We had the distinct pleasure to interview award winning designer Egor Signienko about their original and creative social deduction game cards design work. Egor Signienko is an award-winning industrial designer, that makes our world a better place with their original social deduction game cards works.
Egor Signienko ("ES") answered Design Interview ("DI") questions about their award-winning work Morok social deduction game cards. Interview questions prepared by Frank Scott.
ES : I have always strived to bring freshness to familiar formats. This game reflects my own passion for board games and my attempt to create something new, drawing inspiration from fantastic stories and imagery that have influenced me
ES : I wanted to go beyond the ordinary, to look a bit into the future, and create a game that not only refreshes familiar gameplay but also becomes a collectible object, valuable both for players and for those who see art in everyday things
ES : I still hope to launch production of this game, starting with small series that could become highlights at thematic events, comic cons, and exhibitions
ES : The development of the concept took about a year. I worked on it intermittently, giving myself time for reevaluation. I gradually developed the idea, created 3D objects, and experimented with graphics. I enjoy this pace as it allowed me to bring depth and a fresh perspective to the project
ES : This design is my authorial project. I was both the initiator and the target audience. I wanted to create something unique, new, and interesting without being constrained by deadlines. It was a way to realize my ideas without boundaries
ES : Currently, only a few prototypes have been created for testing. I wanted to produce the game myself, but currently I don't have the opportunity to do this. If someone expressed interest in producing this game, I would be open to discussing such a proposal
ES : Many factors aligned to inspire this project: my love for the game, the boom in collectibles and NFTs, inspiring contemporary artists, and science fiction books I was reading at the time. This mix gave rise to the project.
ES : I can never say that any particular person influenced me. Influence always comes from within. I think certain styles and images settle in the mind and find their way into my work. I can’t always pinpoint specific sources
ES : The target audience is people aged 16 and older who enjoy spending time with friends over board games or visiting gaming clubs. In my city, there are even bars that hold Werewolf game sessions a couple of times a year
ES : Its uniqueness lies in the approach. This design stands out with its distinct visual style, limited edition, and overall aesthetic.
ES : For the name, I wanted something unique that sounds eerie and enveloping, like fog in horror films, while incorporating something from my culture and language. "Morok" is an Old Slavic word that is no longer in use, meaning "Darkness" or "Gloom
ES : I created the 3D models in 3ds Max. For lettering, I used pens and gold or white paint on black cardboard, as well as gold leaf. These were scanned and assembled in Photoshop. Alongside software, I used numerous pens, knives, and improvised tools to achieve the desired effects. I also partially scanned fresco images from art history books I had left from my studies in architecture school
ES : The most unique aspect is its eclecticism—everything from the choice of characters to the materials used. Nowadays, few people spend time using brushes and pens in graphic design when they can simulate them digitally. This, however, gives my work its distinct and unique appearance.
ES : This project was done independently. My experience working in printing houses helped a lot. I know almost all image application techniques—from regular printing to silkscreen printing and various types of post-printing processing.
ES : It’s hard to imagine creating such a project in such a short time or having the ability to replicate it without technology. Technology enabled me to create 3D graphics, digitize drawings, and experiment with object composition.
ES : Yes, of course. Research directly influenced the depiction and roles of characters on the cards, as well as the fonts and overall style of the game. Books on architecture and art history were particularly helpful, as they provided examples of daily life, frescoes, and scripts
ES : When working with new tools, you never know how they will behave or what results you’ll get. Especially with physical tools, where you can’t undo an action or save a particular iteration. This randomness, however, adds liveliness and realism to the work.
ES : Initially, I didn’t plan to submit this work, and it was still in its early stages when I made the decision. It all started with an email invitation to submit my branding project for a consulting agency. I didn’t think that project was very competitive, but the idea of participating inspired me. So, I sped up the development of "Morok" to submit it for the award.
ES : I did a lot of work and discovered many new things. I improved my 3D skills and experimented with various graphic techniques. Most importantly, I felt responsible for my project when I decided to enter the competition. Participation required completing extensive supporting documentation, which helped me better understand myself, my work, and its impact on design as a whole.
ES : This project is my personal reflection on the intersection of technology and art, and I am glad I was able to bring my idea to life
