Quant Antiqua◗ (1901: Berthold); 1989: L. Kuznetsova Квант Антиква◗ (1901: Berthold); 1989: Л.

Кузнецова

Cyrillic Standard The typeface was designed at the Polygraphmash type design bureau in
1989 by Lyubov Kuznetsova. Based on the typeface Literaturnaya (Lat-
inskaya) of the Berthold typefoundry (St.-Petersburg, 1901), a version of
Lateinisch typeface of H. Berthold (Berlin, 1899). For use in text matter.
Кириллическая стандартная Текстовая гарнитура разработана в Отделе наборных шрифтов НПО
Полиграфмаш в 1989 году (дизайнер Любовь Кузнецова) на основе
шрифта Литературная (Латинская) словолитного заведения Бертгольд
(С.-Петербург), 1901, созданного на основе рисунков шрифта Latei-
nisch фирмы H. Berthold (Berlin), 1899.

pt qna55 Regular pt qna55 Нормальное

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iters themselves now rarely have the calligra
phic skill of earlier scribes, but they evoke c
ountless versions of ideal script by their vary
ing voices and literary styles. To these blind
Typography is just that: idealized w
riting. Writers themselves now rare
ly have the calligraphic skill of earl
ier scribes, but they evoke countles
Èäåàëèçèðîâàííîå ïèñüìî — âîò ÷òî òàêîå
òèïîãðàôèêà. Ñåé÷àñ ïèñàòåëè ðåäêî îáëàä
àþò êàëëèãðàôè÷åñêèìè òàëàíòàìè ñðåäíåâ
åêîâûõ ïåðåïèñ÷èêîâ, íî îíè ñîçäàþò áåñ÷
èñëåííûå âàðèàöèè èäåàëüíîãî òåêñòà ñâîè
Èäåàëèçèðîâàííîå ïèñüìî — âîò ÷ò
î òàêîå òèïîãðàôèêà. Ñåé÷àñ ïèñàò
åëè ðåäêî îáëàäàþò êàëëèãðàôè÷åñ
êèìè òàëàíòàìè ñðåäíåâåêîâûõ ïåð

pt qna56 Italic pt qna56 Курсивное

abcdefghijklmnopqrstuvwxyz àáâãäå¸æçèéêëìíîïðñòóôõö÷øùúûüýþÿ
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ligraphic skill of earlier scribes, but they e
voke countless versions of ideal script by t
heir varying voices and literary styles. To
Typography is just that: idealized
writing. Writers themselves now r
arely have the calligraphic skill of
earlier scribes, but they evoke cou
Èäåàëèçèðîâàííîå ïèñüìî — âîò ÷òî òàê
îå òèïîãðàôèêà. Ñåé÷àñ ïèñàòåëè ðåäêî
îáëàäàþò êàëëèãðàôè÷åñêèìè òàëàíòà
ìè ñðåäíåâåêîâûõ ïåðåïèñ÷èêîâ, íî îíè ñ
îçäàþò áåñ÷èñëåííûå âàðèàöèè èäåàëüíî
Èäåàëèçèðîâàííîå ïèñüìî — âîò
÷òî òàêîå òèïîãðàôèêà. Ñåé÷àñ
ïèñàòåëè ðåäêî îáëàäàþò êàëëè
ãðàôè÷åñêèìè òàëàíòàìè ñðåäí

pt qna75 Bold pt qna75 Жирное

abcdefghijklmnopqrstuvwxyz àáâãä¸æçèéêëìíîïðñòóôõö÷øùúûüýþÿ
ABCDEFGHIJKLMNOPQRSTUVWXYZ ÀÁÂÃÄŨÆÇÈÉÊËÌÍÎÏÐÑÒÓÔÕÖ×Ø
Para Type

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8/9
Typography is just that: idealized writin
g. Writers themselves now rarely have t
he calligraphic skill of earlier scribes, bu
t they evoke countless versions of ideal
script by their varying voices and literar
10/11
Typography is just that: idealize
d writing. Writers themselves no
w rarely have the calligraphic s
kill of earlier scribes, but they e
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Èäåàëèçèðîâàííîå ïèñüìî — âîò ÷òî òà
êîå òèïîãðàôèêà. Ñåé÷àñ ïèñàòåëè ðåä
êî îáëàäàþò êàëëèãðàôè÷åñêèìè òàëà
íòàìè ñðåäíåâåêîâûõ ïåðåïèñ÷èêîâ, í
î îíè ñîçäàþò áåñ÷èñëåííûå âàðèàöèè
10/11
Èäåàëèçèðîâàííîå ïèñüìî — âî
ò ÷òî òàêîå òèïîãðàôèêà. Ñåé÷
àñ ïèñàòåëè ðåäêî îáëàäàþò êà
ëëèãðàôè÷åñêèìè òàëàíòàìè ñ