“Honestly, things are great as they are. But a bit of luck never hurts.”

DS: How's life in Berlin?

BZ: From day one, I've felt that Berlin is my place. I remember the first few years—and even now—when I step outside, I always think how amazing it is here. I've felt at home in Berlin for the entire five years.

My girlfriend is Swedish and sometimes we talk about moving to Sweden someday. But for me, it would be tough. You start to grow attached to a place. Even when I visited home in Belarus and then came back to Berlin, I felt like I was returning home.

DS: Let’s continue talking about work. What exactly does an art director do?

BZ: I started my career as a graphic designer and gradually became an art director. I think the title "art director" has two parts for a reason—there's the creative part, where you need to shape a vision of a project and guide the people who bring that vision to life, ensuring the product matches the concept. Then there's the director part, where you have to manage the team.

A creative director doesn't work alone and doesn't come up with concepts solo. They work in a team, organizing creative sessions and figuring out how to merge everyone's ideas into one cohesive concept. Then, you have to sell that concept to the client, which is a big and crucial part of an art director's job.

I remember when I was a creative director at Wargaming, I was constantly doing presentations, one after another. Presentations are the main tool for a creative director. It's important how it looks, what's written and how you present it.

DS: Do you have any tips for pitching a concept to a client or presenting in a way that sells your idea?

BZ: I wouldn't say I have any special secrets. Your pitch needs to be coherent and free of gaps. It doesn't necessarily need to be a storytelling masterpiece. The main thing is that your message is logically structured. The key point should be clear.

Visually, there's a difference between the presentations you send to clients and those you present in person. For in-person or online meetings, it's better to have minimal text and lots of visuals. If you're sending it over, you can't add additional comments, so you need to make the concept as clear and complete as possible in writing.

DS: What about advice to smile during your pitch and even use some acting skills?

BZ: I think everyone has their own style of pitching. For me, it's hard to keep smiling and acting. You need to adjust your approach, but you should feel comfortable when pitching your idea. The main thing is to understand what you're talking about. I remember early in my career as an art director, I pitched a concept without fully grasping it myself. That's a bad situation. The concept needs to be solid in your mind. If you're not confident in your idea, it'll show. You need to believe 100% in your idea before selling it. To find your style, don't try to imitate someone else. It always looks odd. The client needs to see your confidence and how you show it doesn't matter.

DS: What do you like most about being an art director?

BZ: Often, I work on projects both as a creative director and an art director, so these roles blend a bit for me. I have expertise in both areas. Recently at Playsense, we were working on game identity and then shooting a commercial right after, working together on the script, filming and everything. I love the multitasking aspect: each new task reveals something new about you. Of course, there are tasks you enjoy more and those you like less. I enjoy sparking that inner creativity. What drives and fulfills me in my work is the constant change and the opportunity to be creative in different directions.

DS: Now let's talk about your thesis. Just kidding. But let's touch on its topic. You work with creative teams. How do you organize processes to keep everyone comfortable and happy?

BZ: I wouldn't separate teams into creative and non-creative. We're all creative; we just have different tools for expressing it.

Building trust within the team is key. When the team members feel that you trust them, everything falls into place. Trust develops when you work together and the team sees you doing cool things too. Of course, there's also the company's work culture, including frameworks, deadlines and clear rules.

DS: Tell us about some cool projects you've worked on in your career.

BZ: A project that stands out is one we did when I lived in Kyiv. I was an art director at a creative agency and had a great connection with the owner. We decided to open a barbershop together. There are tons of barbershops now, but back then, they weren't so common. The most important thing was that we created not just a barbershop, but a community around it. We shot a lot of great content and marketed the barbershop in a way that focused on male self-expression rather than just services like beard trimming. The project was successful business-wise and I exited a few years after the launch.

Another memorable project was with the Italian footballer Gianluigi Buffon. There was a lot on our plates, but it turned out exactly as we envisioned. It was a standout project.

Also, a browser shooter game we made in Berlin. It's not an outstanding piece of work, but it was a personal victory for me. Being an art director in advertising doesn't guarantee success in game development. Since in this startup, we had a small team, I did the modeling, texturing and level design myself. It was a success in terms of personal growth and acquiring new skills.