Interviews med Yamin Zhu

Since 1994, throughout my 30-year career, I have served as a visiting professor at several institutions, including Shanxi University, Shanxi Media College, and Taiyuan University of Science and Technology. I have also provided visual identity and commercial design services for dozens of enterprises in Shanxi and across the country, including the China Changan Automobile Group, Shanxi Provincial Tourism Bureau, and Shanxi Fenjiu Group. Currently, I hold the position of vice chairman of Shanxi Graphic Design Association and General Manager of the Design Department at Forty-nine Union Group.

When I was in college, I chose to major in design. During that time, I read a book called 'Graphic Design in China,' which had a significant impact on me and sparked my deep interest in design. In 1999, I attended a master class in graphic design, where I was introduced to the philosophies of renowned designers like Shigeo Fukuda, Gunter Rambow, and Kenya Hara. This exposure made me realize the endless possibilities in design, further igniting my passion and solidifying my decision to pursue a career as a designer.

My design principle is 'no place without a source.' I prioritize finding inspiration in the rich heritage of traditional culture, emphasizing the extraction and application of Eastern cultural elements. I advance projects by utilizing modern design methods, production techniques that meet market demands, and ensuring a comfortable user experience.

When I encounter projects that pique my interest, it keeps me consistently excited throughout the entire design process. Nowadays, I tend to start more from user insights, empathizing with the emotions that design might evoke from their perspective. Simulating usage scenarios and anticipating user experiences have also become sources of enjoyment for me in design.

Since childhood, I've had a passion for calligraphy. Chinese calligraphy is a traditional art, representing aesthetically pleasing artistic works. Calligraphy transcends mere writing; it embodies the artistry of patterns, the poetry of silence, the dance of formlessness, and the music of silence. My study of calligraphy has sparked my love for typeface design and has influenced my subsequent aesthetic style in design.

During my college years, I began studying design. After graduating, I got involved in various design projects and eventually founded a design company. We specialized in typeface design, brand identity design, poster design, and book design. However, nowadays, I've shifted my focus to product design. I aspire to create designs that can generate significant commercial value.

The advice I offer to young individuals is to maintain a broad perspective, cultivate a rich cultural understanding, embrace progressive design thinking, and consistently dedicate themselves to their craft.

In the morning, I start my day with a cup of tea and some reading. Engaging in books and design resources keeps my mind active and allows me to absorb external design thinking, logical reasoning, and design language. I view reading as akin to a sponge; if consistently engaged in, it gradually becomes saturated, absorbing nutrients that eventually overflow, enriching and nourishing my thoughts. Reading has become an integral part of my daily routine.

Good design is defined by its ability to create value. This value encompasses cultural, commercial, and artistic dimensions.The value of good design lies in its ability to drive business forward through innovative and effective solutions.

During project work, I make it a daily practice to scrutinize my designs, contemplating whether there's still room for improvement. If there is, I continue to refine and polish them until, within a week, I can't find any issues in terms of form, color, craftsmanship, and so on. Rigorous and repeated scrutiny is a necessary process for me to determine if a design is ready to be finalized and implemented.

Forty-nine Union liquor.This design incorporates the philosophical concepts of Chinese culture and the Five Elements, while also inheriting traditional Chinese craftsmanship such as woodworking and ceramics. It possesses high aesthetic and cultural value.

Kenya Hara. I like MUJI. It emphasizes simplicity, minimalism, environmental friendliness, and people-oriented principles. It applies minimalism to the extreme within the brand, not following trends, but elevating products to a cultural level.

I am eager to serve as a bridge for cultural dissemination, utilizing design as a means to transform the values of Eastern culture into cultural heritage.Good design has the power to promote a nation's traditional culture, enhance its charm, and leverage the value of centuries-old heritage. It influences people's thoughts and lives, aiding in the better development of modern society.

Firstly, I would like to express my gratitude to the judging panel for recognizing the value of Chinese culture. Secondly, receiving international awards serves as motivation for both myself and my design team. It broadens our international perspective and, most importantly, helps promote Chinese culture. By spreading awareness of China's rich cultural heritage, these awards play a crucial role in fostering cultural exchange between East and West.

Members of the Forty-nine Union have united through shared beliefs, striving to create symbols representing values and honor, with the hope of passing them down through generations. Through this design series, ancient Eastern philosophy and aesthetics are integrated, nurturing a deeper appreciation for Chinese wine culture and enhancing confidence in Chinese culture, thereby increasing the sense of belonging among members.

My focus is on how traditional craftsmanship can be transformed into commercial products. The goal is to spread the drinking culture and values of the Forty-nine Union to more partners, while also presenting the Chinese philosophies of "Chinese chivalry", "loyalty", and "trust" to a wider audience.

Sell it in the market, leveraging both its cultural and commercial value.

3 mouths.

Over the past eight years, members of the Forty-nine Union have remained united by their shared faith, endeavoring to craft a collection of symbols representing value, belonging, and honor for each partner, intended to be passed down through generations. We, members of the Forty-nine Union, decided to pursuit the inspiration together.

This design is currently in intensive production and sales, having already achieved a sales conversion of tens of millions of euros for the Forty-nine Union.

The design aim to create a set of works and artworks that can be passed down for more friends to enjoy. Designed to endure across generations, these products contribute to environmental preservation through their lasting legacy.

Members and clients of the Forty-nine Union, formed by 49 friends driven by love and sharing, all seeking a better life.

This design offers a full set of tools for enjoying Chinese drinking culture. Its national treasure value and elegant design suggest it could be suitable for upscale occasions. Designed to last for generations, these products also help preserve the environment by being passed down through families.

This design comprises a white porcelain pot originating from Jingdezhen, the birthplace of porcelain. It features one divider adorned with the Shang Dynasty Taotie pattern, four shot glasses, one brush pot crafted from blue and white underglaze white porcelain, and a large wooden box for packaging. Each item serves as a testament to Chinese culture, elucidating the philosophical and brand culture of Forty-nine Union. Designed to endure across generations, these products contribute to environmental preservation through their lasting legacy.

Mature technology aids in achieving a more perfect and refined presentation in design. In this collection, the display of traditional patterns, blue and white porcelain, high-temperature firing, and the mortise-and-tenon structure and pattern carving of the wooden boxes all rely on technological assistance.

The research method involves collecting suggestions and data from all partners, followed by analysis, summarization, and modification. The results of the study have proven successful in achieving the initial objectives, both spreading Chinese philosophical ideas and preserving brand culture.

There are two challenges in the process. The first one concerns white porcelain. The ultimate expression of white porcelain is to be as white as snow and as resonant as jade. The second challenge is the difficulty in crafting the square bottle. In pursuit of the perfect effect, we chose these two most challenging elements to complete this set of works.

I have learned how to commercialize and mass-produce artistic craftsmanship. In this process, the expression of design language, the selection of production techniques, the optimization of production stages, and cost control all need continuous refinement to maximize the cultural and commercial value of the product.

The design inspiration is the jade Cong, a ritual instrument that respects heaven and earth from the Neolithic Age to the present. This Jiang flavor liquor package is specially designed to celebrate their happy events of monumental significance.

I focus on whether the product's use cases and design creativity can cleverly intertwine, accurately conveying its underlying cultural connotations.

Sell it in the market, leveraging both its cultural and commercial value.

There are four happy things in one's life in Chinese culture: when there's rain after a long drought, when one runs into a friend out of his hometown, when one lights the candle at the wedding night,and when one finds his name on the royal enrollment list. It's worth to be highlight every memorable moment. Chinese culture should be passed on.

I am passionate about promoting Chinese culture.I aspire to promote China's culture of celebration, allowing consumers to feel cultural confidence and choose my designs to share in their joy.

All consumers who wish to share joy on specific occasions.

The bottle is shaped with Chinese character “Xi” from four angles that the meaning of happiness and delight. The cap and body are all Chinese red. It can appear on occasions when Chinese people celebrate. The cap is round and the body is square, which represents the ancient Chinese philosophy. When the two bottles are put together, the character of double happiness will appear, representing the traditional Chinese folk wedding customs. The unique and ingenious structure is more convenient for users to grasp.

The name originates from the shape of a bottle and the Chinese character ’xǐ‘, which means ’joy‘ or ’happiness‘.

One bottle shows single ；“Xi” and when two bottles are put together, the character of double “Xi” will appear, representing the traditional Chinese folk wedding customs. When four bottles together, it means eight “Xi” to wealth in Chinese auspicious culture.The traditional flower pattern on box body is holographic positioning printing technology and cat eye finishing. The bottle body concretely is glass spraying painting technology and the bottle cap is electroplated and red sprayed.

The difficulty of this design is to cleverly combine the shape of the bottle with Chinese characters, and reflect the traditional festive atmosphere of the Chinese nation to keep it minimalist and full of cultural. It has been revised for many times.

I began studying design in college. After graduation, I worked on various design projects and founded a design company. My work has spanned from typography and brand identity design to poster and book design. Currently, I focus on product design.

In my 30-year career spanning from 1994 to the present, it has been my passion for design that has driven me.

It has been my own choice.

Creative designs that generate commercial value.

The advice I offer to young individuals is to maintain a broad perspective, cultivate a rich cultural understanding, embrace progressive design thinking, and consistently dedicate themselves to their craft.

The key distinction lies in whether they possess their own unique design language.

I think good design strikes a balance between artistry and commercial viability, meaning it possesses both artistic merit and commercial value, much like Apple Inc.

The value of good design lies in its ability to drive business forward through innovative and effective solutions.

I will focus on designing what I love and ensure that it stands the test of time, enduring for generations to come.

The transformation of cultural connotation into visual language.

Alan Chan.He advocates blending Eastern sentiment in Western style, combining elements of Eastern culture with Western modes of expression. Using design as a bridge for intercultural communication between East and West, it holds both aesthetic and commercial value. His influence on me runs deep.

Kenya Hara's MUJI. It emphasizes simplicity, minimalism, environmental friendliness, and people-oriented principles. It applies minimalism to the extreme within the brand, not following trends, but elevating products to a cultural level.

I don't dwell on the past; I always look forward to tomorrow's design.

The most important thing is the sedimentation of culture and ideas, which forms the cornerstone of a good designer.

Artisan. I might engage in ceramics, calligraphy, or traditional Chinese painting. Any art related to Eastern culture captures my interest.

Good design is defined by its ability to create value. This value encompasses cultural, commercial, and artistic dimensions.

The passion of design.

I always focus on Eastern culture, but my international perspective may not be broad enough. As a domestic designer, I may face obstacles in terms of limited exchange with the West.

In this era, both traditional and new media platforms offer diverse opportunities for showcasing one's work.

The next design project is a product design aimed at boosting company sales.

My ultimate goal is for the designs I create today to still circulate in the market and retain their value fifty years from now.

Good design has the power to promote a nation's traditional culture, enhance its charm, and leverage the value of centuries-old heritage. It influences people's thoughts and lives, aiding in the better development of modern society.

Promoting Chinese culture.

Forty-nine Union liquor.This design incorporates the philosophical concepts of Chinese culture and the Five Elements, while also inheriting traditional Chinese craftsmanship such as woodworking and ceramics. It possesses high aesthetic and cultural value.

Design driven by ideology.

Assistance from artificial intelligence.

2-3 weeks.

I start a new design project by analyzing the cultural implications and market positioning of the design brief.My design principle is 'no place without a source.' I prioritize finding inspiration in the rich heritage of traditional culture, emphasizing the extraction and application of Eastern cultural elements. I advance projects by utilizing modern design methods, production techniques that meet market demands, and ensuring a comfortable user experience.

Beauty lies in form, which pleases the eye; beauty lies in spirit, which delights the heart.

Trends set the designs.

Technology aids in improving design efficiency.

They are all indispensable elements in design, each contributing to the presentation of the final product.

The ideas behind the product and the cultural connotations it embodies.

A good team requires collaboration between type designers, illustrators, graphic designers, and 3D designers.

Kenya Hara，Daiqiang Jin and Alan Chan.

by Naoto Fukasawa

I enrich my knowledge and cultural background through reading, exchange insights with outstanding designers in the industry, stay updated on industry trends to broaden my understanding, and practice lifelong learning.

Kenya Hara

I am passionate about promoting Chinese culture rather than seeking fame.

All inheriting historical culture.

Continued passion is the most powerful. I have always believed in one thing: only through evolution can we embrace change.

Artistic enlightenment in my childhood had a significant impact on me.

When I was in college, I chose to major in design. During that time, I read a book called 'Graphic Design in China,' which had a significant impact on me and sparked my deep interest in design. In 1999, I attended a master class in graphic design, where I was introduced to the philosophies of renowned designers like Shigeo Fukuda, Gunter Rambow, and Kenya Hara. This exposure made me realize the endless possibilities in design, further igniting my passion and solidifying my decision to pursue a career as a designer.

The Forty-Nine Union Design Department, a division of the Forty-nine Union Group, is renowned for its innovative contributions within the industry. Established in 2015, Forty-nine Union Group has solidified its position as a leading industrial Internet new retail enterprise, with a primary focus on the production and distribution of Chinese baijiu alongside health food products. Committed to staying abreast of contemporary trends, Forty-nine Union Group aspires to carve a poignant legacy within China's business landscape. Over the course of the past nine years, the Forty-nine Union Design Department has consistently delivered a multitude of pioneering products, showcasing its dedication to excellence and forward-thinking approach.

I enjoy creating designs that promote Chinese culture.I am eager to serve as a bridge for cultural dissemination, utilizing design as a means to transform the values of Eastern culture into cultural heritage.

I like MUJI. It emphasizes simplicity, minimalism, environmental friendliness, and people-oriented principles. It applies minimalism to the extreme within the brand, not following trends, but elevating products to a cultural level.

Ceramics, calligraphy, traditional Chinese painting and any art or material related to eastern culture captures my interest.

The artistic, cultural, functional, and commercial aspects of design.

When I encounter projects that pique my interest, it keeps me consistently excited throughout the entire design process. Nowadays, I tend to start more from user insights, empathizing with the emotions that design might evoke from their perspective. Simulating usage scenarios and anticipating user experiences have also become sources of enjoyment for me in design.

I think good design strikes a balance between artistry and commercial viability, meaning it possesses both artistic merit and commercial value, much like Apple Inc.

Good design is defined by its ability to create value. This value encompasses cultural, commercial, and artistic dimensions.The value of good design lies in its ability to drive business forward through innovative and effective solutions.

Good design has the power to promote a nation's traditional culture, enhance its charm, and leverage the value of centuries-old heritage. It influences people's thoughts and lives, aiding in the better development of modern society.

Design driven by ideology. Assistance from artificial intelligence is the future.

I enrich my knowledge and cultural background through reading, exchange insights with outstanding designers in the industry, stay updated on industry trends to broaden my understanding, and practice lifelong learning.

My design style takes root in Eastern traditional culture, with Chinese cultural artistry as its branches. Since childhood, I've enjoyed studying Chinese culture and calligraphy. My exploration of calligraphy has sparked my love for Chinese art and influenced my subsequent aesthetic style in design.I prioritize finding inspiration in the rich heritage of traditional culture, emphasizing the extraction and application of Eastern cultural elements. I advance projects by utilizing modern design methods, production techniques that meet market demands, and ensuring a comfortable user experience.

I begin a new design project by analyzing its cultural implications and market positioning. Throughout the project, I scrutinize my designs daily, contemplating whether they still have room for improvement. If so, I continue refining and polishing them until, within a week, I can't find any issues regarding form, color, craftsmanship, and so on. After rigorous iterations, several rounds of prototyping follow. Once the samples are confirmed, the design can be finalized.

I start my mornings with tea and reading. Engaging with books and design resources helps me stay thoughtful and absorb external design thinking, logical reasoning, and design language. Apart from lunch breaks and spending time with my family, most of my time is dedicated to work meetings, design guidance and reading.

The advice I offer to young individuals is to maintain a broad perspective, cultivate a rich cultural understanding, embrace progressive design thinking, and consistently dedicate themselves to their craft.

My design principle is 'no place without a source.' Traditional culture is my inspiration.

The most important thing is the sedimentation of culture and ideas, which forms the cornerstone of a good designer.

2-3 weeks.

The ideas behind the product and the cultural connotations it embodies.

Since 1994, throughout my 30-year career, I have served as a visiting professor at several institutions, including Shanxi University, Shanxi Media College, and Taiyuan University of Science and Technology. I have also provided visual identity and commercial design services for dozens of enterprises in Shanxi and across the country, including the China Changan Automobile Group, Shanxi Provincial Tourism Bureau, and Shanxi Fenjiu Group. Currently, I hold the position of vice chairman of Shanxi Graphic Design Association and General Manager of the Design Department at Forty-nine Union Group.

China Changan Automobile Group, Shanxi Provincial Tourism Bureau, Shanxi Fenjiu Group and so on.

The next design project is a product design aimed at boosting company sales.

I have a team.

Please send me an E-mail at zhuym@ssjf49.com.