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[Posters]

New Futura®100 and Postea printed matter


Date
May 2026

Posters Design
Go to Felicia Priscillya
Felicia Priscillya
Felicia Priscillya

Art Direction
Go to Elena Veguillas
TypeTogether
Elena Veguillas
Elena Veguillas

Like many in the graphic design community, we love to see our work in print. We regularly create these items to mark our milestones, and our newest can be yours free.

We at TypeTogether love printed matter. There’s something incredibly satisfying about seeing our type in print, which is one of the reasons why we create various ephemera to mark important releases. To mark two recent milestones, our team produced two posters and a printed specimen, and they can all be yours free – just cover the price of shipping and handling and they’re yours.

Futura®100 poster and specimen

Futura®100 is one of TypeTogether’s most ambitious projects to date – a reimagining of Paul Renner’s iconic geometric sans into a total of 23 global scripts. The first release included 12 scripts – from Arabic to Thai – and has already received multiple awards. To mark the release of Futura®100, graphic designer Felicia Priscillya has designed a poster and a printed specimen that colourfully highlight the energy and diversity of the release, and are sure to spark joy among ephemerists and typophiles alike.

Get the Futura®100 poster.

Get the Futura®100 specimen.

Postea poster

Postea is a geometric sans designed by José Scaglione and Veronika Burian, and following its 2021 release, we added four scripts – Arabic, Hebrew, Cyrillic, and Greek – to the original Latin. 

The poster, art directed by Elena Veguillas and designed by Felicia Priscillya, shows a selection of 400 glyphs from all the Postea scripts, carefully selected by our type and graphic design team. Each of the glyph includes name in English and its Unicode’s unique number.  As Postea Cyrillic type designer Vera Evstafieva points out, the poster features lemon yellow everywhere. “I just love Postea,” Vera says, and so do we.

Get the Postea poster.

The 400 glyphs are organised by columns, in a 20 × 20 grid, that are read vertically from left to right, or from right to left, according to each script’s natural direction of writing. 

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