Re: Sana Sans Font Family Rar
Donnell Simon
Sharp Sans is designed to look great in any context. Beneath the sleek and minimalist forms of our flagship geometric sans-serif, is a magnitude of fastidious design considerations. Sharp Sans is understated in its perfectionism, and warm in its neutrality. Designed for ultimate utility, Sharp Sans is our use-it-for-everything font.
7 weights, 14 total fonts.
The Sharp Sans series is divided into three parts, Sharp Sans, Sharp Sans Display No.1, and Sharp Sans Display No.2. While most superfamilies are organized by a single differentiating principal between optical size (text, display, etc.), or style (serif, sans, slab, etc.), each family in the Sharp Sans series contain elements of both. There is a stylistic differentiation between the two display cuts of the family, Sharp Sans Display No.1 & Sharp Sans Display No.2, and an optical size differentiation between the display cuts and the latest edition, called Sharp Sans.
Although the new naming convention of the Sharp Sans series would suggest a hierarchy of optical size (Sharp Sans and Sharp Sans Display No.1 & 2), their relationship is more complex than the traditional text and display relationship. Sharp Sans is not a text face; it is a one-size-fits-all use-it-for-everything face. While the original Display versions complement the new Sharp Sans beautifully when used in tandem, the choice to use one or the other at an appropriately large point size is a stylistic decision, as well as a practical one. Sharp Sans Display is edgy and provocative, while the new Sharp Sans finds grace and utility in its perfectionism.
Sans fonts are minimal but approachable: Open Sans Font is neutral and friendly, Lato is stable but warm, and Roboto (in the same family is Roboto Slab) is natural and unforced. All are very readable.
The problem being that each weight is only given the same generic family name. How the font name is resolved locally varies depending on the platform and font, so declaring just the generic family name causes problems (the full family name and the PostScript name would need to be included at least).
Separately, Chrome (and possibly other browsers based on the Chromium codebase) suffers from a known bug where it incorrectly matches local() against the family name instead of the full font name. Thus, having any version of Open Sans locally installed will trigger the worst-case behavior on Chrome.
Ps. One possible workaround for this Chrome bug might be to get rid of the local() font sources entirely and rename the CSS font family defined by the @font-face rules to some custom name like "Open Sans (WOFF)", like this:
In have not yet tested this, but in principle this should make Chrome (as well as other, conformant browsers like Firefox) prefer to use the locally installed Open Sans font, if any (but without triggering the broken local() matching), and only fall back to the custom "Open Sans (WOFF)" family if no local Open Sans is found. If the webfont cannot be downloaded either, the browsers should then try the other listed fallback font families.
Or, alternatively, SE could simply decide that webfonts are the future and drop local fonts (except for the generic serif / sans-serif / monospace fallbacks) from their style sheet entirely. While this would IMO be a suboptimal solution, it probably would be the path of least effort.
The fonts were developed by Steve Matteson of Ascender Corporation as Ascender Sans and Ascender Serif. A variant of this font family, with the addition of a monospaced font and open-source license, was licensed by Red Hat Inc. as the Liberation font family.[4] Liberation Sans and Liberation Serif derive from Ascender Sans and Ascender Serif respectively; Liberation Mono uses base designs from Ascender Sans and Ascender Uni Duo.
In April 2010, Oracle Corporation contributed the Liberation Sans Narrow typefaces to the project.[5] They are metrically compatible with the popular Arial Narrow font family.[6] With Liberation Fonts 1.06 the new typefaces were officially released.[7]
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.
Triumphal Font is an old American Sherriff inspired display font family with unique style. It has beautiful, fresh, elegant, natural and stylish glyphs. Triumphal Luxury Font will be perfect for branding, logo, photography and headlines etc.
Some well-known examples of sans serifs are Arial, Helvetica, and Franklin Gothic. But using run-of-the-mill sans serif fonts (such as the ones mentioned) can lead to dull, unimaginative, and boring results. If you need to refresh or beef up your font library, this carefully hand-picked collection of free sans serif fonts are awesome to have on hand.
Back in 2014, Zach Leatherman created a website titled Font Family Reunion in which the user enters the font-family CSS values and the app returns which font each OS will actually render. Unfortunately, its GitHub repo was last updated on 5 October 2016. So we cannot tell what fonts the latest OSs will render.
For font consistency, all applications should be set to use the serif, sans-serif, and monospace aliases, which are mapped to particular fonts by fontconfig. See Metric-compatible fonts for options and examples.
The standard names are the aliases serif, sans-serif, and monospace. Setting custom values for these aliases will change the defaults for almost all applications, including sway, alacritty, and firefox. This example prefers gnu-free-fonts for everything except fixed-width fonts, for which Source Code Pro is preferred.
Acre is a simple and sleek, no nonsense sans font that works great in almost any context. If you like Acre as much as I do you can even purchase the entire font family for a variety of different weights and styles.
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