|
|
The macros listed in Table 3.2.20- 3.2.23 can be used to return real face variables in SI units. They are identified by the F_ prefix. Note that these variables are available only in the pressure-based solver. In addition, quantities that are returned are available only if the corresponding physical model is active. For example, species mass fraction is available only if species transport has been enabled in the Species Model dialog box in ANSYS FLUENT. Definitions for these macros can be found in the referenced header files (e.g., mem.h).
Face Centroid (
F_CENTROID)
The macro listed in Table 3.2.20 can be used to obtain the real centroid of a face. F_CENTROID finds the coordinate position of the centroid of the face f and stores the coordinates in the x array. Note that the x array is always one-dimensional, but it can be x[2] or x[3] depending on whether you are using the 2D or 3D solver.
The ND_ND macro returns 2 or 3 in 2D and 3D cases, respectively, as defined in Section 3.4.2. Section 2.3.15 contains an example of F_CENTROID usage.
Face Area Vector (
F_AREA)
F_AREA can be used to return the real face area vector (or `face area normal') of a given face f in a face thread t. See Section 2.7.3 for an example UDF that utilizes F_AREA.
By convention in ANSYS FLUENT, boundary face area normals always point out of the domain. ANSYS FLUENT determines the direction of the face area normals for interior faces by applying the right hand rule to the nodes on a face, in order of increasing node number. This is shown in Figure 3.2.1.
ANSYS FLUENT assigns adjacent cells to an interior face ( c0 and c1) according to the following convention: the cell out of which a face area normal is pointing is designated as cell C0, while the cell in to which a face area normal is pointing is cell c1 (Figure 3.2.1). In other words, face area normals always point from cell c0 to cell c1.
Flow Variable Macros for Boundary Faces
The macros listed in Table 3.2.22 access flow variables at a boundary face.
| Font | x-Height | Distinct Feature | Best For | |------|----------|------------------|-----------| | | Medium | Double-story lowercase, straight-legged ‘R’ | Long-form & UI | | Futura | Large | Extremely geometric, sharp apexes | Headlines | | Century Gothic | Large | Wide proportions, low stroke contrast | Display use | | Avenir | Medium-high | More humanist touches, varied stroke weights | Versatile text | | Montserrat | Large | Urban style, high contrast | Web headings |
If you want, I can: provide a downloadable specimen sheet, generate mockups (poster/hero), or suggest exact font-pairing styles for a particular project—tell me which.
In the Indian printing industry, there was a historical divide: Latin script (English) was often set in high-quality, modern fonts, while Indian scripts (like Devanagari, Bengali, or Tamil) were often relegated to older, clunky, or mismatched styles. Ek Type sought to change this by designing font families where every script—Latin, Devanagari, Gujarati, etc.—shares the same visual DNA and weight, looking harmonious when used together on a page.
Katari is unique because it mirrors the "sharp, faceted outlines" of traditional Indian punching daggers ( The Society of Typographic Aficionados Informal but Structured katari regular font
The Katari typeface family is rooted in the "Old Style" serif tradition, drawing inspiration from historical Italian and French punch-cutters. However, unlike its ancestors, Katari Regular features a larger "x-height" (the height of the lowercase letters). This technical adjustment ensures that the font remains legible even at small sizes on mobile devices or in dense printed paragraphs.
The design of emphasizes clarity, functionality, and a contemporary feel.
Katari Regular font is a Devanagari typeface designed by Erin McLaughlin . It is inspired by the | Font | x-Height | Distinct Feature |
For brands that want to communicate trust, sophistication, and timelessness without looking outdated, Katari Regular is a prime choice. It is highly effective for: Logos for boutique hotels, wineries, or law firms. Packaging design for luxury skincare and organic goods. Corporate stationery and annual reports. UI/UX and Digital Environments
For a literary or high-fashion look, pair Katari Regular body text with a high-contrast serif typeface (such as Playfair Display, Bodoni, or Ogg) for large headlines. The drama of the serif headings balances beautifully with the understated elegance of Katari. The High-Tech Pair: Katari Regular + Monospace
This comprehensive guide explores the design philosophy, key characteristics, optimal use cases, and pairing strategies for Katari Regular. What is Katari Regular Font? Katari is unique because it mirrors the "sharp,
To maximize the impact of Katari Regular, consider these pairing strategies:
Using the same family is the safest route. Use Regular for body paragraphs and Bold for subheads. This creates a harmonious, minimalist hierarchy.
See Section 2.7.3 for an example UDF that utilizes some of these macros.
Flow Variable Macros at Interior and Boundary Faces
The macros listed in Table 3.2.23 access flow variables at interior faces and boundary faces.
F_FLUX can be used to return the real scalar mass flow rate through a given face f in a face thread t. The sign of F_FLUX that is computed by the ANSYS FLUENT solver is positive if the flow direction is the same as the face area normal direction (as determined by F_AREA - see Section 3.2.4), and is negative if the flow direction and the face area normal directions are opposite. In other words, the flux is positive if the flow is out of the domain, and is negative if the flow is in to the domain.
Note that the sign of the flux that is computed by the solver is opposite to that which is reported in the ANSYS FLUENT GUI (e.g., the Flux Reports dialog box).