What you need to know to become a graphic designer. Analysis of the profession: what an interior designer should know and be able to do

Let's talk about how to become a clothing designer, where to start. The profession of a designer has always been considered fashionable, and its relevance has not been lost at the present time. Specialized educational institutions that train fashion designers have real “live queues” of applicants. Not everyone understands how difficult and thorny the path from an ordinary school student to a famous fashion designer is. Let's talk about how to become a clothing designer. Some have been trying to master a profession since school, while others only develop a career at an advanced age.

Specifics of the profession

First you need to understand the content of the profession, only then can you get an idea of what it takes to become a fashion designer. What do such specialists do?

Don't know how to become a famous fashion designer, but really want to? A professional clothing designer creates and presents his sketches to the fashion world. He must take into account the latest trends in the fashion world, otherwise his products will not arouse interest and will not become in demand.

creates clothing designs;
draws up technical specifications for the design of clothing items;
uses information technology in design;
organizes the full-fledged work of performers;
exercises control over the production of clothing;
prepares applications for samples for certification;
develops patterns

What a future designer should know

If you don’t know how to become a designer from scratch, then first get acquainted with theoretical issues related to the worlds of fashion and design.

Study the history of costumes.
Learn to distinguish the main fashion trends.
Learn the basics of clothing design and styling.

The future couturier must understand all issues related to technical equipment and methods of sewing fashionable clothes.

Where can a fashion designer work?

Schoolchildren thinking about how to become a famous designer often do not think about where a representative of this specialty can work. In addition to fashion houses, a certified designer can find a job in a light industry enterprise, in an atelier (elephant), or in a textile and haberdashery (clothing) production. In addition, when thinking about how to become a designer, where to start, we note that you can always take individual orders, developing real fashion masterpieces at home. In many large cities of our country there are experimental workshops in which professional clothing designers are in demand.

Fashion designer: area of interest

The domestic labor market is represented by both designers and fashion designers. Are you wondering how to become a fashion designer, where to start? Please note that professions complement each other. If you are sure that you know how to become a designer, where to start, you can try your hand as a fashion designer. The main directions of its activities:

Technologist. Professional responsibilities include choosing a sewing method, creating simple clothing options, searching effective options seam processing.
Constructor. This direction involves the development of high-quality clothing drawings, fitting products to individual characteristics customer figures.
Artist. It is he who draws the finishing option, creates sketches, and the entire design of the future fashion accessory.

So what do you need to do to become a fashion designer? It is advisable to master several different skills at once, that is, to become a universal fashion designer.

What a true designer should be able to do

Representatives of this profession can be considered real “fashion geniuses”. It is they who must come up with the entire concept of new collections, develop individual sketches, offer new designs and original technologies. In addition, the designer himself thinks through the key points of the scenario for the future fashion show and takes part in advertising.

Advantages and disadvantages of the design direction

Before you think about what you need to do to become a fashion designer, weigh all the advantages and disadvantages of this profession.

Among the advantages, if all circumstances are successful, we can mention global popularity and fame. A good designer has high fees, can develop his creative potential, and develop useful connections. Representatives of this profession are in demand for modern market labor, will not be left without their favorite job.

There are also some disadvantages that are also important to mention. The work involves heavy physical labor and often requires emergency work. There are certain limits specified by the customer, beyond which you cannot go. There is serious competition in the market, it is difficult to achieve success and popularity on your own. Beginning designers have to spend time and effort searching for potential customers. There is no guarantee that the profession will immediately generate a stable and high income.

In order to take part in a fashion show, you need to prepare 50-60 full-fledged ensembles, this requires a lot of time and effort. A professional spends 4-5 months to create one suit, so only professionals and true fans of their craft “survive” in the fashion world.

We become designers without experience or education

In reality, when thinking about how to become a designer, where to start, realize that with simple enthusiasm, without any skills, experience, or connections, you will not be able to make your dream come true. Where to take the training? So, are you looking for the answer to the question of how to become a fashion designer? In this case, take a look at design schools, fashion institutes, and art schools. Among the most popular educational institutions in the fashion world, we highlight the following: MSUDT, MSTU. A.N. Kosygina, National Commercial Institute of Fashion, Institute of Costume Design (St. Petersburg), Ivanovo Textile Academy, Moscow Industrial College.

For those who are seriously thinking about how to become a clothing designer at home, we offer distance learning in British higher school design, college of fashion and design.

What is important to remember to realize your dreams

First, it is important to decide on your preferences. You don’t know how to become a clothing designer, but you really want it, then look for your strengths. For example, you like a business suit, study all the nuances of its creation to gain theoretical skills. Without them, you won’t be able to come up with a new business image or surprise modern fashionistas with your designs.

Are you thinking about becoming a children's clothing designer? First of all, it is important to study all the features of child physiology. Clothes for children should not only be beautiful, but also comfortable for young fashionistas and fashionistas, any professional knows this.

Are you thinking about creating a collection of comfortable clothes for yoga? Get to know your clients, find out their preferences.

Are you thinking about how to become a fashion designer yourself without wasting time on training sessions? Subscribe to several popular fashion magazines, study biographies of world fashion designers, and carefully follow all fashion trends. It is important to develop your artistic taste, find a sense of proportion, and feel inner harmony.

If you decide to develop your technical skills, form three-dimensional thinking, or want to learn how to combine different colors and textures, and you’re thinking about how to become a fashionable clothing designer, you can sign up for design courses.

In addition to courses, try to put the acquired knowledge into practice. For example, having looked into the nearest fashion boutique, analyze its assortment, select an ensemble of clothes for different occasions. By ready-made options try to create your own ensembles in which you include your ideas and “zest”. A true design professional must be fluent in any sewing machine, hand sewing, and embroidery.

The most difficult thing is creating high-quality patterns and sketches. Try to devote as much free time as possible to developing this skill, otherwise you will not be able to make a full-fledged pattern. Don’t forget that the materials market is constantly being modernized, and new fabrics with certain characteristics are appearing.

Looking for our own style

By collecting a variety of information about popular designers, borrow from them the most interesting ideas and suggestions. Follow everyone fashion trends, consult with experienced mentors who have practical experience"survival" in fashion world. Try to find your own style by which clients will recognize you. It is individuality that is primarily valued in the world of fashion and beauty.

Creating a portfolio

Take care of developing your own complete portfolio. These days, this detail is a vital necessity. Without demonstrating your achievements, it is difficult to prove to a potential employer that you are real professional of your business. In addition to a paper portfolio with certificates and diplomas, it is advisable to acquire photographs from fashion shows with your participation. You can supplement your portfolio with video reports, clippings from newspapers and magazines. Professional designers have their own logos to help clients recognize their work. You, too, can think about developing such an “insignia” for your collections, and to protect it from attacks by competitors, carry out its official registration with Rospatent.

Learn to do business

You need to learn how to make money, create not only beautiful, but also popular things. You need to study the basics of modern marketing and look for opportunities to sell your models. For example, you can organize exhibitions of finished models in cinemas, shops, and exhibitions. Don’t stop there; you’ll have to start as an apprentice to gain professional skills. A designer who wears his own clothes inspires confidence in his clients.

Conclusion

If you don't know how to become a fashion designer, but really want it, you will succeed. Believe in yourself, in your strengths, try to be in nature as much as possible to get new ideas for creativity. The main criterion that opens the path to success for a future designer is his personal talent, sense of style and taste. Such abilities do not arise spontaneously; they appear already in early childhood. In many cases, before graduating from school, a young man understands that his destiny is to create unique clothing collections.

If you draw well, you have beautiful handwriting, you know graphic design, love photomontage, such a direction as design suits you. Don't forget that in addition to the creative component, fashion design also requires technical skills. To create full-fledged patterns for future products, you need to be able to create impeccable drawings.

The creator of dresses and suits must “throw” his ideas onto paper in a matter of minutes, getting beautiful sketches. Designer is a profession that requires a certain perseverance. Sometimes it takes 5-6 months from the moment the idea appears to the receipt of the finished product. You need to be prepared not only for high fees and victories in competitions, but also for defeats and disappointments. Not all invented projects have a happy future, because the path to real success is thorny and long. Have you made a choice in favor of becoming a designer? In this case, decide on your specialty: fashion designer-designer or fashion designer-cutter. The specialization "designer" will require creative ideas, and for a "cutter" it is first of all important to have a good technical base. Higher educational institutions offer comprehensive training, graduating from their walls real universal specialists. In addition to such prerequisites as talent and diligence, punctuality and tolerance are important. Answering the question about how to become a clothing designer from scratch, let us remind you that it is important to be good psychologist, helping our clients find their own style.

Such a specialty as a designer attracts applicants from higher and secondary specialized educational institutions from year to year.

It is not surprising, because it provides great opportunities for implementation, it cannot be called boring, with its help you can earn not only big money, but also worldwide fame.

So how to become a fashion designer to become your own in the fashion world, create fashion collections that will attract stars, dictate trends in the choice of clothing?

This path is very thorny, and only the most talented, hardworking and ambitious individuals can conquer the peak.

How to become a clothing designer: the specifics of the profession, its pros and cons

Clothing designers can be roughly divided into two groups: professionals in their field who have dedicated their lives to design, and wealthy young ladies for whom design is a hobby and an opportunity to at least occupy themselves with something.

If you do not have a wealthy patron and you intend to become a professional in your field, then you should study this specialization inside and out, understand what knowledge and skills a clothing designer should have, and also study the pros and cons of this business.

1) What should a clothing designer know, be able to do and do?

Clothes designer- this is not just a person who drew a crooked dress for himself, and what will happen to this drawing next does not concern him.

No, the designer who creates the collection is the person who is responsible for everything, because it is he who will be blamed by critics and buyers if the clothes presented are not fashionable and of poor quality.

Every good fashion designer should know:

Fashion history: names of famous designers, supermodels, magazine editors, names of fashion houses, historical collections, the appearance of iconic items and the names of their creators, etc.
Fashion theory: what is the name of this or that cut of things, basic terms, names of fabrics, decor, technical equipment, main fashion trends, styles, directions, etc.

Basics of clothing design.

You don’t just draw a sketch - you create a model of clothing on paper, so you must clearly understand whether they can create a dress based on your sketch, what fabric it is best to sew it from, how it will look in reality, etc.

Fundamentals of labor organization and people management.

No fashion designer works alone because he cannot create a fashion collection on his own. You will have seamstresses, buyers, and technical staff under your command.

You will have to collaborate with bookers, models, journalists. All this is not as simple as it seems to you at first glance.

Basics of psychology.

A fashion designer has to work a lot with people, and with creative and creative people, with their crazy cockroaches.

A good psychologist will be able to find a common language with everyone and will not allow conflicts to arise that harm the work process.

If you want to become a good clothing designer, you must develop the following qualities:

Creativity.

You, as a person in a creative profession, simply do not have the right to look at things trivially. People with boring traditional thinking will create uninteresting collections.

Goodwill.

It’s the sharks in the fashion world who can be weird, hysterical, and look down on everyone. As a newbie, you must be extremely polite and friendly with everyone, starting from the technical staff.

Punctuality.

If you promised a client (for example, the management of the fashion house you work for) to create a collection of clothes by such and such a date, then you need to keep your promise. No one wants to work with a designer who misses deadlines.

Perseverance.

The fashion world is cruel, intolerant of newcomers and different high level competition. Only people who are strong and persistent, who clearly see the goal and do not see obstacles, can achieve success.

Work ability.

If you want fame, money, famous clients and the respect of colleagues, you will have to work very hard. Forget about weekends, vacations, parties while creating the collection.

Work, work and more work. There is no place for lazy people here.

2) Advantages and disadvantages of being a fashion designer

Clothes designer is a profession that has both advantages and some disadvantages.

Don't let rose-colored glasses cloud your eyes. The belief that creating clothes consists solely of advantages will not lead to anything good.

If you do not have a rich patron, connections, or appropriate education, your path to the fashion industry will be longer and more thorny.

Young designers who want to become professionals without education or connections need:

Master all the subtleties of craftsmanship.

You must replace formal education with self-education:

learn to draw sketches, cut, sew well;
be able to choose fabrics and accessories;
know how to combine colors;
understand what clothes are in demand among consumers;
follow fashion trends and predict them, etc.

Implement as many ideas as possible.
It is not enough to draw a few sketches of clothes - this will not make you a professional designer. Your folders should be overflowing with sketches, and the most successful models should be sewn together and shown to the public.
Apply for an internship at fashion houses.
You shouldn’t immediately aim at such fashion houses as Chanel, Givenchy, Christian Dior, Versace and others. Start mastering your specialty, interning with domestic designers.
Send your resume to those fashion designers with whom you would like to intern. Perhaps someone will invite you for an interview. Such an internship is sometimes even more useful than special education.
Participate in competitions for young designers.
Both in Russia and Ukraine, enough competitions are held annually in which young designers can show their clothes.
For example: “Russian Silhouette”, “Admiralty Needle”, “Autograph”, “Looking into the Future”, Grass Design Week, Young Fashion Line and others.
Don't miss the opportunity to participate in them. Here you can learn more about the design competitions that will be held in 2017: http://grantist.com/subject/dizajn
Create your portfolio.
You can't go to interviews without a portfolio. Place in the folder:
- best sketches;
- professional photos of already sewn dresses;
- photos from shows you participated in;
- notes about you in the press;
- resume, etc.
Find your first star client.
You can't become a popular designer if the stars don't wear your clothes. To get your first celebrity client, offer him/her a suit/dress for a night out for free and ask for advertising.
You can collaborate in this way with stars who run pages on social networks, TV presenters, etc.
- in social networks;
- on your own website;
- through outdoor advertising: banners, advertisements, city lights;
- at city forums;
- with the help of the media, etc.
How more people will know about the clothes you create, the more clients you will have. The more clients, the more fame and profit.

Not everyone can understand how to become a fashion designer. Some lack talent, some lack perseverance and hard work, some lack education, some lack a bit of luck.

But if you make every effort to realize your dream, you will definitely achieve success...

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Consider this an introductory course in interior decorating. We may not all have the vision required to create exquisite design down to the smallest detail, but we can decorate our own interiors in a way that looks professional. To some extent, design can be presented in the form of a formula that includes certain steps - a kind of foundation building, brick by brick, to create an individual design style.

On the other hand, there is the art of decoration, a style that obeys neither rules nor formulas. You may not have this sense of style, but you can learn to develop it.

How? There are basic principles that allow you to create a cohesive and harmonious interior design of a room. By following these 10 steps, you can begin creating a cozy and functional living space that will create a homely atmosphere within just four walls.

1. Functional layout

Interior design should start with functional layout rooms. To get started, we advise you to search the Internet for free resources and programs that offer to create the layout and design of a room. Such programs will allow you to specify conditions such as the size of the room and the dimensions of furniture pieces, and then try to create various options layouts to see which one is best for you.

We often find out about planning mistakes too late, so why not create a virtual room plan first and avoid having to move furniture from place to place, making mistakes over and over again while trying to create a suitable layout?

The functionality of a living space greatly depends on individual style. If your home nest seems empty to you, you will probably want to purchase expensive furniture or decorative elements, but large families will prefer an open plan, not limited by a large number of design details. Take your personal needs into account and then try to choose good program, which will help you create the perfect interior plan for you.

2. Don’t be afraid to spend money on good upholstered furniture

Many designers will tell you that if you want to invest in one piece of furniture, let it be a sofa. Choosing the right upholstered furniture for a room can be very difficult. What color furniture should I choose? With what upholstery? What size? How much should you spend on your purchase? What is it like – a good, high-quality sofa?

Visiting numerous furniture shows and showrooms can help you find a style that suits your tastes and needs. However, before you go shopping, take measurements! It would be terrible to fall in love with a piece of furniture and then find out that it is too big for your room.

We recommend limiting your choice to a few options and then selecting the one that has best quality. By purchasing high quality furniture, you can be sure that it will serve you for many years, if not a lifetime, so choose the best that you can afford. Oh, yes: choose an upholstery that you won’t get tired of soon... who wants to spend the rest of their life looking at a sofa with a flower or a color that has long gone out of fashion?

3. Decorative objects

It seems that using things in the interior that have no special purpose is a rather pointless idea. Why buy something that you can't even put to good use? The answer is simple: because such items indicate style, and therefore complement the interior design.

Now you may not have the talent to immediately create aesthetically pleasing decor, but with the help of trial and error, you can select the right number of decorative objects that will harmoniously fit into your interior. Many interior design professionals will tell you that if you really like something and you buy it, you will definitely find a place for it where it will look best. However, while this statement is quite true for those who understand design, it may not be suitable for insecure beginners.

If you're at a loss, we recommend looking through magazines and visiting furniture stores to see what you like. Please note how in furniture showrooms decorative elements are placed. Notice that many items are organized into decorative groups rather than simply placed individually in different corners of the room. First of all, buy only what you really like, what the best way matches your personality.

4. Add some greenery

Plants are often the last thing people think about. This is a big mistake when it comes to design. You may think that the interior design of your room is impeccable, but pay attention to whether you were able to use plants and objects of natural origin in it.

It's amazing how much the atmosphere and comfort of the interior changes when you place a small palm tree planted in a pot. At the same time, your room will seem fresher and your decorating style much more cohesive.

That's the thing about classics: they never go out of style. Why spend a fortune on a sofa with straight, angular lines if its style will be outdated in five years? Fashion trends can be brought into the interior with the help of smaller and less expensive parts, and let the main pieces of furniture remain simple, elegant, and classic.

Take a look at the living room in the photo below. The black chairs at the dining table are designed in classic style and will be appropriate in any interior. The animal print upholstery allows them to keep up with current fashion trends and is easy to change, while the shape of the chair will never go out of style - meaning it's a great long-lasting buy.

10. Take a photo and correct it

This is perhaps one of the most important steps. After all, a picture can tell a thousand words. By taking a photo of a room, you can look at it from a different angle. In a sense, photography will allow you to look at your own interior for the first time - through the eyes of a guest.

All of a sudden, you may find that a picture on the wall is hanging too high, or that your room has too many small details cluttering up the space, or that the sofa cushions you chose don't go with the overall style at all.

It is best to take several photographs, from different points and from different angles. This way you can see what needs fixing and what just doesn’t fit in your chosen interior style.

Can you consider this article an introductory course on interior decorating? Of course, it won't reveal all the secrets of design (only a specialist designer can do that), but it will definitely set you on the right path to creating a stylish home interior design that is both functional and attractive. To create a home that speaks about who you are.

Absolutely anyone can use these tips: create the right layout, buy a beautiful sofa, create decorative groups of objects or layers, add live greenery or a little black, stick to classic lines, correct design mistakes with the help of photographs and - most importantly - decorate the interior truly individual.

What little tricks do you use to create a stylish home interior?

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Until I was 20 years old, I lived in an apartment that was in terrible condition: a cramped Khrushchev-era building with renovations made during the times of Khrushchev himself, old wiring and no amenities. The esthete inside me demanded beauty and comfort, but what could be done in this kingdom of decadence? I once watched a program in which designers make a real palace out of hopeless housing. The process itself seemed magical to me: blow it, and you already have beautiful apartment. But this is a huge amount of work and art.
I became interested in how professionals actually work. That’s why I talked with Yulia Shatalova, art director of the interior design studio “Instiller”. She told me about the intricacies of her work, her clients who drive her crazy, and the state of Russian apartments today.

Yulia Shatalova, 33 years old, Moscow

Since my school years, it was not enough for me to study only in one educational institution, I wanted something more, something in addition to the standard program. Therefore, I graduated from two schools at once: general education and art.

The same story happened with the choice of university: I was interested in psychology, but this alone seemed not enough. At the same time, I entered Stroganovka to become a designer.

I did not imagine that art education would become the main one for me, because I was preparing myself to work as a practicing psychologist. But life places accents in its own way. So, after graduation, with two diplomas in hand, it turned out to be easier to find a job in the second one - design, and I got a job in a small advertising company as a designer of printed products.

Where I started:

Print design quickly became boring, and I became interested in spatial solutions, in free time I started studying interior design. This was followed by employment as a designer in an Austrian furniture company, where, under the strict guidance of an experienced interior designer, I honed my skills in developing space-planning solutions, decorating, and setting up light in the interior. These skills were further consistently developed in two design and construction companies, where an understanding of construction technologies, norms and rules in construction was added.

At a certain point, I felt cramped within the framework of the standard design solutions that employers required of me. I wanted more freedom, a more complete implementation of the knowledge acquired by that time and developed creative ideas, and an expansion of the range of design problems to be solved.

It became clear that it was time to gradually move on to independent practice. By a happy coincidence, my husband had just graduated from the MBA program, and also wanted to put into practice the knowledge he had gained in the field of marketing, business development and management.

He began to guide my freelance work. After some time, the number of orders began to grow, and we began to attract third-party specialists to fulfill them. Our joint work with my husband crowded out all other areas of activity: we both concentrated on the work of the studio, leaving our paid jobs.

Today we both do exactly what we love: me, my husband - business. And when general work becomes a favorite activity, then it ceases to be perceived as work, it is part of your life: personal, family - whatever.

About loving your work:

The design studio is a family affair, so it is the biggest and most enjoyable part of my life, apart from the time we spend with our daughter. We do things together, together we find solutions to complex problems, together we achieve success, together we rejoice in them.

Interior design gives you the opportunity not just to fantasize, but to put your fantasies into practice. Closing your eyes, you mentally walk around the house whose new interior you have to design, mentally arranging furniture in it, painting the walls, turning on the lights. You sit down on the sofa with your eyes closed, look around the room, move the decor again and again, move the furniture. Then, feeling that you like being in this invented space, you open your eyes and begin to put it on paper. First, pencil sketches on a sheet of paper, then drawing the drawing on the computer, and so on until that wonderful moment when, entering the finished house with a photographer, you remember that first walk through it in your imagination. The feeling is indescribable!

Most of all in my work I love and appreciate the creative and constructive components. The result is a figment of the imagination that you can touch with your hands. You see how you yourself change the world around you, making it better. The joy of the creator is what makes me crazy about my work.

About difficulties and difficult clients:

The difficulties that an interior designer faces in the course of his work are of a different nature. Sometimes this is a professional challenge, and it is pleasant to solve such problems; others have nothing to do with the specialist’s qualifications, and therefore cannot be a “test” for professional suitability. Therefore, all that remains is to come to terms with them, not allow them to take control of you and treat them calmly, as something inevitable, but surmountable.

I was faced with the need to design large spaces: we had a project for a sports complex with a total area of about 3,000 sq.m. We were faced with questions that required difficult technical solutions, I had to work in concert with a lot of related specialists: from design engineers to electrical network designers.

It's like a large orchestra, in which everyone plays their own notes, and you are the conductor, whose task is to coordinate the parts of each instrument and make them sound together as part of the performance of the overall work. This is a serious professional challenge, and overcoming it leaves a feeling of deep satisfaction.

Another example is working with secondary interiors in old buildings. Project documentation, according to which previous repairs were carried out, can never be found in such houses, and it is impossible to predict what surprises the opening of floors and walls will bring, and wooden floors together with other components impose a lot of restrictions on possible design solutions. This is also an interesting puzzle for a professional.

Customers themselves can unknowingly create significant interference in their work. It happens that the customer has an established idea of the “correct” order of work, and we are required that the work on the project exactly follow these cliches. Or, having plunged into the fascinating process of interior design, customers sometimes show such active participation that you begin to get lost, which of us is the designer and which is the homeowner. A natural question arises: why contact a specialist?

The customer’s dictate, which goes beyond the scope of competent production terms of reference, is no longer a challenge, but an obstacle in work that moves the result away from the ideal. Completing similar project, you sadly realize that it is no longer yours, it is someone else’s, and you would never make something like this, so you just want to tell the customer: “Just please don’t tell anyone who developed this design.”

I believe that the basis for such actions of people is, first of all, a lack of confidence in the right choice of designer and in themselves, because being a customer is also a kind of skill, and it is acquired with experience. I have always said, and I will not tire of repeating: be careful when choosing a designer, allow yourself any doubts, any suspicions at this stage, but, having chosen a candidate, trust him.

S. Jobs spoke very colorfully about this:

It makes no sense to hire smart people and then tell them what to do. We hire smart people to tell us what to do.

During our work we saw a lot different people, and just as teachers remember all their students throughout their lives, we also remember all our clients. Many of them are worth telling a whole story about them separately. Having already accumulated quite a large amount of “statistical material”, willingly or unwillingly we begin to “classify” customers. Certain “types” are born, and certain statistical patterns appear.

A lot can be said about the customer at the first meeting: how and what wishes he expresses, how he draws up technical specifications.

We even have a list of “safe words”, which, having heard from the customer even before signing the contract, we refrain from completing the project. It is clear that the reliability of the conclusions based on this methodology is from the category of folk wisdom, but one must understand: interior design is a serious process that takes place in close cooperation between the customer and the contractor. If there is no mutual understanding between them, then it would be better to abandon the project while still “onshore”, because a lot of work, time, and even nerves are at stake. So we have to resort to various kinds of “superstitions”.

About the realities of Russian apartments:

It is believed that beautiful housing is rare in Russia, but no one says what we are comparing it with. The word "rarity" suggests the existence of some kind of standard sample for comparison. I can’t talk about how beautiful the average interiors of Europe, America, Africa, and Asia are. I only know that there you can find examples of both high style and absolute bad taste. I also don’t know what the share of professional interior designers in Russia should be in order to move them from the “rare” category to the “norm” category.

At the same time, we, as specialists in the field of creating comfortable and stylish spaces, would, of course, like to see more of them. Having looked at photos of interiors not on specialized architectural portals, but, say, on real estate sales and rental sites, you see a clear picture of the conditions in which the vast majority of apartment and house owners actually live. You can talk for a long time about the reasons for this, looking for them in the Soviet neglect of aesthetics for the sake of mass production or the Soviet general shortage, in the poverty of the early 90s or the sudden and dashing enrichment of some segments of the population that followed, the loss qualified personnel or much more. But the fact remains: the interiors of the vast majority of apartments on these sites require the intervention of professionals.

On the one hand, we can't help but like this picture, because it clearly indicates that the potential market for interior design services is very large. On the other hand, such an abundance of absolutely creepy interiors also affects general perception people of style as such. The stylistic preferences of those who are used to living in similar apartments and among similar apartments can be quite difficult to adjust.

I always take it very simply when I see an apartment in terrible condition. To the untrained eye, the object may seem completely hopeless, but the eye of a specialist sees differently. For me the real problem is the defects load-bearing structures, but crumbling tiles or darkened ceilings - it doesn’t matter; as long as the scale of the tasks corresponds to the budget allocated for repairs.

On people's reactions to my work:

Objects, people and expectations are very different, so the reaction is different. I came across clients who wanted me to do exactly what they had pictured in their heads in advance. As a result, such clients are satisfied with their work, not the designer's. They don’t even notice the work of the specialist: no one will feel gratitude to the shovel for helping to dig a hole. Therefore, such customers are left with the conviction that all the best in the resulting interior is the implementation of their ideas, and the shortcomings are attributed to the designer’s mistakes.

Those who invited me to come up with and develop an interior for them the way they would love it are very pleased and grateful, sometimes they even give gifts. Such joy of customers charges for a long time!

Imagine that you entered the university you dreamed of entering. We completed our studies with great difficulty, passing the most difficult exams and a sieve of eliminations every semester. You wrote a thesis on a very interesting and, as it seems to you, very relevant topic, and now you have defended it. You are sitting in the audience, there is a commission in front of you, the chairman of the commission calls your name and says: “Great! I would like to mention this student." How would you feel? This is exactly our emotions when our customer (read: chairman of the commission) is satisfied with our work.

The sincere joy of our customers is exactly what we strive for in our work, caring about every project and treating them as our own creations. When they don’t order a design supervision service from us, and we complete our work by handing over the project construction crew, we often then see how it is distorted in the process of repairing or furnishing the premises. At such moments, I feel about the same as mothers who sent their children to a bad school and watch what their child turns into there.

Are we doing a good thing? I'm sure it is! If I had doubted this even for a second, I would have given up all this a long time ago. I try not to get too close to clients, as it seems to me to be detrimental to the result, but with some of them, communication continues even after the completion of the work.

About what an interior designer should be able to do:

There is a misconception that an interior designer only needs to be well versed in modern fashion trends, be able to combine colors and textures, draw beautiful pictures. But this modest list is clearly not enough. It must be accompanied by in-depth knowledge of the reconstruction procedure, building codes and technologies, ergonomic standards and requirements for design documentation.

But all of the above can be attributed to the mandatory “technical” component, however, there is another, no less significant. The designer must understand the stylistic preferences of the customer and offer the interior that he will like. It is difficult for any person to combine their wishes: a glance at the interior of a “dream house” presents disparate images hovering in the clouds of fantasy. And it is far from a fact that they will all “make friends”, confined within the framework of one room, and here the skill of the interior designer comes to the fore.

We always ask customers to show us examples of those interiors that they consider beautiful/stylish/cozy, and we do not do this in order to simply copy solutions from these pictures, no. When considering a selection of references, we strive to understand what attracts our customer, what kind of interior he will feel good in, in order to offer something that will suit him.

Well, after the “creative” part is approved, we are left with purely technical work: to reflect this idea in the drawings and plans of the project documentation, which in itself is painstaking work that requires appropriate knowledge and skills.

Just as it is impossible to determine what is more important in tea - water or tea leaves - so in design skills one cannot separate the creative and technical components. Only together they give the result for which customers value the specialist.

About the most hopeless order I worked with:

A recent object comes to mind: a tiny two-roomed flat in an old building with an area of almost 40 square meters, from which it was necessary to make a “three ruble” with all the amenities, and within a very tight budgetary framework.

The customer himself in his review described the condition of the apartment before the renovation as follows: “A microscopic two-room apartment, which had a “zest” in the form of a balcony glazed on both sides with a heating radiator, and in addition to this advantage, it had a five-meter kitchen, “like in Khrushchev,” a combined bathroom (smaller, than in Khrushchev), the absence of a hallway, and a “bonus” - a ceiling beam across the room, a completely inhumane section of 30x50cm. (...) this dwelling, with its original layout and size, in principle does not imply the presence of the benefits of civilization, such as Dishwasher, washing machine and toilet, not pressed close to the hot heated towel rail by the tiny sink.” There is hardly any way to describe this apartment better!

And this is how he outlined the requirements set before us: “Maximum use of space and hidden cavities, built-in storage systems, modern engineering systems, proper lighting, provide zoning, soundproofing of the floor and thermal insulation of the “winter garden”, planning a dressing room, bookcases and cupboards , place a dishwasher and a washing machine,” and the kitchen had to accommodate all the necessary appliances and utensils, and also play the role of a dining room. Well, what's it like?

The best thing about this project was that the clients were wonderful, sincere people who spoke openly about their wishes and all the existing restrictions. In working on the interior of this apartment, much of what I talked about earlier came together.

Customers have prepared a complete selection of their favorite interiors. In many ways, these pictures argued with each other, but, nevertheless, they gave us a fairly comprehensive idea of “what is good” for them.

They trusted us. In one of the rooms, they initially wanted to see photo wallpaper on the walls on the theme of Balinese landscapes, which did not fit in with the overall style of the entire apartment. And they did not object when these landscapes were not reflected in any way in my proposals.

The management of the entire project, from planning to configuration, was entrusted to the designer, which is the surest guarantee of the best result.

I see my greatest achievement in working on this object as a competent planning solution, which was subsequently approved in the proper manner. It was this that made it possible to fit all the wishes of the customers into such a small box of 40 sq.m., where a comfortable kitchen-dining room, a fully functional bathroom, and even a dressing room found their place. Well, the best result of the work is the delight of the customer. Yes, this apartment is not a masterpiece in the sense that interiors are usually given; there is no expensive furniture or fabulous designer accessories here. But the planning solution developed for this apartment taking into account such requirements is no longer even a trick, it’s closer to magic. Therefore, for a very long time I will be proud of such an “overwhelming” project, which we managed to implement in the best possible way.

The way you work can have a huge impact on your creative success. We present to you advice from the world's leading designers on organizing the various stages of the creative process so that your customers receive maximum satisfaction from your work, and your talent is realized 100%.

What is "design"? This is both a process and a result of solving a creative problem - set independently or received from the customer. Whether you draw, web design, or invent New Product– at the heart of all this is always the creative process. Bad design work comes from failures in this process.

These failures can be due to a variety of reasons: poor planning, ignoring obvious features of the media medium, lack of theoretical knowledge and practical skills, or inability to establish communication. So how can you improve your working methods? How can you turn from a person intensely tormenting paper with chaotic sketches into an impeccably working design machine?..

We interviewed 17 leading designers working in various fields of design - print, video, web design - in order to hear their wise advice on organizing all stages of the creative process: from planning and generating ideas, to brilliant implementation, implementation in technology and the final fine-tuning. We also asked each of our experts to recall the worst experience they had in creative life– and the conclusions they drew from it.

Despite the fact that our interviewed experts are engaged in different areas of design, many of them first gave the same advice - carefully read the brief and plan your work on paper. Although the perception of design is subjective and each of us has our own way to achieve the goal, armed with the tips outlined below, you will certainly improve it significantly.

Stage of ideas.

A blank canvas is a terrifying sight, so where do you start? Our experts share ways to get your ideas moving.

Make rough sketches.“I put together a rough draft of a composition using images scanned or found online. This allows me to use any materials I like, without worrying about whether I have them in the right quality or color. Once the rough sketch is ready, I move on to reproducing it in high resolution - filming, reworking or buying the materials I need to complete the work.” Supplied by: Darren Firth

Use metaphors.“Themes and metaphors are a great basis for ideas, so I try to develop them from both a holistic functional perspective (for example, designing a website based on a playground metaphor) and from a design integrity perspective (styles and color schemes). It’s great if you manage to subordinate the entire project to a single theme that will organically contain the content.” Supplied by: Laith Bahrani.

Move from words to pictures.“The first thing I do after receiving an assignment is to read it carefully and underline key phrases. Then, opposite each one, I draw a small, semantic picture-sketch. After that, having such a set of small thematic pictures, I look at them and see which of them can be combined into symbols close to the content.” Supplied by: Derek Lea

Think "on brand"“I would recommend taking some branding classes because being able to think in terms of a brand is very important. It helps produce visual style thinking and finding key words to express the very essence of ideas. Above all else, keep it simple. The more complex the idea or image, the less likely it is to work.” Supplied by: Jay Armitage

Don't delay your brainstorming sessions.“In the process of generating new ideas, it is very important to communicate with colleagues, as if playing with ideas, like with balls. However, the main secret is not to delay this process - otherwise ideas will stagnate. It’s better to have a couple of short sessions than one long, painful brainstorm.” Supplied by: Jason Arber

Use a sketch pad.“I usually use an A4 hardcover sketch pad, which I always take with me. Any idea that comes to mind goes there (often this happens while traveling on public transport, when you look out the window), in order to subsequently pay closer attention to it. Also, all diagrams, outlines, sketches, titles of books and addresses of Internet sites that will be useful in the future go there.” Supplied by: Oz Dean

Get out from behind your computer.“There’s nothing worse than sitting and staring blankly at an empty canvas. Get up from your chair and walk for 10 minutes in the fresh air. If you can’t afford it, sometimes a thesaurus can help refresh your thoughts—use it to find synonyms for keywords in the design brief.” Supplied by: Rigel

Chat with colleagues online.“The path of a freelancer is undoubtedly the path of a lone warrior. However, there is nothing stopping you from using the opinions of others during the concept development stage. If you have creative-minded friends, great! If not, just join some creative forum and look for advice there.” Supplied by: Dave Curd

Take a shower.“Many good thoughts came to my head in the shower - most likely, this was due to the influence of running streams of water. I try to read the brief shortly before I start work - this allows the ideas to “mix” before they are actually implemented.” Supplied by: Oz Dean

Plan for everything you might need.“It is extremely important to consider in advance what materials and types of work you need. If you use photographs, illustrations, 3D models, graphs and diagrams - all of this will need to be given attention and there should be enough time for everything. For example, the necessary printouts need to be done as soon as possible - it is unwise to leave it until the last minute. You must remember that some processes take a long time - much longer than it seems. Supplied by: Jeff Knowles

Development stage.

Work easily and naturally, following the advice of leading developers.

Use libraries.“When working in Macromedia Flash, I make sure to give meaningful names to layers and symbols. I also use a library file containing timers, looping animations, buttons, code snippets, and symbols that I use regularly. This speeds up the development process a lot." Supplied by: Oz Dean

Stick to web standards.“A lot of time can be saved when developing a website by using something like Firefox extensions like Web Developer, HTML Validator and Fangs. They help create sites that are compliant and easy to use.” Supplied by: Odog

Be modern.“Visit sites like pixelsurgeon.com, designiskinky.com and read Computer Arts. Be in line modern trends Design doesn't just mean looking at what others are doing. You also need to know the general trends of the industry as a whole. Be better than others - be able to apply new promising technologies in practice. However, be careful - you shouldn’t chase the current fashion.” Supplied by: JJ Johnstone

Keep it simple.“Because my illustrations can be very complex, I always follow one rule: when large quantities visual elements and textures always use a simple color palette. At the same time, I can be sure that my illustration will be easy to understand, and that color and design will not fight against each other.” Supplied by: Derek Lea

Automate your actions.“If you constantly perform a certain sequence of actions in Photoshop, then it is worth creating an Action from it. Once you do this, you will realize how much time it saves.” Supplied by: Rigel

Save.“Sometimes it seems that computers know that you are about to meet a deadline, and choose precisely such moments to fail. So save as often as possible." Supplied by: Jason Arber

Keep working versions of your files.“Everyone thinks differently. I always save uncompressed and uncropped versions of everything I do in case a client decides to change the size or format at the last minute. This is convenient if someone suddenly decides to make an A0 size poster out of a postcard. It is best to store working materials in the most accessible form for editing, for example, you should not flatten layers in Adobe Photoshop until the very last moment.” Supplied by: Jon Burgerman

Collaborate.“We work together, so no work is published without the approval of both. If one of us thinks that something is missing, he just takes it and works on it. If I or my partner don’t like the intermediate result, we can easily postpone it and start again. Working together on a project is not only easier, but also more fun.” Supplied by: Inksurge

Make a workable product.“Even if you have included time in your plan to test the functionality of the website, most often problems and numerous re-negotiations of changes will reduce this time to nothing. It is not surprising that many sites are released only after superficial testing. However, for a web designer, testing the quality of the product he creates is vitally important, even if a manager comes at him screaming about a penalty. A website that works perfectly from the first minutes of being shown to a client is the key to future orders.” Supplied by: Jason Arber

Practice.“The more projects you complete using certain tools or programs, the faster and more efficient you will become. You learn not only from your mistakes, but also from your victories - this significantly increases your productivity." Supplied by: Laith Bahrani

The stage of applying skills and abilities.

A bad specialist does not blame himself, but the tools he uses. Therefore, make sure that your software works for you, not against you.

Alpha channels in Photoshop.“Try experimenting with selecting areas based on alpha channels. For me, this is a key way in which I incorporate real objects and textures into my graphic compositions. Once you learn to master alpha channels, it will change the way you perceive the world.” Supplied by: Derek Lea

Buy more RAM.“Tip No. 1 is to buy as many for your computer random access memory, as much as you can afford, because Photoshop will eat it all anyway. Because I use a lot of layers, even designing a small website turns into giant files.” Supplied by: Jason Arber

Gradients in Photoshop.“To avoid “stepping” in the tone of the gradient fill when printing, add a little noise to its layer. Vary its degree depending on the size and resolution.” Supplied by: Rigel

More layers.“Based on my experience, I can advise when working in Photoshop (especially in a complex composition) to use more layers - the more, the better. Also, if possible, avoid mixing them - there is nothing worse than finding out that something you suddenly decided to delete has been combined, especially if it cannot be returned in the History palette.” Supplied by: Darren Firth

Airbrush in Illustrator."Lower the opacity of the path, add a Gaussian Blur and combine with a Clipping Mask - and you get lovely styles for airbrush, with a degree of parameter control unavailable to Photoshop." Supplied by: Inkworm

Devilish Flash.“Never, ever use the standard green to black gradient fill in Macromedia Flash. This will immediately result in the destruction of humanity." Supplied by: Laith Bahrani

Filename consistency.“As sad as it is, I usually conduct a project in a not entirely correct way - I even name the files as necessary. They may be named with the suffixes 01, 02 and 03 for one project, and then with the suffixes A, B and C for another. And even though the work is progressing, I recognize that there is still room for improvements in the workflow." Supplied by: Jason Arber

Grouping layers.“Assigning colors to layer groups and shy layers in Adobe After Effects is a huge time saver, especially when it comes to client edits and approvals. I usually colorize vector images in Photoshop. This is pretty much the same thing I do when working in After Effects using Pre-Comp - it adds that missing touch to the color consistency of the composition.” Supplied by: James Wignall

The Forbidden fruit.“Probably many of us are at that stage of mastery in using Photoshop when we do not use filters and effects, considering them the lot of amateurs and “dummies.” But if you still allow yourself to taste this forbidden fruit, you will discover many new and useful things. For example, you might not want to use the Difference Clouds filter to simulate blue-white clouds, but using it in Quick Mask mode to create a selection will give you new way to create a more realistic sky." Supplied by: Dave Curd

Think on paper.“Use such undeservedly forgotten tools as pencil and paper. The resulting sketch can then be scanned and “finished” using a computer. The “paper first, computer later” principle will help you develop your own unique style.” Supplied By: Jeremyville

Final finishing stage.

It is attention to detail that separates good work from great work. Here are some tips on how to “add some flair.”

Take a break.“In the final stages of work, the best way to finish an illustration is to leave it unattended, preferably for the whole day. More often than not, when a task is nearing completion, especially when the “deadline” is approaching, I feel completely “wrung out”. If at this moment I manage to take a break, then later, turning on the computer and opening the final version of the illustration, even if nothing has come to mind yet, just by looking at it, I immediately see those places where fine-tuning is required.” Supplied By: Derek Lea

Acrobatics.“For print designers, checking overprint, spot colors, trapping and knock-out in Adobe Acrobat Professional is an overlooked step that can save your money and reputation when your print settings are set incorrectly.” Supplied By: Jason Arber

Pay attention to kerning“...and always keep a pair of “clean” eyes on hand. For example, I always ask my friend to take a look at what I'm working on. Because she's not a designer, she pays attention to details that I don't notice." Supplied By: Oz Dean

Re-read the brief.“Ask the opinions of your colleagues and acquaintances - you need to mentally return to the beginning, to the thoughts and ideas with which you began to work. This will help you make sure the result matches your original intentions.” Supplied By: Ralph And Co

"Enough!"“The most important thing at the final finishing stage is to stop in time. There is always a danger of “improving” a job half to death. Knowing that computers allow you to undo your actions, you will try to add as many raisins to your “pie” as possible, when all that was needed was just a light dusting of powdered sugar.” Supplied By: Inkworm

Use printing capabilities. « Printing technologies- an amazing way to add features to the final work that cannot be realized on a computer. Metallic inks, spot varnishing, embossing, foiling, lamination or die-cutting are some of the technologies that can make your work unique.” Supplied By: Jeff Knowles

Add texture.“I suppose most of my work has an organic feel. Therefore, for me, the final finishing is adding texture to the work, characteristic, for example, of writing with a pencil or drawing with chalk or charcoal. Instinct should tell you when to stop – although this is not so easy when it comes to your projects.” Supplied By: Kerry Roper

Be prepared.“Working in video and animation can be unpredictable. If in printing all methods of obtaining products highest quality are already known and tested, then with animation everything is less obvious. Understand compressors thoroughly and find out which ones are best suited for your job. At intermediate stages, save materials without compression - otherwise errors and artifacts will only accumulate during the work process. Apply compression only at the very end, remembering to save the uncompressed original.” Supplied By: JJ Johnstone

Light polishing.“The last thing I add to my work is some highlights, shadows and reflections, as well as some light color correction. All this gives the final work a cohesive and polished look.” Supplied By: Jon Burgerman

Take a closer look.“When your graphic work, website or animation is almost ready, it helps to take a step back, peer at your work and stand there until your face turns blue and your eyes start to bulge out of your sockets - just like Arnold Schwarzenegger in the movie Remember All". During this procedure, look for anything that can be improved, retouched, reduced, enlarged, added or removed for a stronger effect. In graphic design, for example, I look for colors that can be enhanced or muted, or I look at individual elements - whether they can be removed or added, and how this will affect the composition." Supplied By: Laith Bahrani

What to avoid.

Learn from your mistakes: 10 examples of what to avoid when communicating with clients.

Read and re-read.“When writing an email, do not fill out the “to” field until the very last moment. Re-read what you wrote in the body of the letter at least twice. There are often horror stories about letters sent to someone for whom they were never intended. Don’t become one of the people who went through this - you won’t be able to return the letter you sent.” Supplied By: Oz Dean

Be specific.“Immediately discuss all the details with the client, especially those related to further edits and changes. It often happens that, being carried away by the easily progressing work, I did not pay due attention to the list of possible changes included in the payment. As a result, about the phrase “oh, yes! Minor edits are perfectly acceptable!” You can really regret it by redoing the finished project almost halfway.” Supplied By: Derek Lea

Don't rely on computer spell checkers.“Always proofread your texts as carefully as possible. Besides, it’s better to have someone else check the text, looking at it with fresh eyes.” Supplied By: Rigel

Stick to the brief.“At the beginning of our careers, we pushed ourselves to the limit, pushing ourselves to the limit in the hope that it would pay off - which made us seem desperate instead of coming across as enthusiastic about what we do. Stick to the brief and try to solve the problems outlined there in the most creative way - this is what is expected of you, and not at all working for wear and tear.” Supplied By: Ralph And Co

Work with the client.“Everyone knows about the need to “think big.” In fact, great skill lies precisely in finding The best decision tasks within the boundaries outlined by the client. Try to think of them not as prison walls, but as starting point in your thoughts and ideas." Supplied By: Dave Curd

Stick to what you are strong at.“Definitely try to avoid taking on a job in which you are not strong, do not have sufficient knowledge, or simply “don’t have the heart for it.” Several times I tried to go against myself, but at the same time I felt like a moose swimming along a mountain river against the current. Choose your clients the same way they choose you. Learn from your mistakes instead of stepping on the same mistakes over and over again.” Supplied By: Jeremyville

Don't rely on assumptions.“When we were asked to develop a packaging layout, we assured the client that we could do it - and got down to business. And although we were shown a layout of the packaging and based on it we made our own layout, when it came to printing it turned out that the cover was located on the wrong side. So always check everything and don’t rely on assumptions.” Supplied By: Inksurge

Justify your conclusions.“Not long ago I worked with several perfume brands, and they seemed to me the most capricious clients in the world. However, I decided that if I made several options in my own way, and at the same time was able to logically and clearly justify why I came to such concepts and conclusions, I could take control of the development process into my own hands. Subsequently, this method worked brilliantly.” Supplied By: Darren Firth

Keep a history of your actions.“I have never encountered any serious problems, but nevertheless, I always keep backup copies of my files. Let unrealized, unaccepted ideas or intermediate stages of work always be at hand - just in case the customer changes his mind.” Supplied By: Kerry Roper

Know what to expect. « Great way To avoid problems with clients is to be aware in advance of what can be expected from them - even before the work is in full swing. Only in this case will you be able to avoid possible misunderstandings and mutual reproaches. Moreover, sometimes it turns out to be useful to treat the client like a little annoying little devil from the ninth circle of hell.” Supplied By: Laith Bahrani