Postea Cyrillic

Designed by José Scaglione Veronika Burian Vera Evstafieva. Released 2024.

Postea Cyrillic is part of a multiscript family born of the classic midcentury values of simplicity and impact. It bestows distinction and liveliness into branding, signage, corporate typefaces, and magazines across five global scripts.

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Наскільки велика ваша колекція марок (stamps)?

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Хотя сам Ле Корбюзье не построил ни одного здания в Британии, его проекты и постройки оказали прямое влияние на британских бруталистов.

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Термин брутализм употреблён первоначально Элисон и Питером Смитсонами в их теоретических записках и статьях, в которых они объясняли свои взгляды и свои архитектурные творения начала 1950-х годов. Происходит термин от фр. Béton brut — «необработанный бетон». Это выражение, с помощью которого. Ле Корбюзье описывал технологию обработки наружных поверхностей здания. брутализм вписывается в контекст европейского модернизма.

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Brutalist buildings and residential complexes, built entirely of concrete, harsh, dedicated to regional uniqueness, incompromising in their programmatic purity, not always accepted in the UK (and in other countries too) definitely. Moreover, not all buildings were of equal quality. Properties - some of them were more successful, some were unsuccessful and unpopular.

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Журнал
USD 259,78BUY
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Стрімко
USD 259,78BUY

The Backstory

Postea Cyrillic

Using Cyrillic’s constructed and human feel, while adding a century of lessons from geometric type design.

The Postea font family is Veronika Burian and José Scaglione’s take on German geometric typefaces, reshaped as Postea Cyrillic by Vera Evstafieva, with the right attributes for setting paragraphs and headings, and perfect for branding and text use. The classic curves and purposeful details keep its individuality intact while allowing it to fit an incredible range of multiscript design needs. Because of these qualities, Postea Cyrillic makes normal reading in paragraphs a cinch and your branding memorable.

Compared to midcentury attributes of restraint and a sparse appearance, Postea Cyrillic’s deliberate play between character widths injects liveliness and distinction into its personality. Another nice surprise awaits: spacing for the Hairline weight is tighter for optimal use in large headings and titles, while the regular weights have the slightly looser spacing readers require for text.

Postea Cyrillic is opinionated and has modern stylistic sets with softer, specially-designed alternate characters. Wallpaper-worthy geometric symbols, arrows, and ornaments are packed into SS01 and SS09. For the ultimate in customisation and glamour, the second and third stylistic sets are where geometric and typographic alternates are found.

Postea Cyrillic’s 14 total styles (seven upright with matching italics) or two variable fonts are accompanied by an all-new family of icons in three weights, for which we developed a new, easy activation method. Simply bookend the desired icon name with colons (:arrowUp: :firstAid: :aid: :chargingStation:), making sure to capitalise each word after the first word, then select it and activate SS10. Icons include wayfinding, social interface, and sanitary precautions like face masks, thermometers, hand washing, and with much more.

Postea Cyrillic is resilient in the number of ways the family can be used, and its recognisable characters make it a prime selection for branding, signage, corporate typefaces, and magazines. The entire multiscript family (Arabic, Cyrillic, Greek, Hebrew, and Latin, now including Vietnamese) brings simplicity and impact together nicely, invoking a balance between a constructed and human feel while brushing away the dust from a century of derivatives. Beginning with midcentury virtues, Postea Cyrillic is the rational response for text — a lyrical take on geometric sans serifs.

CREDITS
Lead design and concept
Veronika Burian, José Scaglione

Type Design
Azza Alameddine (Arabic)
Veronika Burian (Greek)
Yorlmar Campos (Greek)
Vera Evstafieva (Cyrillic)
Tom Grace (Hebrew, Greek)

Icon Design
Luciana Sottini

Quality Assurance
Azza Alameddine

Engineering
Joancarles Casasín

Kerning
Radek Sidun (Latin)

Graphic Design
Rabab Charafeddine
Elena Veguillas
Felicia Priscillya

Motion Design
Cecilia Brarda

Copywriting
Joshua Farmer

Consultation
Meir Sadan (Hebrew)
Irene Vlachou (Greek)

Social media manager
Douglas Arellanes