Painter, graphic artist, theater artist. How do you decide which content should be interactive and which should not?
I'm not as interested in font choice as I am in the next level of abstraction, on which all parts of the material live and move
and interact with the reader
How are interactive W-O-S materials created?
All our materials are the fruit collective work, we always discuss them in detail during meetings. We agree on what idea we'll take, how we'll implement it, and therefore the editors have an idea of what needs to be done. For example, we have a page with 50 objects, each of which should have a title, subtitle and 300 characters of description, and the interaction would be like this: when you hover over these objects, something should appear. Everyone knows about this idea, and when we put the material together, the puzzle pieces fit together because they were made for the same mechanism. Problems can arise if we did not agree well enough and made pieces of different mechanisms, and then, when we brought them, we realized that they did not fit. This is the beauty and problems of such communication. One side must learn to hear the other, so that later everyone will have fewer problems.
W-O-S will have another new design soon. What will change?
All website redesigns are my learning process, I'm learning to be a web designer and art director. When I arrived, I didn’t know how to do anything at all and created complete slag, and as I learned, I changed something. We've now embraced new technologies and changed everything with a strong emphasis on user friendliness, something WOS was never known for. This will be a rather unexpected design, especially for readers, but all the more interesting.
Each redesign of the rules contains some mistakes in the past - for us it is a process of endless prototyping. Programmers probably hate me for this, and now we are trying to make a more unified system. We want W-O-S to be even easier to remake, and this feature was built into the site itself, because before this we had to write it almost every time clean slate.
By market standards, such a number of redesigns is absurd, just a senseless waste of resources. But I don’t know what’s right, and I can’t come and say that it should be done one way or another. So we give it a try, see what's wrong with it, and try to fix it further. At the same time, we recently received several orders “outside”, that is, we began to work as a design bureau. There have been several projects already and several more to come, so the amount of design produced at W-O-S is quite large.
How would you like to see W-O-S evolve?
I would like to see W-O-S develop in three directions. Firstly, we need to keep our articles and improve the quality of materials, secondly, I would like us to work like a design bureau, and thirdly, to produce tools and services that would be on our domain and would give users the opportunity to do new and useful things on the Internet.
Services are another step away from paper. Everyone is used to the fact that you can publish articles, and everyone published articles, but now everyone is asking the question: what else, besides articles, can you do on the Internet? The first answer to this question is the ability to make interactive articles, and the second is the ability to make interactive non-articles, and that’s how everyone came to services. Most likely, then someone will say that tools are not needed, but something else is needed.
It seems to me that the game has just begun, and everything is at a very early stage of development. Nobody understands the rules of the game, and everyone pokes around like blind kittens. It’s interesting to imagine what kind of Internet the schoolchildren who are now 13 years old will exist on. If for them the Internet is limited to VKontakte, then how to communicate with them, and what do they need? Don't know. That’s the beauty of it, it’s a very young and interesting environment.
Why do you think people started turning to W-O-S for orders?
W-O-S has always been associated with the graphic side of things, and that, I think, makes it very different from everything else. If we imagine the conditional relationship between non-graphic and graphic content, then we have much more graphic content, which is not entirely typical for the media. It cannot be said that we have the best and correct design: Maybe it was memorable because it was disgusting and associated with the eye-bleeding meme.
Nowadays there are many tools for design in the digital sphere, and we are trying and going through a lot of things. Someone sees something, someone likes something. We tried a lot of different technologies and approaches, and some of them might have caught our customers' attention.
What were the main problems that needed to be solved with the help of the redesign?
Now the most important thing for me is the admin panel that we wrote. Our materials are divided into two types: those that I can assemble manually without the help of programmers, and those that cannot be compiled without programmers. In this case, you have to open InDesign, draw a layout, give it to the programmers, and they code almost from scratch. IN Lately We are trying to increase the amount of materials that can be created in the admin area. In our country it is still quite complex: it imitates rather graphics editor, rather than text, and more reminiscent of InDesign than Word. However, this is a rather static graphic editor, and I want to add as much interactivity as possible, which I could do myself, without the help of programmers.
Immediately after launch new version of the site, we will begin to finish the admin panel so that it will be possible to create interactive materials without the help of programmers. I want the visual impression of the article to be unexpected. It is important to streamline the production of graphically strong and expressive materials.
This may not make me a very good art director. I'm not as interested in the choice of font as I am in the next level, where all the pieces of material live, move, and interact with the reader. All expressiveness on the Internet now is about dynamics and interactivity, and so creating tools that allow you to work without the involvement of programmers is something that is very important to me. Plus, I would then like to share these tools with others.
How do you decide which materials should be interactive and which should not?
It depends on the structure of the material. If we take material from traditional structure- for example, a column about Muscovites - and try to make it interactive, then nothing will work, because the very structure of the material does not allow this. You have to step back and figure out how you can express the idea of the column differently. Then it will be easy to make organic interactive material out of it. Successful materials about politics, created last year, were done this way. We had an idea that we wanted to convey, and we realized that we could write a column that would get 10,000 views, but if we came up with an interactive piece, it might get 100,000 views.
Why does it work this way? I have a theory, which, of course, may not be true. It seems to me that a person catalogs everything he sees, and he has a shelf “article on the Internet”, and he puts there all the materials that correspond to the picture-text scheme. If you step aside even one step and make not an article on the Internet, but, for example, a status generator for Facebook, then it does not fit on this shelf and exists separately.
This approach causes different reactions: some people think that this is great, while others think that this is terrible and that we should be fired and our eyes gouged out. Both of these reactions are good, because the worst thing is if they say: “Hmm, another column.” I'm used to different reactions. The joke about W-O-S, like the All-Russian Society of the Blind, lives on quite well.
Painter, graphic artist, theater artist
This photo shows art and industrial school named after N. F. Fan der Vleet. Today in this building, on Nekrasova 7, there is Art Gallery Pskov Museum-Reserve. Many famous Pskovites are students of this school, more than a hundred years ago, in the period from 1913 to 1918. studied here talented person Alexey Alekseevich Ivanovsky, future painter, graphic artist, theater artist.
He was born on February 10, 1894 in the city of Opochka, Pskov province, into the family of a county land surveyor; in 1895, the family moved to Pskov, where his father got a job. From 1905 to 1911 A. A. Ivanovsky studied at the Pskov Real School, from which he left without finishing. In 1913, he entered the School of Art and Industry in the ceramics department, but a year later he transferred to the mosaic department, and in 1918 he was awarded the title of “Scientific Drawer.” After graduating from school, he worked in the theater as an artist, actor, and director. Since 1917 it began pedagogical activity, which lasted until the mid-60s. with a break during the war years, when he was evacuated and in the army.
Since 1922, Alexey Alekseevich participated in exhibitions Creative Association Pskov artists. He was friends with I.N. Larionov. After the war, he met Yuri Pavlovich Spegalsky and Olga Konstantinovna Arshakuni, who became his close friend. In her book “Premonition” Olga Konstantinovna wrote: “I don’t remember when and how Yuri Pavlovich introduced me to Alexey Alekseevich Ivanovsky. It happens: you pass by modest man and only later do you begin to understand his inner beauty... Alexey Alekseevich was already an elderly man. His eyes behind the glasses looked carefully, thoughtfully and a little ironically...”
He had an impeccable artistic taste, the taste of a true artist, although he spoke modestly about himself, so in a letter dated April 9, 1961 to Arshakuni we find: “I have a very modest opinion of myself as an artist... I am not an artist. I don't agree to be burned at the stake for my art. He worked exclusively either for earnings or for pleasure, and not for pain. My motto is to take advantage of your short stay on earth and get to know the diversity of life. See and experience as much as possible. I partially succeeded. I was a dancer, wrestler, clown, actor, director, porter, political worker, set designer, playwright...» .
The same thoughts can be traced in his autobiographical notes. “The life and suffering of the Pskov painter Alexei”. As well as memories of the art and industrial school named after K. F. Fan der Vleet, about the events of the First World War, the February and October revolutions in Pskov as an eyewitness, about the Pskov theater and circus as an employee of these institutions.
He wrote about the First World War as an eyewitness, and these memories are very valuable to the modern reader as evidence of time: « The city was uneasy. There were a lot of military men. The seventh air regiment also arrived. Our girls went crazy. The pilots' uniform was very beautiful. Walking along Sergievskaya with a pilot is already happiness. Traveling in a cab or in a car is the ultimate dream. The girls walked around like crazy, and didn’t even want to look at us civilians: we were rated very low. There was an airfield in Zapskovye - a field where cattle used to be grazed. Over this airfield, planes every day surprised spectators, i.e., onlookers, with their “ dead loops", "barrels". And then one day “Ilya Muromets” arrived - a miracle of the technology of that time. Further fate“Ilya” was like that. He was sent to the front lines to intimidate the Germans. As he flew along the trenches, a Taube (fighter) took off from the German side. He soared over “Ilya” and threw a bomb at it. An explosion occurred and the plane crashed to the ground, turning into the wreckage of a furniture store. After 20 minutes, the fighter appeared again and, having made a circle over the smoking wreckage, dropped a large wreath with ribbons and the inscription “Tribute to the heroes - Russian pilots” on them.».
As a decorative artist, A. A. Ivanovsky collaborated with theaters in Pskov, Novgorod, Staraya Russa, Leningrad. The Pskov Museum-Reserve houses paintings and graphic works of the post-war period.
In 2014 in exhibition hall Pskov Museum-Reserve hosted a very interesting exhibition entitled “Walks around Pskov of the 19th-20th centuries”, where some of the artist’s works were presented, in particular: “In Pskov. Lattices” (“Kozhevennaya Street in Old Pskov”), 1950s; “Street of Ancient Pskov”, 1952; “The Mill of the Trubinsky Merchants” (“The Old Mill in Pskov”), 1953; “Pskov motive”, 1950s.
Bright colors, attention to detail and the spirit of Pskov, an atmosphere of sacredness - this is not the entire list of impressions of Pskov residents from the artist’s works. Very subtle, very professional. With soul. I remember the words of another, no less talented artist and philosopher, Nikolai Konstantinovich Roerich: “Among the monotony of everyday life, only a few feel the reality of the Cosmos. Only a few know how to defeat the gray dragon of everyday life. The consciousness of humanity is so saturated with the dust of normalcy that it is necessary to break through this wall...” Alexey Alekseevich Ivanovsky managed to break through that very wall of everyday life and show us the Pskov cosmos, where everything is permeated with nationality, in in a certain sense"epic". In his works one can feel the Orthodox spirit of Pskov, the House of the Holy Trinity, perhaps that is why the people of Pskov fell in love with them.
Literature:
- Ivanovsky, A. A. “My memories relate to the First World War” / A. A. Ivanovsky // Pskovskaya Pravda. – 1994. – August 5
- Pskovsky biographical dictionary/ Psk. state ped. Institute named after S. M. Kirov. - Pskov: Pskov State pedagogical institute, 2002. - 529 p., l. ill.
- Pskov Chronicles: history of the region in documents and research [ Electronic resource]. Vol. 4. - Pskov: Sterkh, 2004. - 313, p. Electronic resource // Access mode:
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Ivanovsky, Alexey Arsenievich anthropologist and geographer. Born in 1866, he completed a course at the Faculty of History, Philology and Natural Sciences of Moscow University, where he is a private assistant professor. Since 1900, Russian... ... has been published under his editorship. Biographical Dictionary
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