Artem Matyushkin,

designer & art director

Artem Matyushkin,

designer & art director

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Artem Matyushkin,

designer & art director

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A hand-drawn portrait, pic. 1.

A hand-drawn portrait, pic. 1.

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A hand-drawn portrait, pic. 1.

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Introduction

Introduction

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Introduction

Artem Matyushkin is an art director & graphic designer with over 13 years of experience in design, branding, strategy, and communications. In 2020, he founded and currently runs a studio Non-Objective, where he translates ideas into different conceptual and visual languages. In 2024, he also co-founded a studio for abstract illustration and small-format artworks, Fine Graphics Dept.

Artem Matyushkin is an art director & graphic designer with over 13 years of experience in design, branding, strategy, and communications. In 2020, he founded and currently runs a studio Non-Objective, where he translates ideas into different conceptual and visual languages. In 2024, he also co-founded a studio for abstract illustration and small-format artworks, Fine Graphics Dept.

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Artem Matyushkin is an art director & graphic designer with over 13 years of experience in design, branding, strategy, & communications. In 2020, he founded and currently runs a studio Non-Objective, where he translates ideas into different conceptual and visual languages. In 2024, he also co-founded a studio for abstract illustration and small-format artworks, Fine Graphics Dept.

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Previously based in New York, Moscow, and Saint Petersburg, he now frequently travels among Seoul, Tokyo, Tbilisi, and Paris.

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His practice goes beyond graphic design, as Artem is also a design teacher and co-founder of Praxis(abc), an experimental brand that explores repetition in the context of contemporary wardrobe.

His practice goes beyond graphic design, as Artem is also a design teacher and co-founder of Praxis(abc), an experimental brand that explores repetition in the context of contemporary wardrobe.

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As a person who was born in Moscow (Russia) and brought up in Chernihiv (Ukraine), and as a person who believes in universal human values and cannot see no justification for any violence, Artem stands against the war.

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Previously based in New York, Moscow, and Saint Petersburg, he now frequently travels among Seoul, Tokyo, Tbilisi, and Paris.

Previously based in New York, Moscow, and Saint Petersburg, he now frequently travels among Seoul, Tokyo, Tbilisi, and Paris.

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His practice goes beyond graphic design, as Artem is also a design teacher and co-founder of Praxis(abc), an experimental brand that explores repetition in the context of contemporary wardrobe.

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You can get in touch by email, instagram or telegram. For any new commissions, please contact hello@non-objective.works.

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As a person who was born in Moscow (Russia) and brought up in Chernihiv (Ukraine), and as a person who believes in universal human values and cannot see no justification for any violence, Artem stands against the war.

As a person who was born in Moscow (Russia) and brought up in Chernihiv (Ukraine), and as a person who believes in universal human values and cannot see no justification for any violence, Artem stands against the war.

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Ideology & Approach

You can get in touch by email, instagram or telegram. For any new commissions, please contact hello@non-objective.works.

You can get in touch by email, instagram or telegram. For any new commissions, please contact hello@non-objective.works.

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2.5

A vital aspect of Artem’s design and teaching practice is reflecting on the potential of design, the values it can embody, and the role of the designer.

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Ideology & Approach

Ideology & Approach

He is exploring various approaches to create new contexts where design goes beyond being a functional tool for decoration. Instead, it becomes a means of storytelling, creating meanings, building communities, and shifting worldviews.

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A vital aspect of Artem’s design and teaching practice is reflecting on the potential of design, the values it can embody, and the role of the designer.

A vital aspect of Artem’s design and teaching practice is reflecting on the potential of design, the values it can embody, and the role of the designer.

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3.1

With a strong belief that design is more than just visuals, Artem sees it as a way of thinking. Design is a framework that one uses to research context, structure information, and create a vision.

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He is exploring various approaches to create new contexts where design goes beyond being a functional tool for decoration. Instead, it becomes a means of storytelling, creating meanings, building communities, and shifting worldviews.

He is exploring various approaches to create new contexts where design goes beyond being a functional tool for decoration. Instead, it becomes a means of storytelling, creating meanings, building communities, and shifting worldviews.

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3.1.1

Vision is later translated into various forms such as concepts, branding, architecture, visual identity, strategy, photography, objects, etc.

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With a strong belief that design is more than just visuals, Artem sees it as a way of thinking. Design is a framework that one uses to research context, structure information, and create a vision.

With a strong belief that design is more than just visuals, Artem sees it as a way of thinking. Design is a framework that one uses to research context, structure information, and create a vision.

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The main criteria for ‚Äúgood‚ÄĚ design are its relevance to the context and the integrity of the¬†vision, that means that all elements should align and match the context of each other.

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Vision is later translated into various forms such as concepts, branding, architecture, visual identity, strategy, photography, objects, etc.

Vision is later translated into various forms such as concepts, branding, architecture, visual identity, strategy, photography, objects, etc.

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3.2.1

Artem also believes that designers should strive to create projects that can influence contemporary visual culture. Design has the power to change the way people perceive the world, not only at the global brand level but also at the local level.

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The main criteria for ‚Äúgood‚ÄĚ design are its relevance to the context and the integrity of the¬†vision, that means that all elements should align and match the context of each other.

The main criteria for ‚Äúgood‚ÄĚ design are its relevance to the context and the integrity of the¬†vision, that means that all elements should align and match the context of each other.

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The scale of this influence doesn’t matter. It can never be too small, even if it is just one person whose perception was changed.

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Artem also believes that designers should strive to create projects that can influence contemporary visual culture. Design has the power to change the way people perceive the world, not only at the global brand level but also at the local level.

Artem also believes that designers should strive to create projects that can influence contemporary visual culture. Design has the power to change the way people perceive the world, not only at the global brand level but also at the local level.

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Projects for everyday life, cultural institutions, and research projects play an important role in the practice of Non-Objective, as they broaden people’s perspectives of modern culture. By collaborating with these partners, the studio aims to subtly introduce new viewpoints. Altering the visual environment can also influence worldviews.

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The scale of this influence doesn’t matter. It can never be too small, even if it is just one person whose perception was changed.

The scale of this influence doesn’t matter. It can never be too small, even if it is just one person whose perception was changed.

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3.3.1

Projects for everyday life, cultural institutions, and research projects play an important role in the practice of Non-Objective, as they broaden people’s perspectives of modern culture. By collaborating with these partners, the studio aims to subtly introduce new viewpoints. Altering the visual environment can also influence worldviews.

Projects for everyday life, cultural institutions, and research projects play an important role in the practice of Non-Objective, as they broaden people’s perspectives of modern culture. By collaborating with these partners, the studio aims to subtly introduce new viewpoints. Altering the visual environment can also influence worldviews.

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4.

Subject matter

Artem’s field of research and spheres of interest include, among others, irrationality, contrasts, meanings & contexts, non-objectivity (of course), repetition, linguistics and languages, everydayness, time, uniforms, conceptual art, curatorial approach to everything, shifting patterns, duality, archiving, otherness, humor & irony, micro typography, semantics, cultural differences and similarities, rhythm, abstraction, shades of black, subtlety, technical graphics, rhymes, unexpected beauty, details, Modernism, instructions, synthetic sounds, and blue (and IKB in particular).

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Subject matter

Subject matter

Artem’s field of research and spheres of interest include, among others, irrationality, contrasts, meanings & contexts, non-objectivity (of course), repetition, linguistics and languages, everydayness, time, uniforms, conceptual art, curatorial approach to everything, shifting patterns, duality, archiving, otherness, humor & irony, micro typography, semantics, cultural differences and similarities, rhythm, abstraction, shades of black, subtlety, technical graphics, rhymes, unexpected beauty, details, Modernism, instructions, synthetic sounds, and blue (and IKB in particular).

Artem’s field of research and spheres of interest include, among others, irrationality, contrasts, meanings & contexts, non-objectivity (of course), repetition, linguistics and languages, everydayness, time, uniforms, conceptual art, curatorial approach to everything, shifting patterns, duality, archiving, otherness, humor & irony, micro typography, semantics, cultural differences and similarities, rhythm, abstraction, shades of black, subtlety, technical graphics, rhymes, unexpected beauty, details, Modernism, instructions, synthetic sounds, and blue (and IKB in particular).

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5.

Influences & Teachers

Artem’s practice and vision would not be what they are without the significant influences of Sol Lewitt, John Baldessari, Marcel Duchamp, Donald Judd, Nas, Josef Albers, Jan Jelinek*, Lawrence Weiner, OK-RM, Yves Klein, Tadao Ando, Theo Parrish, Carl Andre, Sarah-Linh Tran and Christophe Lemaire, Actual Source, A Tribe Called Quest, Karl Nawrot, Landon Metz, Yuri Albert, Raf Simons, Gost Zvuk, Jim Jarmusch, Susan Sontag, Krovostok, Paolo Sorrentino, Pierre Jorge Gonzalez and Judith Haase, Cities Aviv, Experimental Jetset, Timur Novikov, Marcel Breuer, Fernando Pessoa, Pesochnye Lyudi, Walter Benjamin, Erykah Badu, Harald Szeemann, Anne Holtrop, Jop van Bennekom, Boris Groys, and many others.

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5.

Influences & Teachers

Influences & Teachers

Artem’s practice and vision would not be what they are without the significant influences of Sol Lewitt, John Baldessari, Marcel Duchamp, Donald Judd, Nas, Josef Albers, Jan Jelinek*, Lawrence Weiner, OK-RM, Yves Klein, Tadao Ando, Theo Parrish, Carl Andre, Sarah-Linh Tran and Christophe Lemaire, Actual Source, A Tribe Called Quest, Karl Nawrot, Landon Metz, Yuri Albert, Raf Simons, Gost Zvuk, Jim Jarmusch, Susan Sontag, Krovostok, Paolo Sorrentino, Pierre Jorge Gonzalez and Judith Haase, Cities Aviv, Experimental Jetset, Timur Novikov, Marcel Breuer, Fernando Pessoa, Pesochnye Lyudi, Walter Benjamin, Erykah Badu, Harald Szeemann, Anne Holtrop, Jop van Bennekom, Boris Groys, and many others.

Artem’s practice and vision would not be what they are without the significant influences of Sol Lewitt, John Baldessari, Marcel Duchamp, Donald Judd, Nas, Josef Albers, Jan Jelinek*, Lawrence Weiner, OK-RM, Yves Klein, Tadao Ando, Theo Parrish, Carl Andre, Sarah-Linh Tran and Christophe Lemaire, Actual Source, A Tribe Called Quest, Karl Nawrot, Landon Metz, Yuri Albert, Raf Simons, Gost Zvuk, Jim Jarmusch, Susan Sontag, Krovostok, Paolo Sorrentino, Pierre Jorge Gonzalez and Judith Haase, Cities Aviv, Experimental Jetset, Timur Novikov, Marcel Breuer, Fernando Pessoa, Pesochnye Lyudi, Walter Benjamin, Erykah Badu, Harald Szeemann, Anne Holtrop, Jop van Bennekom, Boris Groys, and many others.

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He is also very thankful to all the teachers he has had in his lifetime: his grandmother and grandfather, parents, friends & teammates, Katya Sikacheva, Vasya Bykov, Fernando Gomez, Misha Smetana, Zarema Dadaeva, Holystick.

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(5.1)*

Artem wants his design to look the¬†way Farben‚Äôs ‚ÄúTextstar‚ÄĚ sounds.

He is also very thankful to all the teachers he has had in his lifetime: his grandmother and grandfather, parents, friends & teammates, Katya Sikacheva, Vasya Bykov, Fernando Gomez, Misha Smetana, Zarema Dadaeva, Holystick.

He is also very thankful to all the teachers he has had in his lifetime: his grandmother and grandfather, parents, friends & teammates, Katya Sikacheva, Vasya Bykov, Fernando Gomez, Misha Smetana, Zarema Dadaeva, Holystick.

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Work, Non-Objective & Fine Graphics Dept

Currently, Artem is running a studio called Non-Objective, which he founded in 2020. The studio focuses on design in its widest sense.

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(5.1)*

(5.1)*

Artem wants his design to look the way Farben‚Äôs ‚ÄúTextstar‚ÄĚ sounds.

Artem wants his design to look the way Farben‚Äôs ‚ÄúTextstar‚ÄĚ sounds.

Working with an amazing team, they’re doing projects for a diverse range of international clients in cultural, educational, social, and media spheres. They work with both niche and mass brands, but always prioritize those who share their ethical and aesthetic values. They engage in continuous dialogue with their partners and prefer collaborative projects over commissioned ones.

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Work, Non-Objective & Fine Graphics Dept

Work, Non-Objective & Fine Graphics Dept

Currently, Artem is running a studio called Non-Objective, which he founded in 2020. The studio focuses on design in its widest sense.

Currently, Artem is running a studio called Non-Objective, which he founded in 2020. The studio focuses on design in its widest sense.

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6.1

Working with an amazing team, they’re doing projects for a diverse range of international clients in cultural, educational, social, and media spheres. They work with both niche and mass brands, but always prioritize those who share their ethical and aesthetic values. They engage in continuous dialogue with their partners and prefer collaborative projects over commissioned ones.

Working with an amazing team, they’re doing projects for a diverse range of international clients in cultural, educational, social, and media spheres. They work with both niche and mass brands, but always prioritize those who share their ethical and aesthetic values. They engage in continuous dialogue with their partners and prefer collaborative projects over commissioned ones.

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6.2

Recent projects* include the identity for the 20-year anniversary of the British Higher School of Art & Design; rebranding of the FOAM beauty store; identities for the Inloco Foundation & Gallery and Street Art Storage; rebranding of the furniture concept store & gallery Space Four and its sub-brands; and identity, conceptual & visual assistance, and exhibition curation for the contemporary design space Koordinata.

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Recent projects* include the identity for the 20-year anniversary of the British Higher School of Art & Design; rebranding of the FOAM beauty store; identities for the Inloco Foundation & Gallery and Street Art Storage; rebranding of the furniture concept store & gallery Space Four and its sub-brands; and identity, conceptual & visual assistance, and exhibition curation for the contemporary design space Koordinata.

Recent projects* include the identity for the 20-year anniversary of the British Higher School of Art & Design; rebranding of the FOAM beauty store; identities for the Inloco Foundation & Gallery and Street Art Storage; rebranding of the furniture concept store & gallery Space Four and its sub-brands; and identity, conceptual & visual assistance, and exhibition curation for the contemporary design space Koordinata.

6.3.1

6.3.1

Other notable projects were full-scale rebranding, identity & website for (SPUTNIK); rebranding of the eyewear brand RADIUS; identity update and website redesign for science media N¬†+¬†1; digital installation ‚ÄúNon-Objective Nature of¬†Time‚ÄĚ; instagram takeover for Type¬†Today; long-term work with Makhachkala Museum; consulting for a¬†couple of art institutions of various scale; and creating never-ending typographic covers¬†for the show Studio 96, and so much more.

6.3.2

Other notable projects were full-scale rebranding, identity & website for (SPUTNIK); rebranding of the eyewear brand RADIUS; identity update and website redesign for science media N¬†+¬†1; digital installation ‚ÄúNon-Objective Nature of Time‚ÄĚ; instagram takeover for Type¬†Today; long-term work with Makhachkala Museum; consulting for a¬†couple of art institutions of various scale; and creating never-ending typographic covers¬†for the show Studio 96, and so much more.

Other notable projects were full-scale rebranding, identity & website for (SPUTNIK); rebranding of the eyewear brand RADIUS; identity update and website redesign for science media N¬†+¬†1; digital installation ‚ÄúNon-Objective Nature of Time‚ÄĚ; instagram takeover for Type¬†Today; long-term work with Makhachkala Museum; consulting for a¬†couple of art institutions of various scale; and creating never-ending typographic covers¬†for the show Studio 96, and so much more.

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7.

Previous experience

Before launching his own studio in 2020, Artem¬†was an art director at Tsentsiper. He also co-founded and ran a New York-based design studio, FIGURA‚Ď£, with Carlota Pastor. Additionally, he worked as an art and design director with Dover Street Market, MoMA, SSENSE, Totokaelo, Sagmeister & Walsh, as well as various galleries, museums, artists, brands, and agencies.

7.1

All the projects Artem is working on are done within his studio and with his team. For the full archive & images please head to the Non-Objective website.

All the projects Artem is working on are done within his studio and with his team. For the full archive & images please head to the Non-Objective website.

(6.3.2)*

(6.3.2)*

Besides a studio practice of Non-Objective, he was an art director at a production company PINERY. Previously he was a creative director at (SPUTNIK) and art director at Makhachkala Museum, podcast studio Libo/Libo, Slish festival. He also has a 4-years long experience of designing media projects: he was an art director at Koordinat and Offsome Magazine.

7.2

In 2024, Artem co-founded Fine Graphics Dept with Katya Sikacheva, a studio* for abstract illustration and small-format artwork, trying to reimagine what contemporary illustration can be.

In 2024, Artem co-founded Fine Graphics Dept with Katya Sikacheva, a studio* for abstract illustration and small-format artwork, trying to reimagine what contemporary illustration can be.

6.4

6.4

While the website for the Fine Graphics Dept is still under construction, you can see what it is on @finegraphicsdept.

While the website for the Fine Graphics Dept is still under construction, you can see what it is on @finegraphicsdept.

(6.4)*

(6.4)*

Before that he’d been working in advertising, PR and media at various companies like Condé Nast, Strelka Institute for Media, Architecture & Design, and a newspaper RBC Daily.

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7.

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Previous experience

Previous experience

Before launching his own studio in 2020, Artem was an art director at Tsentsiper. He also co-founded and ran a New York-based design studio, FIGURA‚Ď£, with Carlota Pastor. Additionally, he worked as an art and design director with Dover Street Market, MoMA, SSENSE, Totokaelo, Sagmeister & Walsh, as well as various galleries, museums, artists, brands, and agencies.

Before launching his own studio in 2020, Artem was an art director at Tsentsiper. He also co-founded and ran a New York-based design studio, FIGURA‚Ď£, with Carlota Pastor. Additionally, he worked as an art and design director with Dover Street Market, MoMA, SSENSE, Totokaelo, Sagmeister & Walsh, as well as various galleries, museums, artists, brands, and agencies.

7.1

7.1

8.

Other projects

Besides a design studio practice, Artem is also deeply involved in various types of research and self-initiated projects. Recently he has been working on several projects:

8.1

In 2022, he co-founded Praxis(abc), an experimental project that explores repetition within the context of the contemporary wardrobe.

8.2.1

Besides a studio practice of Non-Objective, he was an art director at a production company PINERY. Previously he was a creative director at (SPUTNIK) and art director at Makhachkala Museum, podcast studio Libo/Libo, Slish festival. He also has a 4-years long experience of designing media projects: he was an art director at Koordinat and Offsome Magazine.

Besides a studio practice of Non-Objective, he was an art director at a production company PINERY. Previously he was a creative director at (SPUTNIK) and art director at Makhachkala Museum, podcast studio Libo/Libo, Slish festival. He also has a 4-years long experience of designing media projects: he was an art director at Koordinat and Offsome Magazine.

7.2

7.2

In 2022, Artem also founded 35KG, a curated library of beautifully designed books on design, art, architecture, and more. It all began with 35kg of books brought in a suitcase, and it has now grown to include over 400 books by renowned designers such as Kasper-Florio, Actual Source, Irma Boom, OK-RM, Mirko Borsche, Spassky Fischer, and others.

8.2.2

All the projects Artem is working on are done within his studio and with his team. For the full archive & images please head to the Non-Objective website.

(6.3.1)*

Before that he’d been working in advertising, PR and media at various companies like Condé Nast, Strelka Institute for Media, Architecture & Design, and a newspaper RBC Daily.

Before that he’d been working in advertising, PR and media at various companies like Condé Nast, Strelka Institute for Media, Architecture & Design, and a newspaper RBC Daily.

7.3

7.3

Since 2022, Artem has maintained a close collaboration with Koordinata, a contemporary design exhibition and research space. Artem provides consultation on brand and concept integrity, exhibition curation, and various strategic, design, and communication aspects.

8.2.3.1

8.

8.

Other projects

Other projects

The main goal of the space is cartography of contemporary design, documenting all the significant changes in visual culture and exploring the connections between its various domains. Within the framework of this project, research on graphic, industrial, interior, and fashion design takes completely different forms: from exhibitions and educational events to digital projects and printed publications.

8.2.3.2

Besides a design studio practice, Artem is also deeply involved in various types of research and self-initiated projects. Recently he has been working on several projects:

Besides a design studio practice, Artem is also deeply involved in various types of research and self-initiated projects. Recently he has been working on several projects:

8.1

8.1

In 2024, Artem co-founded Fine Graphics Dept with Katya Sikacheva, a studio* for abstract illustration and small-format artwork, trying to reimagine what contemporary illustration can be.

6.4

In 2022, he co-founded Praxis(abc), an experimental project that an experimental project that explores repetition within the context of the contemporary wardrobe.

In 2022, he co-founded Praxis(abc), an experimental project that an experimental project that explores repetition within the context of the contemporary wardrobe.

8.2.1

8.2.1

Kvity Series is a slow floristic study conducted in close collaboration with Nastiia Kim and Katya Sikacheva.

8.2.4

In 2022, Artem also founded 35KG, a curated library of beautifully designed books on design, art, architecture, and more. It all began with 35kg of books brought in a suitcase, and it has now grown to include over 400 books by renowned designers such as Kasper-Florio, Actual Source, Irma Boom, OK-RM, Mirko Borsche, Spassky Fischer, and others.

In 2022, Artem also founded 35KG, a curated library of beautifully designed books on design, art, architecture, and more. It all began with 35kg of books brought in a suitcase, and it has now grown to include over 400 books by renowned designers such as Kasper-Florio, Actual Source, Irma Boom, OK-RM, Mirko Borsche, Spassky Fischer, and others.

8.2.2

8.2.2

While the website for the Fine Graphics Dept is still under construction, you can see what it is on @finegraphicsdept.

(6.4)*

Objectful is a visual research of coded values & sign languages within physical objects.

8.2.5

Office for Context Studies is a project aimed at exploring context, form & content through exhibitions, printed matter, and production of various objects.

8.2.6

Since 2022, Artem has maintained a close collaboration with Koordinata, a contemporary design exhibition and research space. Artem provides consultation on brand and concept integrity, exhibition curation, and various strategic, design, and communication aspects.

Since 2022, Artem has maintained a close collaboration with Koordinata, a contemporary design exhibition and research space. Artem provides consultation on brand and concept integrity, exhibition curation, and various strategic, design, and communication aspects.

8.2.3.1

8.2.3.1

9.

Teaching

The main goal of the space is cartography of contemporary design, documenting all the significant changes in visual culture and exploring the connections between its various domains. Within the framework of this project, research on graphic, industrial, interior, and fashion design takes completely different forms: from exhibitions and educational events to digital projects and printed publications.

The main goal of the space is cartography of contemporary design, documenting all the significant changes in visual culture and exploring the connections between its various domains. Within the framework of this project, research on graphic, industrial, interior, and fashion design takes completely different forms: from exhibitions and educational events to digital projects and printed publications.

8.2.3.2

8.2.3.2

Artem is fascinated with the idea of art and design education and wants to establish a dialogue with younger designers.

9.1

Trying to understand how it works (and if it works at all), he was a curator at HSE Art & Design School from 2021 to 2023, running a course on graphic design & branding.

9.2

Kvity Series is a slow floristic study conducted in close collaboration with Nastiia Kim and Katya Sikacheva.

Kvity Series is a slow floristic study conducted in close collaboration with Nastiia Kim and Katya Sikacheva.

8.2.4

8.2.4

In 2023, he started teaching his own course titled ‚ÄúIdentity: from I to Y‚ÄĚ at the¬†new school¬†Werkstatt.

9.3.1

Objectful is a visual research of coded values & sign languages within physical objects.

Objectful is a visual research of coded values & sign languages within physical objects.

8.2.5

8.2.5

In this course, he emphasizes that the work of a designer goes beyond creating beautiful visuals. It also requires the ability to communicate, ask questions, and build a dialogue.

9.3.2

Office for Context Studies is a project aimed at exploring context, form & content through exhibitions, printed matter, and production of various objects.

Office for Context Studies is a project aimed at exploring context, form & content through exhibitions, printed matter, and production of various objects.

8.2.6

8.2.6

Under the guidance of the curator, students experience the complete cycle of project development. This includes communication with clients for research, concept development, presentation, and ultimately adding a new case to their portfolio.

9.3.3

9.

9.

Teaching

Teaching

Artem is fascinated with the idea of art and design education and wants to establish a dialogue with younger designers.

Artem is fascinated with the idea of art and design education and wants to establish a dialogue with younger designers.

9.1

9.1

Besides working within formal design education, he also does workshops & lectures for other educational platforms like BBE, portfolio reviews at BHSAD, Werkstatt, and other schools.

9.4

Trying to understand how it works (and if it works at all), he was a curator at HSE Art & Design School from 2021 to 2023, running a course on graphic design & branding.

Trying to understand how it works (and if it works at all), he was a curator at HSE Art & Design School from 2021 to 2023, running a course on graphic design & branding.

9.2

9.2

Artem actively participates in portfolio reviews, guest lectures, and workshops, both offline and online. To discuss any opportunities, please get in touch via email.

9.5

In 2023, he started teaching his own course titled ‚ÄúIdentity: from I to Y‚ÄĚ at the new school¬†Werkstatt.

In 2023, he started teaching his own course titled ‚ÄúIdentity: from I to Y‚ÄĚ at the new school¬†Werkstatt.

9.3.1

9.3.1

As a career and design consultant at H by Budu, he also helps aspiring designers navigate the design market.

9.6

In this course, he emphasizes that the work of a designer goes beyond creating beautiful visuals. It also requires the ability to communicate, ask questions, and build a dialogue.

In this course, he emphasizes that the work of a designer goes beyond creating beautiful visuals. It also requires the ability to communicate, ask questions, and build a dialogue.

9.3.2

9.3.2

10.

Media & Exhibitions

Under the guidance of the curator, students experience the complete cycle of project development. This includes communication with clients for research, concept development, presentation, and ultimately adding a new case to their portfolio.

Under the guidance of the curator, students experience the complete cycle of project development. This includes communication with clients for research, concept development, presentation, and ultimately adding a new case to their portfolio.

9.3.3

9.3.3

Artem did some interviews & talks for Type Today, PAGE Magazine, Slish 2021, DesignCollector, Net Magazine, Tuda! Kuda? podcast, Naau Media.

10.1

His projects were featured in ‚ÄúOn the Road to Variable: The¬†Future of Type‚ÄĚ, Type Today, Mindsparkle Mag, The¬†Blueprint, Afisha¬†Daily, BURO 24/7, Brutalist Websites, Slanted Magazine, AIGA Eye On Design, PAGE Magazine, DesignCollector, Klikkenth√©ke, Ads of the¬†World, Net Magazine, Applied Arts Magazine.

10.2

Besides working within formal design education, he also does workshops & lectures for other educational platforms like BBE, portfolio reviews at BHSAD, Werkstatt, and other schools.

Besides working within formal design education, he also does workshops & lectures for other educational platforms like BBE, portfolio reviews at BHSAD, Werkstatt, and other schools.

9.4

9.4

Artem actively participates in portfolio reviews, guest lectures, and workshops, both offline and online. To discuss any opportunities, please get in touch via email.

Artem actively participates in portfolio reviews, guest lectures, and workshops, both offline and online. To discuss any opportunities, please get in touch via email.

9.5

9.5

His works were exhibited at ‚ÄúSpace Embraces You‚ÄĚ obdn √ó Danilovsky Market (Moscow, 2022), Oripeau (Nantes, 2020), Zeitgeist Magazine Digital Exhibition (online, 2019), PosterJam Offbeat Exhibition (Bucharest, 2019), Shukhov Lab Design Contest (Moscow, 2019), RANEPA Design School (Moscow, 2019), 15th International Poster Biennial (Mexico, 2018), Golden Bee (Moscow, 2018), Secret 7" (London, 2018), 5th Moscow Poster Competition (Moscow, 2018).

10.3

As a career and design consultant at H by Budu, he also helps aspiring designers navigate the design market.

As a career and design consultant at H by Budu, he also helps aspiring designers navigate the design market.

9.6

9.6

10.

10.

Media & Exhibitions

Media & Exhibitions

Artem did some interviews & talks for Type Today, PAGE Magazine, Slish 2021, DesignCollector, Net Magazine, Tuda! Kuda? podcast, Naau Media.

Artem did some interviews & talks for Type Today, PAGE Magazine, Slish 2021, DesignCollector, Net Magazine, Tuda! Kuda? podcast, Naau Media.

10.1

10.1

Artem’s projects gained international recognition from ADC (2018), NY Addys, Communication Arts, Awwwards, Summit International Awards, Applied Arts Awards, CSS Design Award.

10.4

His projects were featured in ‚ÄúOn the Road to Variable: The¬†Future of Type‚ÄĚ, Type Today, Mindsparkle Mag, The¬†Blueprint, Afisha¬†Daily, BURO 24/7, Brutalist Websites, Slanted Magazine, AIGA Eye On Design, PAGE Magazine, DesignCollector, Klikkenth√©ke, Ads of the¬†World, Net Magazine, Applied Arts Magazine.

His projects were featured in ‚ÄúOn the Road to Variable: The¬†Future of Type‚ÄĚ, Type Today, Mindsparkle Mag, The¬†Blueprint, Afisha¬†Daily, BURO 24/7, Brutalist Websites, Slanted Magazine, AIGA Eye On Design, PAGE Magazine, DesignCollector, Klikkenth√©ke, Ads of the¬†World, Net Magazine, Applied Arts Magazine.

10.2

10.2

He was in the jury for ADCR 2022. In 2019 he was a judge at G8 Festival of Creative Industries.

10.5

11.

Colophon

His works were exhibited at ‚ÄúSpace Embraces You‚ÄĚ obdn √ó Danilovsky Market (Moscow, 2022), Oripeau (Nantes, 2020), Zeitgeist Magazine Digital Exhibition (online, 2019), PosterJam Offbeat Exhibition (Bucharest, 2019), Shukhov Lab Design Contest (Moscow, 2019), RANEPA Design School (Moscow, 2019), 15th International Poster Biennial (Mexico, 2018), Golden Bee (Moscow, 2018), Secret 7" (London, 2018), 5th Moscow Poster Competition (Moscow, 2018).

His works were exhibited at ‚ÄúSpace Embraces You‚ÄĚ obdn √ó Danilovsky Market (Moscow, 2022), Oripeau (Nantes, 2020), Zeitgeist Magazine Digital Exhibition (online, 2019), PosterJam Offbeat Exhibition (Bucharest, 2019), Shukhov Lab Design Contest (Moscow, 2019), RANEPA Design School (Moscow, 2019), 15th International Poster Biennial (Mexico, 2018), Golden Bee (Moscow, 2018), Secret 7" (London, 2018), 5th Moscow Poster Competition (Moscow, 2018).

10.3

10.3

The whole website is just a lot of words, written by Artem Matyushkin and set in similar text blocks. And these words are visually interesting thanks to Dinamo’s ABC Gaisyr.

11.1

In 2024, he received a TDC Certificate of Typographic Excellence for the typographic stamps he designed for Studio 96, one of his most long-running projects.

10.6

11.2

Pic. 1 (used in 1.2) is hand-drawn by Vanya Koltsov.

The website is made with Readymag in 2024. Its previous iteration can be found here.

11.3

Artem’s projects gained international recognition from ADC (2018), NY Addys, Communication Arts, Awwwards, Summit International Awards, Applied Arts Awards, CSS Design Award.

Artem’s projects gained international recognition from ADC (2018), NY Addys, Communication Arts, Awwwards, Summit International Awards, Applied Arts Awards, CSS Design Award.

10.4

10.4

One might wonder why there’s not a single work-related image on a designer’s website. It’s easy: design is much more than just pictures. Rephrasing John Baldessari, design should be seen as a way of thinking and structuring ideas, information, and, after all, visuals (see 3.2).

11.4

He was in the jury for ADCR 2022. In 2019 he was a judge at G8 Festival of Creative Industries.

He was in the jury for ADCR 2022. In 2019 he was a judge at G8 Festival of Creative Industries.

10.5

10.5

Artem’s portfolio is more than just a collection of works; it is a compilation of words. These words articulate his vision, principles, beliefs, and interests. They speak about him as a designer just as much as the pictures would do.

11.5

In 2024, he received a TDC Certificate of Typographic Excellence for the typographic stamps he designed for Studio 96, one of his most long-running projects.

In 2024, he received a TDC Certificate of Typographic Excellence for the typographic stamps he designed for Studio 96, one of his most long-running projects.

10.6

10.6

12.

Links & Info

11.

11.

Colophon

Colophon

Email at artem.matyushkin@gmail.com

12.1

The whole website is just a lot of words, written by Artem Matyushkin and set in similar text blocks. And these words are visually interesting thanks to Dinamo’s ABC Gaisyr.

The whole website is just a lot of words, written by Artem Matyushkin and set in similar text blocks. And these words are visually interesting thanks to Dinamo’s ABC Gaisyr.

11.1

11.1

12.2

11.2

11.2

Pic. 1 (used in 1.2) is hand-drawn by Vanya Koltsov.

Pic. 1 (used in 1.2) is hand-drawn by Vanya Koltsov.

© 2024 Artem Matyushkin

12.3

The website is made with Readymag in 2024. Its previous iteration can be found here.

The website is made with Readymag in 2024. Its previous iteration can be found here.

11.3

11.3

12.4

One might wonder why there’s not a single work-related image on a designer’s website. It’s easy: design is much more than just pictures. Rephrasing John Baldessari, design should be seen as a way of thinking and structuring ideas, information, and, after all, visuals (see 3.2).

One might wonder why there’s not a single work-related image on a designer’s website. It’s easy: design is much more than just pictures. Rephrasing John Baldessari, design should be seen as a way of thinking and structuring ideas, information, and, after all, visuals (see 3.2).

11.4

11.4

Artem’s portfolio is more than just a collection of works; it is a compilation of words. These words articulate his vision, principles, beliefs, and interests. They speak about him as a designer just as much as the pictures would do.

Artem’s portfolio is more than just a collection of works; it is a compilation of words. These words articulate his vision, principles, beliefs, and interests. They speak about him as a designer just as much as the pictures would do.

11.5

11.5

12.

12.

Links & Info

Links & Info

6200 pixels deep, 60 paragraphs long, temporary as always,

Email at artem.matyushkin@gmail.com

Email at artem.matyushkin@gmail.com

12.1

12.1

12.2

12.2

© 2024 Artem Matyushkin

© 2024 Artem Matyushkin

12.3

12.3

12.4

12.4

3700 pixels deep, 60 paragraphs long, temporary as always,

3700 pixels deep, 60 paragraphs long, temporary as always,