Frutiger Light
Lorri Dent
i just designed a nice little ad in affinity designer only to find out that the german "umlaute" i.e. ,,, DO NOT show up in the pdf for print. they do show in affinity designer while i am working. what to do? or where do i have to change something because like this all my work was for naught.
Well fonts are embedded as subgroups as default here for the PDF export and it seems that for certain fonts here the umlauts are mismatched. - If you don't need to keep embedded editable fonts inside, let the export convert them to shapes (or convert the text paragraphs manually to shapes before exporting) instead.
thanks much for all your answers. 1. i have been working with frutiger in indesign ever since it came out, i almost exclusively work with it and i never had the problem. 2. the title in oil pastel is purposely done like a child's drawing. 3. here is thwe af-designer file i am working with. let's see if one of you venerable pundits could give me an answer...
I'm not sure there's a menu setting for that. It may simply be a matter of which quotes you type, or what kind of keyboard you're using. Have you tried simply copying the correct German quotes from his post, and pasting them into your document?
But usually, single guillemets are not used for quotes in German texts, unless in special contexts. So at least for the second example, I would not use the single guillemets. Still under the assumption that you have a German keyboard layout, you can access these characters in the following way:
The core NHS font is Frutiger and the secondary font is Arial. These fonts should be used for all NHS communications. No other fonts should be used, even if your NHS communications are aimed at a specific target audience (e.g. children). The consistent use of permitted fonts achieves the unified and uniform approach that our patients and public want from the NHS. The only exception is foreign language fonts.
Frutiger is available to buy in many weights, and licences to use Frutiger both on and offline can be purchased from a number of font sellers. As well as specifying the type and number of licences required, you need to ensure you are buying the Linotype family of Frutiger, and the specific weights of Frutiger 65 Bold, Frutiger 55 Roman, Frutiger 56 Roman Italic and Frutiger 45 Light. These weights, as set out in the guide below, are appropriate for the majority of offline applications. Online, we suggest avoiding using italics because it is less accessible.
The following sample is an A4 Annual Report. The title is in Frutiger Roman to give a light, accessible look. If the title was in Frutiger Bold at the size shown, this would overwhelm the image and produce a much heavier look.
The NHS also has a secondary font, Arial, for use when Frutiger is not available. Arial is also an accessible sans serif font with good clarity and legibility. It is a very widely available typeface that all users should have easy access to. Given its availability, Arial will generally be used for internally produced documents like letters, reports and PowerPoint presentations.
The NHS should to be accessible to all people at all times, to provide quality and equality of service and experience. To do this, the language needs of our local communities need to be taken into consideration and there will be occasions when foreign language fonts are required.
A local specialist translator and/or typesetter will be able to advise you on styles for foreign language translation and on commonly used fonts. Use a font that is clear and uncomplicated ensuring that it meets accessibility requirements. If possible, test it out with your target audience before going to print or publishing online.
The implementation guidance for the Accessible Information Standard gives general advice on producing accessible documents. The Web Content Accessibility Guidelines (WCAG) 2.0 covers a wide range of recommendations for making web content more accessible.
Everthing appears in frutiger light font.I dont know how to use multiple fonts .It would be great if someone answers.i have include this frutiger light and frutiger bold in my font library.Thanks in Advance
Now I would like to set Frutiger as the font for headings (sections and subsections, maybe subsubsections too) and Computer Modern as the font for anything else (text, captions, table of contents, etc.)
If there is a template to set headings and continuous text, how would I have to define right the opposite of my question: Headings in Computer Modern Sans and text in Frutiger with bold using "Frutiger 65 Bold" from the above url?
I am using LaTeX standard Helvetica (it's not 100% equal to the original one I guess) since I don't own Frutiger. But you can just look at the FontName.pdf file for the abbreviation of Frutiger (Thanks David Carlisle for the light on this great file). It should be something like ftr or ftb.
i have no idea how to use specific substyles of a specific font. creating a text i can choose only the main font, the others are strictly hidden. after fiddling around i noticed that i can right click the font in the editor which reveals a font and show fonts but not all work. only substyles like bold italic but something like light, extra light or ultra black independent of the font does not reflect in the viewport.
also is there no quicker way to select substyles? marking the text in the editor then right clicking it, to select font then select show fonts, to select some further styles, seems ridiculously inconvenient and counter-intuitive or am i missing something obvious?
It seems a bit silly to install another HE font, but right now I am trying to find Helvetica Neue font that would work on windows version of Rhino. And this is the only one so far that partly show up in Rhino on windows.
@Pascal,
I tried to install font Nudista, Helvetica Neue Std and Pro and neither of the special font member of these families are not visible on mac. Regular font only. It seems to me as newly installed font families were not supported.
it seems from all the fonts i have checked only the open type fonts OTF are causing these problems and only show the first main font. also the font you are using in that other thread is an otf by the way.
guys this is absolutely imperative that you fix this. right now i need to use a corporate font which has only 3 styles: bold regular and light , and light does not work. i am basically screewed using rhino 7 regarding fonts.
@Gijs that exact font is one that works yes try universe, or something more contemporary like mark pro. some styles do not show all substyles in that list you posted. to get to them is very difficult and mostly dont work then. you can select them in the show fonts panel but they would not activate in the viewport.
edit: for instance Frutiger or Futura are also very standard fonts, none of the substyles show up in the text proerties and half of the substyles dont work at all. it activates in the font panel and in the properties text panel but not in the view port
Data sources and manipulation
Coasts, drainages, and boundaries 1:2 million-scale Digital Chart of the World (DCW) obtained from the Pennsylvania State University Libraries. Starting with voluminous raw DCW data, creating presentable hydrography for the map was by far the most time-consuming production task. Initial manipulations included map reprojection using MAPublisher 6.2 (running as a plugin in Adobe Illustrator CS2), deleting unwanted lakes and rivers, ranking the rivers by size, and tapering their widths. The manipulated hydrography (and other map lines) contained the same number of vector data points as the original DCW data.
Next, the manipulated DCW lines were rasterized in Photoshop CS2, saved as TIF files, and rendered in Natural Scene Designer Pro 5.0 as draped images on the terrain surface of the coterminous United States. The rendered lines were then touched up by hand in Photoshop primarily to improve registration. Finally, in Photoshop, the lines were composited with the underlying terrain and the file flattened to produce the final map. Because the map linework underwent significant transformations when converted from vectors to rendered raster final, the final map has a much softer appearance than the original DCW data.
Terrestrial elevation data 3-arc second Shuttle Radar Topography Mission (SRTM) data obtained from Natural Graphics and downsampled to 700-meter resolution. Data voids were filled with National Elevation Dataset in the coterminous United States and GTOPO30 elsewhere. The technique for filling the voids was the same as that used for creating CleanTOPO2, described here.
Other data manipulation includes resolution bumping applied to all high mountains in the western U.S., a small amount of selective vertical exaggeration applied to the central Rocky Mountains and Black Hills, and smoothing applied globally. Without smoothing applied to the elevation data the rendered terrain would have a harsh, noisy appearance, especially the rugged mountains of the northern Rockies and northern Cascade Range. On the final map, flat lands contain more detail than do the mountains.
The volcanic summits of the Cascade Range received manual touchups in Photoshop. Adding a couple of pixels to the width of upper-elevation slopes gave the peaks more bulk and a more familiar appearance. Looking at the final map suggests that Mt. Rainier could have used additional manual touchups to broaden its distinctive summit. Mt. Shasta near the southern end of the Cascade Range in California did not require touchups.
Bathymetry 5km CleanTOPO2 data colorized in Adobe Photoshop as a 16-bit RGB TIF file and then liberally smoothed with Gaussian Blur. Working with 16-bit data and applying a small amount of Gaussian Noise to the smoothed bathymetry prevented banding in the softly-modulated blue tones. The final step was to convert the 16-bit bathymetry to an 8-bit image and combine it with the final map in Photoshop.
Labels The USGS National Atlas team generously provided 90 percent of the labels and spot elevations found on the Physical Map of the Coterminous United States. Concurrent with the production of the Physical Map of the Coterminous United States, the USGS was producing a physical features map for the National Atlas series, which also used Adobe Illustrator and the Albers Equal-Area Conic Projection as the foundation for production. Transferring the USGS labels was a simple matter of copying and pasting between the open Adobe Illustrator files.
Because the Physical Map of the Coterminous United States portrays terrain in 3D compared to the 2D shaded relief on the USGS map, repositioning labels and elevation points in mountainous regions was necessary. In addition, the USGS map labels aligned to the curved graticule of the Albers Equal-Area Projection. Rotate Text, a freeware filter from Graffix, proved a huge time saver for converting the labels to a horizontal alignment.