August 30, 2026

A is for Aussie

S is for Sydney

In 2015 I went to Australia to work as Senior Industrial Designer at BoldInc Brand Innovation. This is my Facebook posts of that period that were translated from Russian.

2 June

Three different people asked me about vodka today: do I drink vodka? do I want some vodka? shall we have some vodka? — the weather turned "chilly" (15°C and sunny), so obviously it's vodka time.

A colleague on the way to lunch squinted slyly and produced "kak ty zhivyosh?" I didn't have a quick answer to a question like that, but once I'd stopped laughing I got a beautiful story about his student roommate (a Bulgarian). The colleague is Australian and spent quite a few years in France. About 50% of the company is British. There's also a Brazilian, a Chilean and a Chinese guy.

My boss's neighbour (yes, for now I'm living with the boss, his wife, their two kids (2 and 4) and the dog — in my own room) moved out today, and as a result a mountain of assorted stuff appeared on the pavement next to the wheelie bins. In the morning the mountain grew, partly thanks to me, by one enormous fish tank and various other junk. I'd value that pile at about three thousand Australian dollars: besides the tank there's a TV, five armchairs, a couple of bar stools, a sofa, a table, two nightstands, crockery, a microwave, a petrol lawnmower, an electronic drum kit and other essential household shit. By evening not a single item had gone missing. The local binmen are probably the wealthiest caste in the country.

The local football club is playing Chelsea today. Sold out — the locals packed the stadium (80k seats) to come and gawp at Chelsea. Many travelled in from neighbouring towns: "It's a once in a lifetime opportunity. We don't get to go to the UK, it's expensive."

By the way, John (the boss) pronounces Abramovich as abrAmovich. And he calls me alEksiy, like a patriarch. Yes, he's British. The actual Australians don't bother — straight to Al or Alex, and they couldn't care less about Abramovich either.

G'day mate! Some vodka?

4 June

One local feature you have to get used to: everyone constantly says hello to you. Nobody shakes hands here (only on first introduction, women included), but if someone spots you they'll ask how you're doing, or say hey, or something along those lines.

Picture it. You're in the kitchen making tea, a colleague walks in — hey, how's it going, cold one today, blah blah. And it goes on like that all day, from every direction. You buy a burger, walk back, pass three people, get three "heys." Your hand would fall off if you shook every time — no wonder they don't.

Small talk in all directions, basically.

But honestly, friends, I haven't been shoved this far out of my comfort zone since early childhood.

I need at least an hour every day just to pull myself together.

"First they locked me in (they didn't), then they wouldn't give me a balloon (they would), nothing's allowed (it is), and everyone's staring at me (that one's true)."

What I'm required to do at work isn't a tenth of what I'm capable of, but the stress means my output isn't rising above ten percent either.

New software, new place, new people, new language, new social norms, new country, ultimately. And you're supposed to be creative on top of that.

So trips like this are contraindicated for the emotionally unsteady.

5 June

I'll share a little-known fact and then go to bed, because I'm slurring my words and my brain has stopped bubbling — I'm on UTC +10 now.

Australia doesn't have visas. Or rather it does, but on a different plane of existence, one step closer to nirvana and escaping the wheel of rebirth.

It works like this: you don't hand your passport to an embassy, you don't collect your passport from an embassy, there's nothing in your passport, and to every startled transit officer you recite the magic mantra "I've got an Australian visa," at which point the gates swing open, the fairy-tale hut turns its front door toward you, and so on.

The Australians went over to electronic visas many years ago, well before our first trip in 2012. The only thing they still stamp into your passport out of habit is the arrival and departure marks. Attached is my current arrival stamp.

When you realise you've been "counted" at a much higher level than usual, you start to feel rather different about the whole thing.

In general, I don't understand how the rest of the world hasn't worked this out yet. Who cares what Schengen sticker you've got — what matters is that your data is in the database. And off you go.

I had a similar brain explosion the first time over Australian money. Yes, it's plastic; no, it doesn't tear; yes, you can wash it and swim with it; no, it can't be forged; yes, it lasts a very long time; yes, it's very beautiful; no, it barely burns; yes, it has a transparent window.

And I completely fail to understand why everyone isn't making theirs like this.

5 June

Have to keep up this "a post a day" thing, so here goes. Now for the important stuff.

The standard glass in a bar is 330ml. Same as the standard beer bottle. Beer is bought in six-packs — back home they tried to push Corona in that format. Essentially, for 30 bucks you get six 330ml bottles. Apparently they just enjoy opening them.

Since I mostly work with English guys, and they're used to a pint (500ml), the local glass size drives them all mad too. On the other hand, Will told me that once you've lived here a while and then go home for the holidays, an ordinary pint absolutely destroys you — the bastard just never ends.

Luca, a fiery Italian, and Martina, a lovely girl from Croatia, spent lunch today discussing — in the kind of flawless English I'd kill for — the finer points of getting hammered in different corners of the world. At one point Martina revealed a cunning scheme for reducing every girl in the vicinity to a puddle: grappa and honey! And I, she says, named this recipe "medoviza." "Medovukha," corrected the stern Russian lad alEksiy automatically, and carried on chewing his burger.

Martina then decided to show off her hangover knowledge, having got excited about a pickle sitting on a colleague's sandwich. In short, gentlemen, everyone drinks pickle brine in the morning — Croats, Bulgarians, Russians, Ukrainians and even Brazilians. The Aussies and Brits wrinkled their noses, trying to work out how that's even possible.

At some point five pairs of eyes swivelled onto alEksiy as the living representative of that culture. alEksiy nodded, still chewing his burger — yes, we drink the brine, no point denying it.

Three hours later, in the bar across from work, I finally tried the actual beer whose test brief got me this job. So: the beer is shit.

Meanwhile, I strongly recommend that the strong of spirit watch Guy Ritchie's Lock, Stock or Snatch without dubbing or subtitles. You'll get a good idea of how Brits actually talk.

Blooda basta ate ma chips!

There's also the ubiquitous "good stuff." Go get some pizza, good stuff. We should send out our deck, it's a good stuff. Back in 2008 that's what I used to call hash — "bladi basta, fackin good stuff."

7 June

Today is the second day off, Sunday, and tomorrow will be the third — the Queen's Birthday, so the whole of Australia is on holiday.

Finally bought myself a case with a PSU and assembled the tractor I brought over. Bought the case off some Chinese guy for 50 bucks; turns out the PSU has no separate cable for a graphics card, so I'll have to buy one — for now I'm on the motherboard's onboard.

What time is it? It's freelance time!

For dessert, a few photos.

The entire 3D juice of Australia (Warwick excluded) in one photo. Dima arrived a couple of months ago, Danila about four years back. Incidentally, it's thanks to Danila that I'm here.

10 June

One small splinter that won't let me rest: how invested people who've emigrated remain in the news back "in the motherland." The strangest part is the regularity with which they emotionally shove themselves back toward discomfort.

There are people who are already citizens of another country and yet keep closely following the stream of garbage media back home, force-feeding themselves all that negativity and constant stress from first thing in the morning.

Their parents have even moved over too — the last hook left is the pittance pensions.

When you step back a couple of paces, surely it should stop bothering you? Isn't that exactly what everyone is trying to shut the door on as fast as possible? There's something faintly sado-masochistic about it, with a side order of showing off. "Look at the awful news in Russia, and I'm not there! But you lot — what a mess you're in! Oh, Putin, Putin, doom and gloom."

And the standard Russian-internet pattern survives intact: dragging commenters into the conversation, endless argument, establishing who's right.

I do understand, of course — after that calibre of bad news back home, everything local looks like baby talk. Recently in a park someone came at a girl with a knife, she hit him and ran off, and now they're searching the whole of Sydney for him.

10 June

Adventure time!

So, I landed on the 29th, a fair bit of time has passed, the clean clothes were running out, and the dirty ones were, conversely, accumulating daily.

Everyone has a limit on the internally acceptable scenarios for how things might go, and my boss (whose place I'm leaving on Friday, hopefully) has a lower limit than I do — he casually suggested I do my laundry: look, there's the machine, chuck your pants in, what's the problem.

At that scenario my inner gentleman howled and ordered me to immediately pack a full reeking backpack and go find a laundrette. It was the Queen's Birthday.

Worth noting that any public holiday here is a cheat day. It isn't a Saturday, it isn't a Sunday, it's specifically a public holiday, which means that apart from a small handful of shops, nothing is open.

I walked past ten (!) laundrettes, kissed ten padlocks, ate pho out of grief at a Vietnamese place that never closes, and set off in search of an underwear shop.

Twenty minutes later I walked into the first open shop with men's clothing in the window, under the curious name "For Men."

The selection of underwear couldn't be called small, but it did suggest that not everything in this shop was straightforward. I picked up a three-pack of ordinary, no-frills ones, went to the till and found rainbow rings on the counter. The sweetly smiling chap behind the till put my purchase in a nice little bag with handles, and I made a swift exit.

I walk on a few metres, and there's a sign: "Men's Bar For Men." El Bimbo starts playing in my head.

Another fifty metres and I come out onto a square where a certain well-known flag is helpfully flying. See attachment.

"Darlinghurst, Oxford Street, which is well-known around the world as the centre of Sydney's gay community." Cheers, Wikipedia.

A day later I did drop my clothes off with some Chinese people near work for 12 bucks. Picked them up today — excellent job.

Uber rules. Here's the story: I decided to take a taxi from John's to my rented apartment (John plays golf on Saturday mornings and couldn't drive me).

Three minutes after installing the app there was a smiling Indian guy and his Nissan outside the house. Helped me load, helped me unload, took no tip (an Indian!), and the fare came straight off the card.

Not cheap, but cheaper than most local taxis (they get their own post). They sent me a message in Russian from some Alex who runs Uber's operation in Sydney, and gave me a promo code for referring friends and riding free.

So if you haven't signed up yet, now's the time.

The apartment looks like this from outside.

13 June

Sitting on the balcony with my feet up on a quietly liberated side table (solid beech, I think — can't really tell in the dark), sipping wine, a possum next to me finishing off a banana, bats partying above the balcony, Sydney glittering in the distance.

The neighbours are brazenly smoking weed on their balcony and giggling stupidly. I'll go introduce myself tomorrow.

Spoons and forks bought, rugs laid down; all that's left is getting decent internet and then I can exhale.

I've been meaning to write this for a while but never got round to it: the sky here is absolutely spectacular.

Anyone who knows me knows I'm a bit obsessed with space stuff — my own wife even bought me a telescope. So here's the thing. Light pollution in Sydney is very weak compared with Moscow or St Petersburg. Two or three storeys of buildings across 90% of the city, plus perks like "we go to bed at ten." The result is glorious.

And all around you is a completely unfamiliar sky — it feels like you've landed in another world. The Southern Cross, which stalks me from the Australian and New Zealand flags, and Musca a step away from it. Then Centaurus begins, and its Alpha (good luck seeing that from Russian latitudes) — sky porn, all of it.

The nights are fairly cool right now while daytime climbs to 18, so driving out to an observatory is pointless — too much atmospheric turbulence. But wait a month or two and it'll be worth a trip.

I'm almost afraid to imagine what opens up 100km out, where the light pollution isn't merely weak, as in Moscow, but simply absent. I'm hoping to make out the nebula next to the Cross at minimum — the local Aboriginal people called it the "dark force" that the possum up the tree is trying to escape from, part of their Southern Cross lore.

14 June

You periodically come across metal boxes like this on the street where you can donate clothes.

That's on top of the fact that if you drove a van around the streets overnight here, you could assemble a full set of appliances, furniture and a couple of dozen mattresses.

Australia, the generous soul!

17 June

About prices and money generally.

My savings have finally run out (and I mean entirely), so it's the perfect time to talk about the essentials.

A small opening remark: people whistle here. They whistle along to music (the radio is always on at work), they whistle in the street, in shops, everywhere.

The whistling fits the environment nicely — parrots screech like they're being murdered and every single pedestrian crossing beeps (pleasantly, actually, after Moscow's — that surprised me).

But an untrained ear, raised from childhood on "whistling is bad luck," finds this infuriating. Look at them, whistling! There'll be no money left!

When I explained this russian pogovorka to Will, he chuckled and observed that "that's probably why I'm still poor."

But Will is not poor. Oh no.

The average Australian salary hovers around eight times the Russian average (250k roubles versus the official 32k). There's taxation, of course, not hugely different from ours — but here it actually gets paid.

For example, after all the tax and pension contributions my salary shrank by almost half, but I can clearly see where that money goes, and I can take the pension with me if I go home at the end of the contract.

Tellingly, it's the simple trades that get the biggest payoff here — presumably a result of the locals being all thumbs plus the American instinct to pay for service. So welders retire at thirty to build motorcycles in workshops, having worked ten years, owning a house (a million dollars) and enough money left over for the next few decades.

Go into a supermarket and you'll see Moscow prices multiplied by 1.2–1.5 depending on the product: a kilo of chicken fillet is around 350 roubles, while beef — the thing Australia is famous for — is around 500–600. Here I modestly remind you of the eightfold salary difference, and say nothing at all about the incomparable quality.

On the other hand, the local approach to services is: charge what you can, do it as badly as possible. Fortunately I inherited hands attached the right way round, so I can handle any household nonsense myself.

Frankly, you have to bow to the Russian service sector. I can configure a network myself (or run and crimp the cable from the attic), unblock a pipe (or swap out a tap), sort out the electrics (or wire a house) and all the other supposedly trivial household things Aussies pay insane money for.

A "handyman by the hour" service would make millions here and would be one of the most successful business models ever built on a napkin. Cleaners are slightly less lucrative, but then they don't need a brain at all.

So where does the money go, you ask?

Well, here's where. A shop trip for small odds and ends that would cost you a couple of thousand roubles back home can run to ten thousand here: household bits, small stuff, and God forbid any appliance. Add internet at 4k roubles a month minimum, a mobile plan with data (which is what I'm on right now) at another 4k, and rent that's four times a typical Moscow flat by the ring road — and there goes half your salary. Clothing isn't notable for quality but carries a triple markup, and the all-thumbs factor adds service fees for everything (internet "connection" runs $50 to $250).

They also love bulk pricing here — it's a real thing, capitalism triumphant. In Russia it goes: want a bottle of beer, pay 50 roubles. Want a case, pay 600 (12 bottles). Here you pay 240 for one, 600 for a three-pack, and 800 for a six-case. Bigger box, cheaper still — so nobody buys wine by the bottle, they haul it out by the case.

Or take the anti-smoking effort: here it's an actual campaign, not the hypocritical charade back home. A pack of cigarettes costs 20–25 times what it does in Russia, all packaging is stripped of branding — sickly green packs with photos and firm recommendations to quit (with helplines and the rest). Which is especially funny given that the main brand I've been grinding away on for the past month is a Chinese cigarette brand, 555. The Chinese smoke like chimneys and have a whole hierarchy of packaging: one for meetings, one for relaxing, one for showing off (like a watch). We work for the Chinese market, obviously — that trick wouldn't fly here, where nobody's going to notice a small "premium" line on an identical pack next to a photo of a rotting leg.

19 June

I promised something about entertainment.

For a Russian, whose week's entertainment is a trip to a big shop, a film and a meal out, it's genuinely hard to grasp that the locals here are "bored." Bored, apparently.

Parks everywhere; you can't just fell a tree, not even in your own garden, not even one you planted yourself. Dead ones are handled by a dedicated service. You need a permit to cut one down — in other words, Sydney is a garden city. On top of that, the real municipal parks contain at least a couple of football pitches: one for Aussie rules and one for the normal kind. Plus golf courses, and sprinkled over the top, spots for pensioners — the same greens but for pétanque, with blackjack and drinks.

The locals have a "weekend car." In the basement of our studio, for instance, there's an AC Cobra in the corporate colours; plenty of people spend Saturday and Sunday cruising in pickups, immaculately restored old machines and convertibles.

There are also masses of beaches, the waves are good for surfing and the water never drops below 18°C. Sometimes it's colder outside than in the ocean. Should I mention the extras on those beaches — communal gas barbecues and perfectly tensioned volleyball nets?

An hour from Sydney are the Blue Mountains, a eucalyptus reserve that's apparently spectacular. With a car you could go a couple of years without really leaving New South Wales; the parks, forests and everything else would fill every free day. And if you're into photography or skywatching, you're done for.

There are, I'd say, a thousand times more clubs, classes and activities here than in Russia. Worst case — rent yourself a garage and restore the old junk that gets thrown out onto the streets by the tonne every day. Danila is into spearfishing, for example. Winter temperatures don't drop below 10°C, and if you're really cold, drive 900km north to Brisbane or the Gold Coast where it's summer all year.

Then there's wine — three valleys to visit — an opera house, piles of museums, a zoo the size of three Moscow ones, someone performing somewhere every week, every district with its own character, all the world's food in one city, and if you fancy it, go take a course in something useful.

But no. Bored.

A day ago John came over intending to write my name down somewhere and asking when I was going to give him 10 bucks. I didn't follow at first — turns out it's the lottery. An actual lottery, shown on TV tomorrow: a drum full of balls, a proper racket, buy a ticket, you might win twenty million.

I twirled my finger at my temple as hard as I could — it's a con, come on. No, alEksiy, you don't understand. You'll come in on Monday and the office will be empty, everyone off drinking the winnings.

This Saturday there's apparently a big one, so I'll be sitting in front of the TV crossing off numbers and getting nervous — they bought me a ticket. Full-blown gaming problem.

22 June

The weekly programme "Australian Forager" with its permanent host, Aleksei Sifonovich Borodin.

Today's catch: two large wicker baskets, two saucepans with lids, a toaster and a vacuum cleaner (!).

Two steps from my place someone bought a house and threw out everything in it. Still lying there: two benches, a sofa, another vacuum cleaner, a printer, a shredder, a mixer and a pile of other bits.

Breville toaster ($50), Russell Hobbs vacuum ($100), baskets like these at $30 each, saucepans around $15 on average — but these are good ones, could be more.

23 June

"Tell me about Australia, I'm dying to know."

About serious shit.

No point hiding it: the bread here is completely different. Not worse, not better, just entirely different. There's no nareznoy, no darnitsky, no stolichny, no izmailovsky, no borodinsky. Of the ones known back home you occasionally spot a French baguette, and that's about it. Instead of Armenian lavash you get pitas for Mexican tacos.

On the other hand, there are loads of sandwich options, a whole section for toast bread with a dozen varieties, and there's even a local equivalent of borodinsky — banana bread, an absolutely mad mix of bread and banana. Like a cake but without the sugary dusting and raisins; a serious cake. You'd have to be insane to eat toast bread without toasting it: damp, limp, tasteless shit. In the toaster it transforms — that's rather the point of it.

Solid move: fire up a couple of those in the morning with butter, and then (surprise!) spread a very thin layer of some particularly serious shit on top — Vegemite.

If you haven't eaten Vegemite, you haven't been to Australia. On our first trip, at hostel breakfast, my wife and I risked consuming this serious shit. To say we did everything wrong is an understatement: first, we slathered it on thick (you need the faintest scrape), and second, we skipped the butter.

As happens, the first attempt was frustrating and the epithets "impossible" and "shit" stuck firmly to the stuff. Undeservedly.

The locals wolf it down, can't get enough, and decades later still recall their mother making them Vegemite and avocado sandwiches in the morning and how they were the best sandwiches of their lives. Open the communal cupboard: what's in there besides salt and pepper? Correct.

It tastes like concentrated kvass with salt and meat stock, minus the kvass sugar. And it presents itself in the guise of Nutella, which finishes off your brain entirely.

I can't say I've come round to it yet — like any serious shit it demands a thorough approach and a rewiring of your palate, but there's a definite payoff in it, and given how unassuming it is, it just needs time.

The payoff is that Vegemite is loaded with umami. For the uninitiated, that's the thing that makes you love red tomatoes and soy sauce. And anything liberally dosed with MSG. Asian cooking is unashamed about using that additive, which is, incidentally, entirely harmless — and into the same basket go parmesan, walnuts and that same pho.

As a lover of mouldy cheese I completely understand the Aussies' devotion to this serious shit, and I've approached the acquaintance seriously: two bucks for a 400g jar, and I'll be eating it for the next month.

Kitya's only positive review of Australia was, I think, about Vegemite — right at the end of the piece here.

Judging by his posts, incidentally, Kitya is deeply aggrieved at Ozland, and I can see why: if you're an introverted programmer who swapped linear Japan for chaotic Australia, one thing awaits you — disappointment and sadness at every turn.

Today, while reading the Wikipedia article on Vegemite, I asked Will in passing what he thought of it. He pulled a horrified face, but since Smithy (a native Australian) sits behind him, mouthed silently: "horrible shit." Will is English and has lived here a third of his life.

Well then. Challenge accepted, jar open.

25 June

Once again, it's "What's Up in Kangaroo-Land?"

On the question of how bad the internet is here, I have exactly one phrase: "very bad." As in, truly bad. A Russian on an unlimited plan cannot comprehend how bad.

Imagine you've landed in about 2005. ADSL everywhere, the phone-plus-internet bundle, Stream gaining popularity, Onlime not even a concept yet.

That's roughly the speed Australia operates at. Better in places, worse in others, but the average across the ward is so depressing you want to howl.

You get used to good things fast, gentlemen. To dirt-cheap connections at insane speeds and 20-gigabyte HD films — even faster.

For comparison: the average price for an average unlimited plan here is about $150, i.e. multiply by 42 and you get 6,300 roubles a month for a lousy, slow, capped (whatever they claim) connection.

As a bonus there's Netflix, which every third person switches on in the evening, at which point the network drops to its knees entirely. You had 10 megabits? Have 2.

No way to use fixed line? Well, mate, you're in trouble. Like me right now — sitting on your carrier's mobile internet, and they're generous like nobody else. The 4G network of the local Beeline equivalent (Optus) costs 10 dollars per gigabyte. Let me translate that so you understand: one gigabyte disappears in a single evening of listlessly scrolling social media and watching a couple of low-quality YouTube videos.

Want to connect the internet in a rented flat? Easy! First you file a request (by phone, with an Indian who speaks worse than you do and understands nothing), then you wait for a "specialist" to come and inspect your phone socket ($150), then you buy an ADSL modem ($150), then you wait for the connection date and pay the subscription ($100). So around 400 bucks up front, thanks.

Want to break the contract? That's another 300 bucks in penalties if you do it within three months.

The explanation is simple. Australia is in the absolute arse-end of the world; while you're having your shortest night, we're having our shortest day and the depths of winter. Yes, being closer to the equator means our winter is +17 on average and subtropical, but the cable still has to be laid across an ocean, and that's expensive.

The result is that just four cables connect Ozland to the world. One of the main hubs is in Europe — you can imagine how bad it gets.

Anyway, I'm a Moscow lad with reasonable expectations; I've never in my life paid more than a thousand roubles ($25) a month for a phone, even when I was glued to it. Here you pay $90 a month — admittedly for unlimited domestic calls and texts (ooh) — and you get an iPhone 6 thrown in.

And do please forgive me for the shortage of photos and video reports so far. My bytes are counted, and every morning starts with a text from the carrier: "we've topped up your internet for another 10 bucks!"

26 June

Well then. A mere 430 bucks and I have internet! 13 megabits down, under one up. But hey, a cap of only 200 gigs.

Let me recap what that circus involves, so we can close the subject of Australia's dreadful connectivity for good:

First you need an apartment (deposit: a full month, plus the first two weeks; agents here get nothing at all, yet still try very hard to make you like the place).

Then you have to confirm connection is possible — best done by calling the provider directly. Then thirty minutes of sweating and straining to understand an Indian call handler while dictating (!) your name, surname, date of birth and passport number.

You get approval from the provider and wait for a guy to come and give his approval — the network's never been tested, so someone has to check whether anything works in the sockets at all.

You sit, sweat, wait and fret. The guy shows up at the least convenient moment possible, e.g. one in the afternoon — rings your mobile (which you also had to dictate to the Indian in the previous step) and, in a horrifying accent, tries to establish what's where and where the hell you are, mate.

You bolt from work — luckily it's nearby — let the guy in, he fiddles with the socket for five (!) minutes, says "she's right," and disappears.

Then you wait another week for the line to actually be connected to the internet.

On connection day you receive a bill for 300 bucks (12,600 roubles) for connecting the line. Breathe evenly, contemplate the transience of existence. Attached is the cheerful note that you may now use the network.

After work you sprint to the local Ulmart equivalent — I'll have to photograph it, the sheer volume of handwritten signs out-does any 90s market stall — and for a mere 130 bucks buy a modem + wifi router kit and a ten-metre cable. Bonus: on learning you're connecting to Telstra, the shop assistant hands you a free landline handset.

You get home, wrestle with the setup for an hour (10+ years in IT, library network support and other relevant experience), realise you don't have enough information to connect the modem to the endpoint, and call tech support.

You have a lovely chat with Anton (Anthony) in tech support, telling him everything that's been building up. You also explain how an impoverished country near the M9 charges 10 bucks a month for unlimited 100-megabit internet. You get your login and password, leave Anthony quietly stunned, and finally have proper connectivity. Of a sort.

Quest complete, thanks all for your attention, photo attached.

Meanwhile, a couple of nights ago the possums woke me up in the small hours having a full-blown argument right on my balcony. So stop staring at that glowing screen, go outside, take a deep breath of Russian exhaust fumes and really savour the smell of free Russian internet.

29 June

I open the corporate email and what do I find? 🙂

This! >:D

30 June

About power sockets (AS 3112)

It was Industrial Designer's Day recently (the 29th), so — on theme.

Let me describe the seemingly simplest thing in the world: a socket. To begin with, it has three pins arranged more vertically than horizontally (Russia is the opposite: horizontal plane, two pins), so instead of the familiar little snout you get the face from Scream staring back at you.

As you'd guess, live and neutral are on the left and right, and the bottom hole is earth.

But that's just the start; here comes the good part. I won't keep you in suspense: practically every socket I've come across has a button to switch it on and off. And these little nubs with red dots (sometimes printed, sometimes illuminated) have been replicated to the point of absurdity.

Example: the lights in my flat are also operated by one of these nubs. A big plate on the wall with a tiiiny nub in the middle — photo attached.

Nubs are also present on every power strip. One per strip, or one per socket. Australians clearly love them.

Progress marches on, and you occasionally find sockets with two slots in the middle. Any guesses what those are for?

5 volts, of course — charging USB devices.

To round out the socket picture, a few links. You can see the nubs go back a long way.

And a short article on the history of copying America and why the pins are flat (because it's cheaper than round):
https://en.wikipedia.org/wiki/AS/NZS_3112

1 July

"...the same shit over there that we got here, but it's just… it's just, there it's a little different."

Why do you think there are bottles of Zippo lighter fluid scattered around the office? To refill Zippos?

Nothing of the sort. Out of a hundred people here you'd be lucky to find five smokers, everyone uses ordinary gas lighters, and I haven't seen a single Zippo since I arrived. Yet there's so much fluid you'd think every other person smoked.

The thing is, they use the fluid for cleaning office equipment — where we'd use alcohol wipes. Here it works like this: take a wipe (a normal one), pour a bit of lighter fluid onto it, and clean your mouse / keyboard / tablet.

Smells less than alcohol wipes, incidentally.

2 July

About spam

The post works well in Australia — not as well as in the US, obviously, but a thousand times better than in Russia.

One of the parasites on the body of postal communication is spam. Our spam, our spam, our tasty spam. The original — SPAM, tinned ham — is sold in every self-respecting supermarket.

And those supermarkets are not above sending fat wads of pulp straight into your letterbox at the front gate. The locals love sticking "no junk mail" and similar cute notices on those boxes, which the local posties studiously ignore.

Highlights from the letterbox in the photos.

First up, a Woolworths catalogue — one of the flagships, the pricier local option, good range, occasionally absurd prices, but on average a solid choice. Better there than at the little 7-Elevens or EzyMart.

I greatly appreciate the marketers' efforts and their eternal 2.89, but I'll round up.

30-can pack of Pepsi Max — $13 (multiply everything by 42 for roubles)
400g Barilla basil tomato sauce — $2
4 litres sunflower oil — $10
Nuggets — 3 × 400g packs — $10
Kilo of carrots — $1
Kilo of cherries — $14
Kilo of Australian prawns with the amusing name Green Banana — $17
8 tins of Whiskas for $10

Onward, cosmetics:
Rexona deodorant — $4
Nurofen — $11 for 72 tablets
Perfume from 20 to 60
400ml Garnier micellar water — $9

Onward: Coles, the cheap version of Woolworths, sometimes better on price, sometimes worse on range.
Kilo of steak — $25
Jar of Moccona coffee 200g — $14
Tin of tuna — $1.50
Fuji apples — $2.50 a kilo

Booze:
Average price for wine — $13–17
Litre of Cointreau — $64
Case of local beer — $37 (30 cans)
Note the Mishka vodka at 32 dollars, and moving on.

Separately, a letter from a local entrepreneur, Jenny, who's decided to rent her car out via car next door (www.carnextdoor.com.au) and offers it at $35 a day or $7 an hour. The letter is almost certainly auto-generated — the street name is in different handwriting and there are obvious Photoshop traces in places.

Also a letter for the previous tenant (a notice about a past payment) and a letter to me from my beloved provider, may he burn in hell.

3 July

Today I gave a short presentation to colleagues about what I can actually do — half an hour of talking through past work, what I've been through, showing pictures, stumbling over words, all that. It landed, apparently: within half an hour people had already invented several projects to point my skills at.

Daniel the Chilean has just come over — in heavily accented Russian, MGIMO mode on — with "let's see what you're made of!" and a litre bottle of New Zealand vodka, VDKA 6100, in hand. Epic name, obviously.

I turned "Polyushko Pole" up loud, we drank, danced with a bear on our hats, kissed, and went back to working for the good of communism.

When I told Daniel that for the first twenty years of my life in Moscow I lived on Salvador Allende Street (and even showed him on Google Maps), he was impressed. Multinational country, multinational company — very cool.

(upd) New Zealand vodka will give any Russian one a hundred points' head start; unbelievably smooth on the finish, a genuine weapon for getting wrecked. But we only had two tiny shots each.

4 July

What is an Australian winter, you ask?

I'll answer quickly, because in winter you learn to do everything quickly.

First, showering and drying off quickly. Second, turning the heater on quickly. Third, getting changed quickly and climbing under the duvet in fleece trousers.

An Australian winter in Sydney is exactly that Russian in-between season when the radiators have been switched off but it's still hellishly cold outside at night.

Worth noting there's no central heating in Australia, the electricity bills bite, and so it makes sense to start stockpiling juniper twigs.

Daytime temperatures range from 13 in the rain to 23 in the sun, but as always there's a small caveat, and it's called "night." At night the thermometer shows 5–8 above and refuses to climb higher. Combined with the local love of big windows and, as mentioned, the absence of central heating — very cold.

I'm writing these lines in trainers, warm socks, jeans, a T-shirt, a long-sleeved fleece and the eternal "just off the boat?" gilet. And I'm not one bit too warm.

Uggs, as many of you know, are originally Australian. Broadly, the locals use them as house slippers rather than as a glamour accessory. The point is the sheepskin inside, in which your feet neither freeze in winter nor overheat in summer. Warm in winter, fine for a surfer running across sand in summer.

Meanwhile, in the local Sochi (Brisbane) the temperature doesn't drop much below 18 in the day and 10 at night. So if you're prepared to tolerate a certain abundance of dubious wildlife, welcome to Queensland, famous for its fauna.

Speaking of fauna, I found a dead, terrifying-looking cicada in the vacuum cleaner — clearly left by the previous owners. Genuinely frightening, huge. And that's it. In a month of living in the local Jurassic Park I haven't encountered anything capable of killing me even slightly. I did squash a cockroach once — big bastard, quick too.

15 July

Stand on the left, walk on the right. And on the road it's also best to keep left.

17 July

People often ask "so what do you actually do out there?"

I work at a company called BoldInc, which does branding, and my role is industrial and product designer. It's a small outfit, but a comfortable and well-known one. The clients are pleasant and you can see the final packaging design on the shelves.

Among other things, "Pip & Seed" recently launched — a cider with wine added, from the well-known Australian winery Jacob's Creek (not a fan, but you can buy them in Russia) — and it's getting written up in the local press.

The company developed the packaging design, and when the product hit the shelves several cases were delivered straight to the studio bar, which everyone made active use of for a week.

18 July

Catch of the day, and indeed of the whole stay so far.

Picked up a chunk of hardware — Core2Duo, 4 gigs of RAM in two sticks, an Intel motherboard, a separate Gigabyte graphics card on top of the integrated one (DVI present), an optical drive, a case, a 380W PSU. XP Pro licence sticker on the side. The only thing removed before it was thrown out: the drives.

Put an SSD in it and it's a fully functional machine, if not a fast one by today's standards.

A month ago, while living at John's, I grabbed an ownerless monitor (19-inch Samsung — I used one just like it about five years ago).

Not sure what to add, really.

That's how it is.

19 July

Today's, and slightly postcard-ish.

20 July

Will's back on form (Will on the left) 😉

25 July

Sat the IELTS; results on the seventh. My head is full of ocean noise and emptiness.

Postscript:

I worked out my short-term work visa and flew back to Russia to apply for a full one. Gathering the paperwork didn't take long, but they spent about another six months reviewing it. I kept in touch and carried on working for the company remotely until January 2016, when I got a congratulatory message from the lawyer: the full work visa had come through. Unfortunately, by that point the company's main client, BAT, had pulled out of the Australian market, which caused funding problems — and despite my having the visa, the company inviting me to work could no longer afford my services. The boy from Russia turned out to be too expensive for them.

January 11, 2026

3D Graphics as a Tool

I often see courses teaching specific software: "Blender from Scratch," "Cinema 4D for Designers," and so on. As someone who's traveled a certain path in 3D graphics and worked in various capacities, I'd like to clarify the situation and share my perspective on what really matters.

There's a lot of text here. I hope it will be useful to those who've just started their journey into the "magical world of 3D," haven't gone too far yet, or maybe it will help someone better understand the root of their problems.

I.I

For most of my career, I've been creating images for advertising: beautiful cigarette packs with perfect highlights, "correctly" condensated beer bottles, product packaging, POS materials—agencies love using 3D graphics for this kind of work. The perfect world of visualization as a convincing argument for the buyer.

My journey began when a friend gave me a pirated CD (there were no other kinds back then) of 3ds Max 2.5 for my birthday. A lot of time has passed since then, the internet has become fast, 3D printers have appeared, but I'd like to travel back and have a little talk with that guy in the late '90s.

Let's say there's a task: hammer a nail into a board.

For this task, you need: a nail, a board, a hammer, and a person to hammer the nail. It's a crude analogy, but that's what a 3D package is—a hammer. There are many different hammers on the market: some are free, others by subscription, but all have a similar construction and identical operating principle.

Does the shape of the handle matter to a professional? Whether it's wooden or plastic? What alloy the hammer is made of, whether it has a nail puller?

You can hammer a nail with an axe (and many people use software not designed for 3D for exactly this purpose), with a sledgehammer. You could even use a microscope. 🙂

It's not so important to know how to press buttons in a 3D editor as it is to understand the principle and workflow, the sequence of actions.

The choice of a specific hammer is the master's preference—they're comfortable working with their familiar tool.

In my practice, there was a case when I was forced to switch from 3ds Max + Windows to Cinema 4D + macOS and deliver results in a couple of days. Yes, it was an unfamiliar hammer, I was holding it for the first time, I was nervous, but I hammered in the necessary nails.

If a person knows exactly what to do, understands the workflow sequence, they'll quickly figure out any software and switch from one task to another. Like with soldering: the model of your soldering iron doesn't matter that much—a specialist will solder a circuit even with a nail and a gas torch. It's important to separate the awareness of yourself as a professional in something from the tools you work with.

Replace "I'm a specialist with a red-handled hammer" with "I know how to hammer nails into boards." Then with "I know how to build crates," and then, you might find, "I build houses." And if your dream is to build a house, I'd venture to say one hammer won't be enough.

I would start forming the required toolkit by defining the goal of who you want to become and what you want to be able to do.

I.II

You're in your home, getting ready for a journey. The road to the Big City lies through a dark forest—it's a long road that will take more than one year. You have time to pack your backpack, mark the trail on the map, and listen to advice from those who have already passed through this forest.

That's exactly how I imagine professional growth, becoming a specialist. Preparation is important. Many acquaintances ran into the forest in sneakers and a t-shirt, didn't really understand where they wanted to get to, and at best, returned home disappointed. At worst, they're still wandering somewhere out there in the thicket, picking berries.

Every item you take with you should be justified by understanding why you need it. Don't neglect the point of plotting your route, understanding what the landmarks look like.

The main principle I'd keep in mind: always keep moving. Watch tutorials, read forums, listen to podcasts, but remember that no one will take the next step for you. Yes, before lighting a fire, it would be great to learn exactly how to do it, but theoretical knowledge alone won't make you warmer. And if you stumble upon some problem—look for solutions yourself, it's part of the journey, like a side quest.

Don't take job offers that lead you off the path. As someone who took on a bunch of side tasks and worked at many companies of the most diverse profiles (as long as it involved "hammers"!), I know what I'm talking about. Such "well-sort-of-kind-of-suitable-for-now" positions won't make things better—you won't progress much.

If you don't have orders, it wouldn't hurt to announce yourself louder. Perhaps people just aren't aware of your existence yet. Post your work on social media, on Behance/ArtStation, read chats, talk about your journey, and... keep moving.

Part of your backpack is already packed with various things. Something, perhaps, from school days, and something as part of your character. I was lucky—I had art school and a desire to understand the mechanics of how devices work, which helped me on my path. But besides that, there were also several years of music school in there.

Don't worry, throw out what you won't need—walking with a heavy backpack is harder.

I.III

People learn by repeating the actions of other people.

If you give three chefs the same soup recipe, you'll end up with three different soups. Don't worry about following the same recipe as others—it'll turn out unique anyway.

Reinventing the wheel is long, expensive, and dangerous. Try moving away from this approach toward modifying existing solutions. The superpower of creating "something from nothing" is a skill developed over years. The word "nothing" is misleading here—a person creates something new based on experience and a library of known solutions. New recipes are still built on combinations of flavors. If you mix ice cream, soy sauce, cabbage, and a couple of eggs, you'll be looking for someone willing to try it for a long time.

In the long term, consistency is better than chaos, measured progress takes you further than impulsiveness. Apparently, people only enjoy a pinch of unexpectedness and take a long time to get used to new paradigms.

The deeper into the forest you make your way, the clearer you see the final goal. I'd compare this process to focusing. Our vision has a peculiarity—we only see clearly a small part of what we're looking at, a little more than three percent is in focus. The gaze "runs around," examining the object, eyes need time to capture the whole picture.

Don't try to swallow too large a volume. Discard the unnecessary, focus your "vision" on what's truly important. In English, there's a figure of speech: "Jack of all trades, master of none," which carries a negative connotation. A person who spreads themselves too thin stops being a professional at anything. In Russian, it's the opposite—"master of all trades" contains a positive characteristic. We love "broad profile" specialists, even though we understand that being a professional at everything is impossible.

There's a great temptation to have a pool of possibilities to choose from: will I hammer a nail today, twist a screwdriver, or saw a board? But the more unrelated tasks you set for yourself, the harder it will be to achieve professionalism, the more tangled the trail in the forest will become. Even within one specific area, there's always the possibility to veer off and grab something from a neighboring field for entertainment and expanding your circle of interests.

Stick to the compass needle.

And give yourself time.

February 28, 2024

A Snapshot of ’24

Setting

At the start of 2024, the internet was actively churning with topics like "neural networks are killing artists," "machines will soon replace humans," and so on.

There exists an institution of concept art—whether for film or games, every idea requires wrapping in some sort of package to then pass the images to production. Before sets and props are created, they pass through several hands, starting from the art director's or creative director's brief and ultimately to the executor. It's been more or less like this always: an artist drew visuals, they were transmitted further. Whether it's Giger or Mike Hill—each artist had a certain vision that found its point of realization in film or games. Sometimes they set the tone for an entire franchise, sometimes the artist combined the role of art director as well, as in the case of Disco Elysium and Rostov. Sometimes the artist's work was so complete in itself that it got adapted—as with graphic novels or Stålenhag's work.

Concept art isn't about pretty pictures. In the vast majority of cases, it's about the idea, design, the "feel," if you will. Whether an image is drawn "beautifully," in a general sense, doesn't bring any substantial benefit to further production, but of course, the more appealing the work, the easier it is to "sell" it. This is a significant difference from, say, illustration, where the characteristic of "beauty" is important, the artist's "style" is valued, and the artist themselves is the main protagonist. When creating a commissioned illustration, the artist must also hit the brief, but the work's value isn't primarily in the idea-design.

Most of a concept artist's work consists of faceless sketches, top-front-side views, doodles, diagrams. No matter how much ArtStation wants to convince us otherwise, in reality we draw "digital canvases" and key art rarely—maybe 5% of the total workload if we're lucky.

We solve practical tasks: what the room layout will look like, where objects will be placed, what those objects are, what the character will wear, etc. Atmosphere is certainly part of this consideration too, and sometimes you need to push a certain mood for the hero, emphasize the direction, give space for other parts of production to work.

Conflict

The main thing that's changed over 30-40 years in this field: speed and volume.

Two important points to keep in mind when comparing yourself to masters of the past. Yes, I already said "concept art isn't about pretty pictures," but why?

Every show, game, film has become significantly larger. Cinema can no longer make do with one room and give it 30-40 minutes of screen time. Modern games have dozens of full locations broken down into hundreds of small stories, where this or that part of the environment immerses the player in lore.

It's hard to compare games like the first Doom or Wolfenstein with modern shooters. In the nineties, you showed the player was "in a new place" by tint-recoloring a texture or adding new monsters. The entire volume could be covered by one or two artists, and storytelling was handled by a single illustration from a professional—the game's cover art printed on the box.

Even with tight development deadlines, there was no problem. One illustration for the cover vs dozens of atmospheric key arts. One recolored texture vs hundreds of detailed locations. But everything changed, games became more complex and interesting, requiring significantly more content.

Entire concept art departments appeared on staff, separate people for props, separate for environments, separate for characters. Two artists (surprise!) stopped being able to handle such volume. The speed at which new content needed to be delivered also increased, not least thanks to technical progress.

If you look at how Syd Mead worked—whether on major projects of the 80s or in the early 2010s—not much changed there. Mead came from engineering, though he possessed excellent technique and a recognizable style, but worked for many years as an artist within industrial design. He used Photoshop, yes, but still remained a proponent of technically simple solutions: gouache, liners, markers, rulers and compasses. Given that at the start of the technical leap he was already famous and, I assume, quite wealthy, he didn't need to "keep up," increase speed or output volume. People didn't come to him for a hundred locations 🙂

In contrast to Mead: the ability to lay out paints, draw sketches, figure out how forms and volumes will work better, work out color on a "small" A3 format, and then move to a "full" format and paint a 50×70 cm picture—modern concept artists simply don't have that. And Mead worked exactly like that.

And the main thing that evaporates when we change medium and transition to a fully digital version, and besides that add speed and set larger volumes—isn't the "beauty" of the work. No, what evaporates is the ability to think properly. The original Blade Runner looks naive compared to its modern sequel, it was filmed long ago, productions were smaller. But it's alive, you believe in it, it's a cult work.

Remember the joke about "counterfeit Christmas ornaments"? Same situation. Modern stuff—does it shine? It shines. But it doesn't bring joy at all.

In terms of technical equipment, the profession has received what Giger and Mead couldn't even dream of—3D blockouts, photobashing, tons of free models, textures, 3D scans, the ability to correct work digitally, neural networks, after all. But none of this matters if you don't have time to think about what exactly you want to show, what design will work effectively.

Until you can live a life inside your work—it won't be convincing.

Resolution

I don't have a recipe for "how to do it right."

I'm not afraid of technical progress and what will happen to the profession next. Neural network options will certainly spoil someone's life, but the beauty of pictures isn't the end goal of concept art, and it's precisely "beauty" that neural nets push.

I believe that the main enemies for us aren't progress and new tools, but the constant production race, the demand to deliver more in tight deadlines, and the shift in focus to "beautiful and sellable."

[UPD] Two months later, at the end of April 2024, a couple of important videos came out from Mr. Feng, founder of FZD School. They address exactly these questions, here are the links:

June 19, 2023

You Are Not Your Likes

"You are not your job. You are not how much money you have in the bank."
— Fight Club, 1999

I.

Over the past year I've seen a lot of underrated profiles. Concept artists with bright, strong work, who studied at places I wouldn't dare take on at 37.

I've seen Instagram accounts that gather no likes and no followers. Work that stays unknown, even though it's good work. YouTube channels with important information, struggling to get any attention at all.

I've seen a lot of things this year, in fact. Better if I'd drawn a lot of things!…

One artist told once she'd poured everything into her pictures, working at the edge of what she knew, using everything available to her at the time — and they passed by almost unnoticed. Then one day she quickly sketched a dream without any particular agenda, and within twenty-four hours she'd crossed over into the "known" category.

In this short piece I'd like to get across one simple idea. Modern forms of social head-patting shouldn't influence your self-esteem or your creative path. You cannot make decisions about your career based on imagined success on social media and on platforms like ArtStation or DeviantArt.

Everyone has their own measure of Success, of course. For some it's a badge on Behance, for some an international award, for some the follower count on Instagram or YouTube. Changing your own definition of Success is hard, but you can learn to work with it.

And first of all, I'd advise stepping back from it. If you can't step back, then at least don't draw any "conclusions." If they climb into your head by themselves — don't take action based on them. And if some action did happen anyway — don't get onto those rails a second time, don't enter the loop.

A simple example of how not to do it:

  • Hooray! I posted the piece I worked on for a week!
  • The piece didn't get 10 (100, 1,000, 10,000) likes 🙁
  • "I'm worthless! I didn't try hard enough! I don't have it in me!" T___T
  • I spend a month in pieces, barely holding myself together
  • I decide to switch from my beloved sci-fi to drawing babes — those will definitely rack up numbers!

However saturated this situation looks, unfortunately it's spinning around in a lot of people's heads.

Focus on the only part that matters, this one:

I POSTED THE WORK

II.

In the ideal world of someone who has attained zen, the cycle consists purely of action, with no value judgements, no rumination and no subsequent agonising. You post the work, then you post the work again. And then you post the work again.

Success in this framework isn't the outcome — it's the setting.

Here's an analogy.

Imagine you're standing a hundred metres from a target; let's say it's an apple. You have a revolver in your hand and your goal is simple: hit the apple. It would be naive to assume you'll manage it first time; you'll probably spend more than one shot. If this isn't the first time you've fired a gun, it may be somewhat easier. And maybe if you load good ammunition the bullet will fly better. But if you miss, there's no need to put the muzzle to your temple. Cock the hammer, aim, and shoot again. And again. And again.

Some people will need to empty several dozen cylinders before they hit; some will learn a particular technique or stance along the way; some will hit first time and decide they're the messiah. It doesn't matter. Nobody is immune to a misfire — even a master of the craft needs luck.

If you stick with the analogy: in the process of "shooting," the emotional attachment to each individual "round" gradually goes. You concentrate on the process itself, you start feeling your skill grow, and you gradually detach. The first apples you shoot through will make you happy, but later you'll want to move the target further away. Maybe pick up a rifle. The goal recedes into the background and you realise you're doing it because you love shooting.

If you're stuck in the "nobody likes my stuff" loop and you're afraid to take the next "shot," there's a simple way to switch it off. All platforms work on similar algorithms; engagement is a metric you can actually calculate. On ArtStation and Behance, for example, it hovers around 10% — i.e. of everyone who views a piece, roughly 10% like it. One person in ten presses the button. If the ratio drops below 5%, the piece is probably weak. If it creeps up to 15%, the piece is strong. The number of views depends on the people who have already liked it and on their own reach. In other words, if someone already "known" likes you, you pull in their audience.

Similar algorithms work on social networks — Twitter, Instagram, Facebook, LinkedIn. The like-to-view ratios differ slightly everywhere; audience engagement plays a part too, and a certain "minimum" threshold is supplied by people who know you. But broadly, on any platform there are active users and there are people who simply read and look.

Understanding the algorithms isn't in itself a magic pill that stops you worrying, but it's worth keeping in mind.

III.

There are a great many cognitive biases, and most people don't track them. A simple example is social proof: when people don't know how to react in a difficult situation and prefer to follow the majority.

Ask yourself: how many people have you followed because they already had a lot of followers?

The significance of words doesn't increase with the number of listeners; a piece of work doesn't get better because the artist is famous. A person's personal qualities aren't defined by their fame, any more than they're defined by their looks — and yet the halo effect exists.

To get a better grip on the causes and effects of your own behaviour, spend a little time and read up, even superficially, on what these phenomena actually are.

One of the most painful for me personally is the just-world hypothesis, which Lerner formulated back in the second half of the 1960s. The world is unfair, but we want to believe otherwise.

Separately, I'd recommend watching Derek's video on the Veritasium channel about luck — it's only 12 minutes.

IV.

English has the word queue, which mildly stuns people beginning to learn the language. The brain frantically tries to apply every rule it knows and produce the letters in the right order. It comes out something like this:

Although the true pronunciation is very simple and can be described with a single letter:

Q

To draw some sort of edifying and proper conclusion: keep it simple and don't worry too much if your work is currently passing beneath the radar of hundreds of thousands of likes. Some people achieve that kind of recognition quickly; others need a lifetime. What matters is spending that life on work you love — and if you get too deep into social head-patting, you'll gradually forget what you set out to make in the first place. Besides, the trial by brass trumpets sits alongside fire and water for a reason.

July 7, 2021

What’s in the box?

Imagine that they brought you a box. Plain, cardboard, unremarkable, like many others. The top is sealed with tape, on the sides there are small cutouts - handles.

Think - what's in it?

It could be anything, it could be a new transforming robot, it could be a medieval character or a tuned Subaru, it could be a Lego kit, a stack of photographs, or a 25th century Space Marine self-help medical kit.

There may also be a futuristic city, a huge volcano shrouded in fog, a whole story about how an expedition team makes their way through a blizzard to find a polar station that disappeared three years ago under strange circumstances.

The box is all your fantasy, imagination and creativity. It is fueled by the visual library accumulated over the years. It also includes all the films that you watched, the books that you read, the random landscapes that you saw from the car window.

We, concept artists, refer to this box very often, almost every day. All ideas and solutions come from her, she influences most of the work.

Feel the horror when you open the box and there is nothing in it . Nothing at all, not an empty bag, not a spider, not even a wall.
All-consuming emptiness, universal nothing , it feels like you are falling headlong into a bottomless well.

This is a creative block, "fear of a white sheet", with the handbrake pulled on, with which we will not go anywhere further.

Today I will tell you a little how to let go of this handbrake, overcome fear and show a number of tools that were invented for this from the point of view of a concept artist. Go!

"Headlights and Belt"

When you get behind the wheel of a car, even before you start and go somewhere, you must at least buckle up, plan a route on the navigator, turn on the headlights, move in a chair, turn on the air conditioner or stove and check the mirrors.

Such a routine does not cause bewilderment, it cannot be neglected, because it is part of the trip. Similarly, such rituals cannot be neglected in work, almost everyone has a number of actions that are necessary to tune in to a working mood: drink coffee, check mail, turn on the appropriate music.

But what if the headlights are working, the belt is on, and the car is not going anywhere? Exactly! You need to start!

The creative process is really very similar to starting the engine, after turning the key, the car that was previously in the cold from the battery begins to rotate the starter and only after a couple of seconds (at best) the engine starts, warms up and is ready to go. Likewise, the brain needs the first impulse to start generating ideas.

For most artists, the most difficult period is precisely the sketching phase, when the main idea has not yet emerged in the head, or the moment of transition from the sketch to the first real strokes. The problem of " what to draw" is the most common problem , so let's look at it today.

Here is a list of methods that work for me personally, I will tell you about each in more detail:

  1. Mr. Feng's method
  2. Alchemy method
  3. Constructor method
  4. Neural network method

1. Mr. Feng's method

You are probably aware of Feng Zhu , a veteran concept artist with vast experience. He hosts the YouTube channel FZD School , named after his school in Singapore.

His method can be described in nine points:

  • Collection of references
  • Start with a good base
  • Defining the main function
  • Human factors and life support
  • Functionality shapes the details
  • Adding light
  • Adding different materials
  • Adding animations and sounds
  • Personal detail

Feng says that in most cases 80-90% of what you draw can be safely taken from real life and references, adding only 10-20% gag.

Did you see a cool house in the photo? Draw it, and as soon as you draw it, try to combine it with that other house. Perhaps you need arches-transitions between them? Let's add a river and a water mill here, by the way, and here's a ref!

This approach greatly simplifies life, you do not bother about trifles, you only follow the general form and logic of the structure.

This approach "from reference" develops further in all points - the definition of the main function of the structure allows you to specify which references to look for, the human factor adds humanityidea, placement of the necessary attributes of a person's life - doors, windows, beds, tables, chairs, etc. The formation of parts is based on the function assigned to the building (tavern? Forge? Medical compartment of a spaceship?). Light, both artificial and natural, is determined by additional elements that need to be present in the image - lamps, chandeliers, windows, candlesticks, fireplaces, monitors or a fire. As soon as you get to this point, most of the work has already been done, it remains to add variability - think over what materials different parts can be made from, what points of interest can make sounds and what additional animation can be present: perhaps there will be a cat sitting here, but here flutter the curtain? After that, a small personal touch of the inhabitant and now you have the concept art ready. And despite the fact

Balancing the workload of the complex part of the work on the brain is another good help. Decide on the main idea as early as possible, but let your head rest. Throwing sketches according to the references and spending half a day on Monday, you automatically unload your head for the rest of the week, when you can just do a clean drawing of an already formed idea.

2. Method of "Alchemy"

If the situation is sadder and you need to invent something completely new and unusual, then the search for forms comes to the rescue. I would compare this method to the Rorschach test.

Alchemy is a small program that many concept artists know about. Unfortunately, it has not been updated for a long time, but the existing functionality is still sufficient. She is good at generating quick shapes, in her you can release your hand and watch what the subconscious mind throws out this time.

You can compare this process with looking at clouds in the sky - it looks like a fish, but a dinosaur. Of course, you can set yourself some more specific task and draw with some scope, but it is important to remember that a critical assessment should be given only after an hour spent in a relaxed state. Instant self-criticism kills creativity, and this is exactly what is required at the sketch stage. The brainstorm rule is that we do not criticize during a storm, only after .

This is the case when you don't have to worry about drawing details at all, you don't have to think about the function - only general shapes, a contour. After some time, having selected the options you especially like, you can start thinking about what exactly you want to draw and convey to the beholder. By this time, the brain will already be included in the operating mode, the motor will start and it will be possible to continue the journey.

3. Method "Constructor"

The structure of the "constructor" approach is quite simple and the simplest analogy is cooking vinaigrette, only instead of neatly chopped vegetables we will have various pieces of art. This is "~ bashing" in its true sense, but it can also be divided into separate parts: kitbashing, sketchbashing, 3dbashing and others, the meaning remains the same and is well described in the famous pilaf recipe (rough translate: "we take a bunch of dill, then a cat's ass, 25 potatoes, 15 pubic lice, a bucket of water and dick there, an armful of firewood and pilaf is ready!").

To understand how "sketchbushing" works, it's best to watch Nick Carver's performance as part of Trojan Horse was a Unicorn, link to the video. But I'll attach the work of Nick to make it clearer.

To begin with, Nick draws several houses from the reference, which he later uses as parts of one, something larger.

Such a constructor allows you to relax your brains, you do not have to come up with all the elements in aggregate and immediately have a ready-made image of the final image, but work a little bit, step by step, bringing yourself closer to the final goal. All that needs to be done in the end is to combine the pieces so that the perspective works correctly and catch the cool shape.

The same is possible in three-dimensional graphics, instead of sketches, a ready-made set of models is taken and something new is already drawn on the basis of it.

I highly recommend checking out the Bill Making Stuff channel , where the host makes cool robots from natural trash and garbage and more (English humor included).

Another follower of this technique is Thomas Scholes.

As you can see, this method works with any style and can be used in a variety of ways. From the point of view of creativity, it is always easier to use ready-made cubes, you see, the fantasy will wake up from sleep.

4. Method of neural networks

So we come to the final option to stir up the engine and see something in an empty box. Taking into account the current attitude towards this (in 2021, neural networks are still perceived by artists as "cheating"), I will immediately make a reservation that this method should be used carefully.

Nevertheless, being able to turn on such a machine is a sin not to use it. At the moment, there are at least three strong neural nets, sharpened for image generation. I'll skim through two of them: the first is Nvidia Canvas (requires an RTX card), the second is Artbreeder , which is free.

With the first one, everything is more or less clear, you draw with different "entities" and you get a picture that at the very least resembles a landscape. Not so densely, of course, the resolution is fairly small, but in order to turn on inventoring enough poke fifteen minutes and to understand in which direction you can develop what is given on the screen.

The most famous concept artist Scott Robertson has been unable to tear himself away from the canvas in recent days, it is very interesting to watch him on his instagram .

It seems to me that it makes sense to resort to a breeder in a situation when nothing helped at all. At the moment, this is an actively developing online software, and so actively that it becomes a little scary that it will be able to generate in five years.

At the moment, he knows how to create extremely good landscape solutions, portraits and characters, which, of course, greatly simplifies life at the start. For my part, I can say that as a person who regularly digs into a completely empty box with completely black walls , it was a therapeutic decision to use it.

For three days I sat and poked buttons, watched the results, and the brain itself began to slowly finish drawing the scene in my head: what could be happening here, what would I change, what would I fix.

Of course, the result from it cannot be used directly, but as a starting point for your imagination - why not?

So what's in the box?

It would be strange to end without some instructive thought. You can probably say that "everything comes with experience and time", "the more practice, the easier", but all these are empty words. Yes, skills will develop over time, but the paralyzing fear will remain.

It's scary that it won't start - for everyone, without exception. Both beginners and professionals. Everyone is afraid that it will not work out and today there will be “that very day” when I will not be able to drive at speed to top-artstation. Something will break on the way, a part of the brain will be taken away, I will not be able to make another smear.

In order for your box to produce interesting things, first of all, you need to put more in it.

Good luck!

November 3, 2019

The Drugstore on the Corner of 15th

I love browsing old photographs on Shorpy: high resolution, interesting subjects — take any of them, dig a little and you'll unwind something and turn up a story.

Yesterday my eye caught on a building and a sign — there it is, in the middle, with the W.S. Thompson Branch board. Beautiful, slightly ornate, and definitely made with some soul.

According to the frame's description, this is 703 15th Street, at the intersection with New York Ave, circa 1920s, Washington, D.C.

We go looking for the spot on a modern map and don't find it: there's no 703, five minutes of driving back and forth on Google Street View bears no fruit, and 15th crosses New York in a slightly odd place. The closest match is on the left, but the building there is a different one, nothing like ours.

New York runs "up," 15th left to right.

Fine — let's open the old maps. A couple of clicks finds an excellent 1919 Surveys of Washington atlas, and the place we need is easy to identify. Thank you, Library of Congress.

We want square 23; that's exactly where our corner falls. Look closer and there it is. Three numbers are clearly visible; ours is the middle one.

On the right side of the atlas you can see the "District Nat. BK" building — the bank that's also visible in the original photograph, sticking up in the middle of the background.

So the whole corner was demolished. This is what's there now:

Let's look for something about this drugstore, purely out of interest.

To start with, the sign tells us it's a Peoples Drug Store. Even Wikipedia knows about them, though the company has been gone for 25 years. It was a large chain that sold all sorts of things besides medicine, and its signage shared a common design. Here's store No. 5, for example, assuring us that "we always sell the best."

Given that cocaine was removed from Coca-Cola in 1903 and Peoples Drug wouldn't be founded for another two years, let's have none of that "things were better back then."

Back to our hero — let's look for more shots. There are some!

A slightly different angle, some of the signs have changed, and the upper awnings on the third floor haven't been removed yet (or haven't been fitted yet?); the shot was taken earlier (or later?). Keep looking!

And another!

no hi-res available

Slim pickings. But a keyword search quickly turns up a close-up of the entrance and some gentlemen.

Black and white is all very well, but I'd like to understand the colour too. The only colour image is a postcard, and the building we're interested in is depicted with certain liberties taken. Well then, onwards.

Let's turn to the most advanced thing currently available in automatic colourisation of black-and-white frames — artificial intelligeeeence!

We feed the shots into a colouriser and get this output.

There's a distinctly Italian flavour to the building; it may well have been painted pink, like the reference below with the Tiger Hall sign. Their little rectangles are very similar indeed.

W.S. Thompson gets several mentions in the newspapers, jars and bottles bearing his name are still on sale today, and the drugstore on the corner was clearly there long before it was folded into the Peoples Drug chain.

And now let's go inside! A large marble counter, several lamps and ceiling fans.

The building turns up in a couple more frames: note the old sign and the complete absence of awnings up top. But there's a big, beautiful one down below!

Sadly, the entire corner of 15th and NY Ave would be cleared in 1927 to build The Washington Building. But that's another story entirely.

July 25, 2018

On Trying New Things

Less talk, more doing. For myself I've worked out three "elephants" that any new undertaking stands on. First, stop being afraid. Second, be as un-lazy as possible. And third, shut the critic up.

Point by point.

Don't chicken out

Software isn't scary and it won't eat you — that's what software is for. No kittens die and no nuclear plants explode because of how you press this or that button. Any interface can be reset to "how it was at the start," and you don't have to save your scribbles, let alone show them to anyone. The worst thing that can happen is that you waste some time. Nobody is watching you at the moment you're learning and being slow. There's no person who'll point a finger and say, "Behold! Be ashamed! Unworthy one!" Children make mistakes constantly in order to understand how things work. In any new activity you haven't done before (or have done, but only a little), you're exactly the same kind of child. Just don't chicken out, it's fine.

Don't be lazy

Let me show off a bit, to give the text some flourish: "A journey of a thousand li begins with a single step."

People love that phrase, but there's a nuance: who said the road ends at the first step? After the first step, a new one begins — 999 li long. And somewhere around the middle of the road you'll learn to walk at a decent pace, at a constant speed, keeping to schedule, not sprinting headlong trying to cover a week's worth of ground at once. There's no guarantee you'll immediately love the way you walk or the shape of the footprints you leave, but at minimum you'll understand that you're moving.

The easiest way to treat it is as a hobby — less pressure, chin higher, brighter days.

The simple-to-complex principle isn't going anywhere: first learn to work roughly, and only when you feel more or less in the flow move on to the next stage. Laziness appears precisely in the gap — when you've learned something but can't be bothered to fiddle with the old thing again, and trying the new one is scary or tiresome. Re-read the first two rules. Don't chicken out and don't be lazy.

Shut the critic up

Oh god, I'm terrible. Everything I do is bad and everyone around me is doing so well. I'm worthless, they're all geniuses.

Kill that bastard right at the door — the internal one first and foremost. Criticism is good when it runs on constructive rails, when it isn't even criticism but a body of someone else's experience, when you genuinely need it and can apply it to your work. If you're a newbie who can't walk yet, what's the point of listening to Usain Bolt on Olympic sprinting? In most cases criticism gets in the way.

Don't compare yourself to anyone. I know you'll do it anyway, but at least don't insult yourself. "Yes, I'm so-so right now, but I'll get better, because I can see the trajectory." Or, "yes, I'm making rubbish, but I know what my final goal is." Or, "yes, it isn't working out yet, but this is serious sorcery and great mastery, as I can now see." Geniuses aren't born; it isn't gods who fire the pots. If you've covered only 20% of the road, to somebody you're already immensely good. And the further you go, the simpler and closer the "gods" of the past will seem.

An employer of mine once said to me: "beat a hare long enough and it'll learn to light matches." I believed that for a long time, thinking cynicism, self-flagellation and other forms of beating would produce something. I don't envy the life of a hare that has to do well in order not to be beaten. Don't be a hare. Don't work to please the critic.

After the three "elephants"…

…comes assorted other wildlife. Let's call it the three owls.

Keep developing

Any new information is food for the brain. The more you cram into yourself on and around the subject, the better. Increase the number of images you carry, but don't just dumbly memorise what looks like what — try to trace the patterns.

Understand concepts

All software changes and evolves. Yesterday we rendered in V-Ray, today in Corona — you can't get stuck because you don't know which buttons to press. Start understanding the global concepts and, over time, you won't care what you work in. It's easier to think in stages: "I've learned to model," "I've learned to light." Try breaking any task into chunks like that; they're easier to live with. This isn't a sprint, it's more of a marathon — you can't learn everything instantly, but to develop you have to work methodically on each next step.

Ask

At some point you'll have questions. Ideally they'll come immediately, but almost all the answers to the first questions have already been given and you only need to phrase the Google query properly. The internet and the manuals will back you up nearly always, but some things you'll have to work out for yourself. Look for answers inside yourself — try different solutions and look at the result. Ask the people around you, but remember the "critics." You can also turn to people who are already dead: how did Rembrandt solve rim lighting? How did form work for Dalí? Paintings of the past exist as other people's experience, captured — learn to consult them for answers, and analyse. And think how many trees went into books…

Observations

A pile of odds and ends; they have to go somewhere, so let it be here, in the last section. Almost done 🙂

The Russian internet is wretched and narrow; by and large it's populated by envious, rude and self-centred people. Lately the situation has been improving a little and there are things worth reading, but for advice and encouragement I'd still go to the English-speaking internet. There's more information, the people are nicer and better-mannered, and there they know how to praise, understanding the value of support.

Until you show your work, nobody knows about you. "Dressed like a London dandy — and at last he saw society." You have to work out for yourself when it's time to go public; it doesn't depend on the de facto final quality of the work — just listen to yourself. Some people will post any old doodle; for others it matters to have only first-rate work in the portfolio. It all depends on the thickness of your skin and how easily people outside can pierce it. In practice, every person wants to be accepted, wants to be understood and appreciated. Find the platforms you like best — Behance or ArtStation, DeviantArt, Tumblr; there are plenty. The moment you post something, someone will see it. And don't sit like Pavlov's dog waiting for the "like" bulb — keep working. And posting. Working. And posting.

Only spend money on what you'll actually use. Almost all software has a trial period, and you have to work out whether you need it. Try to find a tablet at a friend's place and draw on it while you're visiting. Work out whether an iPad Pro is really so essential, or whether a sheet of paper and a pencil will do. Any tool is good in use; sitting on a shelf, it's of little benefit.

Don't forget about rest and play; spoil yourself with toys, trinkets and new experiences. Remember that inside every person sits a child who always enjoys simply playing with something.

Memorise this like a mantra: it isn't the pan that cooks, it's the cook. You can make a divine omelette on a sheet of tin if your hands are attached the right way round. So your main weapon is yourself — your skill and your past experience.

And don't develop a complex about it; nothing good comes of that. Just keep doing what you enjoy.

But first ask: why?

(And don't bullshit yourself!)

April 6, 2018

Show Must Go On

Look at our world: everything revolves around entertainment. The industry has swung so far that the only way to get people's attention on anything is to make a show out of it.

Musk drew attention to space — where everything is as dreary and predictable as it gets — by mixing a hellish cocktail of new technology, a high-quality broadcast, an accessible way of narrating what was happening, and a twist. That "one more thing" people loved Jobs for. A Roadster with a spaceman at the wheel, Bowie, the synchronised booster landing — all of that is the raisin in the bun. A lot of raisins.

To compare his space with space-minus-the-show you don't have to go far. Just open a broadcast of a Proton launch: half an hour of staring at a single shot of a rocket standing vertically, a few minutes of it lifting off to a nasal "check three-eight-five," after which the broadcast ends.

Over my life I've come to realise that people are drawn to the new by nature. I'd known it for a long time, but grasping the full depth of that phrase and accepting it came only recently.

The consumption of physical and intellectual labour hasn't changed much in volume over the past fifty years; what changed is the quality. Where people used to accept the principle that you can't pull a fish from the pond without effort, now the total dominance of fast-reward activities is killing content. Books gave way to video. Newspapers to the Facebook feed.

People love playing by rules. One of the most successful games of the past year is PUBG. I think part of its success was that it's hard: there's no plot, but there is competition. The rules are maximally adaptive — you can sit quietly in the bushes until the very end, and one kill may be enough to win when there are two of you left. Or you can play Rambo, racking up frags and clearing a third of the map.

Like any game, it gives you nothing except the sense of satisfaction in the process of moving toward victory. You learn to shoot, learn to hide, learn to loot quickly, study the map and where it's best to drop. It's a learning process with a reward at the end; you can see the result of your efforts as you move higher up the list of survivors. You become better than others and better than your past self.

In childhood you have roughly the same scheme — reward for gradual learning — whether that's working with a hammer at the dacha, catching lizards, riding a bike, or simply being able to reach or walk to something at an early age.

Right up until it runs into two utterly unbearable periods. School and university. You start suspecting something is wrong with school when you've already served half your sentence. I went to one of the best schools in Moscow, and even there only three or four subjects held any interest for me.

Your humble servant wasn't a straight-A student; he wasn't even a solid-B student. A C student, with peaks in art history, biology and maths, and troughs in Russian, literature and chemistry.

You can't fool a child: they may not know that a wooden medal and a pie off the floor await them at the end, but they can feel it perfectly well. Our class had one straight-A girl who slogged and crammed — the "proper girl." School drained her emotionally to the point that she can't bear the sight of those historic walls and that staircase any more. Nor of the friends who served the sentence alongside her. Nor of the wardens, of whom there are fewer every year.

Landing in university, which is even more meaningless than school, you have two choices: go and work, or keep serving time — though now in a lower-security wing, with a chance of early release somewhere near your diploma.

Strong tea with your cellmates, at first for occasions, then just after lectures, then instead of lectures — you learn to get around the system and become better at that than others and than your past self. It reached the point of absurdity: turning up to a brutal exam with your own dean while hungover or still drunk, quietly copying squiggles out of a textbook under the desk, understanding only that they appear to be formulas.

I jumped into work in my third year, because work has the thing that keeps people moving — rewards. Higher education has no direct reward; nobody needs you while you're a student or afterwards. "Next customer, please" is your slogan; instant noodles are your breakfast, lunch and dinner.

If you're lucky with work, you plunge into a show that's always with you. You're glad you're working, you learn from colleagues. You gnaw at the granite of knowledge yourself rather than at the chalk of a school blackboard. You see your progress and your growth, and new knowledge applied in practice. That's the main motivator, the thing that pushes you further while there's still dopamine sloshing about in your blood.

"Business before pleasure" — alas, the concept has changed; more and more money spins around pleasure, making it the business of anyone who's caught on.

Sport, cinema, games, advertising — all of it is a show. Instagram made a show out of phone photographs. LiveJournal-style chronicling degenerated into 140 characters of precise formulation, and how your Facebook page looks is now sometimes more important than what you wore out of the house.

The more easily content is absorbed, the funnier and more entertaining it is, the more views it gets. A show is made of everything, including presidential elections. A sense of involvement, plot twists like a good TV drama — they'll keep you hooked. Admittedly our elections look like a Russian TV drama, but that kind of content has its fans too.

But none of it brings satisfaction, at least not for long. People five to seven years younger than me knock on my door regularly, chewing on their own frustration, with "mate, help me out." They may even have sensible ideas in their heads — to work hard, to learn something; they want to enjoy their work. But they have no teeth for gnawing at granite themselves. They're used to easy absorption, to "post a post, earn a like," so they get angry when you refuse to chew it up for them. "How can this be? It was always easy, and suddenly it's hard!"

By some magic, they associate the word "learning" with university and school, and instantly deflate. They can't consume texts, can't read documentation, can't dig around on forums; they can't even manage tutorials. Meanwhile the body demands the new, and common sense hints that this new thing ought to earn some money in the future too. But that means sitting still! That means time has to pass! And not merely pass — you have to be doing something while it does.

Which leaves me in a mild trance, contemplating the width of the hole we're hurtling into. On the left: "classical" education that gives you nothing. On the right: the expectation of instant reward and the desire to see a show everywhere.

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