“Creativity isn’t a rare talent—it’s a skill”: Non-Objective’s creative director on finding good ideas
How do you spark creativity? What makes a good idea? How does a tool shape a decision? Exploring all this and more in our interview.
Non-Objective consistently impress us—whatever they take on, the results are always striking in design. The studio balances client work with bold, experimental projects of their own. It’s no surprise that in 2024, their website was voted one of the year’s best, and we named Non-Objective our Studio of the Year.
Katya Sikacheva is a creative director at Non-Objective, the co-founder of Praxis(abc) and the abstract graphics studio Fine Graphics Dept. At Non-Objective, Katya leads creative direction, overseeing strategy, communication, visual style, branding, and the studio’s own projects. Her work is about meaning—helping to shape ideas and ensuring they’re executed in a compelling way.
We spoke with Katya about her approach to creativity and idea generation.
On creativity
Creativity isn’t a rare talent—it’s a skill everyone has. Our brains are wired to invent, which is why we live in the world we do rather than in trees.
For me, creativity has three key components:
- Experience. Not just professional, but everything you’ve lived: childhood influences, daily observations, travel, cultural exposure.
- Inheritance. What you absorb from others: films, art, books, street interactions. These shape your sense of what’s possible.
- Logical thinking. Often overlooked, but crucial. Creativity needs analysis, reflection, and understanding of how things fit together. Even artists benefit from conceptualization. Without logic, an idea may be exciting but ultimately ineffective.
A bonus factor is genuine curiosity—the more you seek out and explore, the richer your creative resources become.
Ideas don’t emerge from thin air—they’re about connecting meanings and forms.
Ideas are a compilation of meaning and form that are familiar to you or that you once saw, but when you adapt it to your context and add new layers—that’s how an idea takes shape.
Expanding beyond your field is also key. If you’re a designer but only look at design, you limit yourself. The broader your inputs, the more potential connections you can make.
On good and bad ideas
Beyond subjectivity, I have three criteria for a good idea:
- Relevance. A good idea fits the project’s context and needs.
- Feasibility. A good idea can be executed, even if it’s challenging.
- Clarity. A good idea can be explained in one or two sentences. If it requires a 10-minute explanation, something’s off.
A bad idea is simply one that’s irrelevant, unfeasible, or unclear.
Contrary to popular belief, good ideas aren’t always groundbreaking. Often, the best ones are simple. Some brands don’t need radical concepts—just thoughtful, precise solutions.
On generating ideas at Non-Objective
There’s no universal formula for ideation—it depends on the project. We use both individual and collective approaches. Sometimes, we brainstorm separately and then discuss ideas together; other times, a spontaneous moment sparks an idea that ultimately comes to life.
Every project—client or internal—begins with research and immersion. We study the context to understand the landscape we’re working within. The longest phase is concept development, while execution moves quickly once the idea is solidified.
The key to idea generation isn’t to present a polished solution upfront, but rather a set of thoughts that can inspire further refinement. A single phrase can trigger a fully realized concept in someone else. The most valuable part of collaboration is these mutual sparks—one idea leading to another until the right solution emerges.
Even when working alone, I find it important to verbalize ideas. Saying them out loud helps clarify them, and discussing them can prompt valuable feedback.
On conflicting ideas within the team
Diverse ideas are a strength. In the initial stages, we don’t filter anything—we collect everything in a shared Notion page, from the most abstract to the most functional concepts. Some team members instinctively start filtering, but we intentionally keep this stage open, as even seemingly irrelevant ideas can lead to breakthroughs.
Filtering comes later. We rarely have long debates where everyone defends their version. We see ourselves as a project-oriented studio—rather than prioritizing client requests or personal preferences, we focus on what the project truly needs. External factors don’t matter as much as finding the best solution for the task at hand.
We also ensure that all team members feel like equal contributors. Even if your idea isn’t chosen, your input still shapes the outcome. This collective approach is essential to our process.
On working with clients (or rather, partners)
We take several steps to minimize communication risks. First, we carefully select our partners. We don’t just review a brief; we get to know the person—how they communicate, whether they sought us out intentionally, and whether they understand our approach. We make it clear that we work as co-authors, not executors.
If we align, we commit to a long-term collaboration. Since we see our work as co-authorship, ethical and aesthetic alignment matters. The client doesn’t have to share our exact worldview, but fundamental values should match. We avoid aggressive communication and only take on projects we believe in.
Aesthetic alignment is more flexible.
Clients don’t need expertise in visuals or design—that’s why they come to us. What’s crucial is openness to ideas and trust in the process.
This selection process naturally filters out those who might struggle with our approach. Some clients want control—they dictate every detail and expect execution. That’s valid, but it’s not how we work. Adjusting to that would be exhausting and unproductive for both sides.
When conflicts arise, we focus on understanding why. The creative field is subjective, with endless possible solutions. Our role is to make choices and offer concrete proposals. We navigate disagreements through dialogue—explaining why an idea works and, if needed, iterating based on specific feedback. Vague critiques like “I don’t like it” don’t help, so we ask questions to uncover underlying concerns.
Often, such reactions stem from personal experiences—color preferences, past project frustrations, or subconscious biases. In that sense, design is a lot like psychology: decoding feedback and finding the real issue before proposing solutions.
On overcoming creative blocks
Ideation is structured work. Sometimes, you sit down and push through. Other times, you immerse yourself in context. If a project is time-sensitive, current events or trends can provide direction.
At Non-Objective, we often use the “What if?” question. What if it's not a website, but a museum? Not a logo, but a photograph?
This helps us shift perspectives and introduce an element of the irrational, which is integral to our approach.
I personally also have creative triggers—things that help “switch on” my process. For example, I collect visual references systematically. Instead of scrolling social media, I browse my Are.na folders, filled with random finds—a cauliflower poodle, a crumpled can. These don’t necessarily become direct inspirations, but they spark unconventional thinking.
Observation, reading, and analysis are crucial. Even TikTok is a goldmine—people openly share what they love and react to. Watching engagement patterns provides incredible insight.
On tools and constraints
Tools shape ideas and often inspire them. Every tool comes with limitations, but these aren’t barriers—they’re possibilities. Constraints help define solutions. Sometimes, an idea emerges simply because a tool offers a feature you wouldn’t have otherwise considered.
We usually recommend tools to partners rather than waiting for them to dictate requirements. For web projects, we often choose Readymag—it allows for flexibility and unconventional solutions.
For example, we once created a digital media project about light using Readymag. The layout itself became part of the concept, with some sections “illuminated” while others remained dim. No other tool would have allowed for that execution.
On Non-Objective’s own projects
We have countless ideas but limited capacity. To ensure our internal projects don’t get sidelined, we now treat them like client projects.
This year, we also introduced “Off February”—a month dedicated entirely to our own work. These projects express our vision fully, attract like-minded partners, and foster industry connections. We hope this practice continues, as it enhances focus, growth, and a more intentional creative process.
