Fedra Sans Pro Font
In spite of all the attention to type and the unprecedented conditions for type designers, the vast majority of new fonts desperately lack originality. Just as in the music industry, where cover versions and remixes are often more popular than new music, font designers seemingly prefer to exploit successful models from the past rather than strive for new solutions. Scant decades ago, new typefaces underwent a rigorous review procedure to ensure that they met the publisher’s artistic and technical criteria. Today, self-publishing has eliminated such processes, and there is little critical review, little effort to add something new to the evolution of the profession.
Mediocrity abounds as quality control dwindles. Dozens of blogs (as well as the print media) simply republish press releases without distinguishing between marketing and independent reviews, praising uninspired fonts and institutionalising the average. Many design awards do the same, perpetuating a false idea of what constitutes superior quality. We don’t need new fonts like this.
In spite of all the attention to type and the unprecedented conditions for type designers, the vast majority of new fonts desperately lack originality. Just as in the music industry, where cover versions and remixes are often more popular than new music, font designers seemingly prefer to exploit successful models from the past rather than strive for new solutions. Scant decades ago, new typefaces underwent a rigorous review procedure to ensure that they met the publisher’s artistic and technical criteria. Today, self-publishing has eliminated such processes, and there is little critical review, little effort to add something new to the evolution of the profession. Mediocrity abounds as quality control dwindles. Dozens of blogs (as well as the print media) simply republish press releases without distinguishing between marketing and independent reviews, praising uninspired fonts and institutionalising the average. Many design awards do the same, perpetuating a false idea of what constitutes superior quality.
We don’t need new fonts like this. In spite of all the attention to type and the unprecedented conditions for type designers, the vast majority of new fonts desperately lack originality. Just as in the music industry, where cover versions and remixes are often more popular than new music, font designers seemingly prefer to exploit successful models from the past rather than strive for new solutions. Scant decades ago, new typefaces underwent a rigorous review procedure to ensure that they met the publisher’s artistic and technical criteria. Today, self-publishing Click to Edit.
Has eliminated such processes, and there is little critical review, little effort to add something new to the evolution of the profession. Mediocrity abounds as quality control dwindles. Dozens of blogs (as well as the print media) simply republish press releases without distinguishing between marketing and independent reviews, praising uninspired fonts and institutionalising the average. Many design awards do the same, perpetuating a false idea of what constitutes superior quality. We don’t need new fonts like this.
Fedra Sans Pro Font Family
DescriptionPT Sans is a type family of universal use. It consists of 8 styles: regular and bold weights with corresponding italics form a standard computer font family; two narrow styles (regular and bold) are intended for documents that require tight set; two caption styles (regular and bold) are for texts of small point sizes. The design combines traditional conservative appearance with modern trends of humanistic sans serif and characterized by enhanced legibility.
These features beside conventional use in business applications and printed stuff made the fonts quite useable for direction and guide signs, schemes, screens of information kiosks and other objects of urban visual communications.The fonts next to standard Latin and Cyrillic character sets contain signs of title languages of the national republics of Russian Federation and support the most of the languages of neighboring countries. The fonts were developed and released by ParaType in 2009 with financial support from Federal Agency of Print and Mass Communications of Russian Federation. Design - Alexandra Korolkova with assistance of Olga Umpeleva and supervision of Vladimir Yefimov. LicenseEND-USER LICENSE AGREEMENT FOR THE INCLUDED STUDIO KMZERO FONTS:This End-User License Agreement (EULA) is a legal agreement between you (either an individual or a single entity) and Studio Kmzero for the digital typeface software - hereafter fonts included in this package:PROZAKThe fonts included are protected by copyright laws and international copyright treaties, as well as other intellectual property laws and treaties.
Glyphs
These fonts are licensed to you for personal / noncommercial use only. LicenseEND USER LICENCE AGREEMENTEach font purchased from Australian Type Foundry (ATF) is licensed for use on 5 personal computers within the purchasing organisation. The end user agrees to receive purchased product from ATF via email transmission unless otherwise specified on the ATF website. The end user agrees NOT to use fonts purchased from ATF for any purpose, commercial, public, personal or otherwise, which constitues an illegal act or an incitement to racial, sexual or gender vilification or any other discriminatory or illegal purposes. The end user agrees not to copy, transmit, reproduce, or imitate any product purchased from ATF for any user outside the purchasing organisation or for any public or commercial purpose, unless permission in writing is obtained from ATF. The end user agrees not to modify the digital construction or coding of fonts purchased from ATF. Copyright and intellectual property remain the sole property of ATF after purchase.
By purchasing from ATF you agree to these terms and conditions.ATF warrants to you that the software will perform satisfactorily for the ninety (90) day period following your receipt of the software. This warranty does not apply to font software converted into other formats by the end user. To make a warranty claim, you must return the software to the location where you obtained it along with a copy of your sales receipt within such ninety (90) day period.
About
If the software does not perform satisfactorily, ATF reserves the right to exercise either the replacement of the software or the refund of the license fee you paid for the software. ATF and its suppliers do not and cannot warrant the performance or results you may obtain by using the software.LICENCE AGREEMENT FOR FONT SOFTWAREBetween Australian Type Foundry Pty Ltd (Australian Type Foundry or the licensor) and the End User/Customer (you or the licensee).1. LICENCEThis Licence Agreement for Font Software (Licence Agreement) becomes a legally binding contract between the licensee and the licensor when you access Font Software supplied by electronic delivery methods or open packaging containing Font Software supplied on a storage medium that you have purchased from Australian Type Foundry. Please read all these licence conditions thoroughly and carefully before proceeding.
Once you access the Font Software you agree to comply with and be bound by all the conditions contained in this Licence Agreement. If there is any condition in the Licence Agreement that you do not accept, please do not access, use or download the Font Software. Please contact Australian Type Foundry immediately.2.