We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Stepan Pianykh ("SP").
Stepan Pianykh is an award winning multidisciplinary designer with a diverse background in game development, industrial design, digital fabrication, visual content production and lecturing. With about a decade of experience of co-running vosq design agency, Stepan’s primary area of expertise lies in leveraging computational and parametric design tools to create engaging products, content and experiences.
Stepan Pianykh Designs
We are pleased to share with you original and innovative design work by Stepan Pianykh.
Stepan Pianykh Design - Phoresy Pack Backpack
Designer Interview of Stepan Pianykh:
DI: Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
SP : My dad introduced me to woodworking at an early age—it was his lifelong hobby. So, growing up, about half the furniture in our household was always DIY. That got me into the spirit of making and breaking things. I've been a lifelong tinkerer ever since, and as soon as I learned about what designers do, I was immediately on board. Eventually, that interest spilled into the digital space too, with projects ranging from making games to engineering endeavors and animated art. However, I've always maintained a tactile, physical touch to my projects, even those that are inherently digital, like my parametric and computational design works.
DI: Can you tell us more about your company / design studio?
SP : I've got my hands in many creative endeavors. The biggest venture is “vosq” Design Studio, which I co-founded back in 2015 with Fyodor Smekhov. Since then, we've delved into various areas of design and have garnered several international and local awards. Despite our diverse projects, industrial design remains our core focus and primary expertise.
DI: What is "design" for you?
SP : Design, for me, is creation. It's modern-day invention—willing something into existence that hasn't been out there before.
DI: What kinds of works do you like designing most?
SP : I love designing products that offer new user experiences—systemic designs with a complex logic underneath, kinetic objects that move in unique ways, toys and games, and items and accessories that allow people to express themselves.
DI: What is your most favorite design, could you please tell more about it?
SP : Hands down, it’s my Phoresy Pack backpack. It marked so many pivotal points in my career. It was my graduation project and my first real venture into the computational design space, which is my primary area of expertise these days. What's remarkable is that it's the one project that continues to earn recognition almost a decade later. Phoresy Pack is an ergonomic backpack design with a unique foldable structure. Its structure is produced from a single sheet of genuine leather that has been precisely CNC-milled and creased to form a material that can expand or shrink flat to adjust the backpack's volume. While the final outcome of the project is merely a backpack, the aim of the project was to explore applications of Computational Design and Digital Fabrication principles in the fields of customizable fashion and industrial design.
DI: What was the first thing you designed for a company?
SP : The first thing I designed for a company was the DD1 airplane-type drone for a startup called Dedicated Drones. These large hobbyist drones that required operators to wear head-mounted displays for piloting. While it wasn't my very first commercial project, it was the first one where the client understood the value of rigorous research and iterative design processes. It marked the first time I was paid not just to make things look pretty, but to ensure they were genuinely good.
DI: What is your favorite material / platform / technology?
SP : Platform: Grasshopper. It's a parametric design tool. When we design, we make creative choices. With Grasshopper, we offload these choices upfront and script a configurable model. It triggers something in my system-loving brain. When you've created a truly parametric design and by tweaking some initial parameters, you can see the design evolve into something utterly different that still matches the brief. It brings exploration back into the creative process, and I love it. Technology: I really enjoy 3D printing. I love how democratic and infinitely shareable anything designed for this manufacturing method is.
DI: When do you feel the most creative?
SP : I don't think I ever stop feeling creative. However, I often feel the most creative when I'm away from my desk and all my tools. In those moments, my mind floods with ideas of what I could be making. Maybe it's because ideas are easy to come by, and my brain knows it doesn't have to go deeper into execution without the tools around to validate the design. It's just a rapid fire of ideas.
DI: Which aspects of a design do you focus more during designing?
SP : I try to keep a balanced approach, considering all factors when creating designs. That said, I do tend to focus more on certain aspects depending on the project. Some projects lead me to concentrate on manufacturing techniques, while others make me focus on the experience of actually using the object. Interestingly, aesthetics is rarely the core focus of my work. It's a must-have quality that needs to be there, but it's seldom the essence of what I'm doing.
DI: What kind of emotions do you feel when you design?
SP : When I'm designing, I tend to be in a state of flow, so I don't really feel any specific emotions. However, when I'm away from work, I feel a lot of excitement about the potential impact of sharing my design with the world. This excitement is my drug of choice—bringing something new out there is thrilling. But when I’m in the middle of a creative process I feel clear of all emotions, maybe I get a hint of frustration if I'm interrupted or overcharged or I can get a bit of excitement if things are going exceptionally well, but generally, I'm calm and focused.
DI: What kind of emotions do you feel when your designs are realized?
SP : I'm usually glad I've done it, and I feel incredibly proud. I believe in the quality of my work, so when I see a completed project, I feel fulfilled and happy. And yes, this feeling does depend on how recent the project is. If it's been a particularly arduous bit of work which only just has finished, I might need some time and distance before I can truly take the outcome in. But that enjoyment always comes.
DI: What makes a design successful?
SP : Exposure is what makes or breaks a creative work. While a design must look great and function well—these are prerequisites—what truly makes a design successful is how many people see it and engage with it. It's about how far it reaches, how many hands it gets into, and how much it touches people's hearts.
DI: When judging a design as good or bad, which aspects do you consider first?
SP : I first consider if the design is novel. Does it bring something new to the world? This could be a new experience, a unique visual, an innovative manufacturing technique, a social commentary, or something entirely different.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
SP : A certain Uncle Ben quote comes to mind. But seriously, designers have the power to change the world in many small ways. As modern-day inventors, we push the world forward, so it's reasonable to place more responsibility on us. While not every designer needs to do groundbreaking work in fixing society and the environment, we should at least strive to do no harm.
DI: How do you think the "design field" is evolving? What is the future of design?
SP : My primary area of experience is Computational Design, the area where computers do a lot of the heavy lifting in the creative process. With the recent AI boom, the industry has been flourishing. Sure there is more low-effort content out there, it's easy to ignore, so I don’t see it as a problem. But at the same time the sheer volume of great works have gone up too. New tools are hitting the market frequently, and learning older tools is becoming progressively easier with the help of copilots and large language models. We're still a long way from computers doing our jobs for us, but we now have the opportunity to offload more monotonous parts of the process to our digital helpers.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
SP : The last public showing of my design was at CES, where we displayed the crypto-mining and AI training household heater designed for the Heatbit brand. It even landed us a CES 2024 Innovation Award. The next event I am taking my work to is the Math Art Exhibition held by The Bridges Organization in Richmond, US. The piece I’ll be showing there is the result of a fruitful computational design collaboration with Studio3P.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
SP : Most of my inspiration comes passively. I don't actively seek it; rather, the world is so full of amazing things that I'm constantly bombarded with ideas. I keep notes of them, and when the opportunity arises, I develop them further. In the rare case that I do need specific inspiration for a project, I often turn to content platforms. For example, if I need a catchy mechanic for a video game I'm developing, I might browse some oddly-satisfying videos. And if I’m in search of some visual inspiration, I just look around me.
DI: How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
SP : My design style revolves around systems and logic. Freeform drawing isn't my strong suit, but I excel at building shapes using rules, proportions, and parameters. I didn't consciously choose this style; it's more of a quirk of how my brain works. Exploring this strength has proven both easier and more fruitful than other methods. Hence, my approach to design revolves around identifying the underlying logic of whatever it is I'm creating and seeing where that logic takes me. In a way, I'm just as much an explorer of the product I'm making as I am its creator.
DI: Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
SP : I'm Russian and Israeli, but due to the current situations in both countries, I've chosen a digital nomad lifestyle, traveling from place to place and I am currently living in Georgia. While we're all products of our environment, I don't consciously incorporate any specific cultural influences into my designs. I see myself more as a globalist in this creative sense.
DI: How do you work with companies?
SP : I approach working with companies much like I do with my own projects. As a lifelong freelancer/consultant, I have the privilege of choosing my clients. If our goals align with the brand I'm designing for, then my process isn't much different from how I approach my personal projects. Essentially, I give it my all within the allocated timeframe, and something great always comes out of it.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
SP : In my experience, finding a good designer often comes down to word of mouth and reputation. While there are many talented designers out there, not all of them have great exposure. So as a company, I’d look everywhere. And when I’ve found one I would take good care of them. For a fruitful collaboration, it's essential to strike the right balance of imposed limitations on the designer. There's a fine line between providing just enough limitation to boost the creative process and imposing too many constraints that leave no room for creative freedom. It’s a balancing act.
DI: Can you talk a little about your design process?
SP : I adhere to the tried-and-true double diamond method. I begin with a broad exploration of the brief, delving into various possibilities. Then, I narrow things down as much as possible to a single, promising solution. From there, I repeat the process, see how many twists I can make on that one solution with the aim of refining it and ensuring it's truly the best one.
DI: What are 5 of your favorite design items at home?
SP : I'm a pragmatic type. The things I appreciate in my surroundings are often generic, nameless objects that have been designed to perfection over many years on the market. They're the kind of designs that seem to have been iterated to the point where there's no room left for innovation. Items like my nail scissors, notepads and liner pens, computer mice, and my laptop's charging cable. They may not typically be considered designer items, but to me, they represent the collective design efforts of multiple creators shaped by decades of user feedback, making them truly the best of the best. In some ways, these items have been in development the longest, so it's fitting to call them designer pieces.
DI: Can you describe a day in your life?
SP : I'm risking sounding more structured than I really am here. Basically, I start with a brief morning routine, then dive into clearing urgent non-design-related tasks like emails and other communication for about an hour. After that, it's creative design work and tackling technical aspects until lunch. In the afternoon, I continue with design until "the golden hour," when I try to squeeze in a walk. Then it's the evening routine—dinner, movies, and just before bed, I usually dedicate about an hour to whatever project I feel most passionate about at the moment, just so I can sleep feeling productive.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
SP : Find the kind of creative work that you enjoy doing, no matter what. Save it for later in the day and tackle less enjoyable tasks first. Other than that: Do what you love and love what you do. Avoid striving for perfection— it's better to get things out there in a crude state than not share them with the public at all. Post your work often and everywhere and get noticed.
DI: From your perspective, what would you say are some positives and negatives of being a designer?
SP : Being a designer is both a blessing and a curse, especially if you treat it as your calling like I do. On the positive side, you have the incredible ability to bring things into existence through your creativity—there are few feelings that can match that. On the negative side, it's hard to turn off the creative part of your brain. You're always chewing on the current project's problems. Ideas are constantly flooding in, and you feel like there's not enough time in the world to explore all them.
DI: What is your "golden rule" in design?
SP : First, you make it. Then you make it work. Then you make it work well. This means prototyping early and prototyping a lot. Each iteration brings you closer to the ever-elusive idea of a perfect product.
DI: What skills are most important for a designer?
SP : Adaptability, problem-solving, and a thirst for learning. These are primarily soft skills. I've found that most technical skills can be acquired as needed. However, the ability to take on a creative problem, analyze it, and gather everything necessary to solve it is the core skill of a designer. You can't possibly learn every tool or discipline, but then again, you'll likely never need every tool or discipline either. So it’s all about being resourceful and adaptive.
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
SP : My primary digital creative tools are Rhino and Grasshopper for 3D modeling and computational design. I'm also a heavy Unity user for projects that require a more interactive nature, like games and applications. Additionally, I don't shy away from learning new tools when a project calls for it—it's in the nature of the trade, really.
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
SP : I use a time tracker for everything I do, regardless of the nature of the project. This allows me to compare the time spent on any project to its outcome. Additionally, I maintain a task list sorted by urgency. Although I often feel like I'm behind on non-essential things, I believe I'm good at completing all the vital tasks in a timely manner at the right time.
DI: How long does it take to design an object from beginning to end?
SP : There is rarely a true end to any product design project—there's always a "what's next" and another iteration you can make. However, on average, it takes about a couple of months to go from zero to something presentable. Yet some projects can last years, while others are quick hacks completed in a couple of days. The latter category holds a special place in my heart.
DI: What is the most frequently asked question to you, as a designer?
SP : There are standard questions that come from the business side of things, like "How long will it take?" and "How much does it cost?". Other than that, the most common question by far is, "Have you ever designed this kind of product?" It's an understandable question from the client's perspective, though a bit misguided. As designers, we thrive on new tasks. Understanding a new problem and coming up with a solution is the core of what we do. So, most of the time, I proudly answer, "No, I have not. Tackling unfamiliar challenges is literally my job."
DI: What was your most important job experience?
SP : The first time I went to China to see a piece of my industrial design being manufactured was my most important job experience. Vanity aside, it was extremely eye-opening. Seeing your own creation from a new perspective makes you reevaluate all your creative choices. Things that seemed obvious are turned on their head, and aspects you didn't pay much attention to suddenly come to the forefront.
DI: Who are some of your clients?
SP : Primarily startups—small teams with a singular focus on a hardware product. I also collaborate with creative studios that require computational design expertise to either generate something breathtaking or optimize an existing workflow.
DI: What type of design work do you enjoy the most and why?
SP : I find joy in technical problem-solving. Whether it's pondering the optimal manufacturing methodology or coding a generative form-finding algorithm, I'm drawn to tasks that involve creating something new through logic and tinkering. The thrill of figuring out a new way of doing things is what keeps me engaged.
DI: What are your future plans? What is next for you?
SP : I plan to spread my ideas far and wide through various means. This includes finding more fruitful collaborations, creating more open-source designs to share broadly, and aiming to win some awards along the way. Additionally, I hope to find a place on the map where I'd like to settle down.
DI: Do you work as a team, or do you develop your designs yourself?
SP : That depends on the project. As I mentioned, I'm involved in many creative endeavors. Some projects run through my studio, where I mostly work in a team. However, there are also freelance and personal passion projects that I tackle alone. Additionally, I engage in collaborations with external artists that don't fit neatly into either category. Furthermore, there are some of my open-source projects that I release for others to pick up and develop further. I see it as a form of asynchronous collaboration.
DI: Do you have any works-in-progress being designed that you would like to talk about?
SP : My current passion project is a Virtual Reality game called "Barrel On." It addresses the common issue with virtual reality locomotion—you can't walk too far without hitting a physical wall. So, I've designed a new locomotion method called Gun Surfing and a game around it, which you really have to try out for yourself.
DI: How can people contact you?
SP : The best two ways to reach me is either via email: st.drunks@gmail.com Or on telegram: https://t.me/st_drunks
DI: Any other things you would like to cover that have not been covered in these questions?
SP : No. The other 39 questions just about covered it all.