Oleksii Salnykov 🇺🇦

👀A closer look at our art direction for the long-awaited return of @roadsandkingdoms . Issue 1: «Pleasure-Seeking in a Deranged World» spans 144 pages of meticulous editorial work, balancing immersive long-reads with the arresting photography of the magazine’s global contributors. For us, this project went beyond mere layout assembly. It was about crafting a tactile vessel for essential narratives — from the streets of Lagos to the kitchens of Rome, and from the definitive “R&K 50” culinary list to urgent journalism from Gaza and Caracas. Opening with a poignant letter to late partner Anthony Bourdain, the volume establishes itself as both a manifesto and a travelogue. Check the slides for some desk scans, highlighting the specific layout details and paper textures. 🔎 Grateful to the whole R&K team for the trust. 🖤 Co-founders & Publishers: Nathan Thornburgh @nthornburgh and Matt Goulding @mdgoulding Executive Editor: Charly Wilder @charly_wilder Editor at Large: José Andrés @chefjoseandres Creative Lead: Doug Hughmanick @douglas_hughmanick Cover art by @edelrodriguezstudio Art Direction and Design: Kultura @thisiskultura Oleksii Salnykov @a.salio and Sasha Bychenko @visual_bychenko

🟡👀 . . . . Видавництво @osnovy_ Фото @visual_bychenko

Як проєктувалася «Довга сцена»? Як ця книга враховує виклики сучасності? Що спільного між її дизайном і сценографією? Олексій Сальников @a.salio — дизайнер та автор концепції «Довгої сцени», дизайн-директор видавництва «Основи». «Довга сцена» — артбук з пʼєсами «Маклена Граса» та її сучасним римейком «Квіткою Будяк». У виданні — історичні фото з останньої вистави «Маклени Граси» в Березолі та з постановки «Квітки Будяк» у театрі Франка, ескізи костюмів і моделі декорацій, а ще — передмова, яка розкриває історичний і культурний контексти обох вистав. Встигніть придбати «Довгу сцену» на нашому сайті за ціною передзамовлення. Посилання в біо.

The poster by @a.salio on @cafekyiv_berlin Check the full author’s concept behind design in project catalog (link in bio) @designforukraine #kyiv #kyjiw #designforukraine

Oleksii Salnykov Different identities, one name — Kyiv The work approaches language as political infrastructure — a system that not only describes reality but shapes its cultural and geopolitical boundaries. The typographic composition deliberately disrupts the idea of a single “correct” form, revealing multiple identities that can coexist within one name — without reduction to an imperial norm. The letterforms are built on tension between recognisability and resistance to readability. Excessive plasticity, deformation, and fluid transitions become a visual metaphor for linguistic shift — a painful yet necessary process of redefinition. Here, design does not merely frame a political decision but enters into dialogue with it, acting as a tool of critical thinking and public intervention. The poster functions not as a final statement, but as a record of a moment when orthography becomes an act of solidarity and typography a means of restoring voice and agency. Oleksii Salnykov is creative director and co-founder of Kultura, a visual communications designer, curator, and researcher. His practice combines systemic thinking with experimentation, working with visual patterns and the organisation of meaning in graphic systems, where form and context operate as a unified structure. @a.salio

Oleksii Salnykov The poster explores language as a political form, where spelling is not neutral but reflects historical and cultural power relations. The typography is built from simple geometric shapes that overlap and intersect, creating tension between different ways of writing the city’s name. As a result, a familiar word becomes less stable and requires renewed recognition. The work captures a moment of linguistic change and presents design as a way to make this shift visible — not as a technical correction, but as a cultural gesture. Oleksii Salnykov is creative director and co-founder of Kultura, a visual communications designer, curator, and researcher. His practice combines systemic thinking with experimentation, working with visual patterns and the organisation of meaning in graphic systems, where form and context operate as a unified structure. @a.salio

‼️Ukrainian skeleton athlete @heraskevychvladyslav was barred from XXV Winter Olympic Games @milanocortina2026 competition for wearing a helmet commemorating Ukrainian athletes killed by Russia during its invasion of Ukraine. ● At the same time, national symbols of the aggressor were permitted, and Russian athletes were admitted under a so-called neutral status during an ongoing war. ● The International Olympic Committee’s decision effectively silenced public remembrance of war victims, framing this suppression as “political neutrality”. 🤡 Respect to Vladyslav! Shame on hypocrites with double standards!

Some scans of Susan Sontag: The Complete Rolling Stone Interview book designed for Osnovy Publishing that has won Best Book Design 2025 by @book_arsenal  in the Text Book category. 🏆 This book is built around attention to intonation. Its visual structure follows Sontag’s character — sharp, compressed, and demanding sustained focus from the reader. The bright sticker enters this system as a deliberate visual and tactile intervention, altering the rhythm in the same way Jonathan Cott’s questions disturb the flow of the conversation and give the interview its strength. Publisher Osnovy Publishing @osnovy_ Design @thisiskultura : Oleksii Salnykov @a.salio  & Sasha Bychenko @visual_bychenko Typefaces NineElms (Dalton Maag @dalton.maag ), Segment & Murs Gothic (Maksym Kobuzan @mkobuzan ) Technical editor Mykola Klymchuk Printing @publish.pro , head of printing Ruslan Fokin Paper Munken by @arctic_paper , Colorplan by @gfsmithpapers

So happy and proud of my colleague @olla.kuzovkina — her zine “Road Works” won Best Book Design 2025 by @book_arsenal in the Experiment category 🎉 As one of the poster authors for this zine, I really appreciate Olla’s invitation and am happy to share this joy with all the colleagues who joined and supported the project. Road Works is both a typeface specimen and a license to use the typeface. On the back of each zine there is a poster showing the Road Works typeface in use. There are 10 different back-cover versions in total. Olla collaborated with 10 designers, each creating a unique poster in their own visual language and approach. My “Kyiv, My Dear!” poster refers to the famous line from a song by Ihor Shamo, with lyrics by Dmytro Lutsenko — a love letter to the city that later became Kyiv’s official anthem. To me, the cracks in Kyiv’s roads reflect the deeper cracks left by Ukraine’s Soviet past. For a long time, moscow distorted Ukraine’s history and identity, leaving lasting damage. The front side is designed as a red-and-white crosswalk, which you can cross — physically or metaphorically — to start experimenting. 💌Both, the typeface and the specimen can be purchased by contacting Olla directly.

Another book we worked on has been longlisted for Best Book Design 2025 by @book_arsenal . “Snoviyko and Other Tales” 💛💙 published by @osnovy_ , is based on the first Ukrainian edition of Hans Christian Andersen’s tales from 1873. The project combines the original Ukrainian translation by Mykhailo Starytsky with illustrations by Mykola Murashko, reconstructed and adapted for a contemporary edition. Our work focused on retaining the structure, proportions, and visual logic of the historical book, while updating it through modern typography, digital image restoration, and current production standards. This approach is described in our text “Ship of Theseus”, included in the book alongside texts by Nadiia Bashtova, Volodymyr Panchenko, and Valeria Pitenina. Idea & concept: Andriy Vyshnevsky @andriy.vyshnevsky Design: @thisiskultura Sasha Bychenko @visual_bychenko & Oleksii Salnykov @a.salio Typefaces: Custom Klynok Display (Kateryna Korolevtseva @katerintseva ) and Kamenyar (Zakhar Kryvoshyya @zakharkryvoshyya @zakznak ) Image prepress: Yana Staryk Technical editor: Mykola Klymchuk Printing: @publish.pro , head of printing Ruslan Fokin Paper: Pergraphica by @mondi_group , Colorplan by @gfsmithpapers

We designed this magazine for The Kyiv Independent 💙 and it has now been longlisted for “Best Book Design 2025.” It was important for us that this publication wouldn’t aestheticize russian war against Ukraine, but instead give form to lived experience: time, distance, fatigue, resilience. Designed and printed in Ukraine, the magazine brings together voices from the frontlines and from everyday life — stories of growing up during an invasion, of culture and work continuing, of journeys by train between the front and home. I see this magazine as a material gesture of attention and care — a way design can hold memory, complexity, and quiet strength in a moment when they matter most. Design by @thisiskultura : Sasha Bychenko @visual_bychenko and Oleksii Salnykov @a.salio . Photo on cover: @serhiikorovayny Photo Editor: @hromotska Color correction: Volodymyr Havrysh @optovollokno Typeface: Kamenyar @zakznak Printed by @publish.pro Paper: @pergraphica by @mondi_group Publisher: @kyivindependent_official

Агов! Я доєднуюсь до «Розпис» збору @rozpys.zine у зборі ШТУКА ШТУК від @frankanafront , щоб допомогти зібрати на секретні бомбезні штуки для ГУР і 1000 рятівних турнікетів для АЗОВу🫡 Моя ціль: 5000 грн. Ціль бригади: 100 000 грн. Загальна ціль збору: 3,5 млн грн. Серед усіх, хто зробить донат від 100 грн., команда розіграє три примірники зіну «Розпис». Посилання на банку в шапці профілю ☝️ Хочете долучитись до командного збору від Розпису? Пмшіть @dhoncheruk або @janklin.jr . Готові відкрити банку окремо? Пишіть в директ @frankanafront