An interview with Nastya Petyakhina about crazy layout, contemporary art that smells, and design that rings. / ITech content

Contents:

• About working on "Awl"
• About the design of the almanac
• About the reaction to "Awl"
• About art, about "Alkali" and about design in general

"Shilo" is an annual almanac dedicated to contemporary art and leading artists in St. Petersburg. Available in popular bookstores and galleries, the publication attracts attention with its unique design, which evokes both admiration and questions. The almanac is an important source of information on the latest trends in art, offering readers the opportunity to explore the work of contemporary artists and their creative approaches.

The first issue of the magazine was released in late spring 2022. It was the thesis of a student in Mitya Kharshak's course at the HSE School of Design. We discussed the project and the ideas behind the layouts, fonts, and photographs with Nastya Petyakhina, founder, editor-in-chief, and art director of Shilo, and a member of the Shcheloch group. Shilo magazine is a unique blend of creative solutions and contemporary design trends, making it appealing to a wide audience.

About Working on Shilo

Continuing to publish the magazine after defending my diploma was a natural step for me. I discovered that the process of creating content and interacting with readers brings me joy and satisfaction. The magazine has become not only a platform for expressing my ideas but also an opportunity to develop my skills in journalism and communications. I strive to share relevant topics and interesting stories that can be useful and inspiring to a wide audience. This desire not only maintains my motivation but also helps me stay engaged in ongoing learning and development in the media field.

I can't say I had a clear choice—to continue or stop. Although such a choice did exist, the project had already begun to develop on its own. The printed edition demanded implementation, and thoughts were already turning to the creation of a second issue. Moreover, the current editorial team began to join me, and everyone expressed a desire to work together and develop the project further.

After publishing the first issue, I realized there were many aspects that could be improved, both in visual design and content. At that time, there were a limited number of high-quality Russian magazines on the market, even compared to today. Challenging times contributed to a lack of competition, which, in turn, became an additional incentive to develop and improve our project.

I always felt a strong sense of satisfaction from the fact that my small project was able to make even a minor impact on the environment. This realization inspires me to continue working and developing ideas that can lead to positive change.

"Shilo" is a unique organism that we actively support. I've never considered stopping its development.

I combine the roles of designer and editor, as both professions require creativity and attention to detail. Design helps me visualize ideas and create engaging content, while editing skills allow me to articulate thoughts and refine texts. I use effective time management strategies to successfully balance these responsibilities. This interaction allows me to create harmonious and cohesive content that attracts and retains audience attention.

I am a university professor and also teach an online course on typography. I also actively freelance and work on projects for various clients. My experience in teaching and design allows me to effectively combine theory and practice, which makes my courses and projects more valuable for students and clients.

I am passionate about everything I do. If something doesn't interest me, I prefer not to do it—that's a simple rule. When you truly love your work, you begin to treat it with special attention and respect. This leads to higher quality work and satisfaction with the results achieved.

I sincerely value both aspects of my work at Shilo. For me, design has become not just work, but a true relaxation, since on this project I am free in my decisions and feel no pressure from others. I make all visual decisions independently, which allows me to more deeply understand both my ideas and my clients' needs. This process of self-criticism makes me more demanding of myself and helps me better understand my clients. As a result, we achieve a mutually beneficial result.

The work of the editor-in-chief is becoming less simple, but no less exciting. This area, although less familiar, opens up many opportunities for learning and self-improvement. I encounter mistakes and difficulties, but this only fuels my interest in the profession. This role represents a significant growth point, which sparks my deep interest in the process. Taking an unconventional path, blazing a trail myself and periodically illuminating it with a dim flashlight, allows me to experiment and explore. This creates the opportunity to try new things and stay constantly active. Such constant mental activity is ideal for integrating the most daring ideas, preventing them from being abandoned.

About the almanac design

What references are used in the magazine design? Is there a common reference board for the entire project or is a separate one created for each release?

References aren't our primary approach, but I constantly expand my visual and contextual knowledge by exploring a variety of publications. I'm inspired by both contemporary magazines like 032c and the archival Dazed and Confused, as well as personal archives of old post-Soviet samizdat publications. 15th- and 16th-century publications found online are also an important source for me. This diversity of inspiration allows me to develop a unique style and approach to my work.

In our context, references represent a variety of problem-solving options, differing in nature and method of execution. The main emphasis in this issue and material is the idea that we strive to convey through a visual solution. All chosen tools and approaches, including filming, are aimed at supporting and developing this central idea.

Each piece is developed with particular attention to the key message that needs to be conveyed to the audience. A reference board is created, supported by a mood board, allowing for the concept to be visualized. During the layout stage, ideas are synthesized and brought to a state of complete harmony. Once the material is complete and meets all the requirements, I finish working on it and move on to a new project.

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The layout may initially seem distinctive and wild, but I usually use several approaches for each spread. This allows me to accumulate ideas and add various effects to achieve the desired result. This method helps create a more harmonious and attractive visual design.

There are many approaches to creating a magazine. The development process takes a full year, during which each piece undergoes a significant number of revisions. This allows us to improve the quality of the content and adapt it to the needs of readers.

First, the elements are arranged on a grid, ensuring their neat and even arrangement. After this, photographs are selected and placed to complement the overall visual style. Finally, if necessary, elements of visual complexity are added to enhance the appeal and interest of the content. This approach allows for the creation of a harmonious and aesthetically pleasing composition. Content creation is an art that requires a subtle approach. Often, the material can remain in its layout for several months, at which point I realize it's not yet ready. However, over time, I come to understand what exactly needs to be changed or how the image can be improved. This process requires patience and inspiration to achieve the desired result. I value the opportunity to put things aside and not overload myself with unnecessary thoughts. This helps me maintain clarity of thought and avoid unnecessary stress. It is important to find time to recuperate and concentrate in order to make more informed decisions.

A detached view allows you to more accurately identify errors and shortcomings that interfere with the material achieve their full potential. Besides, life sometimes gives you great ideas. While walking around the city, you might notice worn-out letters on an old sign, and at that moment you realize which font would be perfect for the update.

The "Awl" logo contains a metaphor that reflects the essence of the brand and its philosophy. It symbolizes precision, sharpness, and quality, emphasizing the reliability of the products. The design elements create associations with craftsmanship and attention to detail, which are important to the target audience. The metaphor in the logo helps distinguish the brand from its competitors and makes it memorable.

The logo has its own unique history. I developed the font used in its design back in my third year of university. At that time, I didn't even imagine that I would ever be able to use it in a real project. It was my first font, and although it is not perfect and has many flaws, it became an important stage in my creative journey. Many of the words in this font looked sloppy and were difficult to read, but this experience helped me develop my skills and create more sophisticated typographic solutions in the future.

When developing the logo, after choosing the name, I realized it had to convey our mood. The logo embodies sharpness, decorativeness, and specificity. Once I applied my font, all the elements came together harmoniously and the design became complete.

I'm trying to refine this material and make some clarifications, but now doesn't seem to be the right time for that. The ideas aren't coming yet.

The artists you write about have a significant influence on design. Their works shape aesthetic trends and inspire designers to create unique projects. The interaction between art and design is becoming increasingly visible, as artists often incorporate their ideas into contemporary visual solutions. This interaction enriches both art and design, creating new directions and approaches in visual culture.

Absolutely yes.

The design of our project directly depends on the impressions the artist creates through communication and the image they convey to a wider audience. The visual appearance of each material plays a key role, as it determines their uniqueness and distinctions. Each design element reflects the artist's personality and approach, making each piece unique.

We use an artistic approach to creating layouts, recognizing and processing the feelings and emotions we receive from the artist. These emotions become part of non-verbal communication, allowing the reader to intuitively perceive them, even if they are not consciously aware of it. This approach creates a deeper connection with the audience and enhances the impact of the material.

On the reaction to "Awl"

I most appreciate a compliment that emphasizes the originality and uniqueness of the magazine's design. This indicates that the visual solutions and design concept truly stand out from other publications and attract the attention of readers. Such a compliment confirms that the design is not only aesthetically pleasing but also functional, creating a harmonious interaction between text and images, which contributes to better perception of information.

Receiving compliments from professionals in their field is always pleasant. Feedback from those whose expertise commands respect, who are also involved in interesting projects, multi-page publications, typography, or who run their own business is especially important. Compliments from colleagues are especially valuable and motivate further development.

I enjoy receiving compliments on details that I think only I notice. I strive to create multi-layered visual communication, where something deeper is present beyond the obvious images. If someone notices these nuances, then I've achieved my goal. However, I can't evaluate it myself, since my view of things is always subjective.

Memorable design criticism often relates to the importance of considering the user's needs. One of the most memorable was a review that focused on the lack of intuitiveness of the interface. Design should not only be aesthetically pleasing but also functional to ensure ease of use. Criticism also emphasized the need for device responsiveness, an important aspect of modern web design. User feedback helps identify weaknesses and improve the overall user experience. It's important to take criticism constructively and use it to further refine the design.

The first issue generated a lot of feedback, including criticism about the text being illegible. However, I must admit that this didn't bother me for several reasons. Firstly, such a reaction indicates that the material is generating discussion and interest among readers. Secondly, illegibility can be a consequence of innovative approaches to design and presentation of information, which in turn can draw attention to the content. It's important to remember that the quality of the text isn't the only criterion for its value; sometimes it's unconventional solutions that make the material unique and memorable.

The texts really left much to be desired, and I was aware of this. I'm passionate about text and working with it, but at that time, everything was done intuitively, as there was no one to help. Perhaps I was subconsciously conveying that reading wasn't necessary—they could simply enjoy the images.

We improved the texts, which made the layout more readable. The fonts are enlarged and the design elements are simplified, which helps to focus on the main content.

The second reason is a change in attitude towards criticism. Many critics do not delve into the essence of the issue and do not ask: "Why is this happening?" This is a common situation, as not everyone realizes that reality has a significant impact on design. Factors such as budget, time, resources, and other constraints play a significant role in the creation process. Understanding these aspects allows for a more objective assessment of the work's results and facilitates constructive dialogue between all project participants.

I've come to the conclusion that taking action is better than doing nothing at all. Striving for perfection can lead to a project never seeing the light of day. Olya Naidenova, co-founder of the Eburet brand, shared with me a wonderful thought she read somewhere. The gist of it is this: "If you can look at the first versions of your product without remorse or fear, then you may have started your business too late." This realization remained elusive to me for a long time.

About art, about Shcheloch, and about design in general

The Shcheloch aesthetic is a unique movement that explores the interaction between form and content. This concept emphasizes the harmony of visual elements and emotional perception. Artists and designers working within the Shcheloch aesthetic strive to create works that not only attract attention but also provoke deep reflection. The focus is on contrast, the use of unconventional materials, and experimental techniques, which allows for the creation of original works of art. The Shcheloch aesthetic also emphasizes the importance of viewer perception, opening new horizons for the interpretation and understanding of works.

For me, Shcheloch personifies modern visual punks. This group stands out for its unique style and bold experiments in music and art. Their work reflects the spirit of the times, challenging traditional norms and setting new standards in musical culture. The visual images they create resonate deeply with young audiences, bringing freshness and originality to the contemporary musical landscape. This project is a clear reflection of its founder, Boris Shilin, who has become a true friend to me. Boris is a person with a concrete approach, honesty, and openness that can be trusted. Our team is made up of young and passionate professionals who invest their energy and effort in various aspects of the school and studio projects. Boris is always willing to listen to us and values ​​our opinions, which creates an atmosphere of trust and collaboration. We often discuss design and philosophy, and I am happy when our views diverge. This shows that we are attentive to each other's points of view, which only strengthens our team and improves the results of our work.

The appearance of the project reflects the uniqueness of each team member, which makes it diverse and original. Each team member has the opportunity to express themselves through their work, which is one of the most valuable aspects of this project. This sincerity and individuality create the main appeal and character of the project, emphasizing the importance of a creative approach in its development.

To improve visibility in search engines, it is important to create high-quality content that answers user queries. Make sure your text contains keywords that are relevant to the topic and is structured to be easy to read. Consider adding examples, statistics, or research that can complement your text and make it more informative. It is also important to ensure unique content and avoid duplication of information. Read also:

Studio "Shcheloch" presented a new branding for the G8 2024. As part of the project, comprehensive work was carried out to create a unique visual style that reflects the key values ​​​​and mission of the G8. The developed branding includes a logo, color palette, and graphic design elements that emphasize an innovative approach and a commitment to sustainable development. This project aims to draw attention to the G8 2024 and create a positive image in the eyes of the target audience.

Contemporary art is a multifaceted direction that reflects current trends, ideas, and technologies of our time. It encompasses various forms of expression, such as painting, sculpture, photography, video art, and performance. In contemporary art, artists use unique approaches and materials to explore current social, political, and cultural issues.

Today, in the context of rapid societal change, contemporary art is becoming an important tool for self-expression and communication. It allows viewers to reflect on complex aspects of life, such as identity, ecology, and globalization. Thus, contemporary art not only reflects reality but also shapes public consciousness, provoking discussions and new ideas.

Contemporary art also actively uses digital technology, which opens up new opportunities for audience interaction. This makes it more accessible and diverse, allowing everyone to find something relatable and understandable. Ultimately, contemporary art acts as a mirror of our time, reflecting its diversity and complexity.

Art is an important engine of progress. It allows us to establish communication and better understand each other. Although opinions on this matter may differ, I believe that art plays a key role in our development and interaction.

Art initially sought to capture reality, then moved on to the display of ideas. Contemporary art, in turn, captures what cannot be expressed otherwise: it registers feelings, asks questions without formulating them explicitly, and involves the viewer in a process of reflection. This helps us understand each other more deeply without words. Art conveys everything that is difficult to describe and for which there are no suitable words—this is precisely its main value.

To better illustrate my point, I will give a simple example. We do not have a tool that could convey a smell from a distance, and a telephone is not up to the task. However, contemporary art makes this possible. Sometimes, looking at a work of art—be it a canvas, a photograph, a performance, or a concert—you feel how it appears in your perception: what it smells like, how it feels. This happens even in the absence of actual smell or physical contact with the object. Art has the power to evoke strong associations and emotions that enrich our experience and perception of the world.

Each person can perceive the same work of art differently. For example, I feel joy when my impressions differ from the opinions of others. This opens up possibilities for a fascinating discussion about how and why such associations arise. Diversity of opinions enriches our understanding of art and allows us to explore its many layers in greater depth.

"Shilo" has characteristics that bring it closer to Berlin-based publications dedicated to art and culture. Firstly, it is a commitment to in-depth analysis and critical understanding of contemporary artistic trends. The publication focuses on current topics, presenting new ideas, and exploring unconventional approaches. Secondly, "Schilo" actively supports young artists and cultural figures, which is also an important part of the Berlin cultural scene. Furthermore, the publication pays attention to multiculturalism and diversity, reflecting the diversity of contemporary art. Finally, the visual component and layout of the materials in "Schilo" are reminiscent of the style of Berlin publications, making it attractive to readers interested in cultural events and new forms of expression.

Receiving such a question is gratifying. We are happy that our magazine leaves a positive impression.

My perception of visual language, especially in the context of Berlin graphic design, determines my attitude towards this art. I believe the core essence lies in character: we strive to create designs that not only exist, but also evoke emotion, engage in dialogue with the viewer, and are free and expressive. This approach allows us to stand out and leave a lasting impression.

We lack a clearly defined goal in terms of the visual direction we strive for. We are driven by the flow, which we struggle to manage. This sense of uncertainty prevents us from forming clear visual concepts and strategies, which can negatively impact the final result. To achieve meaningful results, we need to establish specific benchmarks and goals that will help direct our efforts and resources in the right direction.

A graphic designer doesn't have to worry about the technical aspects of printing or coding, as these tasks are usually performed by other specialists. However, they must carefully consider the design concept, color palette, typography, and composition. Each element must be justified in terms of the target audience and the project's objectives. It is important to consider how visual solutions will be perceived and ensure harmony between aesthetics and functionality. This will allow you to create an effective and memorable design that will achieve its goals and attract users' attention.

Everyone is free in their choices and decisions. No one is obliged to fulfill someone else's expectations or requirements. It is important to understand that everyone chooses their own path and determines what it will be. If you prefer to focus on solving your own problems, that's completely fine. If you prefer a more integrated approach to work, then this is also your choice. The main thing is to recognize your responsibility for the decisions made and strive for personal development.

However, this issue has several aspects.

A designer's broad profile allows them to handle a variety of tasks, which is a significant advantage for the client. In this case, there is no need to seek additional specialists to address specific needs that a "standard" designer cannot meet. When a designer has knowledge of marketing analytics, process methodology, and other work stages that go beyond their core responsibilities, this becomes an additional advantage. This approach increases work efficiency and improves project results.

It is important to be able to delegate certain tasks, as otherwise you can face burnout. A well-coordinated team often achieves greater success than a designer working alone. As the saying goes, "Two heads are better than one." However, delegation can cause difficulties and doubts, especially when the project is of high importance and value. Deciding on task distribution requires trust in colleagues and an understanding of their competencies, which, in turn, can contribute to more efficient work and high-quality results.

I don't believe I should dictate who should do what. Everyone has the right to choose a work format that suits their personal preferences and ensures comfort.

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