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Frutiger Aero visuals in user interface design (KDE Plasma 4 from 2011).Frutiger Aero (/ f r uː t ɪ ɡ ə r ɛ ə r ə ʊ /), sometimes known as Web 2.0 Gloss, [1] is a retrospective name applied to a design trend observed mainly in user interfaces and Internet aesthetics from the mid-2000s to the early 2010s. [2]
Frutiger Aero is an Internet aesthetic and user interface design trend based on Windows Aero. It was popular from roughly 2004 to 2013, succeeding the Y2K aesthetic. [ 13 ] This aesthetic was named after Swiss typeface designer Adrian Frutiger , whose font and UI theme developments influenced the design choices of major companies.
Frutiger may refer to: Adrian Frutiger, a Swiss typeface designer; Frutiger Aero, a user interface design style and Internet aesthetic; Frutiger AG, a Swiss construction company; Frutiger (typeface), a typeface designed by the Swiss typeface designer Adrian Frutiger
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A distinctive feature of Windows Aero showing "glass-like" window borders on Windows 7. Windows Aero (a backronym for Authentic, Energetic, Reflective, and Open [1] [2]) is the design language introduced in the Microsoft Windows Vista operating system. The changes introduced by Windows Aero encompassed many elements of the Windows interface ...
On April 25, 2017, Tenor introduced an app that makes GIFs available in MacBook Pro's Touch Bar. [10] [11] Users can scroll through GIFs and tap to copy it to the clipboard. [12] On September 7, 2017, Tenor announced an SDK for Unity and Apple's ARKit. It allows developers to integrate GIFs into augmented reality apps and games. [13] [14] [15] [7]
Adrian Johann Frutiger [1] (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.
Univers (French pronunciation: ⓘ) is a sans-serif typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957. [1] Classified as a neo-grotesque sans-serif, one based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths.