Tomorrow Elsewhere is a compact, experimental publication posing as a diary from a 20-year-old navigating early-2000s life in a post-Soviet city. Like its predecessor, Fragments, it continues to explore how AI-generated content can fuel narrative experimentation.

Typography here becomes emotional mimicry: each headline echoes the tone of its entry. Sometimes literally, sometimes with naive charm.

The publication features multiple display typefaces from the Typotheque foundry, with the exception of the body text, which is set in Joly Text by Léon Hugues. Given the project’s hands-on, craft-oriented nature, headlines and typographic accents were outlined and embedded as SVGs.

Personal website for designer and educator Misha Katz. Over the years, Misha has delivered 28 courses on 3D and generative graphics using his own method, allowing 3,700 designers to go through his school and courses.

Misha’s desire to move away from the conventional portfolio format significantly influenced its form and content. A lively, varied, naive and somewhat emotional typographic play became the wrapper for 33 facts about Misha.

Fragments is a small online editorial featuring texts and photographs generated by AI. Originally, this nostalgic note began as a personal reflection. Yet, entangled in ethical contradictions, it transformed into the memories of an AI about a city that never existed.

Infusing the intentional stylization with the echoes of bygone days, Clarendon Text Pro lends a human touch to the rhythmic paragraphs, giving them weight. Forma DJR Display is used for the titles, with its robust letters standing closely together, reminiscent of the facades of apartment buildings in this fictional city.

The second leta.today’s publication is dedicated to the champion of mass housing in Minsk — the M-464 series.

The tension in the layout is an attempt to draw a parallel with the building density of the districts using the M-464 series. The Flicker typeface by Daria Zorkina was chosen to enhance optical illusion in cover composition.

Garage Museum of Contemporary Art celebrates its 13-year anniversary with an interactive project on the history of the museum.

The central part of the first screen composition is a clock literally assembled from the project name. The “clock hands” are set in the monospaced version of Panama designed by Roman Gornistky.

The left-leaning italic (Panama Monospace Iranic) typographically supports the idea of backward movement in time.

“Read Me!” is set in Druk Condensed X Super, with Spectral for the body copy and Stratos Bold and Graphik Medium for the table of contents.

Read Me! is a new series of editorial templates introduced by Readymag. From an article for type.today’s journal:

Readymag has lately been extending its template set; well, now is the time to offer you some new templates for long reads. As we discussed this, our team got an idea to present something bigger than just a plain template: a full-featured material on the evolution of on-screen reading, issues of legibility, certain details related to web layouts and web-based representation of contents. Welcome our editorial long-read essay on editorial long-reads: it is somewhat of a recursion, right.

We provide users with an opportunity to use each chapter of this article as an independent template with its own style and typographic solutions. Apart from various approaches to layouts, we are most definitely focusing on type, and all possible kinds of ways to make use of it. Since Readymag has an extensive Russian-speaking audience, we decided to address the typefaces that support Cyrillic; our choice was largely determined by this consideration. Eventually, the thing has turned out to be very rich in terms of type, in large part thanks to type.today library.

This project by Readymag exemplifies the template in use. Contentwise, it explores how the notion of readability has evolved over years and offers designers some ideas and tools on how to create a readable text.

“Define and conquer” mixes Druk Wide and Druk Condensed. Text is rendered in Graphik.

Part 2 features more Stratos and Spectral, both by Jean-Baptiste Levée. The letter a in the illustration is from Charter.

For part 3, the typography switches to Pragmatica and Times New Roman.

Part 4 opens up with Graphik Super and uses Georgia for text, with one paragraph in Pragmatica. The samples present Matthew Carter’s Georgia alongside its sans-serif cousin Verdana.

The concluding tips section combines numerals from Pilowlava with Karloff Negative for the heading, Kazimir Text, and Graphik.

In the 21st-century, infographics are everywhere. In the classroom, in the newspaper, in government reports, these concise visual representations of complicated information have changed the way we imagine our world. Susan Schulten explores the pioneering work of Emma Willard (1787–1870), a leading feminist educator whose innovative maps of time laid the groundwork for the charts and graphics of today.

This is a web republication of the original essay by Susan Schulten, Professor of History at the University of Denver, and the author of several books on maps and US history.

Curbe by Olga Pankova has been used for title and headings.

Curbe is an expressive display typeface inspired by Soviet 1960s. Technically, there are no historical letterforms—it is more about vibe and style: the script is contemporary, active, broken, dynamic.

Set in Adobe Caslon by Carol Twombly. Mrs Eaves Roman All Petite Caps by Zuzana Licko has been used for captions.

The original essay can be found on Public Domain Review.

Should we consider black a colour, the absence of colour, or a suspension of vision produced by a deprivation of light? Beginning with Robert Fludd’s attempt to picture nothingness, Eugene Thacker reflects on some of the ways in which blackness has been used and thought about through the history of art and philosophical thought.

This is a web republication of the original essay by Eugene Thacker.

Wremena is used throughout, paired with Steinbeck for captions and anchor links. While Wremena is a “a Times-like font” without italics, it seemed appropriate to use Times New Roman’s italics as a substitute for accentuation. Pilar has been used for title.

The original essay can be found on Public Domain Review.

Used by the indigenous peoples of the Americas for millennia, it was only in the last decade of the 19th century that the powerful effects of mescaline began to be systematically explored by curious non-indigenous Americans and Europeans. Mike Jay looks at one such pioneer Havelock Ellis who, along with his small circle of fellow artists and writers, documented in wonderful detail his psychedelic experiences.

This is a web republication of the original essay by Mike Jay. Essay has been adapted from a section in Mike Jay’s Mescaline: A Global History of the First Psychedelic published by Yale University Press in 2019. The original can be found on Public Domain Review.

Titles and (animated) drop cap: CSTM Xprmntl 02 Italic (Yury Ostromentsky, CSTM Fonts). Text set in Plantin (Frank Hinman Pierpont), with captions and marginal notes in Freight Micro (Joshua Darden).

Personal website for Eugene Markin, a computer musician and sound artist based in Helsinki, Finland. He focuses on digital art and interdisciplinary practices working on the intersection of technology, music, and social context.

It was interesting to find the internal tension, without making an explicit emphasis on experimental typography. The answer was found in the careless replacement of individual letters in the titles of projects (set in Neue Haas Grotesk). It seemed appropriate to support the sloppy and chopped forms of Rumeur with Avara’s italics.

This web publication on Farnsworth House came out naturally while working on a template layout for the another upcoming project. The publication is based on materials from open sources. Neue Haas Grotesk is used throughout, in both Text and Display cuts.

An updated version of my portfolio starts with an essay on other web.

In the era of countless interfaces, landings of products and services, there exists another web design. This quirky term refers to projects that stand out in their design and content from the usual, standardized sites.

The whole project is set in Suisse Int’l and Suisse Works by Swiss Typefaces.

Personal website for Kane Robinson. Based on original article by Joe Zadeh.

The loose and inconsistent layout is dictated by the absurdity of circumstances and the disproportional punishment in Kanes’ case. This longform is unsystematic, dynamic, animated, whimsical, wrong and disproportional in its’ details. It can be perceived as an attempt to grab the attention at all costs. Even at the cost of readability.

Collecting and exploring live music performances and cover versions in various genres.

Logo and headings are set in Outfit exclusively provided by Alexey Murashko. Outfit is a custom typeface that was designed as a part of the identity for the Survival Kit festival of contemporary art (Latvia). The typeface is currently work in progress. Capital letters are planned. The graphic idea behind the typeface is built on the proximity to the perfect geometric circle and square. But some letters and alternates were intentionally made eccentric and acute, opposing pure geometry.

Other details of headings are set in Morion by David Einwaller. Body set in Jan Tschichold’s Sabon.

Glyph set of Outfit (work in progress).

Over a century ago the artist Isaac Levitan created a phenomenon that will be later named the psychology of the Russian landscape.

To celebrate the opening of the exhibition Isaac Levitan and Cinematography Jewish Museum Moscow and Readymag created an interactive map of Russia that will help bring together paintings and real places of their creation as well as shots from Independent Russian films and their shooting locations. Website available in English and Russian languages.

Set in Steinbeck (2018) by Roman Gornitsky. Wremena has been used for captions. Here's how Roman explains some of Steinbecks’ peculiarities:

Drawing outlines in a computer vector program, it is too easy to rely on the measurement tool rather than on one’s eye. Too easy to make everything geometrically perfect and visually boring. It is almost irresistable to correct a humpy curve, uneven width, imperfect symmetry, an inconsistent thickness — ideal smoothness is just one mouse drag away. In Steinbeck many of the occuring inconsistencies were kept (and many were made intentionally): without fanatically collecting curious deviations, but rather with a healthy disregard for digital precision tools.

Synerica is an information technology company specializing in financial and business documents digitization, as well as high-quality digital conversion of historical archives and collections.

A Readymag website designed by Pavel Kedich, presenting an article by Keith C. Heidorn about Wilson Bentley's life and work. Pictures courtesy Metropolitan Museum of Art, text set in Suisse Int’l Book.

Keith C. Heidorn takes a look at the life and work of Wilson Bentley, a self-educated farmer from a small American town who, by combining a bellows camera with a microscope, managed to photograph the dizzyingly intricate and diverse structures of the snow crystal.

Two schools set the direction of design education in the 20th century: Germany’s Bauhaus and the Soviet Union’s Vkhutemas, the Russian acronym for the Moscow-based Higher Art and Technical Studios. While any reference to the Bauhaus is immediately understood anywhere in the world, mention of Vkhutemas often goes unrecognized, even in Russia.
–– Readymag: Bauhaus & Vkhutemas

Without ignoring the differences between these two, we hope to suggest the parallel essence of the institutions and the nature of their programs in this timeline.

The typographic concept is based on typefaces corresponding to the narrative. While Futura represents the spirit of the Bauhaus, Kazimir Text is a reference to pre-revolutionary Russian typography. Lan is a custom typeface inspired by various (typo)graphic references that we have consulted during the design process. With its bold and modular construction, Lan serves as integrating visual element. Initially drawn as a limited set of drop caps, it was soon expanded so that it could be used for headings, too. Lan is currently work in progress. Once finished, it might be released under the OFL license.

Pulse.red is a time tracker for those who appreciate simplicity. No useless infographics; stay focused on the main things and track your project's time.

The refined and balanced Typonine Sans (Typotheque) emphasizes the simplicity of the Pulse.red landing page and the workspace interface.

Lydia Pyne looks at the story and impact of the unique body of images by photographer Yvette Borup Andrews (1891–1959).