11 February 2016

Evelina Baniulytė

Text: Susanne Heinlein

With three and a half million inhabitants, Lithuania is the most populous of the three Baltic nations, which all declared their independence from the Soviet Union in 1990 with the advent of glasnost and perestroika. Since then, Lithuania has developed into a modern European state. In October 2015 the government announced that design would be promoted as a key force for innovation as part of the strategy within the national culture policy. In this year’s Land of Design issue we examine not only Lithuania’s eventful history, but also its current state of design including its designers. Here, we present a selection of Lithuanian designers from different disciplines. You can find 16 more in form 264


Work: self-employed

Age: 25

Education: Vilnius Academy of Fine Arts

Fields of work: graphic design, illustration

Clients: Kaunas University of Technology, education sector, private business sector

Inspiration: Accademia Belle Arti Macerata (IT), National Art Gallery (LT), Triennale di Milano (IT), Museu del Disseny de Barcelona (ES), but it’s the mood or atmosphere that inspires rather that certain locations. 



In your opinion, what is special about Lithuanian design?


I believe the most significant fact about Lithuanian design is that it develops very quickly. I see it taking huge steps towards a high-level international design scene. Lithuanian design may not have a strong image but what I appreciate the most is that we have some artists and art works which stand out as amazing highlights and are very brave and inspiring.



What characterises your style?


I would describe it as elegant and feminine, a bit shy though sophisticated. I see graphic design not only as a poster, leaflet or layout of a magazine. I view it as something that contains more. When I deal with colours I work as a painter and when it’s all about typography I see text as a poem in which I am transmitting emotions.

Apart from graphic design I also paint and create fashion illustrations, which help me to stay closer to traditional art and complement my style when I work digitally.


How did your visual language evolve? 


I have to admit that it’s not been long since my visual language started to evolve noticeably and I believe it is still at an early stage. However, I see progress in paying attention even to the smallest details (both artistically and technically), in figuring out the right technique to solve problems, and to satisfy the customers’ needs.



Is there a general philosophy behind your work?


To present graphic design more as a form of art than a marketing tool. Also, I believe it’s important to pay more attention to quality rather than to quantity in terms of design projects, which is quite tricky in our consumer-oriented society.



What or who would be your ideal project? 


I’m in love with artistic books. The first thing that comes to my mind is a project where literature or photography meets graphic design and everything results in an amazing book, a valuable work of art.



Where do your customers come from?


I mainly work with local customers who rely on word of mouth and contact me because of recommendations. Sometimes I also work in collaboration with other designers or architects, which is a very pleasant experience.



 ↗ Prim Prim, ↗ Atuko, ↗ Dominyka Barkauskaitė


Nº 284
Region of Design

form Design Magazine

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