Мне нужно тебе что-то сказать (“I Need to Tell You Something”) is an exhibition held at Moscow’s Cryptography Museum. The exhibition was designed to introduce children to different means and channels of communication, as well as to the process of choosing the most appropriate medium for a message. The texts in the exhibition’s designs are set in Elma Trio by Philipp Neumeyer. The stencil sans used for the title is either custom drawn or from a yet unidentified typeface.

The exhibition was curated by Irina Khodyreva and Katya Porutchik. The graphic design is by Tonya Baydina, with illustrations by Nina Kuzmina.

Из жизни Петербурга на рубеже XIX–XX веков: Записки очевидцев (English: “From the Life of St. Petersburg at the Turn of the 19th–20th Centuries: Eyewitness Accounts”) is a book by lawyer Dmitry Zasosov and railway engineer Vladimir Pyzin, representatives of the St. Petersburg democratic intelligentsia. It’s the first book in a series for Academia Books. The softcover publication measures 128×174 mm. 3,000 copies were printed by Ulyanovsk Print House in Ulyanovsk, Russia. ISBN 978–5–6053589–0–8

язык тишины (Yazyk Tishiny, English: “Language of Silence”) was made as a student project at HSE Art and Design School.

We are used to thinking of silence as a lack of sound or image, a kind of “pause” between important events. In my book, the opposite is true: silence is the main character and the active material. It is the moment when the visual noise subsides, and we finally begin to notice the very structure of things: the grain of the film, the rhythm of the grid, or the physics of the paper. It is not “nothing,” but “everything” that we usually don’t have enough time for.

I wanted to understand how silence in art goes from being just an empty space to becoming a powerful tool. In a world where everything is loud and fast-paced, I wanted to find ways to slow down the viewer. My goal was to create a system that would make people stop, look closer, and experience the pause as a full-fledged event.

A student project made by Arina Levitskaya at HSE Art and Design School supervised by Evgeny Korneev, Москва утопическая (“Moscow Utopian”) is a book on how social utopias shaped Moscow’s architectural image during the Soviet and post-Soviet periods, what ‘factory kitchens’ were built for, and why the so-called paper architecture is valuable. The book’s typography is set in CSTM Xprmntl 02 Italic by CSTM Fonts and Oceanic Text by Interval Type.

LINII is a creative agency based in Moscow. They have issued merchandise in the form of a calendar where you are the main thing of the day.

In this alternative calendar, instead of work calls you’ll find “doing nothing”, instead of planning meetings – “a date with yourself”, and instead of deadlines – “arrange the best day for yourself”. CoFo Sona is used throughout.

До. Прикосновение. После (“Before. A Touch. After”) is a graduation work by HSE School of Design student Daria Levashova. During her research, she watched films directed by Ingmar Bergman and attempted to figure out what the nature of touch has to do with what happens before and after it. Oceanic Text by Interval Type is used in the resulting book’s typography.

Ivan Davydov’s book Люди и города. Путеводитель по русскому Средневековью (“People and Cities: A Guide to the Russian Middle Ages”), published by Individuum, is a guide to the forgotten pre-Petrine Rus’, an invitation into the rich world of Old Russian literature, and a reflection on how to remain human in inhumane times.

The typography on the book cover designed by Maxim Balabin features the typeface Zhivov by CSTM Fonts. The fonts are free of charge for scholars working with Old Church Slavonic language and literature. If you’re looking to use Zhivov in your work, please contact yury@type.today to receive the files.

When developing the visual identity for the Moscow-based dental clinic OrthOffice (Ортофис), Holystick took a contemporary approach, departing from the traditional look often associated with medical environments. The aim was to create a clear, professional appearance that remains approachable and relevant to the practice's predominantly young patients.

The team selected the Halvar typeface for the typography. The slanted technical construction of the letterforms suggest precision and efficiency, aligning with the clinic’s professional character. Halvar Breitschrift was used for display and headlines, bringing a fresh, modern tone to the visual language. Meanwhile, Halvar Mittelschrift served as the text typeface, ensuring readability and consistency across applications. The Halvar typeface was also a practical choice due to its comprehensive Latin and Cyrillic support, making it well-suited for a bilingual identity system.

In the logo, Holystick played with the SuperSlanted style of Halvar to create a wordmark that conveys a sense of movement and direction. Overall, the typographic system proves a balance between contemporary expression and clarity, demonstrating how design can support aesthetic and functional needs in a healthcare context.

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Архив Популярной Музыки (Arkhiv Populyarnoy Muzyki, English: Archive of Popular Music) was a series of twelve long-playing vinyl records issued by the Soviet state label Melodiya (Мелодия) in 1988–1989. Each volume compiled key tracks from a single prominent figure in British and American pop and rock music of the 1950s to 1970s and included extensive liner notes detailing the artist’s creative history, a rarity in the USSR at the time. This made the series a significant window into Western music culture for Soviet listeners, who otherwise had very limited access to such information.

The cover art and visual identity of the series were created by designer Andrey Gusev, whose work unified the releases and distinguished them from both original Western album artwork and earlier Soviet compilations like the three-LP Rock Archive line from 1987, which used the same music and text but different covers. The series occupied a complex space in Soviet practice: although it carried a higher retail price framed as a “foreign license” premium, the recordings were sourced from private collections and pre-1973 masters under a legal regime that did not require international royalties, leading some contemporary historians to describe the releases as bootleg-like products of their era. For a more detailed history of the series, see Artur Netsvetaev’s article for Soviet Rock.

For the bilingual typography, Gusev used ITC Lubalin Graph in all-lowercase letters. The series title and number are added in Helion.

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This book by Ernst Gombrich presents the history of art from the Stone Age to the 20th century, told in the simplest terms. All Russian-language editions of The Story of Art (in Russian: История искусства) available today are quite bulky and not really convenient to handle. This was the reason why the HSE Art and Design School student came up with the idea of designing a non-bulky version — a handy-sized book and a website where you can view in detail all the images mentioned in the book. The project’s typography is executed using Trola by Jordi Embodas.

TT Fellows is used in the interface of Crossout. The logo uses Mandatory.

From the game’s About page:

Crossout is the post-apocalyptic MMO Action game in which you can craft your unique battle vehicles from a myriad of interchangeable parts, ride them directly into combat and destroy your enemies in explosive PvP online battles in the air and on the ground.

Cпорт в Советском изобразительном искусстве / Sport in Soviet Fine Art was published in hardback by Sovetsky Khudozhnik, Moscow, in 1974. It comes with a text by A. Davydova.

The structure of the album—a system of two blocks, the inclusion of subjects not, at first glance, directly related to the main theme, and chromatic rhythmic contrasts—made it possible to convey the essential features of Soviet sport as an integral part of Soviet society, its social function, and its inherent dynamism. The album presents reproductions of works by A. Deineka, M. Manizer, M. Gerasimov, G. Savitsky, G. Toidze, S. Lebedeva, and many others.

From the publisher’s annotation:

The publishing house regards the reader as an active co-author of the album. By freely combining fragments of paintings in various arrangements, the reader will discover a wide field for imagination, construct their own rhythm, and independently create an image of a bright, joyful celebration—sport—one that most fully corresponds to their character, knowledge, mood, and emotional state.

Что такое красота (“What beauty is”) is a collection of essays and observations that explores the concept of beauty through the prism of personal memory, loss, and everyday rituals. Far from a theoretical treatise, the book treats beauty as a lived experience—connecting the ‘joy of recognition’ with moments of grief and nostalgia.

The text navigates through intimate topics, ranging from the ritualistic nature of washing hands to the connection between beauty and pain. The layout features the Kommuna typeface, complementing the stark, meditative, and deeply personal tone of the narrative.

The Illustrations are by Maria Rumyantseva.

The book measures 148×210×14 mm and was self-published in Tbilisi/Moscow in 2024.
ISBN: 978-5-6054095-0-2

Трендвотчинг: аналитика подиума (“Trendwatching: Runway Analytics”) is a practical guide to trend research, made as student project at HSE Art and Design School in Saint Petersburg. The scope of a trend analyst’s work involves studying societal changes and identifying emerging needs. The author of this educational guide is Rosemary Thurman, a specialist in trend analysis and forecasting.

The typography is handled by the antique-style typeface Wermut by Brownfox. It is paired with the monospaced IBM Plex Mono by Mike Abbink and Bold Monday to maintain the serious tone of the educational materials.

label=label is a visual study made at HSE Art and Design School in Saint Petersburg. In it, I’ve examined clothing labels as a medium for brand-consumer interaction. As a detail that is not always immediately visible, a label can act as an intermediary between the brand and its target audience. For this study, twenty fashion brands were selected, whose founding history spans from the mid‑20th century to the present day. The main selection criterion was their visual identity. A large number of labels were examined and analyzed in order to identify unconventional solutions in terms of design and concept.

The primary typeface is the neutral grotesque Cofo Sans, which is paired with CoFo Sans Mono for captions and navigation.

You can flip through the book on Calaméo.

Русские в Африке (“Russians in Africa”) is a book that explores — through art, poetry, and philosophy — how Soviet Russia of the mid-20th century tried to understand the culture of African countries. The book, published in 2023 by ABCDesign, was designed by Katya Yumasheva. The typography in the publication is executed using CSTM Xprmntl 02 Bold by CSTM Fonts and Geometria by Brownfox.

Kuturar: Live at the Mammoth Museum consists of a recording of a performance by Yakutsk-based stoner rock band Kuturar in the P.A. Lazarev Mammoth Museum, interspersed with videos about the museum collection.

The typography concept is grounded in the idea of weight – both literal and symbolic. The music of Kuturar, a Sakha (Yakut) metal band known for blending ancestral themes with experimental heaviness, embodies raw mass and density. This visual identity translates that sonic gravity into typographic form.

The design employs Alte Haas Grotesk and Apple Garamond Light, creating a tension between a solid, utilitarian grotesque and a refined serif. The pairing reflects a dialogue between the primal and the cerebral, echoing Kuturar’s fusion of ancient echoes and modern distortion. Wreckage Grotesque is mixed in for its tactile, fibrous quality reminiscent of mammoth fur.

In the final credits sequence, typography becomes the gravitational anchor of the composition, organized around a photograph of mammoth bones – a visual counterpart to the band’s thematic core. The same sense of heaviness is mirrored in the video thumbnail, where the shadow of the lettering physically “presses” on the typography, reinforcing the concept of weight and permanence.

The lettering was generated using AI tools Midjourney and Firefly, merging technological precision with organic texture to create a hybrid typographic expression – one that feels both ancient and futuristic.

Альфа Центавра. Документальная поэма о космонавтах, которые не были в космосе (“Alpha Centauri: A Documentary Poem about Cosmonauts Who Never Went to Space”) is
a collection of real stories of Soviet cosmonauts, men and women, who for various reasons – dramatic or even tragic – never made it to space. From these, the author, Alexander Plotnikov, builds a saga of failure, defeat, and missed success. He talks about history written by the victors, weaving in 20th-century philosophy, the context of war, and the personal reflections of an émigré. The image of flight through emptiness emerges as a metaphor for human life and humanity itself.

The text is based on a monodrama, which the author (a theater director and playwright) performs in bookstores, bars, and small theatres while in exile during the war.

The typography on the book’s cover is executed through Roslindale Text by David Jonathan Ross, while additional typography (page numbers, chapter titles) is set in Elma Trio by Philipp Neumeyer. On Instagram, the book’s designer, Maxim Balabin, writes:

I thought that the cover needs to be about something that didn’t happen, and it shouldn’t use Soviet heroic space-conquest symbolism, because the book is about the opposite.

Anna Khabarova’s project, created as part of her book design course at Typomania School, covers two stories. The first one is about how fashion designer Dries van Noten worked on his brand’s Fall/Winter 2019 collection, while the second focuses on how, at the same time, the designer worked on his garden. The book’s text in both stories is set in Signal by Production Type.

The book История Русского Изразца (“History of Russian Tiles”) examines the development and cultural significance of traditional Russian ceramic tiles. SFT Royalbrick was originally designed specifically for this student project made at the Moscow State University of Printing. Tasya Petelina’s typeface draws inspiration from vintage brickmarks. Its distinct forms are used for chapter titles and visual accents, supporting the book’s historical narrative without dominating the overall design.