Interviews med Azadeh Gholizadeh

My experience in this major goes back to 12 years ago when I graduated from high school which ultimately my passionate about design lead me to became a graphic designer, in fact I major in graphic design and I'm specialize in package design. I have a MA in graphic design.

due to my passion for drawing from the very early stages of my life, I started to learn drawing when I was hardly a 12-year old and then went to the Art high school and after tons of efforts, I graduated in graphic design. all of the stories that I told was the main reason for pursuing my education at a prestigious university in order to become a designer. In fact, whenever I design a new project I lose the track of time. It seems that I live in another world which everything is solvable just with colors and shapes. You know all that I have to do is just imagine which would be far from interesting to me.

the first priority to me would imagine and drawing without any restriction and try to find some simple and unachievable key which may lead to the most creative solution for the matter that I try to create. In addition, considering different points of view gives me the opportunity to find the road less traveled to success which makes all the differences. Not to forget that all the suffers you have gone through which may be the cornerstone of achieving the viable or durable result, you know honestly speaking, I'm one of those who believes that" no pain, no gain".

Frankly speaking there is nothing comparable with the joy obtained from designing new things, it is such a breeze of fresh air which has always fascinated me. to me finding an effective solution and cope with difficulties of projects would be such a battle, you know as they say the harder the battle the sweeter the victory. In other words, I do not trade it with the world.

From the very early stages of my life, I had a burning desire to become a designer and I was encouraged by my parents to design as much as possible. In fact, I was only an 11 or 12-year girl when I started to go to a painting class, then I went to high school after 3 years and beginning to learn graphic design where I decided to continue this major in university. All the happening that I've gone through which has shaped my personality and made the woman that I'm right now. Now I have an MA in Graphic design and also I'm a teacher in university while I've been working in my own studio.

It is a very nice cozy studio with a good atmosphere where my colleagues are very friendly and we are making quite an effort to give the best experience possible to our client. due to the fact that I was grown up in an artistic family, I live among many Graphic designers, illustrator and motion graphist, truth be told, my family members are my colleague, as a result, I have a close-knit cooprators because of that I really adore my studio.

It is to me is very much like being able to breathe deeply without which I can not live.

I'm really into challenging design in which I should try to find a reasonable solution for faulty designs, you know it makes me I'm still alive, cheers me up.

I've always been into things that are innovative and far more creative, I'm really enthusiastic about packaging structures, I mean those which have had a solution for packaging problems in terms of usability or being user-friendly. you know problem-solving is my thing and that's why I love such designs.

It was about a couple of years ago, precisely when I was 19. The first thing that was designed by me was a set of design including label for an oil Büttel the Logo , and statinery design

My favourite material is without a doubt Paper which allows me to touch and test every thing from the beginning and not to forget that being environmentally is another reason why I'm into paper as a material.

Specially when I'm free enough to deal with a wide variety of designs barriers, I mean I'm not busy with my life and its challenges. When I try to look the world through rose colored spectacles is exactly the moment that I can be much more creative. Being careless about the rules and regulare habits in design can be one of the ways of being innovative.

Simplicity, expressiveness, and creativity in design are the most important aspects of a design for me which Leads to customer attraction.

I feel that totally living in another world without stress and any negative energy which helps me discover new aspects of my project.

It is such a sweet victory after a hard battle and this is the time when I can lean into my chair and take a deep breath and tell myself you've done it.

A good design is effective and efficient in fulfilling its purpose. It relies on as few external factors and inputs as possible, and these are easy to measure and manipulate to achieve an expected other output. A good design is always the simplest possible working solution.

It is not an easy task, but mixing talent with an ability to communicate is what makes a remarkable design stand out from the rest.

The designer plays a complex role in modern industrial societies. Besides its explicit practical functions, the design also has implicit social functions. Designers not only create useful products and images, but they also produce and reproduce cultural meanings through those products and images which can be a powerful tool for saving the environment and enhancing society.

The future of design is going to be elevated to new heights by being fused with augmented reality and eventually, 3D printing. Augmented reality and virtual reality experiences allow people to get inside the experience whether it's for recreational, educational or occupational purposes.

My last exhibition was on 31st October in Ukraine, Dnipro and about the future one, I should add the fact that no one knows what lies in the future but I hope to hold a new one in the foreseeable future.

Sometimes the best thing I can do is push myself outside of our comfort zone. Challenge me to try a new medium, something that isn’t quite my “thing” or “style.” I notice how this might challenge my usual creative process. Sometimes I take the time to notice the world around me. I notice the small things, the patterns, and shapes in the trees, the architecture. I let my mind take it all in to help me foster a new perspective.

My design style is best described as minimalistic and modern, with a focus on clean lines, functional simplicity, and thoughtful use of color and texture. I’m drawn to the idea that less can say more, and I find that minimalism allows the core message or purpose of a design to shine without unnecessary distractions.

What made me explore this style is the clarity it brings. I love how minimalism creates space—not just visually but emotionally—allowing designs to connect with people in an authentic and impactful way. It also challenges me to think critically about every element I include, ensuring it has a purpose and adds value.

The main characteristics of my style include a balanced use of negative space, harmonious proportions, and modern typography. I pay close attention to detail, using materials and finishes that enhance the tactile experience of a design. My approach is rooted in understanding the essence of what I’m designing for—whether it’s a brand, product, or concept—and translating that into something visually and functionally meaningful.

For me, design is about problem-solving with creativity. I aim to craft solutions that are not only visually engaging but also resonate with the audience on an emotional level. My process involves research, exploration, and refinement, ensuring that the final outcome feels both fresh and intentional.

I currently live in Berlin, Germany, a city that deeply resonates with my appreciation for modernity and minimalistic design. Berlin offers a unique environment that fosters creativity, innovation, and simplicity, which aligns perfectly with my design philosophy.

At the same time, I remain profoundly inspired by my cultural heritage from Iran. Persian culture, with its noble, pure, and sophisticated artistry, is deeply rooted in my life and work. It represents an art form without hypocrisy, one that values authenticity and harmony. These qualities often find their way into my designs, whether subtly or overtly.

I love how Berlin complements this with its focus on modernism and functionality. It’s a city that thrives on clean lines, fresh ideas, and innovation, which encourages me to refine and modernize my inspirations. Yet, I sometimes miss the distinct air and essence of my hometown in Iran—those intangible cultural nuances that only a native can fully understand.

Living in Berlin provides me the advantage of accessing global trends and a multicultural audience while still carrying the deep-rooted elegance of Persian artistry. This combination is both a challenge and a blessing, as it allows me to merge tradition and modernity seamlessly in my work.

When working with companies, I always aim to understand their vision, values, and goals to ensure that my designs align with their objectives. I like to maintain open communication throughout the process, sharing initial concepts, gathering feedback, and refining the design until it’s the perfect fit. Whether it's a new product launch or a rebranding effort, I focus on creating designs that will resonate with the target audience while enhancing the company’s overall identity.

I suggest that companies focus on selecting a designer whose style aligns with their brand values. It's important to look at a designer's portfolio and previous work to gauge their approach to problem-solving and creativity. A good designer should be someone who listens to the client, understands their needs, and brings fresh, innovative ideas to the table. Companies should also ensure there is a good cultural fit and open communication throughout the project to foster collaboration and produce the best results.

The design is the result of our different outlook on the environment and a desire to seeking unspoil aspects of a subject or a product. My design process begins with thorough research—understanding the product, its market, and the brand’s values. I then explore conceptual sketches and ideas, focusing on minimalism and functionality. I typically test my designs through prototypes or visual simulations to ensure they work in real-world scenarios. Once the concept is clear, I refine the design, balancing aesthetics with usability. Feedback is essential, so I make sure to involve the client and make necessary adjustments before finalizing the design.

Some of my favorite design items at home include:

A minimalist sofa with clean lines.

A sleek desk lamp with a modern design.

Simple ceramic vases in neutral tones.

An ergonomic office chair with a minimal aesthetic.

A series of abstract art prints that align with my design sensibilities.

A typical day starts early with some quiet time to gather my thoughts before heading into my workspace. I usually begin by reviewing my project list, prioritizing tasks, and engaging with clients to discuss updates. Throughout the day, I work on design iterations, communicate with suppliers, or collaborate with other creatives. I make sure to take short breaks for inspiration, and by the evening, I reflect on the day’s progress before winding down.

My advice would be to stay true to your creative instincts but also be open to learning and evolving. Experiment with new ideas, and don’t be afraid of making mistakes, as they are part of the learning process. Seek feedback, build a strong portfolio, and develop your unique voice in design. Stay curious and never stop exploring what excites you about design.

The positives of being a designer include the freedom to express creativity and solve problems in innovative ways. It’s rewarding to see ideas transform into real-world designs that people interact with. However, there are challenges, like tight deadlines and balancing client expectations with personal design principles. Design can also be isolating at times, as it often requires long hours of focused work.

My golden rule in design is to prioritize simplicity and clarity. The best designs are those that are visually striking while remaining functional and intuitive. I always aim to create designs that not only look good but also serve a clear purpose and connect with people.

For me, the most important skills are creativity, problem-solving, and communication. Creativity allows you to develop fresh ideas, while problem-solving ensures those ideas are practical and effective. Good communication is crucial to collaborate with clients, team members, and suppliers throughout the design process.

My primary tools are Adobe Creative Suite (Illustrator, Photoshop, InDesign) for digital design work. I also use Sketch and Figma for UI/UX design projects. In terms of hardware, I rely on a MacBook Pro and a Wacom tablet for precise drawing. For inspiration, I often turn to design books, architecture, and art galleries, as well as online platforms like Behance and Dribbble.

Time management is key to staying on track. I prioritize tasks based on deadlines and complexity. I also break larger projects into smaller tasks, which makes it easier to track progress. To stay productive, I use tools like Trello or Asana to organize my workflow and ensure I’m focusing on the most critical tasks first.

The timeline varies depending on the complexity of the design. A simple product packaging project could take a few weeks, while a more intricate design—such as a brand identity or product launch—may take several months. Each stage, from research to final tweaks, requires time and careful attention to detail.

The most frequently asked question is often about my design process—specifically, how I begin a new project and what inspires my work. Clients and fellow designers are always curious about how I translate ideas into finished designs.

My most important job experience was when I worked on a project that challenged me to combine innovation with tradition. It pushed me to step out of my comfort zone, leading to a breakthrough in my approach to minimalist design. It was a pivotal moment that shaped my creative philosophy.

I work primarily with companies in the food industry and media companies. My clients are often looking for fresh, modern design solutions that resonate with contemporary audiences while reflecting their unique brand values.

I enjoy packaging design the most, as it combines both functional and creative elements. Packaging not only serves a practical purpose but also needs to engage consumers on an emotional level. I find it exciting to create designs that can tell a story while also being visually appealing and functional.

In the future, I hope to continue pushing the boundaries of minimalist design and explore more sustainable solutions. I’d like to collaborate on larger projects that allow me to integrate design with technology, creating more interactive and user-centered experiences.

I prefer to work independently on the initial concepts but I also collaborate with a team of specialists, such as illustrators, photographers, and developers, when the project requires it. This allows me to focus on the overall vision while benefiting from the expertise of others.

I’m currently working on a new project that explores the intersection of packaging design and augmented reality. It’s an exciting challenge that combines my minimalist style with the potential for interactive, tech-driven design.

People can contact me via my website, where I provide my contact details and showcase my portfolio. I’m also available on LinkedIn and Instagram for direct communication and updates on my work.

I’d like to emphasize the importance of constantly evolving as a designer. The design world is ever-changing, and it’s important to stay curious, adaptable, and open to new ideas. Whether through collaborations or independent projects, I’m excited to continue exploring new creative challenges.

The concept emerged from a deep desire to connect product identity with the people behind it. Since this is a homemade ice cream made by three sisters, I wanted the packaging to celebrate their bond and craft. The idea of illustrating three young ladies with ice cream-shaped hairstyles was born from a sketch that merged portraiture and product in a symbolic way. Each lady represents one sister—a metaphor for their unity and shared passion. From that first drawing, the visual language developed with clean lines and pure colors. It went through many refinements, always staying true to the core idea: showing femininity and sisterhood without saying a single word.

In a world full of overloaded visuals and excessive branding, I saw the power in restraint. The sisters behind the product didn’t want something flashy—they wanted something honest, elegant, and feminine. That led me to a minimalist approach, using hand-drawn characters and soft, fresh colors. The femininity lies not in clichés, but in nuance—in the expressions of the ladies, the curved lines, the emotional softness. This purity became our strongest visual weapon. By stripping down to essentials, the packaging stands out on the shelf through its clarity and integrity.

Color was crucial. We wanted each flavor to have a distinct identity, but also to feel part of a harmonious visual family. The color palette was carefully selected for its freshness and emotional impact. Each color had to reflect the essence of the flavor—cool greens for mint, soft reds for strawberry, mellow browns for chocolate—but also enhance the feminine tone of the brand. The characters’ hair became the perfect place to express this. By combining flavor and character visually, the design forms a memory trigger for the consumer, enhancing emotional recall and making the packaging memorable.

That balance between practicality and personality was at the heart of the project. We used glossy nylon and cellophane, printed with flexography, which offered both food safety and a sleek finish. This material preserved the freshness of the homemade ice cream while allowing our minimalist design to shine. The homemade aspect came through in the human touch of the illustrations and the purity of the composition. We avoided excessive decoration to let the authenticity of the story breathe. It was less about “selling” the product and more about inviting people into the world of these three sisters.

It began as a playful idea—a sketch of a woman with a scoop of ice cream for hair—but quickly revealed itself as a rich visual metaphor. Hair is deeply expressive; it holds identity, character, emotion. By blending that with the product itself, we created a poetic symbol of femininity, flavor, and personality. Each hairstyle is shaped like a scoop of ice cream, directly linking the creators to the creation. This choice was more than visual—it was narrative. It tells the consumer: this ice cream has a face, a name, and a story.

The key was subtlety. We didn’t impose gendered stereotypes—instead, we infused the design with real emotion. The sisterhood concept is universal, whether you’re a woman or not. It speaks of love, unity, and shared tradition. The feminine elements—the curved lines, delicate color palette, and warm expression—appealed to customers who value craftsmanship, not just aesthetics. And by keeping the design clean and human, we avoided alienating any demographic. In the end, authenticity resonated more than any marketing strategy could.

Working with BOPP and cellophane had technical implications, especially around printing and texture. The flexographic printing process meant we had to simplify details and work with strong, consistent lines. That constraint actually pushed the design toward minimalism, which aligned beautifully with the brand’s essence. The glossy finish brought vibrancy to the colors, making each flavor pop without needing gradients or effects. Every decision—line weight, spacing, color use—was tested against the material’s limits, and the final outcome proved that limitations can fuel creativity.

Three months is short, especially for a project that needed both soul and strategy. I began by deeply understanding the sisters’ story—their product, values, and dreams. That clarity served as a compass throughout. We moved quickly because the vision was strong. I kept communication direct and iterative, sharing sketches early and often. The minimalist style also helped—we weren’t juggling dozens of elements. It was about refining a clear idea. In fast timelines, conviction matters most. When the concept is right, execution flows.

This project showed that consumers crave connection, not just convenience. I believe packaging will increasingly become a stage for personal stories, especially in food. Illustrations, minimalism, and character-led design offer a fresh way to express values. Personalization doesn’t have to mean printing someone’s name on a label—it can mean showing a human face behind the product. I think more brands will adopt this approach, using design to build trust and emotional resonance, especially in saturated markets like food and beverage.

The puristic design was intentional from day one. We wanted something iconic, something that didn’t need to compete with loud fonts or visuals. The three illustrated sisters became that symbol. They’re consistent across flavors but always adapted with color and expression. The simplicity of the layout ensures the packaging works at every scale and is easily identifiable in freezers and on shelves. Functionally, it checks all the boxes—durability, clarity, freshness. Emotionally, it invites recognition and builds trust. The result is a package that not only protects the product but protects the story.

Printing directly on curved glass bottles was a technical challenge. I tackled issues like alignment and ink durability by working with advanced UV-curable inks and adaptive printing technologies. After many trials, I achieved a design that was both precise and vibrant.

The fruit-inspired minimalist patterns came from a desire to express natural and healthy living simply yet boldly. It reflects my belief in making products feel fresh, clean, and approachable.

Testing in retail settings revealed how light and shelf layouts influenced visibility. I refined the colors and bottle shapes to ensure they were striking and clear in real-world environments.

Turning the bottle into a decorative art piece was inspired by sustainability and consumer trends. I wanted to create packaging that extended its life, offering beauty and utility beyond its initial function.

I chose colors and patterns that spark joy and connect emotionally. Soft yet vibrant tones, paired with rhythmic designs, reflect the essence of nature and capture attention at a glance.

Balancing manufacturing constraints with creativity was critical. Close collaboration with production teams and constant prototyping allowed me to merge technical feasibility with my artistic vision, leading to this award-winning design.

Environmental considerations were central to my process. By making the printed design permanent and reusable, I reduced waste while offering packaging that felt valuable and sustainable.

I carefully balanced innovation with familiarity by combining bold design elements with recognizable premium beverage cues. This approach ensured the product stood out while still feeling trustworthy to consumers.

The project unfolded in stages—choosing materials, prototyping, testing in real-world environments, and refining based on consumer feedback. Each step was critical in shaping the final product.

This design could inspire the future of beverage packaging by showing how aesthetics and sustainability can coexist. It’s proof that eco-friendly solutions can be functional, beautiful, and commercially successful.