Interviews with Leo P. H. Chan

I studied Design at PolyU Design in Hong Kong before completing a BA (Hons) in Graphic Design at Central Saint Martins and a Master’s degree in Typo/Graphic Studies at the London College of Communication, University of the Arts London. I have always been interested in visual culture and in how ideas can be communicated through images, typography, materials and experiences. Design attracted me because it combines creativity with practical problem-solving. Over time, my practice has expanded from graphic design into branding, strategy, illustration, installation, digital media, education and design management.

I founded On Your Mark Design Laboratory in London in 2004. It is a multidisciplinary design studio focusing on branding, strategy, visual communication, art direction and design consultation. The word “laboratory” reflects our experimental approach. We test ideas, materials and methods to discover new possibilities in design. The studio has received more than 60 international design awards and has worked with clients including Nike Asia Pacific, Ruinart, Anderson Electric Car, British Council, OxFam Hong Kong, Hong Kong Deration of Design and Creative Industries, Hong Kong Design Centre, and the Global Youth Leaders Summit in Beijing.

For me, design is the purposeful transformation of ideas into meaningful experiences, systems and solutions. It is not simply about making something visually attractive. Good design must respond to people, context, culture and practical needs. It should clarify information, improve experiences and create positive value.

I particularly enjoy multidisciplinary projects that combine branding, typography, illustration, photography, spatial experience and cultural storytelling. I am most interested in projects that allow me to explore ideas across different media rather than limiting the outcome to a single format. My professional practice has covered visual identities, publications, packaging, exhibitions, installations, digital media and art projects.

It is difficult to select only one because each project represents a different stage of my development. However, projects that connect design with culture, public engagement and spatial experience are especially meaningful to me. Examples include my work for the Hong Kong–Shenzhen Design Biennale, the British Council SPARK 2019 UAL Global Pavilion, the Hong Kong Pavilion at Zhuhai Design Week 2021 and the Kowloon Walled City Collectable Design Pavilion at Design Asia 2024. These projects enabled me to combine visual communication, curatorial thinking, cultural narratives and audience experience.

One of my earliest professional roles was as a graphic designer for Pang’s Chinese Printing Service in London, where I developed practical experience in graphic design and print production. During the same period, I worked as Art Director for the London-based fashion label Bodyamr. These early experiences helped me understand how creative concepts must be translated into professional and commercially viable outcomes.

I do not restrict myself to one material or platform. I enjoy combining analogue and digital approaches, including typography, paper, print, photography, illustration, moving image, installation and interactive media. Technology is valuable when it supports the concept and improves communication. I am also interested in design thinking tools and the LEGO® SERIOUS PLAY® method as platforms for collaborative ideation and problem-solving.

I feel most creative when I am investigating a new subject, connecting ideas from different disciplines and experimenting without deciding on the final outcome too early. Conversations with students, designers, artists and industry partners also stimulate new perspectives. Creativity often emerges when curiosity, research and experimentation are given enough space.

I focus first on purpose, audience and context. I then consider the strength of the central idea, the communication hierarchy and the relationship between content and form. Visual quality is important, but it must support meaning and usability. I also pay close attention to typography, materials, cultural relevance, production quality and the consistency of the overall experience.

Designing brings a combination of curiosity, concentration, uncertainty and discovery. At the beginning, there is excitement about the possibilities. During development, there can be tension because the idea must be tested and refined. That tension is productive because it encourages me to question assumptions and search for stronger solutions.

I feel a strong sense of satisfaction when an idea becomes a tangible outcome and works successfully in its intended context. At the same time, I remain reflective. Once a project is realised, I observe how people respond to it and consider what could be improved. Completion is therefore both an achievement and an opportunity to learn.

A successful design responds clearly to its purpose, connects meaningfully with its audience and works effectively in its context. It should balance originality, relevance, usability, aesthetics and feasibility. The best designs may appear simple, but that simplicity is usually supported by careful research, experimentation and refinement.

I first consider whether the design understands and addresses the real problem. I then assess the clarity of the idea, appropriateness for the audience, quality of execution and consistency across different applications. I also consider whether the design offers a distinctive perspective and creates meaningful value rather than merely following a visual trend.

Designers have a responsibility to consider the social, cultural and environmental consequences of their decisions. We should avoid creating unnecessary waste, misleading communication or solutions that exclude particular groups. Designers should make information accessible, respect cultural differences, select materials responsibly and use their skills to improve people’s experiences. Design should contribute to society rather than simply encourage consumption.

The field is becoming increasingly multidisciplinary, strategic and technology-enabled. Designers are no longer responsible only for visual outcomes. They are contributing to services, systems, organisational transformation and policy-related innovation. Artificial intelligence will accelerate production and expand creative possibilities, but human judgement, ethics, empathy, cultural understanding and critical thinking will become even more important. The future designer will need to connect creativity with technology, business, society and sustainability.

One of my recent major exhibition-related projects was the Kowloon Walled City Collectable Design Pavilion at Design Asia 2024, for which I served as Design Director. My work has also previously been presented at events and venues including the London Zoo Art Fair, London Fashion Week, Seoul Design Fair and the V&A Gallery at the Sea World Culture and Arts Center in China. For my next exhibition, I would like to explore a multidisciplinary format connecting visual communication, cultural heritage, experimental media and public participation.

My inspiration comes from everyday life, human behaviour, cultural heritage, fashion, music, art, typography, architecture and the changing urban environment. Living and working across London, Tokyo, Melbourne, mainland China, Hong Kong and Macau has also exposed me to different cultural and professional perspectives. I feed my creativity through observation, reading, visiting exhibitions, engaging with students and practitioners, experimenting with materials and remaining open to unfamiliar subjects.

I would describe my approach as concept-driven, experimental and multidisciplinary. Rather than applying a fixed visual style to every project, I develop an appropriate language from the project’s content, audience and cultural context. My work often combines strong typographic structure with illustration, photography, materials and visual storytelling. Research and experimentation are central to the process, but the final outcome must remain clear and purposeful.

I am based in Hong Kong, and its cultural environment has strongly influenced my work. Hong Kong is a meeting point between Eastern and Western cultures, tradition and modernity, and local and international perspectives. This creates rich opportunities for visual and cultural exchange. At the same time, its fast pace, high density and commercially driven environment can create constraints. However, these conditions also encourage designers to be resourceful, adaptable and responsive. My education and professional experience in both Hong Kong and London have helped me develop a cross-cultural design perspective.

I begin by understanding the company’s objectives, audience, challenges, market position and organisational context. I work collaboratively with decision-makers and stakeholders to clarify the brief before developing concepts. Depending on the project, my role may include research, brand strategy, creative direction, facilitation, design development and implementation. I see the designer-client relationship as a partnership built on communication, trust and shared responsibility.

Companies should involve designers early rather than asking them only to decorate a predetermined solution. A clear brief is important, but designers should also have space to question assumptions and explore alternatives. When selecting a designer, companies should look beyond visual style and consider the designer’s thinking process, relevant experience, communication skills, professional reliability and ability to understand the organisation’s needs.

My process normally begins with research and problem framing. I identify the audience, objectives, context, constraints and opportunities. I then organise the findings, define the core proposition and generate different conceptual directions. Selected ideas are developed through sketching, visual experimentation and prototyping. Feedback and testing inform further refinement before production and implementation. After completion, I review the outcome and consider what can be learned for future projects.

Five types of design items I value are:

A well-designed chair that balances function and character

A carefully typeset art or design book

A meaningful poster or limited-edition print

A functional kitchenware with thoughtful material details

A piece of audio equipment that combines engineering with user experience and enjoyment.

I appreciate objects that demonstrate clarity, craftsmanship and lasting value rather than unnecessary complexity.

My days are usually varied. I may begin by reviewing programme matters, student work or project correspondence. The rest of the day may involve teaching, curriculum development, mentoring, design consultation, meetings with industry partners or managing creative projects. I also make time for research, exhibitions, professional activities and experimentation. Moving between education, design practice and industry engagement keeps my work dynamic.

Stay curious and learn beyond your immediate discipline. Develop strong foundations in typography, composition, research and communication, but also understand people, culture, technology and business. Do not focus only on producing an attractive portfolio. Learn how to explain your decisions, accept constructive criticism and respond professionally to constraints. Most importantly, build your own perspective instead of simply following trends.

One of the greatest positives is the opportunity to transform ideas into something that can communicate, influence behaviour or improve an experience. Design also allows continuous learning because every project introduces a new subject. The challenges include time pressure, subjective feedback, changing client expectations and the need to balance creative ambition with practical limitations. However, these challenges can strengthen a designer’s resilience and judgement.

My golden rule is: understand before you design. A strong solution begins with a clear understanding of the people, purpose and context. Visual execution should grow from that understanding rather than being imposed on it. Well application of basic design elements and principles are essential in my designs.

The most important skills include observation, research, critical thinking, visual communication, concept development, collaboration and presentation. Designers also need resilience, curiosity, empathy and the ability to receive feedback. Technical skills are important, but tools will continue to change. The ability to think clearly, learn independently and make responsible decisions is more enduring.

My toolbox includes sketchbooks, pens, paper samples, printed references, cameras, computers and digital design software. Depending on the project, I use tools for graphic design, image editing, typography, presentation, moving image and digital prototyping. I also use books, exhibitions, archives, photography, music and conversations as sources of inspiration. For collaborative projects, design thinking frameworks and LEGO® SERIOUS PLAY® can help teams visualise ideas and develop shared understanding.

I divide a project into clear stages and establish milestones for research, concepts, development, feedback and production. I prioritise the decisions that have the greatest influence on the outcome and avoid refining details before the central idea is resolved. I also build time into the schedule for review and unexpected changes. Clear communication with clients and collaborators is essential for preventing delays.

It depends on the scale, complexity and approval process. A focused communication item might take a few days or weeks, while a brand identity, exhibition or multidisciplinary project may require several months. The most important consideration is not speed alone, but allowing sufficient time for research, testing, stakeholder feedback and production.

A frequent question is, “Where do your ideas come from?” My answer is that ideas rarely appear from nowhere. They come from careful observation, research, experimentation and the ability to connect seemingly unrelated information. Creativity is not only inspiration; it is also a disciplined process.

Each stage has contributed something important. Working as Art Director for Bodyamr in London connected graphic design with international fashion. My roles at I.T and Crystal International Group developed my experience in branding, retail and trend forecasting, including design direction for UNIQLO UT collections. Founding On Your Mark Design Laboratory enabled me to establish an independent multidisciplinary practice. My work as a programme leader and educator has further expanded my understanding of design as a tool for learning, leadership and social development.

Selected clients and collaborators include Nike Asia Pacific, MHD Group for Ruinart champagne, Anderson Electric Car and the Global Youth Leaders Summit in Beijing. My wider professional experience also includes projects connected with organisations such as the British Council, Hong Kong Design Centre, Oxfam Hong Kong, YWCA, BGCA, Hong Kong Federation of Design and Creative Industries, and major education, cultural and industry bodies.

I most enjoy projects that combine strategic thinking with visual and cultural expression. Branding, exhibitions, publications and multidisciplinary communication projects are particularly engaging because they allow me to connect research, storytelling, typography, images, materials and audience experience. I also enjoy projects with educational or social value because their impact can extend beyond the visual outcome.

I plan to continue connecting design practice, education, cultural development and industry collaboration. I am particularly interested in developing projects related to AI literacy, design strategy, cultural heritage, social innovation and emerging forms of visual communication. I also hope to create more opportunities for young designers to engage with international competitions, industry partners and cross-disciplinary projects.

Both approaches are important. I may develop the initial creative direction independently, but larger projects require collaboration with designers, artists, educators, consultants, producers and technical specialists. I value teamwork because different perspectives can improve the quality and relevance of the outcome. My role is often to establish a clear direction while enabling each contributor to bring specialist expertise.

My continuing work explores the relationship between design education, emerging technology, cultural communication and professional practice. I am particularly interested in how AI can support creative exploration while maintaining human judgement, authorship and ethical responsibility. I am also continuing to develop industry collaborations and learning opportunities that connect students with real-world design challenges.

People can contact me by email at leochan@onyourmarkdesignlab.com. They can also approach me through On Your Mark Design Laboratory or my professional and academic networks, like LinkedIn.

I see design as both a professional practice and a form of education. Designers create visual outcomes, but they also help people understand problems, generate possibilities and make informed decisions. My work across professional design, higher education and industry engagement has reinforced my belief that design can connect disciplines, cultures and communities. The designer’s role is not only to create something new, but to create something relevant, responsible and meaningful.