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This guide will be the first of our new collection . Over the upcoming months we’ll be covering a variety of continents, including web developers and web designs and taking a detailed look of what is currently currently happening in the web design arena. We begin today with an article about web layout in Russia.
You may also want to check out the next Smashing Magazine posts:
Web Design in Russia
The land mass that is one-sixth of the Earth is astonishing. As the creator of a few of design-related magazines in Russia (Designcollector.net), I’m happy to show the hidden force that is Russia. I won’t dwell on the stereotypes that are basic but will examine the imagination.
The era of professional and business online layout began in Russia about a decade past. We are currently seeing an increase in professional layout and development. I won’t concentrate much on the history of internet style in Russia. Like anywhere in the planet, Web designing came as a means to Russia to present an audience with any sort of advice online. Therefore, principles such as availability, simplicity and eye-catching layout are cultivated for many decades.
Russian Internet Design: Mospromstroy
Web development as a profession was relegated to the elite for many years until musicians and geek heads took over it. There has been tiny sites which were constructed with any respect for the end user and a flourish of home pages. This trend ended mercifully, in substantial part due to the highly scaled sites that came from the original and still distinctive studio based on Artemy Lebedev, which has generated more than 760 sites.
Today, the professional landscape of web design consists of tens of thousands of accountants, studios, services and large media companies, together with outsourcing and offshore businesses. I won’t do a “Top 20” this or that rating, but that I will try to get to the very established components of Russian Internet design, such as agencies, freelancersand portals and so forth.
State Of Matters
Measuring a internet design market by its agencies’ goods is not quite fair. Agencies have shown their management technologies and quality-control processes. As somebody previously said, “The best way to know a new city would be to visit the central market.” And in Russia, Internet design is concentrated in the control of tiny studios and freelancers. To have a better picture of freelancing in Russia and the bordering Ukraine, I’ve asked two freelancers to talk about their work.
I talked with Gennady V. Osypenko, who’s the very famous Kiev-based designer working with companies in Eastern Europe (he is also known as Genn), and Dmitry Sulliwan, an Russian freelance Web designer.
Q: Can you please describe the life span of a freelancer, programmer and designer?
Gennady Osypenko: You really do job, acquire inspiration and then do more work: that is freelancing. For certain, you fulfill customers and collaborate a good deal. In comparison with an office job, you traveling around the city a lot, squandering your time on this. Freelance designers eventually become the middle of the undertaking, as well as oversees developers, acting as a sort of art manager. Designers in offices do the regular, yelling into account supervisors and listening to art directors. Hence, I am a freelancer, and I do not stay at one job for long term.
Dmitry Sulliwan: The work of freelancer is very interesting. You receive new experiences from working with unique companies on varied projects, and a few of those adventures may not even be linked to design. Different professional and cultural events make the life span of the freelancer simpler and let him share his expertise and comprehend the worth of his job. A freelancer’s lifestyle is great because he handles himself, which permits you to get more pleasure from the work. But that doesn’t mean that you operate any less. In my standpoint, freelancers operate one-and-a-half times greater than residential contractors. The only barrier to getting the top results is laziness. Thus, are not a great deal of true professionals at the freelancing space.
Q: Are there any regular meetings or events?
Genn: We hold festivals and various advertisement exhibitions. The only exhibition I’ve seen abroad was that the designers market in Budapest (Sziget). Web-oriented conferences were quite popular last year. Not all of them were about layout, but a few were interesting and useful anyhow. I’ve done things such as short master courses at a number of these, and I plan to do this in long run; I’ve been encouraged at the end of October to state anything about being a freelance designer. I enjoy talking about what I do to individuals who are eager to listen to.
Dmitry: There’s a good set of conferences in Russia. I can name the past ones: DesignAct at Moscow, and the 404 Internet Designers Seminar in Samara. Most Russians also visit foreign events in Europe and across the globe.
Q: Where would you get inspiration from?
Genn: I receive inspiration from everything around me. That’s a normal response, however, any object could lead my imagination to the exceptional and perfect thought. It is similar to from the House M.D. show on TV, if House is stuck on a diagnosis and abruptly gets inspiration to solve it. I have inspiration for my final job in the Wipeout Pulse match on PSP. I played it for hours and eventually got a concept for a site architecture.
Dmitry: Style publications, magazines and Internet sources. These days, we’ve got a great group of local design sites on which they discuss their experiences and thoughts.
Q: What is the problem with the market? How much can designers make?
Genn: I don’t understand the situation in the marketplace, but I know for certain that a great deal of individuals want to create a website or establish an internet identity. As an independent designer or creative procedure supervisor, I prefer more interesting and specific projects, ones which don’t reflect the entire market scenario.
Dmitry: Authentic designers, like any other excellent specialists, cost a fantastic quantity of money. The question is whether there are sufficient places. There are lots of agencies and studios, and so fewer of them would have the ability to offer a fantastic experience or simply take on interesting projects.
Q: Why is becoming a Web designer considered high tech, complicated work?
Genn: When you see an ad on each (literally each) open surface saying, “Site for about $ 100,” how could you respect Web designers or anybody connected with site creation to be high level or complicated? Fortunately for us, customers who really need complicated, functional sites know that they have to work with professionals. Just because you are able to exemplify something doesn’t mean that you are a Web designer. If you are able to organize the craziest information in a useable and readable way, and then decorate it, then you’re a web designer. Therefore, we could say that being a Web designer is both higher level rather than high level at the exact same time. Actually a lot of internet designers also create perfect identities and moves, so I’d better call them designers, even though we produce amazing sites.
Dmitry: Unfortunately, not always. Mainly because people still confuse Internet designers with system administrators [Interviewer note: That is accurate, because most Russian Internet designers may do Shell and Apache tasks, hosting stuff and email direction and develop a reputation for blending these together. When a Russian customer orders a site, they want it 100% with domains, hosting, parking, service. Here is the major issue with the profession.] But in many IT and associated companies, the position of internet designer (and programmer, UI designer and visual designer) is appreciated and admired due to the high-level abilities and usually intricate work involved. Its own place has cut out in the sector, today and is famous for this.
Q: There are rumours that many designers in Russia still utilize tables, and that many layouts are 100% liquid, regardless of screen resolution?
Genn: Are you speaking about HTML coders and Internet developers? As far as I am aware, the tendency is to use code and follow other and accessibility compliance criteria. One HTML coder and requirements coded his own blog in HTML 5 and also fulfilled all criteria, even if just for a few browsers. So they are forward-looking and all progressive. As for 100% breadth that is liquid, there was an assumption that all sites had to be 100% wide and match the browser window. The breadth of sites should fit the needs, as I describe in my own training and master courses. As I can tell, erroneous use of widths is falling and used in just specific instances.
Dmitry: People are just rumors. Professional Web developers follow criteria and adopt the latest trends in coding. Breadth is a distinction of Web development and a standard that is common. Fluid layouts are useable, dynamic and appear great at various resolutions. By using width, and Web developers can avoid problems, such as the ones associated with typography and floating.
Q: What about typography and Internet standards?
Genn: It’s a common joke that all designers hate Cyrillic letters. We accommodate to it, although the letters look strange if you want to produce something elaborate. I enjoy the narrative of one logo made in the usa for a few candy signature. The designer decided to include an attribute to the logo and name, so that he left Ã¶ from o. Years later, he found out that Scandinavian designers hate umlauts, however, he utilized them as decoration and it functioned well. Not see hieroglyphs but instead understand their nature and utilize them in the way that is best and we have to abstract.
Dmitry: Cyrillic kind has far-reaching difficulties. The major illusion is that type is not superior than Latin. That issue is obsolete. We have Russian typography designers who do type that matches certain designs and win awards. Now Internet editorials purchase custom typography to their titles. Typography on the internet is now user friendly and readable.
Q: Are there any problems unique to Russian Internet design?
Genn: Yeah, there could be some difference between layout in Ukraine and in Russia. As long as designers are not regarded as specialists in the community, then customers may continue to think that they are perfect designers. Therefore, repaint that a touch they will always wish to move this a little, and change the layout five minutes. With any job, I attempt to be as specific as possible in describing virtually every pixel (or dot, if we’re talking about print) so that the customer can see why the item is how it is. It is unexpected, but it works more than half the time. The problem is that nobody wishes to associate with their cash, which means you may wind up waiting some time before making cash for a job that is completed, implemented and functioning.
Dmitry: Russian customers still don’t know that designers don’t blindly follow their ideas but are quite themselves exceptionally motivated employees who want to create the best results for the specified job. Whoever the customer, whether foreign or local, each time it’s a war that is slight. Designer-client relations are not secure in Russia and are not even controlled. We have no support, no unions and, obviously from the government. Newcomers to outsourcing are usually not aware that some customers are unfair, but they find out if they don’t get compensated.
Q: Do you see any noteworthy differences between Russian layouts and ones in the US and Western Europe?
Genn: I’m happy that distinguishing between layouts in Russia and those on the global scene has become harder and more challenging. Then every designer’s work is exceptional, although the designs here are exceptional in their own way.
Russian UK Style
Q: How does all of this work?
Genn: I don’t understand. I didn’t enjoy physics in college much. When I ask myself this question, I begin reading British science fiction. It doesn’t answer the issue, but it has a lot of jokes that are funny.
Dmitry: Briefly, the problem is great. Web designers are always looking and no longer do clumsy, heavy sites. We be integrated with the remaining world that was professional and have begun to concentrate on accessibility and usability.
Cases Of Creative Agencies
Let’s turn now in the sourcing life in Russia to the FMCG and promotional sectors, where Russian inventive agencies reside. They do their best to impress customers with their products and websites. Cause them to spread the information just like a virus and the results are supposed to impress visitors. Here are a few agencies that have gained attention as well as awards, such as ADCR the FWA as well as the Cyber Lions shortlist.
Showcase Of Internet Agencies
These guys create great sites and form the basis of the Internet design arena. They’re not the best; they do their work better.
As mentioned, ArtLebedev Studio is still the biggest studio at the Russian market, based on portfolio size. So far, it has done more than 760 sites, 725 layouts, 113 product layouts, 44 ports, 32 environmental designs and 30 presentations. This record is unbeaten, and its brand is something of a guarantee on the Internet design arena. Also worthy of mention is its Bronze Cannes Cyber Lion award (the only studio in Russia to win it), along with its internship program, which helps international students realize their ideas.
ArtLebedev Studio’s work
The next largest studio in Russia will be DEFA Interaktiv. It was founded by Dmitry Kozlov eight decades back and has made a success of its customers’ businesses.
DEFA Interaktiv’s work
The quite new and fast-moving creative service Deluxe Interactive has already been cited at the favourite Web Awards (FWA) and continues to create excellent promotional Flash sites.
Deluxe Interactive’s work
Smashing Membership. Just sayin’.
Showcase Of Freelancers
Freelancers are the hidden force of creativity that is Russian. Anyone who can freelance in Russia could manage art management at any agency with no problem as we mentioned. To grow as professionals, franchisees need a spot to showcase discuss insight and their own work. Such places include Deforum.ru, , , , and russiancreators.ru. A Number of magazines and sites profile the top professionals: , Designet.ru, Designlenta.com, Revision.ru, Creativenews.ru, Peopleofdesign.ru, Omami.ru, ru.designeast.eu, , and Designcollector Network
Internet Developers Online
The internet programmer scene in Russia is represented on sites. We are going to cherry-pick the ones that are top here. Web developers and commentators discuss their ideas and host communities. Constantine Osnos and Vadim Makeev picked these ones for us.
The specific nature of Russian communicating has generated these huge community programs, where any topic can grow or fall based on the “vox populi.” What IT-related, from Internet 2.0 to Internet development, is mentioned on Habrahabr. The best spot to talk about Russian Internet criteria is Webmascon magazine. And now Deforum is the place to talk about your creative work and also welcome a bunch of adequate, and sometimes disgusting, critics.
Also worthy of mention is Injun, a Flash and ColdFusion development blog, as well as Inforedesign and SEOBaby, for their useful content. Nbsp and Internet Matters are amazing because of their professional content linked to Internet design, development and marketing.
We’ll mention some online resources related to design industries to round out our picture of creativity that is Russian. By Way of Example, advertising: Adme and Advertka. For fashion: LookAtMe and Fashion Communication. Along with the 3-D and CG arts: Render Ru and CGTalk.
Russian creativity bears fruit every day, and the perfect way to remain on top of it’s to read our Designcollector Network and keep linked to Russia’s magic networks.
Showcase of Russian Internet Designs
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Retro and classic are becoming a new trend. Infrequently utilized within this robust, dynamic mild, retro, ancient and vintage elements are getting more and more popular in a variety of style contexts. Company designs, shops, portfolios and sites incorporate both designs. When applying “old-style” components to their functions, designers produce appealing and creative layouts which produce their sites stand out and seem extremely different. As a matter of fact, if implemented such layouts never seem boring, but one might believe the opposite would be the case.
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Retro and classic are becoming a new trend. Infrequently utilized within this robust, dynamic mild, ancient, retro and classic elements are getting more and more popular in a variety of style contexts. Company designs, shops, portfolios and sites include the two designs. When applying “old-style” components to their functions, designers produce creative and attractive designs which produce their sites stand out and seem very different. As a matter of fact, if implemented such layouts never seem boring, but one might believe the opposite would be the case. [Last updated: Nov/10/2016]
Vintage layouts and Retro exhibit graphic solutions which are strongly influenced by the time period they’re supposed to represent. Classic recalls the period of time between the 1950s and 1980s, while retro concentrates on the manner of the 1910s to 1930s. In both situations, design components reflect some conservative subjects, trends, personalities and items that had become an important part of our lifestyles in the past.
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Components make awaken feelings, a nostalgic setting and memories and endeavor to communicate data effectively using emotions. Some such layouts take advantage of so-called “classical conditioning”– a technique used to associate a stimulus having an unconscious bodily or emotional response.
The Secrets Of Classic and Retro Designs
What components do designers use to create a vintage or retro setting? What colours are used? And what sorts of graphics are embedded in designs? Let’s find out. According to our research, common components for layouts are:
Illustrations from posters, movies, papers, CDs, vinyls, advertisements;
Torn, used paper with spots (frequently yellow paper);
Dark, dirty colours (brown, dark red, dark blue) and textures (e.g. newspaper);
Some layouts go even use retro or classic elements but try to accomplish a Renaissance appearance. You’ll get a few examples of designs.
In all of these situations, designers use their imagination to provide something truly different and create the design literally stick out. Let’s take a peek.
Below, you’ll find a showcase of 50 beautiful retro, classic and Renaissance layouts. Some of them are Flash-based, and many of them are CSS-based: for us it was not significant the way the layout was attained; instead, it was more significant exactly what came out of the designer’s strategy in the long run.
Showcase Of Retro and Vintage Website Designs
CSS Tinderbox (the layout Differs now – that the website had been recently redesigned)