is the oldest African writing system still widely used today, perhaps second only to the Coptic script.
More Images in second tweet
Our Instagram - instagram.com/kohetype/
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The kikọ script retweeted
‘Ebi ń pamí’ is usually translated as ‘I’m hungry’. That simple translation doesn’t do justice. Literally, ‘ebi ń pamí’ suggests ‘hunger is killing me’ or ‘I am dying of starvation’. It’s almost like saying the process of experiencing hunger will result in death if you don’t eat.
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The kikọ script retweeted
Dear Yorùbás,
Normalise posting everyday
"I am Yorùbá First before anything"
Everything else is changeable, my ethnicity is not.
Flood the internet with "I am Yoruba First"
Nobody will censor "Yorùbá"
Normalise posting everyday
"I am Yorùbá First before anything"
Everything else is changeable, my ethnicity is not.
Flood the internet with "I am Yoruba First"
Nobody will censor "Yorùbá"
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[1/2]
Final touches to the Ésàn language supplemental letters spoken in Ẹdo state. I have been tugging with the Ésàn language issue for months ever since a follower that speaks the language considered I take a look at the language and attempt a possible design specific to the revious designs did not do real service to the language both in terms of beauty and functionality. One of the issues was that although I had designed some of the letters, there was no efficient way of actually using it in typing. You could type the base letters but not its tonal variants. The other issue is that it did not fit into the broader Kikọ design language. It made use of a design language that looked a bit too different from how the core of the script operates. In this update, we have rectified all these issues.
Another reason I felt strongly about the Ésàn language was that they had sound inventories that although not included in standard Yorùbá, are present in some of the dialectical variants of the language.
Final touches to the Ésàn language supplemental letters spoken in Ẹdo state. I have been tugging with the Ésàn language issue for months ever since a follower that speaks the language considered I take a look at the language and attempt a possible design specific to the revious designs did not do real service to the language both in terms of beauty and functionality. One of the issues was that although I had designed some of the letters, there was no efficient way of actually using it in typing. You could type the base letters but not its tonal variants. The other issue is that it did not fit into the broader Kikọ design language. It made use of a design language that looked a bit too different from how the core of the script operates. In this update, we have rectified all these issues.
Another reason I felt strongly about the Ésàn language was that they had sound inventories that although not included in standard Yorùbá, are present in some of the dialectical variants of the language.
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[2/2]
Lastly, although Ésàn is a tonal language, most (if not all) readable documents don't have the tones marked. I was surprised that even the Bible translation available on the JW website, usually done by Experts of the language, had not a single tonal marking throughout the n linguists have settled on not indicating tones in the standard orthography.
Font update reflecting all updates to the script will be announced soon for device usage.
Lastly, although Ésàn is a tonal language, most (if not all) readable documents don't have the tones marked. I was surprised that even the Bible translation available on the JW website, usually done by Experts of the language, had not a single tonal marking throughout the n linguists have settled on not indicating tones in the standard orthography.
Font update reflecting all updates to the script will be announced soon for device usage.
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