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 ("SP") interviewed on Thursday, 20 June.
SP : I have been in the design industry for about a decade, during which time I have accumulated extensive experience as a multidisciplinary designer. My journey formally began with earning a BA in Product Design from the University of Herefordshire, where I graduated top of my class with First Degree Honors. Upon graduation I co-founded an industrial design agency “vosq”, which I’ve been running ever since. My team and I have collaborated with numerous clients, developed a wide range of products, and won several design competitions. Our projects have spanned various domains, including furniture, toys, medical equipment, and high-end accessories. This diversity has allowed me to apply my design skills to a broad spectrum of challenges and industries. My strive for pushing the boundaries of the design industry have since pushed me to branch out from pure industrial design into game development and computational design space which have become my primary area of expertise for the last few years. Beyond my professional practice, I have also contributed to the academic field. I have served as a lecturer and researcher at the British Higher School of Art and Design, where I developed advanced skills in digital fabrication and have exchanged ideas with established professionals worldwide. Most recently I’ve been invited to give a lecture on parametric design at San Jose State University where I shared my passion for computational design practices.
SP : I was lucky enough to have nailed down my area of interest at a very early age. My dad introduced me to woodworking at an early age—it is 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. Eventually, that interest spilled into the digital space too, with projects ranging from making games to engineering endeavors and animated art. I’m not exactly sure when I heard the term “designer” but I’m sure that as soon as I learned about what designers do, I was immediately on board. Then came the university where I gained a lot more tools under my belt. As I was working my way to the degree of BA in Product Design from the University of Hertfordshire, I had the fortune of being noticed by the founder of the leading design agency in Russia, Art. Lebedev Studio. A brief internship over the summer provided me with some lifelong mentorship and an understanding of how an industrial design studio operates. Later after my graduation, I expanded my coding and parametric toolset via my hobby in game development and made a pivot into parametric and computational design as it finally scratched that itch I had for blending the real-world and virtual products. Throughout my practice and all the twists and turns my career took, I've always maintained a tactile, physical touch to my projects, even those that are inherently digital, like my game development and computational design works.
SP : My primary design technique revolves around extensive iteration. If there's one lesson the theory of evolution has taught us, it's that with enough repetition and duplication, anything can achieve greatness. I'm inherently a very tactile person, so I dive into prototyping as soon as possible to refine the shape, feel, and user experience of whatever I’m developing. That said, I’ve been leaning more into digital prototyping, especially lately as I've been somewhat forced to adopt a digital nomad lifestyle, having to move out of Russia. Not being tied to a property the last few years has certainly changed the kind of prototypes I make, with a greater emphasis on generative design and a bit less on paper and foam mockups. But it's generally the same thing. My top three aspects of my design process are: 1. Measurements and Rules: I find that having numerical justification for my creative decisions amancley with iteration and scalability. Knowing the reasons behind each step makes it easy to retrace and modify things. This is why I love implementing coding and scripting into my design workflow—it results in very structured and systematic designs. 2. Interactivity: Whether designing a game or an industrial product, user interaction is paramount. I aim for a design that invites exploration and offers diverse interaction possibilities. I like my products to have an almost fidget-like potential, allowing the user to explore different ways of interacting with them. 3. Novelty and Catchiness: Every project I undertake must possess that unique quality that sets it apart. I strive for innovation, storytelling, and virality, ensuring that my designs resonate and leave a lasting impression. I find that more often than not, if a product does not have this novelty value no amount of surface polish or color, material and finish tweaking can make it great. This quest for freshness drives me to explore uncharted territories in design. These three aspects collectively form the foundation of my design process, guiding me towards creating impactful and memorable experiences across various mediums.
SP : When I'm designing, I strive for the feeling of "flow"—a state of complete immersion where time seems to disappear. Given the right conditions, I don't feel anything else; I'm fully in the zone, working seamlessly. While frustration can creep in here and there, my primary challenge isn't getting into the right mood for creation, but rather avoiding getting so absorbed by the process that I lose track of time. This is why I'm totally hooked on the idea of hackathons. These events allow me to join a room full of designers, putting all our creative juices and skills to the test in making something specific within a tight timeframe. I've had great successes in these kinds of marathons. Last year, I placed #30 out of almost 7,000 games in the largest short-term game development competition called GMTK Game Jam. Before that, I won several more hackathons, with projects ranging from an auto-barista equipped with a robotic hand, designed for a major bank, to a transformer-bathtub that landed my team the second place in the incredible Roca's One-Day Design Challenge. Interestingly, it's usually when I'm away from work that emotions about my designs flood in. The excitement about my work and the vision of the product come easily when I'm not directly making them. The making part is exhilarating in its own right, but the anticipation of the work and the final product holds its own thrill. The primary emotion I feel about most of my projects is one of curiosity and anticipation. It's almost as if I’m exploring the project like an adventurer. I'm always looking forward to where it goes next. Once the project is complete, I eagerly anticipate where its life cycle will take it, how users will interact with it, and what other creators might do with it. That's why I tend to open-source some of my projects, giving them prolonged life in the hands of other creators. By the time a project's story is over, I'm already knee-deep in another project, all the while eyeing a few more on the horizon.
SP : I've always been adept at acquiring skills on my own. I think that a tendency for self-learning along with natural curiosity and charisma can form a strong foundation for a successful design practice and I think I was lucky enough to get all of them. Designers are masters of the unknown, often tackling unfamiliar tasks. While you can't possibly know how to design every conceivable object, you can learn to build the right knowledge base when and where the job calls for it. Technical skills and know-how come and go as projects demand, but work ethic and resourcefulness in seeking and structuring information are what set great designers apart. I know saying that the internet has been the biggest influence on my professional development might seem like a cop-out, but it's true. The abundance of design-related information, from formal essays to DIY communities built around all sorts of hobbies, has shaped me as a creator. The ease with which one can familiarize themselves with any bit of software or practice cannot be overstated. It’s how I learned 3D modeling, coding and leatherwork along with a healthy blend of less valuable skills like ant-keeping and pyrotechnics. Growing up with this wealth of information at hand was both a blessing and a challenge. It wasn't always easy to choose what to dedicate my time to, but it was a nice problem to have. This environment of endless learning opportunities has been instrumental in my journey as a designer.
SP : Throughout my professional life, I've amassed a diverse array of interests, but my primary focuses are industrial design and game development. I envision my future in bridging these two worlds. I've already begun this journey by mastering computational design tools that allow the creation of physical designs using primarily virtual methods, like scripting. I want to continue exploring these ideas further, creating VR games filled with objects and spaces that are tactile, kinetic, and physical, and designing real-world projects augmented by the interactivity that digital tools provide. My dream is to work on a team that designs a virtual reality headset. I believe this product, more than any other, can bridge the physical and digital interfaces into a single coherent experience. Input devices and consoles also offer a similar field for bridging the two disciplines, and the latest products from the industrial and UX teams at Valve Corporation really speak to me. If I had to name one company where I'd want to make a significant impact, it would be Valve. In terms of my personal growth path, I want to be remembered as a designer who seamlessly blended the physical and digital realms, creating products that are both innovative and deeply engaging. My future plans involve continuing to push the boundaries of what's possible with VR and interactive design, constantly exploring new technologies and methodologies to enhance user experiences. One of my future projects is a virtual reality game that offers a fresh perspective on VR locomotion, allowing for a more immersive and intuitive experience. I also dream of working on a project that combines my love for design, technology, and societal impact in a simple and democratic way—something that can reach every household and seamlessly blend into daily life, much like a pencil in a world where none ever existed. Ultimately, my goal is to continue growing as a designer, expanding my skills and knowledge, and creating innovative products that make a lasting impact on the industry and society.
SP : I want to start with the best piece of advice I’ve been given from a mentor. I was about to apply for an art college and my art teacher told me “Make sure you hear everyone, but listen to no one”. So I did. I’ve heard his advice and dropped his classes in favor of applying to a designer degree instead. It's a funny story, but I guess it goes to show my attitude towards big words of wisdom. That said, here are some of my words of wisdom for new designers: Find Your Passion: Discover the kind of creative work that excites you the most. Passion fuels persistence, and in the design world, persistence is essential. Without a deep interest in what you do, it’s easy to lose motivation when challenges arise. Embrace Continuous Learning: The design field is always evolving. Stay curious and open to learning new skills and tools. Whether it's mastering a new software, understanding a new trend, or simply observing the world around you, continuous learning keeps you relevant and innovative. Prototype Early and Often: Don't wait for perfection before sharing your work. Start with rough prototypes and iterate. Each version brings you closer to a refined product. Real-world feedback is invaluable and helps you understand how your designs perform outside of your creative bubble. Build a Strong Network: Connect with other designers, clients, and mentors. A solid network can provide support, feedback, and opportunities that can propel your career forward. Remember, many opportunities come from who you know as much as from what you know. Balance Creativity with Practicality: Dream big and innovate, but remember that successful designs also need to be feasible and functional. Strive to balance aesthetics, functionality, and manufacturability. Practical constraints often lead to the most creative solutions. Stay Resilient: The design field comes with its share of rejections and failures. Use these experiences as learning opportunities. Every setback is a step towards improvement if you analyze and learn from it. Share Your Work: Exposure is crucial. Regularly post your designs on social media, design forums, and other platforms. The more people see and engage with your work, the more recognition and opportunities you'll receive.
SP : The gap between a good designer and a truly successful one lies in the audience they build. The more people you reach with your design, the more recognition and appreciation you garner. Great design isn't born in the studio; it flourishes when it reaches and resonates with people. Exposure is key. A design must look great and function well, but its success depends on how many people see it and engage with it. It's about how far it reaches and how much it touches people's hearts. A great designer captivates and engages their audience, making their work stand out in a crowded field. To bridge this gap, focus on communicating the value and uniqueness of your work. This involves not just creating outstanding designs but also telling compelling stories around them. Network strategically and share your work widely to reach and resonate with the right audience.
SP : I'm risking sounding more structured than I really am here. Basically, I start my days with a brief morning routine, then dive into work as soon as possible. I begin by clearing urgent non-design-related tasks like emails and other communications along with any studio management that needs doing. That usually takes from an hour to a couple. Once that's done, I move on to creative design work and tackle technical aspects until lunch. I prefer to not consume any media in the first half of the day if ever. So I am not on the lookout for design related news as that makes me feel like I’m stuck in a designer bubble. Instead, I believe in expanding the industry by treading in unfamiliar territories rather than just following trends. The best part of my day comes with hands-on creations. I'm always refreshed by a good creative challenge, whether it's prototyping a new product or brainstorming innovative solutions. I find the management and business side of things draining, but the act of creating something tangible rejuvenates me. That is why I keep the most creative bits of work for later in the day to have something to look forward to. In the afternoon, I continue with design work until "the golden hour," when I try to squeeze in a walk. This break not only helps me clear my mind but also often sparks new ideas. My evenings are reserved for unwinding with dinner, movies, or other relaxing activities. Just before bed, I usually try to squeeze in about a work-hour for whatever project I'm most passionate about at the moment, just so I can sleep feeling productive. Throughout the day, small things keep me happy—like the satisfaction of a well-executed design element or the thrill of a new idea taking shape. These moments are what make even the most mundane business days enjoyable and fulfilling.
SP : To some degree, following trends is unavoidable. Designers live in a bubble like anyone else, and that bubble favors some styles over others. Any designer sees what resonates with them in other people’s work and integrates it into their own. So even though I like to think I don’t consciously follow trends and that I make things in my own style, I also can't tell how much of that style comes from within and how much comes from the outside. I find my consolation in thinking that whatever ends up in my style has passed through me, even if it originates from someplace else, and that I’ve made it my own through that process. It’s funny. I want my work to be trendy like any designer, but I don’t want to change my designs synthetically in favor of trends. I aim to be a trendsetter, no less. An ambitious goal for sure, but at least I’m being honest about it. That said, I don’t want to downplay the efforts of people who follow trends. It’s a great skill, especially because there is no one place you can go to look up current trends. You have to live design, to absorb everything that is being made, and to analyze what seems to get more attention and decide where the industry is heading. It’s a job of its own, and I’d much rather spend this time crafting a design piece in what I think is my own style.
SP : While the title of "great design" is subjective, there are some qualities that consistently define good design. Honesty is a significant one. I know I’m borrowing ideas from Dieter Rams’ playbook, but it’s true. Honesty in design means not trying to mimic materials but using them as they are, directly communicating what the object can and cannot do, ensuring it is ethically produced, and considering its impact on the environment. I’d like to say there is a single aspect of design that makes it click—a thing that leads to the “aha!” moment. But that’s not the case. Design requires consideration of many factors. The only time you can have a true eureka effect about your design is when you see other people interacting with it. That is why I am a strong proponent of prototyping at every stage of the project. A true measure of a product’s greatness comes from its exposure to the world and how well it fits in there. It’s not something you can build into a project in a vacuum. In many ways, it’s not something built into the product at all, but rather the way you market it and explain it to the world. It’s about the story you spin around it and how many people you convince to try it out.
SP : Identifying when a design is ready is one of the greatest challenges in the industry. Some projects are easier than others in this regard. Commercial projects tend to be simpler as they impose clear limitations, whether monetary or time-related, so there's always a set deadline by which the project has to be complete. With personal projects driven by passion, it’s much harder. Although you have your own briefs, they are not set in stone since you’re the one writing them. There’s always one more step, one more iteration, or one more feature you know you can add. To manage this, I try to formulate clear goals for my personal projects, limiting the amount of time I can dedicate to them and setting milestones I want to achieve. Still, I’d be lying if I said I never change these milestones as I go. For projects with vague deadlines that can be iterated on indefinitely, I work on all aspects of the design simultaneously to ensure that at any given moment, the design is uniformly developed. First, I establish everything at a basic level, then gradually refine each part. By spreading my attention across the entire project, I ensure that at any given moment, the design is coherent in its level of detail. This approach saves me from having a fully developed tabletop design with no leg ideas to support it. Having all pieces of the design uniformly developed to a certain degree makes it easier to stop the project at any time and call it complete. Depending on when I choose to stop, it may be a complete concept or a complete product, but it’s never half-baked. Ultimately, I know a design is ready when it meets the set goals and milestones, and when further iterations no longer add significant value. At this point, I can confidently move on to other projects, keeping the satisfaction that the current design is as complete as it needs to be for its intended purpose.
SP : My biggest design work is undoubtedly the Phoresy Pack. I've been developing this project on and off for the better part of the last 10 years, and it's a special one for many reasons. The Phoresy Pack was my first deep dive into computational design, which has now become my primary focus. The Phoresy Pack is an ergonomic backpack with a unique foldable structure crafted from a single sheet of CNC-milled leather. This allows it to expand and contract seamlessly, adjusting its volume as needed. Initially, I designed it to explore the applications of computational design and digital fabrication in customizable fashion and industrial design. Over the years, I've adapted it for various manufacturing methods, including 3D printing, which keeps the project evolving alongside my interests. This project is special because it represents a significant milestone in my career. It has received numerous design awards and invitations for talks, which has been both humbling and rewarding. The Phoresy Pack isn't just a functional item; it's a manifestation of innovation and the intersection of advanced technology with practical application. One of the biggest challenges was ensuring the design was both aesthetically pleasing and functional while working with the constraints of a single material. This project pushed me to think creatively and technically, blending craftsmanship with cutting-edge technology. Of course I’d be remiss not to mention the project I am most involved in currently and the one I’ve been feeling the most passion towards. It's actually a virtual reality game called "Barrel On." This game explores new methods of VR locomotion and interactivity, pushing the boundaries of what's possible in a virtual environment. It's a project that combines my love for design, technology, and gaming, and I'm thrilled about its potential impact. These projects showcase my journey as a designer, constantly evolving and pushing the limits of what I can create.
SP : I’m not the one to form idols easily. So I’d prefer to split the title of my favorite designer between several great creators. The first one that comes to mind is Dieter Rams, whose emphasis on rules, formulas, and strict proportions resonates deeply with my computational design sensibilities. His principles of good design have influenced not only my work but the design industry as a whole. Rams' commitment to simplicity and functionality is a benchmark for what great design should strive to achieve. Then of course, I have to mention Yves Béhar from Fuseproject. I admire Béhar's innovative approach, which emphasizes holistic design solutions that blend seamlessly into users' lives. His ability to create designs that are both aesthetically pleasing and functional is truly inspiring. If given a chance to talk with a single deceased designer, I would choose Ron Resch. He was an applied mathematician and a pioneer in parametric design. His contributions to the field are vast, and his approach to integrating mathematical principles into design has profoundly impacted my own work. Discussing his process and insights would be an invaluable experience. Outside of my professional sphere, I'd love to meet Adam Savage from MythBusters. His undying optimism, passion, humor, and incredible tinkering skills are qualities I deeply admire. Savage's ability to merge creativity with technical skills in a way that's both entertaining and educational is something I find incredibly inspiring. While I don't heavily rely on others' work to avoid creating derivative designs, these figures have undeniably shaped my understanding of good design. They have shown me the importance of blending innovation with functionality and maintaining a passion for one's craft. Their impact on the design world and my own work is a testament to their genius and dedication.
SP : I live a digital nomad lifestyle, constantly moving from place to place. While I've seen many inspiring locations from Venice to Beijing, I haven't found a single place I can call my favorite yet. However, the countryside in Russia where I spent my summers has had a profound impact on me. The boundless exploration, crafting your own, building tree houses, and generally being a wild kid in the wild have provided me with a lifelong supply of excitement and a drive to shape the world around me. I love seeing new places and drawing inspiration from nature and unexpected environments. Interestingly, I don't actively seek inspiration; it just finds me. I often have more ideas than I have time to work on, so each new concept brings both excitement and the challenge of scheduling and backlogging other ideas. Good design is crucial for the advancement of society. It shapes behaviors, interactions, and daily experiences in ways that are often subtle but significant. From the design of advertisements and video game narratives that directly influence people's thoughts and actions to the design of furniture and living spaces that shape how we interact with our environment and each other, the impact is immense. While the effects of design on our lives might not be immediately measurable, they are undoubtedly present and profound. As a designer, I make small but impactful changes to my life through design. For example, I often create practical and aesthetically pleasing objects that improve my daily routines, making my environment more efficient and enjoyable. This continuous process of designing and refining helps me live a more intentional and fulfilling life. Overall, while my cultural heritage and nomadic lifestyle influence me, I see myself more as a globalist, drawing inspiration from various sources and experiences to create designs that are meaningful and impactful.
SP : I'm constantly juggling several projects simultaneously, so there's no single approach to how I work. Due to the nature of the industry, I often work in teams, but I also keep several personal projects on the backburner that I prefer to tackle alone in my own time. My most productive collaborations typically involve small teams of 1-3 people. One of my enduring collaborations is a studio I co-run with my fellow industrial designer, Feyodor Smekhov. The studio is called "vosq," and while the team size for any project may vary, the core direction from the two of us has always been very productive. Our primary responsibilities lie in finding new projects, building and managing teams, and, of course, doing the creative grunt work alongside them. When looking for design partners or hiring someone, I always prioritize reliability. I value people who take initiative and have a consistent output. While quality of work is a prerequisite, what I really look for is the ability of people to estimate how to do something and deliver on those promises, along with a keen attention to detail. A successful designer needs to be comfortable with the unknown. They must be adaptable to unfamiliar projects and resourceful and motivated enough to search for any technical information they might need to learn to achieve the desired result. This ability to problem-solve and acquire new skills is crucial, as no one can have experience in designing every conceivable product out there, but mastering the process of learning and adapting allows you to handle anything the creative industry throws at you. Our work culture at vosq is collaborative and dynamic. We emphasize open communication, creativity, and a shared vision for innovation. We aim to create an environment where team members feel empowered to take risks and explore new ideas, knowing they have the support of the team behind them. The core challenges of our profession include staying ahead of rapidly changing technology, managing client expectations, and balancing creativity with practical constraints. My job responsibilities are diverse and include conceptualizing designs, leading projects, mentoring junior designers, and continuously learning and adapting to new tools and methods. In summary, working with me involves a balance of structure and flexibility, teamwork and independence, and a relentless pursuit of creative solutions. My business philosophy revolves around reliability, initiative, and continuous learning, all essential traits for a successful creative professional, Be it a designer, artist or game developer.
SP : As a designer, I believe in giving back to the community that has fostered my growth and creativity. One of the primary ways I do this is through teaching. While I was compensated for my teaching work, I consider it a significant contribution to the industry. I continue to mentor many of my former students, offering guidance and support long after my formal teaching days have ended. Additionally, I am a strong advocate for open-sourcing my projects and sharing a lot of my work online. I don't believe in hiding my project files; instead, I think there is more benefit than harm in sharing our creative secrets with like-minded individuals. This openness fosters a collaborative environment where we can all learn and grow together. I also enjoy creating freebies not just for fellow designers but for consumers as well. This includes sharing my 3D printable designs and developing free video games. These projects are a way for me to contribute to the community and provide accessible creative content. In the realm of professional work, I often find myself advocating for environmentally friendly design solutions. Whether it's ensuring that the packaging I design is eco-friendly or pushing for sustainable materials in product development, I see these efforts as a form of contribution to society. Designers can be the unsung heroes, improving products and practices from behind the scenes to benefit the environment and society as a whole. When it comes to supporting young designers, I actively participate in design events and conferences. These platforms allow me to share my knowledge, network with emerging talent, and provide opportunities for aspiring designers. By engaging in these events, I aim to inspire and mentor the next generation of designers, artists, and architects. Overall, I believe that as designers, we have a responsibility to contribute to society through our work and our actions. Whether it's through teaching, open-source projects, creating free content, or advocating for sustainable practices, every effort counts towards making a positive impact on the world around us.
SP : Attending the A’ Design Award has been an incredibly positive experience for me. Everything was well-structured, which made the process smooth and enjoyable. The event's vast PR reach has been impressive, leading to various opportunities, including being named Designer of the Day—a great honor! Participating in design awards and competitions offers three main benefits for designers: 1. Exposure: Competitions like the A’ Design Award provide a platform to showcase your work to a broader audience. This exposure can be crucial for gaining recognition and attracting potential clients or collaborators. 2. Self-Reflection: The process of submitting a project forces you to ask questions about your design and yourself that you might not have considered before. This self-reflection can be enlightening and lead to personal and professional growth. 3. Skill Development: Competitions require you to present your work clearly and compellingly, which helps develop your presentation and self-promotion skills. These are essential for advancing your career in the design industry. Design competitions play a vital role in spreading awareness about emerging designers. In our industry, a great deal of success depends not just on the quality of your work, but on your ability to get it in front of people's eyes. Platforms like the A’ Design Award help spotlight your work and you as an individual, fostering a sense of community and recognition. Being named Designer of the Day has been an honor and a testament to the value of participating in such competitions. It's a reminder of the importance of continually sharing and discussing your creative projects and methodologies with the world.
Stepan Pianykh Profile