The phrase "a combination of characters" is correct and usable in written English.
It can be used when referring to a sequence or grouping of letters, numbers, symbols, or other elements that form a specific set or code.
Example: "To create a strong password, it is recommended to use a combination of characters, including uppercase letters, lowercase letters, numbers, and special symbols."
Alternatives: "a sequence of characters" or "a set of characters".
Consequently, modern Japanese writing uses a combination of characters from all three of these systems.
Japanese translators used their version of a Chinese Buddhist term sekai (Chinese: shijie), a combination of characters which indicated a distinction in time and space and was used to mean "generation", and adapted it to mean "the world," replacing the older Chinese term tianxia, or "all under Heaven".
Most of the species showed a combination of characters that made their classification difficult.
These ancient extinct fishes show a unique type of preservation of the cartilaginous braincase and demonstrate a combination of characters unknown in other vertebrate species, living or extinct.
However, B. culasiensis can be distinguished from B. rubrifolia by a combination of characters, including the larger lamina (7.5 14.5 × 5.8 13 vs. 6 9 × 8 10 cm), longer petiole (6.5 19 vs. 7 11 cm), lesser stamens (27 47 vs. 50 60), shorter anthers (ca. 0.8 mm vs. 1 2 mm), and narrower (oblong vs. rhomboidal to orbicular) capsules.
A combination of characters from "Of Mice and Men, Van Luin winds up becoming the unfortunate object of Lenny's overzealous romantic affections.
For Jane Trapnell Marino, the show's guest curator, "Adrian's style was a combination of character interpretation with a really healthy dose of glamour," she said.
He and other economists I spoke to this week ascribed Germany's stance to a combination of character, politics and economics — and not so much the scars of World War II or the prewar inflation that ravaged Germany.
Our team coded the content of each ad using four tenets: 1) whether content was positive, negative or comparative, 2) whether ads focused on issues, character or a combination of character and issue, 3) the emotional appeals used based on six primary emotions: anger, fear, sadness, joy, love and surprise, and 4) the subject matter.
This grouping was supported by a combination of homoplasious characters such as characters of antennal scaling and the tendency to have the proximal pair of tibial spurs of the hindleg on the proximal half of the leg.
