"Today, a book can be more artistic, less responsible": an interview with Evgeny Korneev / ITech content

Contents:

• Design Cell
• Systems Approach
• Essentials
• Design
• Retrospective
• Vanishing Art

Evgeny Korneev is an experienced graphic designer and founder of the design bureau "Razdesign." Since the early 1990s, he has been actively working in the field of graphic design, designing for architectural magazines such as "Project Russia," "Project International," and "Project Classic." As art director, he oversaw the "First Publication" publishing program, promoting the development of high-quality book design. Evgeny also directs the Book Art Master's program at the HSE School of Design, where he trains future professionals. His work has been recognized at international competitions, including Best Book Design from all over the World in Leipzig from 2004 to 2020, as well as other significant professional competitions. Evgeny Korneev continues to contribute to the development of graphic design and educational initiatives in this field. An exhibition by Evgeny Korneev, titled "Razdesign and Prototeka," has opened at the Voznesensky Center. It will run until March 24 as part of the multi-part project "Contemporary Book Graphics." Admission is free and open daily. We discussed Evgeny's approach to book design, details of the new exhibition, and his professional path in the design field.

Design Cell

I trained as a civil engineer, but fine art has always been my passion. At some point, I began creating graphics for periodicals, and then moved into the advertising business, working at LBL. At that time, at our design bureau, Quadra, we were striving for high results. This was a new direction, and from 1991 to 1993, only a few understood how a design bureau should work.

Our director, Vladimir Kashirin, created a universal design bureau, uniting departments involved in architecture, exhibition design, and graphic design. Our bureau employed talented specialists, among whom Yuli Borisov stands out. At the time of his employment with us, he was a graduate of the Moscow Architectural Institute (MARCHI), and has now established himself as one of Russia's leading architects, having designed the Atom pavilion. Our firm continues to attract professionals, allowing us to successfully implement a variety of design projects.

Significant events took place at Quadra that I only now realize. The first issue of the architecture, design, and urban studies magazine "Project Russia" was published using LBL's technical resources. We also published "Yes!", a graphic design magazine. Vladimir Krichevsky and Elena Chernevich came to us to create it, sharing their knowledge of contemporary design trends. Contemporary artists worked in the studio, introducing unconventional approaches and fresh ideas. This created a unique atmosphere of creativity and innovation, contributing to the development of architectural and design thought.

The main difference between the design process of the nineties and the modern one is the versatility of the approach. At that time, I was engaged in a wide range of tasks. I worked on packaging and won awards at advertising festivals, designed the first issue of Project Russia magazine, and created advertising campaigns for Reebok, including photography, catalogs, and outdoor advertising. My first multi-page publications were annual reports for banks. Today, design has become more specialized, but the versatility of previous years allowed me to gain unique experience and diverse skills that are relevant and in demand in the modern design world.

Vladimir Krichevsky sparked our interest in Dutch design, which was at the height of its popularity at the time. It's amazing how such phenomena can fade and lose their relevance. At the time, we were genuinely fascinated by Dutch design. However, it's worth noting that our perception may have been limited, as Swiss graphic design also existed—a more enduring and significant school of graphic design. Swiss style is known for its clarity, functionality, and emphasis on typography, making it no less important in the history of design.

We closely studied the work of David Carson, who had a significant influence on the creation of Ptyuch magazine. We were also familiar with the work of Neville Brody and followed his development. In our quest for information, we didn't miss a single detail. For example, in 1993, I visited Holland for the first time and collected all sorts of papers on the street, including free brochures from museums. It was an important time for our creativity and inspiration.

I carefully packed everything into my bag. Anything I could find, pick up, or receive went into my collection.

I had an impressive collection of Raygun magazines, designed by David Carson. It was one of the most influential sources in graphic design of its time. Friends from Holland would occasionally send me thick packages containing a variety of graphic materials, both useful and not so useful. These magazines and materials had a significant influence on my view on design and inspired new projects.

Study also:

Glossy avant-garde magazines: space for Experiments

Avant-garde magazines play an important role in the world of contemporary art and design, providing a platform for creative experimentation. They become a meeting place for unusual ideas, innovative concepts, and bold approaches to visual expression. In this context, glossy magazines not only present the work of artists and designers but also shape new trends in art.

Each issue of an avant-garde magazine is a miniature exhibition where readers can see works that challenge traditional forms. Such publications often explore the boundaries between different disciplines, blending graphics, photography, and text to create unique visual narratives.

The importance of avant-garde magazines also lies in their ability to inspire a new generation of creators. They serve as a source of ideas and motivation for young artists, providing an opportunity to see how they can boldly experiment with form and content. These magazines not only inform but also shape public opinion, opening new horizons for discussing current topics in art and culture.

Thus, glossy avant-garde magazines become not simply carriers of information but active participants in cultural dialogue, contributing to the development of art and design in the modern world.

In our studio, we designed all five issues of "Yes!" magazine, including the fourth, dedicated to the Netherlands, in which Krichevsky analyzed the country's leading design studios. All materials for this magazine were scanned by hand, and we were able to hold them in our hands. We did not feel isolated, as our studio shelves were stocked with design magazines such as Items, Emigre, U&lc, as well as the annuals "Best Design in the Netherlands" and "Best Books in the Netherlands." We actively followed the latest design trends, which allowed us to stay informed about current trends and draw inspiration from the work of other studios.

Systematic Approach

I have been working at the Higher School of Economics School of Design for eight years now. Initially, I taught typography at the undergraduate level, but I am now completing my studies with the fourth group of the master's program. My course is called "The Art of the Book," which allows students to gain a deeper understanding of the principles of design and typography in the context of creating printed publications.

I began teaching to structure my approach to book design. In the process, I realized the need to develop an original book design training program that will not only systematize knowledge but also pass it on to others.

Svetlana Danylyuk, a graduate and outstanding book designer, presented her diploma thesis in book format. This became a significant milestone in her career. Our students inspire new ideas and projects. Our graphic design courses attract talented professionals with experience and education, including training at Typomania School. Our students possess a high level of skill, which contributes to the creation of unique and high-quality design solutions. Learning is a mutual process in which I not only impart knowledge to students but also learn from them. Their unique insights, font preferences, and diverse interests enrich my experience. Each student brings something new to the table, and I closely observe their approaches to absorb useful ideas and methods. The majority of the participants are young women. I am adapting to a new world in which women are increasingly playing a significant role. My goal is to understand and embrace the changes in society, where the role of women is becoming key. I strive to meet modern requirements and actively participate in creating an equal environment.

Essential Item

Books are gradually losing their status as essential items in the modern world. However, I am confident that they remain an important foundation of our knowledge and culture. Books have a long history, dating back thousands of years, and since then they have served people as a source of information, inspiration, and entertainment. Despite the development of technology and the emergence of digital formats, physical books continue to play a significant role in society, providing deep immersion in content and contributing to the preservation of information for centuries.

Books are an integral part of human life and accompany us throughout our lives. Reading books opens new horizons, develops thinking, and enriches the inner world. Engaging with books is always the right choice. Books help deepen knowledge, develop imagination, and strengthen the emotional state. They become faithful companions in the search for information and inspiration. In a digitally saturated world, books remain a reliable source of knowledge and pleasure.

Of course, I am ready to help with editing the text. Please provide the source text to be revised and corrected.

A person needs clothing, shoes, and basic necessities. A book, in my opinion, is one of these essential components. It is akin to a glass or a shoe, representing an extension of human existence. Books not only satisfy information needs but also enrich the inner world, contributing to the development of personality and thinking. Reading books becomes an important part of life, just like other practical things we use every day.

A book is not just a physical object, but something more, located on the border between the tangible and the intangible. It represents an extension of human experience and knowledge, but at the same time is part of a vast media space. Bookkeeping is a traditional art that can be trusted. It preserves culture and information, providing access to important ideas and stories. In the face of rapid technological advancement, books remain a reliable source of knowledge and inspiration, making them indispensable in the modern world. Working with books is an important part of graphic design, and typography is the foundation of this discipline. When creating a book, a designer interacts with typesetting and fonts, making typography a key design element. By mastering letterform skills, you can apply them in a variety of fields. In addition, working with a book helps develop the ability to process large amounts of information, which is a valuable skill in the modern world.

Razdesign

In the early 1990s, my preferences in design were formed. During that period, I collaborated with Vladimir Krichevsky and supported his ideas. Vladimir championed the need for accessible and economical design, emphasizing reduction and minimalism. I also discovered the work of Droog Design, which impressed me with its critical and witty approach. Their projects inspired me to pursue my own design career. Many young designers consider starting their own design bureau, and I was no exception. I developed a method I called "dedesign." This approach is the opposite of traditional design and aims to create objects in the style of Krichevsky and Droog Design. The basis of dedesign is stripping the object down, freeing it from outdated design elements, reducing and then reconsidering both the program and the form of the object. The result of this process should be something simple, rational, and pure, yet original and perhaps even surprising. Now I understand that this is not just dedesign, but a full-fledged design process. Nevertheless, I needed a brand and a dream of a bureau based on clear principles.

I have a hoodie with the "Razdesign" embroidery that my daughter gave me as a teenager. She is now 30 years old. This suggests that even my close ones understood what "razdesign" was 15 years ago. This style, which has become popular in recent years, continues to be relevant and in demand.

I have not been persistent and consistent in promoting the principles of redesign. Working on a book is a vast and fascinating world in which the design decisions themselves are relatively few. There are many people here, such as authors and editors, as well as a variety of themes, nuances, and influences.

A book does not arise out of nowhere, but is a product shaped by many factors and causes. It is possible to resist these influences by striving for reduction, but a much more productive approach is to use these limitations as opportunities. Working with a book becomes more engaging than simple asceticism. Each theme, each material, and each team evokes unique associations that aren't always rooted in the pursuit of ideal form. Nevertheless, redesign remains a tool in our arsenal. If a redesign fits the theme and aligns with its spirit, we'll certainly embrace it.

The name of our tool has become a symbol of our imaginary design bureau over time. We strive for a conceptual approach in our work, employing clear and useful design ideas. Our goal is to create engaging forms that organically connect with the content and meaning of each commission. This legacy of our redesign emphasizes the importance of conceptualism and creative thinking in design.

The artist Roerich depicts mountains that symbolize lofty thoughts and aspirations. In his work, mountains are associated with diagonals and upward movement. We decided to use this concept for the book design, based on the principle of diagonals. This form will be present on all pages, from the first to the last. The typography is designed in slanted columns, and the relief on the cover also includes diagonal elements. This design emphasizes dynamism and creates visual interest, making the book more appealing to the reader.

Retrospective

The exhibition consists of four halls, each offering a unique experience. The first hall presents works created in the redesign style, which are more or less conceptual. The second hall is dedicated to projects from the "Prototheque", where the emphasis is on an innovative approach to construction. The third hall contains traditional books, covering a variety of topics. In the basement, works by master's students of the "Book Art" program at the HSE School of Art and Design are on display, demonstrating high skill and creativity in book design.

The constructions from the "Prototheque" are gradually turning into real books, which testifies to the dynamic development of contemporary art. For the Museum of Modern Art, we published a unique book that does not require threads or glue for joining. Also recently, a new book by Danila Polyakov, made in the format of a construction from the "Prototheque", was published for the Art4.ru museum. This project highlights an innovative approach to book publishing and art, bringing new ideas to the realm of visual and textual perception.

By creating a new structure for the "Prototheque," we temporarily set it aside, allowing it to retain its potential. It bides its time, and when the right moment comes, it is realized as a concrete book with unique typography and illustrations. This project inspires, demonstrating how ideas can transform into full-fledged works.

In addition to books, the exhibition also features a variety of working materials. The walls are lined with adjustment sheets and aesthetically pleasing printing waste. Sketches and drafts created during the development of book ideas are displayed on tables protected by glass. This exhibition allows for a deeper understanding of the creative process and inspiration behind the creation of literary works.

I visited the Irma Boom exhibition at the Nederlands Cultural Center in Paris. At the event, in addition to books, her working materials were also on display, which was the main reason for the trip. This is a unique opportunity to see the artist's creative process. We also share part of our creative kitchen, opening the doors to the world of our art.

A Vanishing Art

The book has long fulfilled an important civilizational function - serving as a repository of knowledge. High demands were placed on both the quality of materials and durability. The optical properties of the paper and printing had to meet strict standards to ensure the text remained legible for many years. Durability was also key: the book had to retain its properties and be accessible to readers for a century or more. Thus, the book not only transmitted knowledge but also ensured its preservation for future generations.

Modern books are becoming more artistic and less bound to traditional standards. I strive for this approach in my work. Nowadays, there are wide opportunities for creativity and experimentation in literature.

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Reading is an important aspect of personal growth and development. It opens new horizons, broadens horizons, and promotes critical thinking. Reading not only increases knowledge but also develops imagination, helping to better understand the world around us and people. In today's world, access to information has become easier, and everyone can find materials that match their interests. We recommend you take the time to read books, articles, and scientific publications. It's not only useful but also enjoyable. Useful tips and recommendations for choosing literature will help you make the reading process more engaging and productive.

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