Artem Matyushkin,
designer & art director
Artem Matyushkin,
designer & art director
1.1
1.1
Artem Matyushkin,
designer & art director
1.1
A hand-drawn portrait, pic. 1.
A hand-drawn portrait, pic. 1.
1.2
1.2
A hand-drawn portrait, pic. 1.
1.2
2.
2.
Introduction
Introduction
2.
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.
2.1
2.1
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.
2.1
Previously based in New York and Moscow, he now frequently switches locations between Seoul, Tokyo, Tbilisi, Milan, and Paris.
2.3
His practice goes beyond graphic design, as Artem is also a design teacher, curator (occasionally), 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, curator (occasionally), and co-founder of Praxis(abc), an experimental brand that explores repetition in the context of contemporary wardrobe.
2.2
2.2
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.
2.4
Previously based in New York and Moscow, he now frequently switches locations between Seoul, Tokyo, Tbilisi, Milan, and Paris.
Previously based in New York and Moscow, he now frequently switches locations between Seoul, Tokyo, Tbilisi, Milan, and Paris.
2.3
2.3
His practice goes beyond graphic design, as Artem is also a design teacher, curator (occasionally), and co-founder of Praxis(abc), an experimental brand that explores repetition in the context of contemporary wardrobe.
2.2
You can get in touch by email, instagram or telegram. For any new commissions, please contact hello@non-objective.works.
2.5
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.
2.4
2.4
3.
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.
2.5
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.
3.1
3.
3.
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.
3.1.1
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.
3.1
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.
3.2
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.
3.1.1
3.1.1
Vision is later translated into various forms such as concepts, branding, architecture, visual identity, strategy, photography, objects, etc.
3.2.1
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.
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.
3.2
3.2
The main criteria for “good” 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.
3.2.2
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.
3.2.1
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.
3.3
The main criteria for “good” 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 “good” 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.
3.2.2
3.2.2
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.
3.3.1
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.
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.
3.3
3.3
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.
3.3.2
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.
3.3.1
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.
3.3.2
3.3.2
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).
4.1
4.
4.
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).
4.1
4.1
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.
5.1
5.
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.
5.1
5.1
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.
5.2
5.2
(5.1)*
(5.1)*
Artem wants his design to look the way Farben’s “Textstar” sounds.
Artem wants his design to look the way Farben’s “Textstar” sounds.
6.
6.
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.
6.1
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.
6.2
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.
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 “Non-Objective Nature of Time”; 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 “Non-Objective Nature of Time”; 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
6.3.2
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.
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)*
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)*
7.
7.
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, FIGURA④, 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, FIGURA④, 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
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
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