Art director Stas Zhitsky explains why you shouldn't rely solely on a designer's portfolio when choosing a designer.

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A designer, artist, art director, and copywriter, I am also a columnist and teacher at the HSE School of Design. During my career, I have received over 30 design awards and prizes, including the prestigious Good Design and Red Dot. I am also a jury member at renowned festivals such as Cannes Lions, Eurobest, and AD Stars. My experience in design and art allows me to combine creative ideas with practical skills, which contributes to the successful implementation of projects in various fields.

I am the author of the book "Parable Therapy, or the Book of Meanings about Marketing," co-authored with Sergei Kuzhavsky. He is a regular contributor to Snob magazine and has published in specialized publications such as the graphic design magazine [kAk], as well as in Creative Director and Vedomosti. His works cover various aspects of marketing and graphic design, making him an expert in this field.

When my fame at fairs reached its peak, and I became known for my ability to see right through a horse, a repairman, a prince, approached me. He offered me a hundred rubles and said: "Reveal your secret of understanding, brother. This is very important to me."

I answer: "I have no secret, it's just a natural talent."

He continues to insist: "Tell me how you understand it? Lest you think that I have hidden intentions, here are a hundred rubles for you."

What can be done here? I shrugged my shoulders, wrapped the money in a rag and said: "I will tell you what I know, and you, please, study and listen. If you cannot assimilate the information and do not get any benefit from it, I will not be held responsible for this."

He was pleased with his progress and said: "It is not your concern how much I can learn, and you just do your job."

If someone wants to get an idea of ​​​​a horse and its qualities, he should approach its examination carefully and not lose sight of the details. First, pay attention to the animal's head, and then carefully examine the entire horse, including the tail. Don't rely on superficial checks, as some officers do. It's important to examine aspects such as the poll, mane, airway, and chest, as every detail can be significant. A proper approach to assessing a horse will help you avoid mistakes and make an informed choice.

In his work "The Enchanted Wanderer," N. S. Leskov creates a captivating plot that intertwines elements of folklore and realism. The protagonist, possessing an unusual ability to see hidden truths, travels across Russia, meeting various people and encountering their destinies. Leskov masterfully conveys the atmosphere of his time, revealing the social and cultural aspects of the life of the Russian people.

In "The Enchanted Wanderer," the author focuses on the spiritual quest, the inner world of the characters, and their desire to understand themselves and the world around them. This work not only reflects the characteristics of 19th-century Russian literature but also remains relevant to modern readers thanks to its universal themes of the search for the meaning of life and human relationships.

Leskov also uses rich language and vivid imagery, which makes the text lively and expressive. Reading "The Enchanted Wanderer," we immerse ourselves in a world where every word is filled with meaning, and every encounter changes the fate of the characters. This book is a milestone in Russian literature and continues to inspire generations of readers with its profound philosophical content.

An interesting story once happened to me.

A client approached me with a commission to create a logo. The selection process was long and complex: he carefully evaluated, rejected, or postponed numerous proposed options, for which I was grateful, as the work was well paid. Since the client had ambitious goals, he approached the final solution with particular caution, convinced that there is no limit to perfection and that a better result can always be achieved.

Recognizing that at some point I was starting to feel tired, the client suggested organizing an international competition. He hoped that tireless colleagues would be able to create ideal graphic and semantic solutions. This solution could bring fresh ideas and variety to the project, as well as attract attention to our work on the international stage. The competition would be a great opportunity for talented professionals to showcase their skills and contribute to the creation of unique content.

I prepared a brief and began searching for designers online. The selection process for designers is usually based on their portfolio. I reviewed numerous works on platforms like Behance and selected about thirty professionals whose projects seemed high-quality. I sent requests to all the selected designers.

The competition was not free, and participants did not have to compete for the prize fund. Each author could set their own price and receive the commission to create a logo. The designers did not care whether the logo would be used. I was surprised that not everyone responded to the offer; some, possessed of pride, declined to participate, believing that working on short-term projects did not meet their professional standards. However, about twenty people, surprised by the format, agreed, received advances, and began working on the orders.

After some time, the results started coming in, and they amazed me. It wasn't the delight one might have expected. There were no creative flights, no deep reflections, no refined plasticity or philosophical meanings. Not a single decent option came from Peru or New Zealand, even though we had designers from these far-flung corners of the world working with us.

"How is this possible?" I asked myself in despair, losing the last hairs on my beard. "All these people have such impressive portfolios. Where have their skills gone?" Where are their talents hidden? ”

After a thorough analysis, I decided to look into the phenomenon of the discrepancy between the quality of commissioned work and the samples presented at exhibitions and in advertising materials. As a result, I came to the following conclusions.

When choosing a designer, it is important to consider their portfolio. A portfolio provides an idea of ​​the skills and working style of the specialist you entrust with creating your graphic image. It demonstrates experience and creativity, which allows you to evaluate the designer's suitability for the implementation of your ideas and tasks. Choosing the right designer based on their portfolio can significantly impact the success of your project.

We cannot guarantee that our impression will be accurate. This is due to the fact that:

• A designer only puts in their portfolio what they have done well. And we don't know how much trash and nightmares they have decided to hide from us.
• A portfolio may contain festival and competition works made not for a specific client, but to demonstrate their bold genius. But in real life, a solution to a specific problem in accordance with the brief may not be found.
• When looking through a portfolio, we do not immerse ourselves in the context of the logo's existence, but only briefly assess the plasticity and composition. A logo "without anything", lying naked on a display case, is one thing, and a logo in real life is quite another. We know nothing about the degree of its informational and emotional adequacy, we do not know where and how it is used and how organic it is in these conditions.
• And finally, who told you that the works in the portfolio are the works of the portfolio owner?..

Military school teacher and collegiate registrar Lev Pustyakov lived near his friend, Lieutenant Ledentsov. On New Year's morning, he decided to visit him, directing his steps towards his friend's house.

Grisha, allow me to ask you a favor," the lieutenant said after the traditional New Year's greetings. "I wouldn't bother you unless it were absolutely necessary. Could you lend me your Stanislav for today? I'm going to dine with the merchant Spichkin, and you know what a scoundrel he can be. Orders are very important to Spichkin, and he considers those who don't have them to be practically scoundrels. Besides, he has two daughters, Nastya and Zina. I say this as a friend, and I hope for your understanding. Please grant me this favor."

In his work "The Order," A.P. Chekhov touches on important themes of human life, social justice, and moral values. The story explores the characters' internal conflicts, their desire for recognition and respect in society. With his characteristic insight, Chekhov demonstrates how the pursuit of rewards and social status can distort human relationships and moral values.

In "The Order," the author masterfully conveys the atmosphere of the times in which he lived and shows how personal ambitions influence people's destinies. Chekhov raises questions about the price of success and true values, forcing the reader to consider their priorities. This work not only reflects the realities of the late 19th century but also remains relevant to modern life, making it important for study and analysis.

Chekhov's style, distinguished by its laconicism and profound psychological insight, helps create vivid images and memorable situations. "The Order" is not just a story about awards, it is a profound reflection on human nature, the desire to be understood and recognized.

Read in our previous issues.

• The Right to Green Grass: Should You Register a Brand Color and What Makes a Logo Truly Noticeable?
• Meatballs Escaping Over the Fence: How Acceptable Is Hooliganism in Branding?
• Manipulate Carefully: Logos Whose Artlessness Saves Lives?
• Handmade Signs: How Cultural Context Influences the Perception of a Sign?
• The Specifics of the "Pacific": How a Logo Becomes Meaningful for Many People?
• LONG LIVE THE LOGO! Why business is impossible without a logo