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Vertical axis mirror ambigrams find clever applications in mirror writing (or specular writing), that is formed by writing in the direction that is the reverse of the natural way for a given language, such that the result is the mirror image of normal writing: it appears normal when it is reflected in a mirror. For example, the word "ambulance ...
The font shown in the example is stressed; this means that strokes have varying widths. In this example, the stroke at the top of the "g" is thinner at the top and bottom than on the sides – a vertical stress. Fonts without any variation in the stroke width are known as monoline fonts.
The Ƶ character is similar to the vertical form of the Wolfsangel (German for "wolf trap") heraldic charge from medieval Germany and eastern France.. The Wolfsangel symbol was an early 15th-century symbol of Germanic liberty and freedom that also appears as a mason's mark and was also used as a German medieval forestry boundary marker. [1]
Box-drawing characters, also known as line-drawing characters, are a form of semigraphics widely used in text user interfaces to draw various geometric frames and boxes. These characters are characterized by being designed to be connected horizontally and/or vertically with adjacent characters, which requires proper alignment.
Bembo is a serif typeface created by the British branch of the Monotype Corporation in 1928–1929 and most commonly used for body text.It is a member of the "old-style" of serif fonts, with its regular or roman style based on a design cut around 1495 by Francesco Griffo for Venetian printer Aldus Manutius, sometimes generically called the "Aldine roman".
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A reverse-contrast or reverse-stress letterform is a typeface or custom lettering where the stress is reversed from the norm, meaning that the horizontal lines are the thickest. This is the reverse of the vertical lines being the same width or thicker than horizontals, which is normal in Latin-alphabet writing and especially printing.
Typical markings include vertical lines from the lower lip that extend to beneath the chin. [2] According to tattoo anthropologist Lars Krutak, the width of the lines and the spacing between them were traditionally associated with each of the nine groups of Hän Gwich’in. Girls would be tattooed to identify their group.