Download and install the PT Serif free font family by Paratype as well as test- drive and see a complete character set. Download PT Serif Font Family · Free for commercial use · Includes PT Serif Regular, Italic, Bold, Bold-italic, Caption, Caption-italic · PT Serif is a universal type. Making the web more beautiful, fast, and open through great typography.

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Pt Serif Pro Book

PT Serif Pro Font: PT Serif Pro is an universal type family designed for use together with PT Sans Pro family released earlier. PT Serif Pro Narrow Book Italic. download PT Serif Pro Book desktop font from ParaType on ruthenpress.info Explore PT Serif Pro designed by at Adobe Fonts. PT Serif Pro Extended Book Italic. View family. Activate font Active. downloadd Web only Web only requires.

The PT Mono type family is designed primarily for official requirements like records, tables, application forms, stationery, etc. One important use of the PT Mono font is on e-government websites, where various request forms are required to be filled out. Besides a standard set for Western and Eastern European languages, the fonts include a standard Cyrillic character set, as well as alphabetic characters for the majority state languages of the Russian Federation, which makes them a unique and extremely important tool for developing and preserving the written culture of the peoples who inhabit our country. A free commonly available font with full support for national scripts not only allows the needs of education, culture, the press, state institutions, and business to be met, but also, more importantly, enables the residents of national republics to communicate by e-mail in their native language and develop their national resources on the Internet. This helps to avoid neighboring cultures becoming isolated and ethnic separatism developing: something which can happen so easily for often quite insignificant reasons such as differences in the customs of writing common letters. In addition to purely artistic problems, the process of designing national fonts has political angles in both relationships between neighbors as well as in relationships between the republics and the Center: something which had to be taken into consideration. Not only were there simply no local designers, but any designers at all. Nevertheless, these scripts have existed for more than 70 years, and there are local typographic practices that at least deserve to be respected. In order to avoid aggravating these problems, during the work on the font design, requests to the cultural institutions of the republics were sent, and contacts with organizations that showed an interest in participating in the project were established. Specialists in graphic linguistics at the Institute of Linguistics of the Russian Academy of Sciences were invited to work as experts. They helped to develop a character set and prepare a special website section with information about national written language. The Paratype team did great work on this project and not only developed a functionally sound set of fonts with a beautiful modern design but also spent a considerable amount of resources on its technical and linguistic preparation.

The last requirement is of particular importance to us, and not only because we would not have enough funds ourselves for such a large-scale project. We wanted to set a precedent because it was not about some exclusive fonts that would be used for achieving professional or business goals.

This font aims to meet the basic needs of citizens: educational, social and domestic, cultural, etc. We could meet all but the last requirement, and only a slight problem remained: convincing the government to fund the design work.

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This may come across as crazy to many these days, but I did not doubt that the authorities would understand and support our initiative. And such was the case.

In early , the Federal Agency on Press and Mass Communications Rospechat held a round table dedicated to the th anniversary of the Russian typeface, where we proposed this project; and it was instantly met with eager approval.

We planned the work itself for , which gave us an opportunity to discuss, prepare, and plan all the project stages. Fortunately enough, the lead project designer was chosen very quickly, which was unexpected. While the company management was considering to whom they could assign this important state project, our art director Vladimir Efimov took the initiative with his usual determination: one day, he announced that he had talked to Alexandra Korolkova, that her project was interesting, and that she even prepared some sketches.

Everybody liked the sketches, and the question was settled. In , the real work of discussing the type-family composition and the starting of a more detailed design began. The first files appeared in the early summer when the contract with the government had been signed. Further work was carried out on a very tight schedule. Alexandra was assisted by Olga Umpeleva.

Concurrently with the design work, Sergey Bolotov was doing a vast amount of work: he was conducting lexicographic research on languages with a recently acquired writing system and overwhelmed us with information on exotic variants of national characters that had been encountered in different written sources over the years.

Gennady Fridman and Boris Levin helped Sergey and Vladimir to understand, process, and filter the entire volume of data and to develop a character-set standard. At the same time, Gennady created pages with information about national alphabets on our website. We sent the links to interested parties from different republics and regions, including language institutes and local government committees on culture and writing, engaging them in discussions related to their linguistic issues.

As soon as the typefaces were ready, they were given to the production department for processing in order to optimize their rasterization on monitor screens.

It takes a trained specialist about a month to process a font with characters. From the middle of October, four, and sometimes even five, people were involved in this work. The specialists had to review all the font characters coming in 48 sizes, and manually correct all of the areas where pixels stuck to each other, symmetry was broken, and other faults could be seen.

PT Serif Font Family

Meanwhile, Konstantin Kunarev was occupied with programming features, processing kern classes, and writing macros intended to simplify repetitive operations. On December 25, the release candidate versions were built. Licenses We believe that our license document is short, simple, and clear.

It essentially stipulates that the fonts can be used for any purpose except fraud. Since the fonts are free, they cannot be sold on. If they are supplied with a commercial product with a price tag, then the price of the product should not be increased on account of these fonts being included, i. Users can rest assured that by installing PT Sans, PT Serif or PT Mono, they are acquiring a font that has passed our quality-control check and that any complaints regarding it can be directed to us.

You can make your own versions, add whatever you want, for example, Occidental or Greek fonts, but call them something else. Typically, there is a basic license for a product, and there are translations of the license. The latter often are intended for information purposes only and are not official licenses.

However, there is a finer point. For such products, the inclusion of an official English license is essential; and we are often asked to have our license correspond word for word with the Open Font License OFL.

We are ready to provide a version of the font with the OFL upon request. It consists of six styles: The letterforms are distinguished by large x-height, modest stroke contrast, robust wedge-like serifs, and triangular terminals.

Due to these features the face can be qualified as matched to modern trends of type design and of enhanced legibility. Mentioned characteristics beside conventional use in business applications and printed stuff make the fonts quite useable for advertising and display typography.

Each font next to standard Latin and Cyrillic character sets contains alphabet glyphs of title languages of the national republics of Russian Federation and support the most of the languages of neighboring countries. Copyright c , ParaType Ltd.

The OFL allows the licensed fonts to be used, studied, modified and redistributed freely as long as they are not sold by themselves. The fonts and derivatives, however, cannot be released under any other type of license. The requirement for fonts to remain under this license does not apply to any document created using the fonts or their derivatives.

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This may include source files, build scripts and documentation. These can be included either as stand-alone text files, human-readable headers or in the appropriate machine-readable metadata fields within text or binary files as long as those fields can be easily viewed by the user.

This restriction only applies to the primary font name as presented to the users.