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Fedra Sans Alt Variable

Latin

In its most general sense, the term ‘world’ refers to the totality of entities, to the whole of reality or to everything that is. The nature of the world has been conceptualized differently in different fields. Some conceptions see the world as unique while others talk of a ‘plurality of worlds’. Some treat the world as one simple object while others analyze the world as a complex made up of many parts. In scientific cosmology the world or universe is commonly defined as ’the totality of all space and time; all that is, has been, and will be’. Theories of modality, on the other hand, talk of possible worlds as complete and consistent ways how things could have been. Phenomenology, starting from the horizon of co-given objects present in the periphery of every experience, defines the world as the biggest horizon or the ‘horizon of all horizons’. In philosophy of mind, the world is commonly contrasted with the mind as that which is represented by the mind. Theology conceptualizes the world in relation to God, for example, as God’s creation, as identical to God or as the two being interdependent. In religions, there is often a tendency to downgrade the material or sensory world in favor of a spiritual world to be sought through religious practice. A comprehensive representation of the world and our place in it, as is commonly found in religions, is known as a worldview. Cosmogony is the field that studies the origin or creation of the world while eschatology refers to the science or doctrine of the last things or of the end of the world.

Fedra Sans Alt has clearly defined letterforms, open counter forms, high x-height and loose spacing, all of which are typical traits of highly functional typefaces designed for small text sizes. Fedra reflects the original design brief: it humanises the communicated message and adds simple, informal elegance. An important criterion was to create a typeface that works equally well on paper and on the computer screen. The typeface attempts to reconcile two opposing design approaches: the rigidity of a typeface designed for the computer screen and the flexibility of handwriting. Fedra Sans is an extraordinarily versatile typeface, and it has been successfully used for highly demanding projects such as airport signage, car navigation, dictionaries and even bible typesetting.

Fedra Sans Alt, design concept

Design Concept

Fedra Sans is truly a global citizen. Besides the Latin, the font family also supports Armenian, Bengali, Cyrillic, Devanagari, Georgian, Greek, Hebrew, Canadian Syllabics, Tamil and Thai writing scripts, supporting over two billion native speakers. Chinese, Japanese and Korean will be coming soon.

Fedra Sans Alt, International Typography

International Typography

Fedra Sans includes some unusually shaped characters, which became identifiable characteristics of the typeface. It was mainly the prolonged ‘f’, the open ‘6’, ‘9’, ‘b’, ‘P’, and the diamond-shaped dots that have added to the identity of Fedra Sans. <a href="https://www.typotheque.com/fonts/fedra_sans_alt">The alternative version of Fedra Sans</a> removes those peculiarities as well as a dozen other features for the sake of consistency. Choose one according to how much spark your text needs.

Fedra Sans Alt, Two Flavours

Two Flavours

Each weight of Fedra Sans includes eight different kinds of numerals. Proportional lining figures come as default figures in Fedra Sans. It also, however, includes Old-style figures, Tabular numerals (both Lining and Old-style), superior, inferior, circled and circled inverted numerals. For the running text, old-style figures work best; for capital setting, use lining figures available via OpenType layout features. When you take a licence of this font, you can choose the default numeral variants inside the fonts.

Fedra Sans Alt typeface, numeral styles

Numeral Styles

Bold

Arabic

Arabic transliteration

Central Kurdish

Gurmukhi (Punjabi)

Mazanderani

Pashto

Persian (Farsi)

Sindhi

Urdū

Cyrillic

Abaza

Adyghe

Altai

Avar

Azeri (Cyrillic)

Azeri (Latin)

Balkar

Bashkir

Belarusian

Bosnian

Bulgarian

Buryat

Chechen

Chuvash

Crimean Tatar

Dargin

Dungan

Evenki

Gagauz

Ingush

Kabardian

Kalmyk

Karakalpak

Kazakh

Khakas

Kirghyz

Komi

Koryak

Kumyk

Lezgian

Macedonian

Manci

Mansi

Mari

Mongolian

Montenegrin

Mordvin (Erzya)

Mordvin (Moksha)

Muslim Tat, Latin

Nanai

Nenets

Nogai

Ossetic

Romanian

Russian

Rusyn 

Selkup

Serbian

Shor

Tabasaran

Tajik (Cyrillic)

Talysh, Latin

Tatar

Tsakhur

Turkmen

Tuva

Tuvan

Udmurt

Uighur

Ukrainian

Uzbek

Western Mari

Yakut

Georgian

Greek

Greek (modern)

Abua

Achinese

Achuar-Shiwiar

Acoli

Adara

Afar

Afrikaans

Ahtna

Alago

Albanian

Alekano

Aleut

Anaang

Ao Naga

Arabic, Chadian Spoken

Aragonese

Aromanian

Asturian

Awak

Aymara

Baka

Balinese

Banda, West Central

Bangwinji

Bapuku

Basa

Basque

Batak Toba

Bedawiyet

Bekwarra

Bemba

Bena

Bench

Benga

Bete-Bendi

Bikol

Bilen

Bini

Bislama

Blackfoot

Bokobaru

Breton

Buginese

C’Lela

Cahungwarya

Catalan

Cebuano

Central Yupik

Chamorro

Cheyenne

Chichewa

Chiduruma

Chiga

Chimborazo Highland Quichua

Chipewyan

Chokwe

Chuukese

Colognian

Comorian, Latin

Cornish

Corsican

Croatian

Czech

Danish

Dawro

Delaware

Dikaka

Dogon, Toro So

Dogrib

Dutch

Ebira

Efik

Emai-Iuleha-Ora

Embu

English

Esperanto

Estonian

Ezaa

Faroese

Fijian

Filipino

Finnish

French

Frisian

Friulian

Fuliiru

Galician

Gamo

Ganda

Gbaya (Sudan)

German

Gheg Albanian

Gikuyu

Gofa

Gourmanchéma

Design

Contributors

Engineering

Awards

Released

petra2

Fedra Serif Display

Fedra Sans Alt

petra6

petra3

Fedra Sans

L1020312

Klimax

Fedra Sans Alt was born out of curiosity, by asking what would be the result if all ‘features’ of Fedra Sans were removed. It relies on a subtler means of construction, yet the identity of the typeface is still very recognisable.