Interjúk – Xingyue Deng

I have been working in the field of visual design for over 12 years, with a strong focus on brand identity, packaging, and communication design. I began my career after graduating from a top design university, and over the years, I have had the opportunity to collaborate with a variety of well-known clients across sectors, including technology, culture, healthcare, and education.

I am also a member of the Hong Kong Designers Association, which has allowed me to stay connected with an active and inspiring creative community in Asia.

Throughout my journey, I have always believed that design is not only about aesthetics but also about clarity, purpose, and meaningful impact. Each project I take on is a new exploration of how design can solve problems and inspire people.

Becoming a designer was a natural path for me, driven by both personal passion and a deep curiosity about how visual communication can shape the world around us. From a young age, I was fascinated by images, symbols, and the subtle power of design in everyday life—whether it was a poster, a book cover, or the layout of a public space.

I decided to pursue formal education in design and was fortunate to study at a university that emphasized both creative thinking and problem-solving. There, I gained a solid foundation in visual principles, typography, branding, and user-centered design. After graduating, I worked at several creative agencies where I learned to navigate real-world challenges, collaborate with diverse teams, and refine my own design voice.

What truly drives me as a designer is the belief that good design can create clarity, empathy, and even change people’s behavior. I wasn’t influenced by a single person, but rather by the quiet influence of good design itself—how it improves systems, connects people, and adds meaning to everyday experiences. For me, becoming a designer was not just a career decision; it was a calling.

I focus on three key priorities in every project: clarity, emotion, and context.

First, the message must be visually clear and direct. Second, the design should evoke emotion—whether calm, curiosity, or joy. Third, I consider cultural and user context carefully to ensure relevance.

My process usually begins with quick sketches, then moves into digital tools like Adobe Creative Suite and 3D rendering when needed. I balance handmade intuition with modern precision. While I use technology extensively, I always return to the core: meaningful ideas expressed with clarity.

Designing brings a mix of curiosity, focus, and satisfaction.

The most exciting moment is the spark of the initial idea—that instant when form and meaning suddenly connect. During the process, I feel deeply focused, almost meditative. I enjoy the rhythm of refining, adjusting, and pushing ideas forward.

Finishing a project brings a quiet sense of fulfillment—not just from the result, but from knowing the concept found its best expression. Design gives me a sense of purpose. It’s not just work; it’s a way to explore, solve, and connect.

Beyond design, skills like critical thinking, storytelling, and cultural observation have shaped my approach. I’ve always been curious about how people interpret visuals across different contexts. A background in communication and exposure to cross-disciplinary teams also taught me how to think strategically, not just visually.

The biggest influence on my work has been the everyday world—street signs, local patterns, typography in the wild. Real-life details often inspire my concepts more than design books.

My growth has been a balance between practice and reflection. Each project helps refine my thinking and expand my perspective. Looking ahead, I hope to build deeper collaborations across culture, technology, and public spaces.

A dream project would be designing a long-term visual system for a museum, city district, or public cultural initiative—something that leaves a lasting social impression through design.

Stay curious, stay sharp. Don’t rush into style—first build a solid foundation in structure, typography, and visual logic.

Be open to critique, but also learn to filter feedback wisely. I’ve faced rejection and uncertainty too—it’s part of the journey. The best advice I received: “Design is not about you, it’s about what works.”

Keep learning outside design—read, observe, travel. Everything feeds back into your creativity.

Focus on long-term impact, not short-term trends. Build a system of thinking, not just a visual portfolio.

Avoid falling in love with your first idea—test, refine, adapt. Always design with intention, not decoration.

Document your process, protect your time, and never stop challenging your comfort zone.

My day usually starts early with quiet planning—reviewing notes, sketching ideas, or browsing visual references. Mornings are for focused design work; afternoons are often for meetings or revisions.

I check industry news and archive inspiration regularly. Small things keep me energized—like making a clean grid, or solving a tough layout.

Even on a routine day, the creative spark can strike at any moment.

I stay informed but not dictated by trends. I observe them through global awards, exhibitions, and digital platforms. However, my work is guided more by timeless logic, cultural resonance, and user relevance than by seasonal aesthetics.

Trends inspire, but substance defines.

Good design is intuitive, functional, and meaningful. I look for clarity of purpose, consistency in execution, and emotional connection.

When everything feels inevitable yet effortless, that’s the sign. Common mistakes? Over-designing and ignoring context.

A design is ready when any further change feels like noise, not improvement. It’s a fine balance between perfectionism and purpose.

Sometimes, you just know—it aligns, it speaks, it works. And then, you let it go.

One of my most meaningful works is “EasyGo,” a visual identity system for a senior-friendly elevator brand.

It integrates Chinese characters and motion into a universal, accessible design. It challenged me to balance simplicity with empathy—making function poetic.

I admire Kenya Hara for his clarity and philosophical depth, and Dieter Rams for his uncompromising functionalism.

If I could meet one designer from the past, it would be Shigeo Fukuda—his wit, simplicity, and vision continue to inspire.

I live in Chengdu—a city of calm rhythm and layered culture.

Tea, books, and local craftsmanship feed my aesthetics. I believe culture shapes design at its root, and good design, in return, refines daily life.

Design made me more patient, more observant, and more present.

Collaboration, respect, and clarity define my work culture.

I work with a close-knit team and value open dialogue. I look for partners who share long-term thinking and value design as strategy.

Efficiency matters, but meaning comes first.

I mentor young designers, participate in design education events, and offer pro bono work for community initiatives.

Design is a form of service. I believe in using design to give voice, clarity, and dignity to people and causes that matter.

The A’ Design Award offered global exposure, professional validation, and a strong design network.

It pushes you to articulate your thinking clearly and benchmark against the best.

Being selected as Designer of the Day was a great encouragement—it’s a reminder to keep creating meaningfully.

The core idea behind this design is to create a visual identity that not only solves a functional problem but also emotionally connects with its audience. The inspiration came from observing everyday interactions and distilling them into a meaningful visual language.

The focus was on clarity and universality. I wanted to design a symbol that transcends language, works instantly, and reduces cognitive effort for all users, including children, elderly people, and visitors in unfamiliar environments.

I plan to promote EasyGo as a universal signage solution and explore possible applications in public spaces, transportation hubs, and smart buildings.

The concept development and refinement took around three weeks, including user testing, visual iteration, and environmental simulations.

This was a commissioned project. While the concept and creative direction were independently developed by me, it was designed in response to a real-world client need.

The design is currently being used and produced by the client. At the same time, I remain open to further licensing or collaboration opportunities.

As a designer focused on visual communication, I’ve always been drawn to the power of symbols. This project gave me a chance to reimagine a universally recognized yet rarely questioned design.

Yes, I was inspired by several modern minimalist designers as well as traditional cultural references.

The primary users are elderly residents living in older apartment buildings without elevators. The design aims to provide an intuitive and accessible interface for them.

Unlike traditional arrow-based designs, EasyGo uses a seamless, integrated form that merges upward and downward motion in a single loop, enhancing clarity and visual harmony.

The name “EasyGo” comes from the idea of ease and direction—it’s simple, intuitive, and directly reflects the action of moving up or down.

Mainly Adobe Creative Suite (Illustrator, Photoshop), along with sketching and digital prototyping tools like Rhino.

Its ability to replace two separate buttons with one integrated visual symbol without sacrificing usability or clarity.

This was an independently designed project. However, I consulted with architects and engineers during the product development phase to ensure technical feasibility.

Technology played a role in prototyping and simulating how the symbol would behave in physical and digital environments.

I conducted field research on elevator signage in over 20 buildings, comparing user behavior, signage clarity, and common misunderstandings.

The biggest challenge was creating a form that was new yet instantly understandable, avoiding both over-simplification and over-complexity.

I believed the concept of EasyGo could resonate globally, and international platforms would provide the visibility and feedback needed to improve it further.

I deepened my understanding of user-centered design and learned how to communicate complex ideas with simple forms.

I hope EasyGo can be a small step towards more accessible, unified visual systems in public design. Thank you for the opportunity to share it.

I graduated with a background in visual communication design and have been deeply involved in the field since 2015. In 2019, I founded my own studio, Find Design Studio, based in Chengdu, China. Over the years, I’ve developed a multidisciplinary practice focusing on brand, packaging, editorial, and cultural projects. My work blends strategic thinking with visual storytelling and has been recognized by prestigious design awards globally, including NY ADC, K-Design Award, DNA Paris, HKDA, and the Taipei Design Award.

Design gives me the power to translate emotions, ideas, and cultural nuances into visual form. I became a designer because I believe in the silent power of design—it’s a universal language that connects people across boundaries. What motivates me is the opportunity to create resonance, to make people feel, think, and connect through something they see.

I chose design, but perhaps in a way, it also chose me. I’ve always been drawn to visuals and storytelling since childhood. Design felt like the most natural medium through which I could express my thoughts. It’s a profession that constantly challenges and fulfills me—and I’ve never looked back.

I design across various visual communication platforms, with a strong focus on branding, packaging, and editorial design. Lately, I’ve become more interested in conceptual design and cultural design narratives—projects that connect deeply with identity, memory, and emotion. I would love to work more on installations or design exhibitions that explore this intersection.

Stay curious. Sharpen your sensitivity. And don’t just learn tools—learn to see. Develop your own voice, and never stop questioning what design means to you personally. It’s a long journey, but if your work is sincere and rooted in meaning, people will notice. Also, don’t chase trends—chase depth.

A good designer solves problems beautifully. A great designer asks deeper questions—about people, context, and meaning—and creates solutions that resonate beyond the surface. Great designers don’t just follow briefs; they elevate them. They have a strong inner compass and a vision that connects design with culture, emotion, and time.

A really good design is one that is both intelligent and emotional. It communicates clearly, but also lingers in the mind. It feels inevitable, like it couldn’t have been done any other way. I evaluate a design by how honest it is to its purpose, how well it engages the audience, and how long it stays relevant—not just visually, but conceptually.

Good design enhances life—it improves functionality, sparks emotion, and builds trust. It’s not a luxury; it’s a necessity in a world overloaded with noise. Good design helps ideas and brands become more human, more memorable. It’s a long-term investment that builds meaningful connections with people and shapes how we experience the world.

If time weren’t a constraint, I’d love to design a traveling exhibition or publication that explores Chinese visual culture in a contemporary context—something that bridges the traditional and the modern, the East and the global. I’d also love to collaborate with musicians, architects, or scientists—to create interdisciplinary works that surprise even myself.

A dream project for me would be to curate and design a large-scale visual storytelling experience—perhaps a cross-media exhibition or book that archives forgotten visual memories of everyday life in modern China. Something personal yet universal. I want to create something that leaves emotional traces, that tells stories beyond the screen or page.

If I had to name a secret ingredient, it would be observation with empathy. I pay attention to the small, quiet things—people’s habits, overlooked moments, visual rhythms in daily life. I try to listen deeply, not only to clients but also to the unspoken needs behind a brief. It’s this ability to observe from multiple angles—emotional, cultural, functional—that allows me to create work that feels both precise and poetic.

I admire a wide range of designers, but I’m especially inspired by those who create enduring visual systems—like Otl Aicher, Kenya Hara, and Shigeo Fukuda. Their works are not just visual; they’re philosophical. I also respect contemporary cross-disciplinary thinkers like Stefan Sagmeister and Studio Dumbar—people who merge intuition with intellectual clarity and challenge the boundaries of what design can be.

I love works that feel inevitable yet surprising. For instance, the Munich Olympics visual identity by Otl Aicher—it’s timeless, rational, and human at the same time. I also admire the clarity and quiet tension in Japanese book design, like those from Kazunari Hattori. These works balance tradition and modernity, system and emotion. They never shout, yet always leave a strong impression.

It’s difficult to name a single “greatest” design, but one project that stands out is my calendar series for a medical diagnostics company, where I used abstract visual language to interpret the rhythms of life and health. What makes it special isn’t just the final visuals, but how I translated invisible concepts—like breath, time, and vitality—into tactile, visual form. It was a deep collaboration between science and aesthetics, logic and emotion.

Becoming a better designer requires curiosity, discipline, and introspection. I believe in continuously feeding your mind—not just with design, but with cinema, literature, philosophy, and nature. Personally, I kept a habit of self-reflection after each project, asking not just what worked, but what could be done differently. Also, don’t isolate yourself—observe life, collaborate, and most importantly, stay humble. Design is a lifelong conversation.

If I hadn’t become a designer, I might have become a filmmaker or a writer—someone still telling stories, but through different mediums. Storytelling has always been at the core of my being. I’m fascinated by how meaning is constructed, and I think whether through visual systems or narrative structures, my curiosity would still lead me to create something expressive and layered.

To me, design is the art of translating thought into form, of giving intangible ideas a tangible presence. It’s not just decoration or surface, but a way of thinking and communicating. Design creates bridges—between people and ideas, emotion and logic, past and future. It is where human insight meets aesthetic precision.

I’ve been fortunate to be surrounded by people who supported me quietly and consistently—my mentors, peers, and especially my family. My parents gave me space to explore freely. Professionally, I’ve had collaborators and clients who trusted in my vision even when the direction was unconventional. Their belief became the foundation for my confidence and freedom to explore.

A deep sense of self-discipline and curiosity helped me most. I’ve always had a strong internal drive—to learn, to refine, to question. I never stop observing, reading, sketching. But more than that, I value the ability to pause and reflect. Great design is not just about producing work endlessly—it’s also about knowing when to stop and listen, when to simplify, and when to dig deeper.

In the early years, the biggest obstacle was doubt—not only from others but from within. As a young designer, you’re constantly negotiating between external expectations and internal ideals. Finding my own voice took time, and so did learning to balance artistic integrity with commercial pragmatism. I also come from a region where international visibility isn’t always easy—building that presence took patience and persistence.

Designers should present their work with clarity, context, and conviction. A good presentation not only shows what was done, but also why it matters. Walk your audience through the narrative behind the choices—colors, structure, typography, emotion. Whether it's a pitch or a publication, the work should speak clearly on its own, but your voice adds depth and direction.

Currently, I’m developing a body of work that explores the intersection of data, emotion, and narrative systems. I want to create something that goes beyond aesthetics—design that visualizes life rhythms, cultural memory, and human fragility. Expect future work to be more experimental, but still rooted in clarity and meaning.

My ultimate goal is to build a body of work that stands the test of time—not because it followed trends, but because it spoke to something essential and true. I also hope to mentor younger designers, to contribute to the design community through dialogue, teaching, and collaboration. In a way, I hope design becomes not only what I do, but what I give back.

People expect a level of consistency, clarity, and surprise. As a recognized designer, you’re not just solving problems—you’re also shaping visions, proposing new perspectives, and setting a certain standard. But I also believe people look for honesty, humility, and a sense of openness to grow and evolve with the world around us.

Design has the power to make information more accessible, communication more empathetic, and systems more human-centered. In a world full of noise, design can simplify, clarify, and connect. Good design can empower marginalized voices, promote sustainability, and visualize futures we want to live in. It can be both a tool and a catalyst for change.

I am currently working on a visual project for a medical diagnostics company. It explores the invisible rhythm of life and its deep connection to health. Rather than simply representing medical equipment or data, I approach the project as a poetic narrative—using abstract geometry, layered structures, and tonal gradients to express the unseen systems that sustain life. It’s a cross between science and emotion, and this intersection is what truly excites me.

One of my most fulfilling projects was a calendar themed around the concept of "Life," where each month featured a reinterpretation of the brand's “O” symbol as a visual universe. In one illustration, the “O” became a moon rising over a desert; in another, it was a circular window into a dreamlike interior. These minimal yet poetic expressions gave me the freedom to explore emotion and narrative within constraints, turning a simple graphic into something symbolic and evocative.

I hope the design industry puts more emphasis on depth, culture, and long-term thinking. Today’s design world moves at lightning speed, often favoring superficial visuals over meaningful ideas. I would love to see more designers take on the responsibility of being storytellers, researchers, and cultural translators. Design should not only respond to trends but also shape them—offering reflection and imagination in a fast-moving world.

Design is diverging in two directions. On one side, we have hyper-efficiency driven by AI and automation. On the other, there’s a growing need for emotional, human-centered design that transcends technology. I believe future design will need to balance both: being efficient yet intimate, precise yet poetic. The most valuable designs will be those that hold space for feeling while embracing innovation.

It really depends on the type of project. Some dynamic posters can be completed in a few days, while more comprehensive visual systems might take weeks or even months to refine. For me, the most crucial stage is concept definition. Once the idea is clear, execution becomes much smoother. I’ve spent as little as three days and as long as two months fine-tuning a single project.

I always begin with research—on the brand, the audience, the cultural context, and the emotional tone. Then I write down keywords that define the spirit or mood I want to convey. From there, I explore visual directions through sketches, references, and moodboards. My process is a dialogue between thinking and feeling, writing and sketching, experimenting and refining.

"Less obvious, more emotional."

Great design isn’t about shouting the answer. It’s about inviting curiosity, touching something deeper, and letting the viewer discover meaning through layers. I believe in designs that unfold, not overwhelm.

It’s a dialogue. Trends inevitably shape the aesthetic environment, but truly meaningful design has the power to push culture forward. The best designs don’t just follow—they observe deeply, respond thoughtfully, and offer a new perspective. Legendary designs are often the ones that feel timeless, regardless of trend.

Technology is a tool that expands my senses. Whether it’s AI-powered ideation, 3D rendering engines, or animation software, these tools help me visualize things that exist beyond the tactile world. But to me, technology is never the goal—it’s the medium. The soul of the work still comes from intention, feeling, and cultural context.

I primarily use Adobe Creative Suite (Illustrator, After Effects, InDesign), Cinema 4D for 3D visuals, and Procreate for sketching. I also incorporate Midjourney and Runway for AI-assisted concept generation. My workflow is powered by a Mac Studio and Wacom tablet, which give me both speed and tactile control over my visuals.

Color, materials, and ambiance are the emotional core of a design. They speak to the subconscious and create an atmosphere that shapes how people perceive and interact with a product, brand, or space. I use color strategically to evoke moods and narratives—warm tones might create a sense of comfort, while cooler tones could evoke tranquility or professionalism. Materials ground the design in reality, connecting the digital with the tactile. Ambiance, whether in a product, environment, or visual experience, draws the viewer in, creating a space for reflection or engagement. I see all three as tools to communicate something deeper beyond the surface.

I hope people ask, “What does this design make you feel?” I believe the emotional resonance of a design is just as important as its visual appeal. It’s important to me that my work sparks curiosity, conversation, and reflection. Every design, no matter how subtle, has a narrative to share, and the best questions arise from that dialogue.

When I see a new great design, I immediately think, “What is the story behind this?” Great design, to me, is never accidental. It’s a thoughtful, calculated response to a problem or a conversation with culture. I want to know what inspired it, how it was made, and what it ultimately communicates. The best designs feel like they have a voice that’s been carefully crafted.

I thrive in collaborative environments. My ideal design partner is someone who pushes my thinking while respecting the essence of the design. I believe in co-design because it brings fresh perspectives, encourages creativity, and produces a richer end result. The best collaborations feel like a harmonious conversation where both sides learn, grow, and challenge each other.

There are many figures in my career who have had profound influence, but I must credit my mentors—seasoned designers who pushed me to think critically about my work and its larger purpose. My interaction with other award-winning designers, clients, and even artists in different fields has been invaluable. Each one has contributed something unique, whether it’s a fresh perspective, a constructive critique, or a new approach to creative challenges.

Books that explore the intersection of culture, art, and design have always influenced me. Some of the most impactful ones include “The Design of Everyday Things” by Don Norman, which gave me a deeper understanding of user-centered design, and “Steal Like an Artist” by Austin Kleon, which helped me embrace creativity without fear of imitation. “Ways of Seeing” by John Berger also helped me see how design interacts with society and communicates meaning beyond the visual.

I think it’s a combination of formal education and continuous practice. After earning my degree in visual communication, I spent countless hours experimenting and exploring different mediums—graphic design, 3D design, animation, and more. What’s essential is a mindset of lifelong learning: keeping an open mind, challenging my assumptions, and constantly testing my ideas. The process of self-reflection, mixed with feedback from peers and clients, has sharpened my craft.

If I could meet anyone, it would be Steve Jobs. His vision for design went beyond aesthetics and into the realm of innovation, user experience, and simplicity. His ability to think outside the box and turn complex technology into intuitive, beautiful products remains a huge source of inspiration for me. I would love to discuss the future of design, the intersection of technology and humanity, and how to build timeless, meaningful products.

Awards are always an honor, but I believe the true reward is the work itself. Recognition brings a sense of validation, especially when it comes from peers and industry leaders, but it’s the process of creating that excites me most. Fame doesn’t concern me—it’s the impact that matters. I’ve always focused on creating meaningful design, and if that resonates and earns recognition, it’s a bonus. It’s about the journey, not the destination.

Color: Dark green. It represents growth, balance, and harmony—qualities that reflect both nature and the design process I cherish.

Place: Chengdu, China. It’s a city full of culture, history, and vibrant creativity. The mix of ancient traditions and modern energy makes it an inspiring place to live and work.

Food: A well-prepared sushi platter. The balance of simplicity, elegance, and freshness is something I deeply admire.

Season: Autumn. It represents change, reflection, and the beauty of transition.

Thing: PlayStation VR2. It’s an innovative leap into immersive experiences, blending technology with creativity in a way that excites and inspires me.

Brand: Apple. Their approach to design, particularly the way they balance aesthetics and user experience, has always influenced my own work.

One memorable moment was during a project where I was working with a very tight deadline. I had everything set and was about to submit the design when the system crashed, and I lost hours of work. At that moment, I just sat there, frustrated, but then I realized that it was a chance to rethink and improve the design. In the end, the new version was even better, and I learned the value of staying calm and finding opportunity in moments of stress. That experience became a reminder to always back up my work, but also to embrace unexpected challenges with a positive mindset.

A great day for me starts with a clear focus and ends with a feeling of accomplishment. I motivate myself by keeping my goals in mind and remembering why I became a designer in the first place—because I love creating things that make people feel something. The best days are when I see my designs come to life, whether through feedback from clients or seeing them used in real-world contexts. I also find motivation in learning something new every day, whether it’s a technique, trend, or creative approach.

As a child, I was always drawn to art and creativity, whether through drawing, building things, or experimenting with design. I didn’t fully realize it at the time, but looking back, I can see how my passion for visual expression and problem-solving naturally led me to design. I always loved how things were made and how they could tell a story, and that curiosity has stayed with me throughout my career.

The future of design, especially in the next thousand years, will be shaped by technology, sustainability, and how we interact with the world around us. I foresee designs that are deeply integrated into our environments, perhaps in ways we can't yet imagine, like seamless digital interfaces or advanced augmented reality. I also hope that the future will bring designs that are not only aesthetically pleasing but also more sustainable and harmonious with the planet. In a thousand years, I believe design will be an essential force in shaping human civilization, guiding our interaction with both technology and nature.

I want my fans to know that my design philosophy is rooted in storytelling, empathy, and innovation. Each project is an opportunity to connect with people, to understand their needs, and to create something that resonates on a deeper level. I believe design should always strive to improve the world in some way—whether it’s through making people’s lives easier, more enjoyable, or more meaningful. What excites me most is the potential for design to shape the future in ways that make the world a better place for everyone.

My journey into design began with a deep passion for visual arts and a fascination with how design shapes our everyday lives. I’ve always been interested in aesthetics and problem-solving, and design became a natural outlet for me to express my creativity. Growing up, I was drawn to drawing, graphic design, and visual communication, and I realized early on that I wanted to make an impact through design. I went on to study design formally, where I learned the technical skills and theoretical knowledge that allowed me to develop my own style and approach to design. Over the years, I’ve worked hard to hone my craft, and becoming a designer has allowed me to merge my artistic abilities with practical, real-world applications.

I am the founder of Chengdu Mifang Culture (Find Design Studio), based in Chengdu, China. We specialize in brand design, packaging, visual communication, and layout, offering a variety of creative services to meet the needs of our clients. Our studio represents both personal and collaborative works, and we strive to create designs that resonate with people and reflect the values and essence of the brands we work with. We believe in a thoughtful, strategic approach to design that balances creativity with functionality, and our mission is to bring fresh perspectives and innovative solutions to every project we undertake.

For me, design is not just about creating something visually appealing—it’s about solving problems and communicating messages effectively. Design is a way of making sense of the world and connecting people to ideas, brands, and experiences in meaningful ways. It’s a powerful tool for change, capable of influencing behaviors, emotions, and perceptions. I see design as both an art form and a strategic process, where creativity and logic come together to create impactful, functional, and beautiful solutions.

I enjoy designing projects that allow me to explore new ideas and push the boundaries of creativity. I particularly enjoy brand identity design, packaging, and creating visuals that help communicate a brand’s story. Each project presents a unique challenge, and I thrive in environments where I can experiment with new techniques, materials, and concepts to create something innovative and memorable.

One of my favorite designs is a brand identity project I worked on for a client in the health and wellness industry. The design involved creating a visual system that felt modern and approachable, yet professional and trustworthy. It was incredibly rewarding because the final design not only captured the essence of the brand but also resonated strongly with the target audience, helping the brand gain recognition and trust in a competitive market.

The first project I worked on for a company was a logo design for a small local business. It was a simple yet meaningful project that taught me the importance of understanding a client’s vision and business goals. I had to create a logo that represented the company’s values and identity in a visually appealing and effective way. This experience laid the foundation for my design career, showing me the power of branding and the impact it can have on a company’s success.

I am particularly drawn to digital design tools like Adobe Creative Suite for their versatility and precision. I also enjoy experimenting with new technologies, including augmented reality (AR) and 3D design tools, to bring new dimensions to my work. On the material side, I find physical materials like paper and texture especially interesting for print projects. Combining digital and physical design elements allows me to create a more immersive and tactile experience for the audience.

I feel the most creative when I’m in a relaxed environment where I can let my mind wander freely without distractions. Inspiration often strikes during moments of reflection, whether I’m walking outside or having a conversation with someone. I also find that working under deadlines, when the pressure is on, often pushes me to think more quickly and creatively. Having the right balance of freedom and constraint sparks my best ideas.

I focus on the overall concept and message of the design before diving into the details. It’s essential to understand the project’s goals, audience, and the problem that needs to be solved. Once the concept is clear, I pay close attention to typography, color, and composition, ensuring that every element works harmoniously to communicate the message clearly and effectively.

Designing is often an emotional journey for me. At the start, there’s excitement and curiosity as I explore new ideas. There can also be moments of frustration when things don’t go as planned, but those are often followed by a sense of satisfaction and relief once I find the right solution. Overall, designing is about finding balance and feeling connected to the work, so it’s a mix of emotions—intense focus, creativity, and fulfillment.

When my designs are brought to life, I feel a great sense of pride and accomplishment. It’s incredibly fulfilling to see a concept turn into something tangible that people can interact with. It’s a reminder of the hard work, thought, and passion that went into the process. At the same time, there’s always room for improvement, so there’s a sense of continued growth and motivation to keep pushing boundaries with future projects.

A successful design is one that effectively communicates its intended message, resonates with the audience, and solves the problem it was created to address. It's not just about looking good; it’s about functionality, clarity, and impact. A good design should engage people, be memorable, and elicit an emotional response. It should also be timeless, able to stand the test of time while maintaining relevance and adaptability in an ever-changing world.

When judging a design, I first consider how well it communicates the core message or brand identity. It’s important that the design aligns with the values and goals of the project. After that, I look at visual aspects such as composition, typography, color usage, and how well they work together to enhance the message. I also assess whether the design is functional and user-friendly, especially in the context of its intended use.

As designers, we have a responsibility to consider the social, cultural, and environmental impact of our work. Our designs can shape perceptions and influence behaviors, so it's important to create solutions that are ethical, inclusive, and mindful of sustainability. Designers can contribute positively to society by addressing issues such as environmental conservation, accessibility, and social justice, using design as a tool to create meaningful change.

The design field is constantly evolving, especially with advancements in technology and the growing integration of digital experiences into our daily lives. The future of design will likely involve more interactive, immersive experiences, with augmented reality (AR) and virtual reality (VR) playing a bigger role. Sustainability will also be a key focus, with an emphasis on eco-friendly materials and reducing waste. Designers will need to adapt to new tools and technologies, but the core principles of good design—problem-solving, creativity, and empathy—will remain unchanged.

My last exhibition was in 2024 at the Hong Kong Convention and Exhibition Centre, showcasing my award-winning projects and design philosophy. It was a wonderful opportunity to connect with other designers and industry professionals. As for my next exhibition, I’m looking forward to showcasing my work in international design events, particularly in Europe and the U.S., in the next couple of years. These exhibitions will provide a great platform to present my evolving design journey to a global audience.

Inspiration can come from anywhere—nature, travel, art, history, and even everyday life. I find that keeping an open mind and being receptive to the world around me helps to feed my creativity. I also stay connected with other designers and creatives, attending design conferences, and staying updated on new trends and technologies. Additionally, taking time to reflect and disconnect from the daily grind often sparks my best ideas.

My design style is minimalistic yet expressive. I believe in using simple forms and clean lines to communicate complex ideas. I enjoy working with a restricted color palette, focusing on subtle details that make the design feel balanced and harmonious. My approach is user-centered, ensuring that the design is not only visually appealing but also functional and meaningful. Over time, I’ve developed this style because I believe that simplicity in design allows for greater impact and clarity.

I live in Chengdu, China, a city known for its rich cultural history and modern development. The cultural heritage of my country definitely influences my designs, especially in the way I approach typography, color, and symbolism. Traditional Chinese design elements often find their way into my work, but I also strive to blend them with modern design sensibilities to create something unique. Living in Chengdu offers both advantages and challenges: the city has a burgeoning creative community, but as a designer, balancing modernity with tradition can sometimes be difficult, especially when catering to a global audience.

I work closely with companies to understand their vision, goals, and target audience. Once I have a clear understanding of what they want to achieve, I collaborate with them through the design process, ensuring that they are involved in key decisions along the way. My approach is always collaborative, making sure the final design represents the company’s identity while meeting their business needs.

Companies should look for designers who have a strong portfolio, a clear understanding of their industry, and a proven track record of successfully delivering projects. Communication is key—working with a designer who is responsive, open to feedback, and can adapt to the company’s needs will ensure a smooth and productive collaboration. It’s also important to choose a designer who is passionate about the project and can bring fresh, innovative ideas to the table.

My design process typically begins with thorough research and understanding of the project’s goals, target audience, and the challenges at hand. This stage involves gathering all relevant information and exploring different ideas and concepts. Once I have a clear direction, I move on to sketching and brainstorming, often creating multiple drafts before narrowing down the best solution. After the concept is finalized, I refine the design, paying attention to every detail. The final stage involves testing and feedback, ensuring the design functions well in real-world applications. Throughout this process, collaboration with clients and colleagues is crucial to achieving the best result.

A typical day for me starts early, with some quiet time for reflection or a walk to clear my mind. Afterward, I dive into work, checking emails, reviewing ongoing projects, and brainstorming new ideas. Most of the day is spent in front of my computer, designing, collaborating with my team, or communicating with clients. I take breaks for inspiration, whether through reading design articles, visiting local exhibitions, or exploring the outdoors. The evening is reserved for creative exploration—whether that’s working on a personal project, experimenting with new techniques, or reflecting on the day’s work. It’s a balance of productivity, creativity, and inspiration.

To young designers, I would say: never stop learning and experimenting. The design world is constantly evolving, and it’s important to keep up with new tools, technologies, and trends. At the same time, don’t lose sight of the fundamentals—composition, color theory, and user experience are timeless principles. Be curious and explore different styles; it’s through experimentation that you’ll find your unique voice. Listen to feedback and collaborate with others to expand your horizons. Finally, embrace failure as a learning opportunity—it’s an essential part of the creative process.

My golden rule in design is: simplicity is the ultimate sophistication. Striving for clarity, elegance, and simplicity in my designs helps ensure that the message is communicated effectively. It’s about removing unnecessary elements and focusing on what truly matters to achieve the greatest impact. At the same time, simplicity doesn’t mean lack of creativity—it’s about finding creative ways to simplify complex ideas.

Time management is key to maintaining productivity and creativity. I break down projects into manageable chunks, setting deadlines for each phase. I also prioritize tasks based on urgency and importance. I use tools like Trello or Asana to track progress and stay organized. Taking short breaks throughout the day helps me recharge and stay focused. Additionally, I try to avoid perfectionism in the early stages, focusing on getting the ideas down first before refining them.

The time it takes to design an object depends on the complexity of the project. For simpler designs, it can take anywhere from a few days to a couple of weeks. However, more intricate projects—especially those that require extensive research, prototyping, and testing—may take several months to complete. I always aim to balance quality with efficiency, but it’s important not to rush the creative process to ensure the final design is thoughtful and functional.

The most frequently asked question I receive is: "Where do you get your inspiration from?" It’s a question that comes up often, and I always enjoy answering it. My inspiration comes from a variety of sources—nature, art, culture, technology, and even personal experiences. I believe the world around us is filled with endless opportunities for creativity if we take the time to observe and absorb it.

One of the most important job experiences in my career was working on a large-scale rebranding project for a well-established company. This project challenged me to think deeply about brand identity, messaging, and how design can play a crucial role in business success. It also taught me the value of collaboration, as I worked closely with a diverse team of strategists, marketers, and creatives. The success of that project reinforced my belief in the power of good design and its ability to make a real impact on a company’s trajectory.

I’ve had the privilege of working with a variety of clients across different industries. Some notable ones include Tianfu sortware Park, Maccura, Sobey, EasyGo, and SONY. Each project brought its own unique challenges, and I always aim to deliver the best possible design solutions that align with their visions and goals.

I most enjoy working on branding and visual communication projects, particularly those that involve a complete brand transformation. It’s incredibly rewarding to build a visual identity from the ground up and see how it shapes the perception of the company. The process of discovering the essence of a brand and translating that into a design that resonates with people is something I find truly fulfilling.

Looking ahead, I plan to continue expanding my design studio, Chengdu Mifang Culture, and work on more international projects. I’m excited about the possibility of collaborating with brands that are interested in pushing the boundaries of design. Personally, I’m also looking forward to further exploring interactive and immersive design, particularly in the areas of virtual reality and augmented reality. The future of design is limitless, and I want to be part of its evolution.

While I enjoy working independently, I strongly believe in the power of teamwork. At Chengdu Mifang, I work with a talented team of designers and collaborators who bring their own expertise and creativity to the table. Design is often most successful when it’s a collaborative effort, and I value the diverse perspectives my team provides. That being said, I often lead the creative direction and oversee the final execution of the designs.

Yes, I am currently working on several projects, including an exciting new branding and interactive design project for a technology startup. This project is particularly interesting because it combines cutting-edge technology with a sleek and modern design aesthetic. We are integrating augmented reality features into the branding to create an engaging, immersive user experience. It’s a challenging but thrilling project, and I’m excited to see how it will evolve.

People can contact me via email at 454342613@qq.com or through our website www.find-design.cn. You can also find me on social media platforms like Rednote and Instagram, where I regularly share updates on my work and design insights.

I’d like to mention that for me, design is not just about creating aesthetically pleasing visuals—it’s about creating something that serves a purpose and makes a positive impact. Whether it’s a product, brand, or experience, my goal is always to design with empathy and to ensure that the end result enhances the lives of the people who interact with it. I’m passionate about working with clients who share that mindset, and I’m always looking for new opportunities to collaborate on meaningful projects.

The integration of directional Chinese characters within the Easygo Corporate Identity system represents a deliberate semiotic and typographic exploration that bridges cultural narratives with functional design. From the outset, my intention was to deconstruct traditional Chinese logographic elements and reinterpret them as part of a contemporary, modular visual language.In particular, characters like “上” (up) and “下” (down) possess dual-layer meaning — they are not merely directional indicators but also embody philosophical concepts of hierarchy, spatial orientation, and transition within Eastern culture. By abstracting these characters through a systematic graphic reduction process, they were transformed into universal symbols that retain their cultural authenticity while achieving cross-cultural accessibility.This methodology allowed the identity system to operate on multiple levels: visually intuitive for global users, culturally resonant for local audiences, and structurally coherent within the broader visual ecosystem of the brand. Ultimately, this typographic intervention reinforces the brand’s positioning as both rooted in Chinese identity and aligned with international design standards.

Balancing accessibility with contemporary aesthetics was a central challenge in the development of the Easygo Corporate Identity. The brand operates at the intersection of two distinct user groups: elderly individuals who prioritize clarity and functional usability, and younger purchasers who are driven by emotional resonance and modern design sensibilities.To address this, I adopted a human-centered, inclusive design approach. From a visual standpoint, the system employs simplified geometric forms, high-contrast color schemes, and clear typographic hierarchies to ensure legibility and intuitive recognition for older users. At the same time, the visual language incorporates minimalist aesthetics, modular graphic structures, and subtle cultural references that resonate with younger, design-conscious consumers.Furthermore, the strategic use of culturally symbolic elements — such as the directional Chinese characters — creates a sense of familiarity and trust for senior users, while the abstracted, systematized presentation reflects a progressive, forward-looking identity appealing to the younger demographic. This dual-layer design methodology ensures the brand is both approachable and aspirational, meeting functional accessibility standards without compromising visual sophistication.

The core social mission of Easygo—to address mobility barriers for elderly residents in Asia’s walk-up buildings—deeply informed every aspect of the visual storytelling. Recognizing that this project extends beyond product functionality to address social equity, I focused on creating a visual narrative that conveys both accessibility and dignity.The use of upward and downward directional symbols, combined with clean, intuitive iconography, ensures that the design communicates movement and ease. Meanwhile, the visual language emphasizes clarity, stability, and human-centered design principles, reflecting the project's commitment to improving daily life for vulnerable groups.

The circular motif within the Easygo Corporate Identity emerged as a visual metaphor for vitality, continuity, and inclusiveness. During the conceptual development, I explored how geometric forms could coexist with directional symbols to create a cohesive, symbolic language.The circle, traditionally associated with unity and life cycles, naturally complements the upward and downward directional elements. This combination represents both the physical motion of elevators and the broader notion of life progression and accessibility, resulting in a harmonious system where form reinforces function and cultural meaning.

Sustainability was embedded in the Easygo Corporate Identity from the beginning. Beyond visual design, material selection and production processes were guided by circular economy principles. The use of eco-friendly materials for signage, product markings, and printed materials reflects the project's environmental responsibility.Visually, minimalism reduces resource consumption while reinforcing clarity. This alignment between design aesthetics and environmental ethics ensures that the identity system supports both ecological sustainability and long-term brand integrity.

Creating a visual identity that transcends generational and literacy barriers required extensive research into cognitive ergonomics and cross-cultural communication. I studied visual patterns commonly recognized by both elderly and younger demographics, focusing on intuitive symbols, clear directional cues, and culturally neutral color palettes.User testing with diverse age groups validated the legibility and accessibility of the system. The result is a design language that communicates effectively across varying literacy levels, cognitive abilities, and cultural backgrounds.

The development of Easygo Corporate Identity from 2020 to 2023 reflects a dynamic response to evolving user needs and market shifts. Initially, the project focused primarily on functionality and accessibility for elderly users.However, as societal awareness of inclusive design and intergenerational products grew, the system evolved to incorporate stronger aesthetic elements, modular adaptability, and cultural storytelling. This iterative process allowed the identity to remain relevant, visually compelling, and socially responsible in changing market conditions.

Easygo's dual-track elevator system represents a technological breakthrough in mobility solutions, and this innovation directly influenced the visual identity. The system's ability to serve two groups simultaneously inspired the duality within the visual language.Graphically, this is expressed through mirrored directional symbols, parallel graphic structures, and balanced compositions that echo the dual-track functionality. The visual system thus reinforces the brand's technical advantage while making complex technology approachable for everyday users.

The minimalist aesthetic within Easygo Corporate Identity was intentionally designed to achieve both functional clarity and emotional resonance—a balance often considered contradictory. By reducing visual complexity, the system enhances legibility and user comprehension, which is critical for accessibility.Simultaneously, minimalism provides space for cultural elements, geometric symbolism, and refined details to emerge, fostering an emotional connection. This careful calibration ensures the identity is both efficient and emotionally engaging, reflecting both practical and aspirational brand values.

As Easygo expands across diverse Asian markets, the identity system is designed with cultural modularity, enabling localized adaptation without compromising core consistency. The foundational elements—directional symbols, circular motifs, and simplified forms—remain constant.Meanwhile, color palettes, typography nuances, and cultural references can be regionally tailored to reflect specific societal values or aesthetic preferences. This strategy ensures the identity retains its universal accessibility while resonating authentically within each cultural context.