photocomposition typeface - definitie. Wat is photocomposition typeface
Diclib.com
Woordenboek ChatGPT
Voer een woord of zin in in een taal naar keuze 👆
Taal:

Vertaling en analyse van woorden door kunstmatige intelligentie ChatGPT

Op deze pagina kunt u een gedetailleerde analyse krijgen van een woord of zin, geproduceerd met behulp van de beste kunstmatige intelligentietechnologie tot nu toe:

  • hoe het woord wordt gebruikt
  • gebruiksfrequentie
  • het wordt vaker gebruikt in mondelinge of schriftelijke toespraken
  • opties voor woordvertaling
  • Gebruiksvoorbeelden (meerdere zinnen met vertaling)
  • etymologie

Wat (wie) is photocomposition typeface - definitie

SWISS TYPEFACE DESIGNER (1928-2015)
Ondine (typeface); Président (typeface); Phoebus (typeface); President (typeface); Apollo (typeface)
  • Specimens of typefaces by Adrian Frutiger
  • Méridien}}
  • Adrian Frutiger's font Frutiger Capitalis
  • Sample of the font Frutiger Stones
  • Frutiger Symbols: a group of designs inspired by Stone Age art drawn on pebbles.
  • Univers Bold Condensed on a London street sign
  • Frutiger in use by the Dutch rail system
  • ASTRA-Frutiger]], a condensed variant of Frutiger, on a road sign near [[Lugano]] in [[Switzerland]] in 2011
  • [[François Hollande]]}}.

Uniwidth typeface         
  • Example of a uniwidth typeface. Neither font weight nor font style affects the alignment of the two lines.
A TYPEFACE WHERE EVERY FONT HAVE THE SAME METRICS
A uniwidth typeface, also known as an equal-width, duplexed, or multiplexed typeface, is a typeface where every variation (font) has the same metrics (size of each letter). As a result, changing the variation used, such as using bold or italics, does not change the layout (reflow).
typeface         
  • Cyclopaedia]]''.
  • Perpetua]].
  • Courier, a monospaced slab serif typeface. All the letters occupy spaces the same width.
  • Examples of dingbats, which could be used in documents such as tourist guides or TV listings.
  • Three typefaces designed for headings, offering a clear contrast to body text
  • Israeli typographer [[Henri Friedlaender]] examines ''Hadassah Hebrew'' typeface sketches. The sequence was shot in his study in [[Motza Illit]] (near Jerusalem) in 1978.
  • Neue Haas Grotesk}}) typeface
  • PT font superfamily]], showing the similarities in letter structure.
  • Perpetua]] and its display variant, Perpetua Titling (above). The display type has slimmer stroke width and taller letters.
  • Proportional (left-side) and tabular (right-side) numeric digits, drawn as lining figures.
  • Reverse-contrast type compared to a [[fat face]] design. Both are very bold, but the fat face's thick lines are the verticals and the reverse-contrast's are the horizontals.
  • Specimens of printed floral borders from an 1897 type foundry specimen book.
  • Johnston]] typeface, printed on a large sign
  • Didot]].
SET OF CHARACTERS THAT SHARE COMMON DESIGN FEATURES
Non-proportional font; Proportional font; Type-face; Font family; Typefaces; Printer font; Proportional spacing; Ascent (font); Descent (font); Type face; Proportional fonts; Metric-compatible; Typeface family; Proportional and tabular figures; Draft:Proportional and tabular figures; Proportional figures; Tabular figures; Non-character typefaces; Inline font; Engraved font; Inline typeface; Engraved typeface; Shadow font; Shadow typeface; Shadowed typeface; Shadowed font; Variable-width font; Mimicry typeface; Simulation typeface; Samples of simulation typefaces; Ethnic typeface
(typefaces)
In printing, a typeface is a set of alphabetical characters, numbers, and other characters that all have the same design. There are many different typefaces.
N-COUNT
typeface         
  • Cyclopaedia]]''.
  • Perpetua]].
  • Courier, a monospaced slab serif typeface. All the letters occupy spaces the same width.
  • Examples of dingbats, which could be used in documents such as tourist guides or TV listings.
  • Three typefaces designed for headings, offering a clear contrast to body text
  • Israeli typographer [[Henri Friedlaender]] examines ''Hadassah Hebrew'' typeface sketches. The sequence was shot in his study in [[Motza Illit]] (near Jerusalem) in 1978.
  • Neue Haas Grotesk}}) typeface
  • PT font superfamily]], showing the similarities in letter structure.
  • Perpetua]] and its display variant, Perpetua Titling (above). The display type has slimmer stroke width and taller letters.
  • Proportional (left-side) and tabular (right-side) numeric digits, drawn as lining figures.
  • Reverse-contrast type compared to a [[fat face]] design. Both are very bold, but the fat face's thick lines are the verticals and the reverse-contrast's are the horizontals.
  • Specimens of printed floral borders from an 1897 type foundry specimen book.
  • Johnston]] typeface, printed on a large sign
  • Didot]].
SET OF CHARACTERS THAT SHARE COMMON DESIGN FEATURES
Non-proportional font; Proportional font; Type-face; Font family; Typefaces; Printer font; Proportional spacing; Ascent (font); Descent (font); Type face; Proportional fonts; Metric-compatible; Typeface family; Proportional and tabular figures; Draft:Proportional and tabular figures; Proportional figures; Tabular figures; Non-character typefaces; Inline font; Engraved font; Inline typeface; Engraved typeface; Shadow font; Shadow typeface; Shadowed typeface; Shadowed font; Variable-width font; Mimicry typeface; Simulation typeface; Samples of simulation typefaces; Ethnic typeface
see typeI 2

Wikipedia

Adrian Frutiger

Adrian Johann Frutiger (Swiss Standard German: [ˈaːdriaːn ˈjoːhan ˈfruːtɪɡər]; 24 May 1928 – 10 September 2015) was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century. His career spanned the hot metal, phototypesetting and digital typesetting eras. Until his death, he lived in Bremgarten bei Bern.

Frutiger's most famous designs, Univers, Frutiger and Avenir, are landmark sans-serif families spanning the three main genres of sans-serif typefaces: neogrotesque, humanist and geometric. Univers was notable for being one of the first sans-serif faces to form a consistent but wide-ranging family, across a range of widths and weights. Frutiger described creating sans-serif types as his "main life's work," partially due to the difficulty in designing them compared to serif fonts.