访谈设计师：Irina Goryacheva

Irina Goryacheva（又名Heather Hermit），平面设计师、艺术总监和视觉艺术家，目前为埃及开罗博物馆的平面设计专家。热衷于现代主义、彩色几何形状、排版和拼贴的她，作为一名多元化的传播平面设计师和艺术总监，拥有丰富且独特的平面设计经验。

1st. 我可以想象我作为一名设计师的样子

Narkii：

您之前学习的是语言学，后来为什么会转向学习平面设计呢？

What you learned before is Arabic Philology. Why did you turn to learning graphic design?

Irina Goryacheva:

我对设计和艺术一直以来都很感兴趣，在学生时代我就开始做一些自由设计工作。从大学毕业后，我很快就从事了阿拉伯语 - 俄语翻译工作，但做设计仍然是最有趣的。在我思考未来时，我明白我无法想象自己在10年、20年甚至30年内都是一名翻译员，但我可以想象自己是一名设计师。于是毕业1年后，我又重新回到大学学习平面设计。

I have always been interested in design and art, I started doing some freelance design work while I was still a student. After graduation from the university I worked shortly as an Arabic-Russian translator, but doing design was still much more fun. When I was thinking about the future I understood that I could not imagine myself being a translator in 10 or 20 or even 30 years, but I could imagine myself being a designer. So 1 year graduation I went back to the university to study graphic design.

Pokrovsky Opera Posters   2013年红点奖

2nd. 现代主义色彩与几何图形下的设计

Narkii：

您是如何从魏玛时代的梦想家、实验音乐与电影中获得灵感来源的？

How do you get inspired from the visionaries of the Weimar Era, experimental music and cinema of the 1920s and 1930s?

Irina Goryacheva:

20世纪20年代至30年代这段期间影响了整个20世纪的平面设计，包括建筑、音乐、戏剧、产品设计、时尚和生活。当平面设计作为一个独立的职业诞生时，这是一个完全独特的时代经历并寻找新的视觉语言。我觉得非常鼓舞人心的是，这是在生活的各个方面和伟大的社会变革中进行伟大实验的时候。 当我们今天看20世纪20年代至30年代的建筑或设计时，我们可以看到它在近百年后仍然具有现代感和炫酷感。

This epoch between 1920s and 1930s influenced the whole 20th century graphic design, architecture, music, theatre, product design, fashion and life in general. It was a completely unique time of experiments and search for the new visual language when graphic design was born as an independent profession. I find it very inspiring that it was the time of the great experiment in all spheres of life and great social changes. When we look today at the architecture or design of the 1920-1930s we see how contemporary and cool it still looks after almost a hundred years.

Narkii：

在您眼中，什么是带有现代主义色彩的平面设计？

In your eyes, what is the graphic design with modernism?

Irina Goryacheva:

现代主义是一个非常广泛的术语。我不会说我在做设计时刻意考虑现代主义的原则。但我宁愿说现代主义强烈影响了所有现代平面设计师，并率先预测了我们现在所做的事情。 唯一的区别是，与现代主义设计师相比，我们只是有比他们更先进的工具和技术。

Modernism is a very broad term. I would not say that I deliberately think about the principles of modernism while doing design. But I would rather say that modernism strongly influenced all modern graphic designers and predetermined what we are doing now. The only difference is that we just have a little bit more advanced tools and technology comparing to modernist designers.

Save Shukhov Tower Poster Campaign   2015年红点奖

Narkii：

您为什么会选择几何图形做为您设计的主要元素？

Why do you choose geometric shapes as your main designing element?

Irina Goryacheva:

我不会说这是主要元素。它是整体设计语言的元素之一。但一切都取决于你正在进行的项目以及你需要通过设计解决的问题。对于一个项目，几何形状是相关的，而它们可能与另一个完全无关。但总的来说，我喜欢几何形状，因为它们为设计增添了结构、空间和简洁性，我喜欢这种设计思想，因为建筑艺术和几何形状都完美地服务于这个想法。

I would not say it's the main element. It's one of the elements of overall design language. But everything depends on the project you are working on and the problem you need to solve with the design. For one project geometric shapes are relevant while they can be totally irrelevant to the other. But in general I like geometric shapes because they add structure, space and simplicity to your design, I like the idea of design as construction art and geometric shapes serve this idea perfectly.

Excoursio Visual Identity   2018年红点奖

3rd.让客户参与的设计

Narkii：

“让客户参与到设计项目中”是Baklazanas工作室的方向目标，在这过程中是否会与客户产生想法上的冲突？在这种情况下您与您的团队会如何解决呢？

“To engage our clients in the process” is the art direction aims of Baklazanas，Does there be conflict with the customers during the process? How will you and your team solve this situation?

Irina Goryacheva:

通常情况下我们在工作过程中与客户没有任何冲突。当然可能会发生小的误解，但我们会在它们出现的那一刻就尝试解决它们。这就是为什么我们会认为让客户参与从简报的早期阶段到最后阶段并指导他们在整个流程中理解我们建议的所有解决方案的过程非常重要。 我们认为，对于健康的设计流程，客户不仅要获得最终的展示效果，而且要深入参与每个级别的设计过程，这一点非常重要。

Usually we don’t have any conflicts with the clients during the work process. Of course small misunderstandings can happen, but we try to solve them the moment they appear. That is why we think it’s very important to engage the client in the process from the early stages of briefing to the very end and to guide them through the process explaining all the solutions we suggest. We think it’s very important for a healthy design process that the client not only gets the final presentation, but is deeply involved in each level of design process.

Excoursio Visual Identity

Narkii：

在作品‘‘Excoursio Visual Identity’’中，您是如何利用简单的线条来对每个项目进行艺术的诠释？

In the work‘‘Excoursio Visual Identity’’, how do you artistically interpret each project with simple lines?

Irina Goryacheva:

Excoursio在线提供展览导游服务，他们的目标是为每位参观者创造独特的博物馆体验。 这些色彩线条是视觉识别的一部分，代表了运动、灵活性和参观者在展览空间中遵循虚拟路径时的自我导向运动，并可从各种选项中选择同时根据他们的需要定制路线。我们赞同客户的意见，他们认为这些线路应始终在所有通信材料上手工绘制出来。所以它们看起来总是不相同的，因为每个旅客都有自己独特的经历。

Excoursio is providing exhibition guided tours online and their goal is to create a unique museum experience for each visitor. These color lines which are part of the visual identity represent this idea of motion, flexibility and the visitors' self-directed movement paths in the exhibition space while following the virtual tour, choosing from various options and tailoring the tour according to their needs. We agreed with our client that these lines should be always drawn by hand across all the communication materials. So they always look different, as every visitor has his own unique experience. 

The New Moscow Map   2017年红点奖

Narkii：

您的作品‘‘The New Moscow Map’’每张图上均采用两种对比强烈的颜色来给人以视觉上的美感与冲击力，作为一个平面设计师，绘画技能与色彩的合理搭配是否是必修课程？

Your work‘‘The New Moscow Map’’ all use two contrasting colors to give visual beauty and impact on people, so as a graphic designer,whether the painting skills and the color schemes are a compulsory course?

Irina Goryacheva:

当然，颜色是主要的设计工具之一。 The New Moscow Map使用两种对比色的原因之一是它指的是20世纪20年代至30年代的前卫建筑和设计。

当时大规模生产的能力非常有限。

印刷技术必须是便宜、快速的并且只能使用几种颜色，因此艺术家和设计师必须选择具有经济性和创造性的艺术媒体。而他们在两种颜色的线条、轮廓、形状和节奏中都取得了惊人的效果。

因此，在这项工作中，我们尝试使用相同的方法，而你使用的内容和工具在某种方式上应有相应的连接。

Of course, as color is one of the main design tools. One of the reasons why the New Moscow Map is using two contrasting colors is that it refers to avant-garde architecture and design of the 1920-1930s.

The capabilities of mass production of that time were quite limited.

Printing techniques had to be cheap, fast and use only a few colors, so the artists and designers had to be economical and inventive in the choice of the artistic media. And they really achieved amazing results playing with lines, silhouettes, shapes and rhythms within just two colors.

So in this work we tried to use same approach, the content and the tools you use should be connected somehow.

The New Moscow Map

Narkii：

作为一个视觉艺术家，除了色彩搭配，您还会从哪些方面让每一个设计作品传达出可令大众所接受的又与众不同的特点的？

As a visual artist, in addition to the color matching, what aspects will you involve to let each designin work convey the distinctive characteristics that are acceptable to the public?

Irina Goryacheva:

除了颜色之外，还有许多工具可以塑造视觉语言。排版、插图和照片风格、各种媒体、网格，但它们只是各种设计工具。真正让大众接受的设计是它试图传达的信息以及这种信息沟通所达到的成功度。

There are lots of tools that shape the visual language besides color. Typography, illustration and photo style, various media, grids – they are just various design tools. What really makes design acceptable to the public is the message it is trying to communicate and how successful this communication is.

Save My Speech Forever

2017年iF奖   German Design Award 2018   European Design Awards 2016 (Silver)

Narkii：

您认为您利用几何图形排版、拼接的方法而完成的设计有什么独特之处？

What do you think is the unique about your design using typography and collage?

Irina Goryacheva:

我从包豪斯艺术家，Dada和俄罗斯前卫艺术家的作品中汲取灵感而使用拼贴画，合成和排版的方法。他们自由处理排版和图像的技能是很强大的。我喜欢类型成为符合条件的独立设计参与者，而不仅仅是包含之前文本信息的次要元素的这种想法。Dada艺术家和俄罗斯建构主义艺术家是第一个在他们的艺术和设计中开始使用合成和拼贴画技术的人。有时这种新技术将完全不兼容的视觉效果结合在一个明显且不适宜的环境中，并赋予它们一种全新的、有时具有挑衅性的意义，这种革命性和前所未有的设计使其设计达到了一个全新的水平。

可参考El Lissitzky为弗拉基米尔·马雅可夫斯基“For the Voice”的诗集所设计的插图，或亚历山大·罗德琴科为马雅可夫斯基的诗“About That”设计的插图。

Using collage, photomontage and typography I draw inspiration from the works of the Bauhaus artists, Dada and Russian avant-garde artists. The way how freely they treated typography and images is so powerful. I like this idea that type becomes an eligible independent participant of design, not just an secondary element containing text information as it was before. Dada artists and Russian constructivism artists were the first to start using photomontage and collage techniques in their art and design. This new technique combining sometimes totally incompatible visuals into one in a clearly inappropriate environment and giving them a totally new, sometimes provocative, meaning was so revolutionary and unprecedented that it brought design to the whole new level.

Just look at El Lissitzky's illustrations for a collection of poems by Vladimir Mayakovsky "For the Voice". Or illustrations by Alexander Rodchenko for Mayakovsky's poem "About That".

Save My Speech Forever

Narkii：

您希望人们能从您的设计中感受到什么？

What do you want people to feel from your design?

Irina Goryacheva:

首要的一点，我希望人们能够通过特定的设计中获得他们想要获得的信息。因为如果他们没有得到这种信息，你的设计即使再美丽也无济于事。

First of all I would like people to get the message they are supposed to get with the certain design. Because if they don’t get it your design simply does not work and is useless no matter how beautiful it is.

4th. 享受于当下

Narkii:

在您的介绍里您有提到“希望有一天能有时间全身心地投入到职业当中去”，您认为您现在做到了吗？

From your introduction on Behance, you have mentioned that “you hopes someday you would have enough time to devote yourself to your real vocation”，do you think you have done it now?

Irina Goryacheva:

好吧，实际上这更像是一个笑话。但我正在做我喜欢的事情，我认为我在做我所擅长的并且在依靠它赚钱。这可以称为是一种职业吗？

Well, it was more like a joke actually. But I am doing what I like, what I suppose I am good at and earn money with what I am doing. Can that be called a vocation?

Save My Speech Forever

Narkii：

您有没有自己比较喜欢的画家或者平面设计师？请与我们分享一下。

Do you have a favorite painter or graphic designer? Please share something with us.

Irina Goryacheva:

这很难选择，但如果必须要分享一个，我会说Wassily Kandinsky。虽然他是画家和艺术理论家而不是设计师，但他的作品，我的意思是绘画和书籍，特别是他的书“Point and Line to Plane”对作为设计师的我产生了很大的影响。 在现代平面设计师中，Peter Saville，Paula Scher，Stephan Bundi，Tarek Atrissi，FelixPfäffli是我最喜爱的设计师。当然除此之外还有很多，如果要我他们都罗列出来，那这个列表就太长了。

It’s difficult to name just one, but if I had to I would name Wassily Kandinsky. Although he is a painter and art theorist, not a designer, but his works, I mean both paintings and books, especially his book “Point and Line to Plane” influenced me a lot as a designer. Among the modern graphic designers I would name Peter Saville, Paula Scher, Stephan Bundi, Tarek Atrissi, Felix Pfäffli as my most favorite designers. But of course there are much more of them, the list would be just too long if I try to name all of my favorite designers.

Narkii：

您满意您目前的工作与生活现状吗？在设计方面您今后会如何突破自己？

Are you satisfied with your current work and life status? How will you break through in design in the future?

Irina Goryacheva:

是的，现在我对目前的进展事项感到非常满意。我们设计工作室Baklazanas正在开展一系列非常有趣的项目，其中一些是针对我们的客户的，一些是我们自己受俄罗斯先锋派和建构主义的启发而开发的项目。我们现在也忙着为学生们规划一系列设计研讨会。因此，如果进展不错的话未来看起来会非常具有挑战性并且多姿多彩。

Yes, right now I am quite satisfied with how things are going. We at design studio Baklazanas are working on a bunch of quite interesting projects, some of them are for our clients and some are our own projects inspired by Russian avant-garde and constructivism. We are also busy now planning a series of design workshops for the students. So the future looks quite challenging and colorful if not bright. 

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