How would you define yourself within the design field?
I work at ESH as a typeface designer. I’m responsible for custom typefaces and lettering in general. Previously I worked a lot in graphic design. After graduating from Polygraph (Moscow State University of Printing Arts) I joined the Shchuka design bureau where I worked on magazine layouts. I enjoyed it because it wasn’t about reinventing the wheel, but about setting things up in a way that looked good graphically and made sense within the storytelling framework. After a few years, the printed periodical publishing business started to decline, so we moved on to branding. Things got complicated for me here because I didn’t quite understand who to come up with a proper functional idea.
Was it evident from the feedback by colleagues and clients?
It wasn’t so much about feedback. I couldn’t explain to myself the recipe for an idea that would guarantee a result, even for me. Because of this tension I’d experience overwhelming procrastination. And, of course, the results disappointed everyone.
Unlike branding I was drawn to typefaces even before university. But there we had a very indifferent professor, so I didn’t pursue typeface design during my studies. After graduating and working at Shchuka for a few years my friend and I invited an acquaintance to teach us a course on typefaces. Afterwards I quietly started incorporating fonts into my work.
How did you handle it technically?
When I was asked to create a brand identity, I would simply draw the logo lettering and place it prominently on a coloured background. And people loved it because typically graphic designers don’t do such things. Later I created my first typeface, and gradually things took off from there. A couple of years ago I made a challenging decision to only accept work that involved lettering. Though, honestly, I still feel a bit uncomfortable calling myself a typeface designer. For example, last year I was invited to judge at the Sreda festival and I had to provide my credentials. I remember feeling resistance, but in the end I wrote down ‘typeface designer.’
Have you had other instances of creative experimentation in your career?
After college I took on everything, even illustrations at one point. But I realised that the process frustrated me. I didn’t have a solid approach. Besides, I don’t enjoy drawing specific things. I prefer working with abstract shapes, like letters.
How do you manage the freelance work schedule?
At first in freelance I felt completely out of my element. I had zero self-organisation skill and severe procrastination kicked in. So I’d often start a project the night before the deadline. But when I began working with typefaces this issue almost vanished. Sometimes I still overbook myself or misallocate time, so I end up doing long nights.
Do you have any ‘red flags’ for recognising projects to avoid?
I’m much more comfortable when there’s an art director between me and the client. Logos and typefaces are like semi-finished products that should be incorporated into an overall branding or at least a layout. When you send a client a logo on a blank background, they’re likely to just say they don’t like it. I’m terrible at selling ideas, client presentations bring me down. The fact that an unfamiliar person will be evaluating my work and paying me for it triggers me.
On top of it, when a manager addresses me in a group chat and I have to follow a formal style of communication instead of my usual bizarre way, it freaks me out.
Also studio work taught us a funny rule — never work with architects. They often feel that being artists means they understand design and would rather do everything themselves if they could. But, of course, we broke this rule often because architects are pretty cool.
How do you balance promoting your ideas and following the client’s expectations?
At first when I’d get tons of comments I’d feel down. But with time I’d notice that implementing the suggestions actually improved the result. I try not to view feedback negatively. Clients vary depending on the size and the level of independence of their business. Some clients are artists at heart producing creative products while also focusing on business goals and growth. Others might be, say, Amazon merchants. They immediately take raw logos and send them to testing. Apparently, there are companies which provide paid feedback by randomly picked people as in sociological research. My reaction to it was like what the hell, why? Random people won’t know which design will sell better just by comparing two slightly different letters ‘e’. In such cases I feel clients should trust the designer’s expertise.
Do you sense confusion as if you as designers lack expertise when it comes to making a decision?
In my opinion objective metrics, surveys, and numbers only work in very specific areas like a census.
Design, however, is abstract and it operates in subjective realms of ‘I like it’ or ‘I don’t.’ You can’t measure this. It’s like judging Malevich’s Black Square and a Bosch painting based on which has more elements.
Are there things you regret about your career choices?
I’d rather not work with state organisations anymore. But sometimes I think: 'Why not improve their visual environment, make it more readable. Because people still use it anyway.’ Then I remember that doing so also strengthens the totalitarian system I disagree with. So I ultimately decided not to work with them anymore because that perspective on people like cogs in a machine is just too distant from mine.
What is on top in the hierarchy of professional values for you?
Hm, what are the values? I actually googled this recently but couldn’t get it. This word seems kind of formal. What’s most important for me is keeping things real, without formalities.
Where do you draw the line between your personal and professional life?
I don’t think there’s a line at all. For me this is all just part of my life. I’ve always been amazed by people who finish at 7 p.m. straight and leave the office.
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This interview is part of the documentary project Insights about the people of the ESH design studio. The interview was conducted by Polina Drozhkova.
More information about the project can be found on the website insights.eshgruppa.com.
