Future on Instagram, episode 09

@tomorrow.type.today’s curator Timur Zima can tell the future of typography using Instagram, and today he shares the most interesting fragments of his prophecies in our journal for the ninth time

October 4, 2021


In compositions by Cyril Kimmerlin letters appear more as complex textures than words. That’s because he’s not OK with the ‘designing’ approach, which is something that tries to transform art into a fake science and sell it as an industry tool. Creating scenography, books and posters for Cyril is always the same fun game, where he aims to share his feelings with the viewer.


Antoine Dragan Bertrand from Brussels is a very passionate and curious person, which is reflected in his work. Vivid plastic elaboration of images, ornaments and typography finds balance through his posters.


Cyrille Micallef is a designer from Paris interested in the border between digital and tangible. He explores it creating personalized graphic solutions for clients and collaborating with other designers in different fields.


Nacho is an independent designer and producer who aims to search within the boundaries between art, design, music and fashion and is constantly seeking for a balance and a unique visual language to that balance. His aesthetic comes from a ten year-practice of painting graffiti in Valencia and Barcelona.


In his second year of studies, David Benski from Nuremberg was an intern at Bureau Borsche, and after graduation became an art director at a slow media called Lodown Magazine and moved to Berlin. David says that the only things that truly interest him is design for the real world.


‘The best way to explore the world is to question everything you see’, says Paula de Álvaro, creative director and an adept of critical design based in Barcelona. Paula believes that design is not a tool to satisfy a customer, but a space for expressing ideas, which is why when she’s not on a commercial project, she does zines and posters as well as speculative design.


It doesn’t matter what exactly the Frenchman Alexandre Bassi does at the moment — an identity, a book, or a typeface, — there is deep and lengthy research behind any of his projects. He learned this approach from his teachers at l’Atelier national de recherche typographique where he studied after graduating from Paris-based ECV.


At the peak of the armed conflict in Peru, Jonathan was a teenager. Noise concert clubs seemed to him the most quiet, and aesthetics of punk zines — the most regular. No wonder that Jonathan is still excited about how sound noises may look like, and whether a stringent system would work in the world of post-truth.