Interviewe mat Po-Hsuan Chu

I grew up in Taiwan, and art was a consistent part of my childhood. I took drawing classes for many years and was often the person responsible for artwork and visual displays at school. When it came time to choose a university major, design felt like a natural direction—a way to develop something I had always enjoyed into a professional practice.

I later moved to New York to pursue my master’s degree in Packaging, Identities and Systems Design at Pratt Institute, graduating in 2022. That experience expanded my understanding of how packaging, typography, and visual identity can work together as a system.

Since then, I have worked across in-house teams, agencies, and freelance projects, with experience in beauty, footwear, food and beverage, and outdoor brands. My practice now spans brand identity, packaging, digital content, and art direction. Looking back, I did not always have a precise idea of becoming a designer, but making things and communicating visually have always been part of my life.

I am an independent brand designer and art director based in New York, originally from Taiwan. My practice focuses on brand identity, packaging, and visual storytelling, helping brands express their character consistently across physical and digital experiences.

Having worked both within brands and alongside agencies, I enjoy being involved from the initial concept through to execution. My work can range from developing an identity or packaging system to shaping campaign imagery, directing a photoshoot, and creating content for websites, email, and social media.

Collaboration is an important part of my practice. I enjoy working closely with founders, creative teams, photographers, and other collaborators to turn an idea into something tangible. One example is my work on the Batchwell rebranding project, which received an A’ Design Award.

For me, design is a way of giving ideas a clear and usable form. It shapes how people understand a brand, navigate information, or interact with an everyday object.

I pay close attention to typography, hierarchy, and the relationships between different elements. These decisions influence both how something feels and how easily people can use it. A layout can be simple while still carrying a great deal of thought and personality.

I am especially interested in design that continues to work beyond its first impression: an identity that can grow with a brand, packaging that communicates clearly, or a system that helps people find what they need. That combination of expression and usefulness is what makes design meaningful to me.

I particularly enjoy brand identity and packaging projects, especially when there is an opportunity to develop a visual world around a product. I like exploring how an idea can take shape through typography, color, materials, imagery, and layout, then carry through to campaigns and digital experiences.

Packaging appeals to me because it brings visual communication into a physical object. Its scale, texture, structure, and the way someone handles it all become part of the design.

I also enjoy the wider storytelling involved in art direction—thinking about how a brand can express itself through photography and content. The most rewarding projects give me the opportunity to connect these elements, creating a recognizable character while allowing room for experimentation.

One of my favorite examples of design is the New York City subway signage system. I admire its clarity and the way it remains visually compelling through repeated, everyday use. For me, wayfinding needs that kind of lasting quality: people should be able to rely on it without growing tired of looking at it.

I am particularly drawn to visual identities that function as tools. In the subway, typography, color, and hierarchy help people make decisions as they move through a complex environment. The system has a strong identity, and its practical purpose gives that identity meaning.

The accompanying graphics standards manual is also something I can return to repeatedly as a reference. I appreciate how it turns individual design decisions into a framework that can be applied consistently. It reflects qualities I value in my own work: clarity, functionality, and a visual language built to last.

One of my first formal design roles was with an independent leather shoe brand in Taiwan. I worked with the founder on brand-related design and the layout of a leather reference catalog, while learning from an experienced graphic designer.

That experience introduced me to the practical demands of organizing information. The catalog needed a clear hierarchy and a consistent layout so that readers could easily browse and compare the leather options. Every typographic and layout decision had a purpose.

It taught me how much care goes into making a page feel clean and simple. I began to understand that simplicity comes from thoughtfully arranging information and considering how someone will use it. That early experience still influences how I approach typography, editorial layouts, and brand systems today.

I am especially drawn to the physical possibilities of packaging: how material, texture, structure, and print can shape someone’s experience of a product. ( I really like the Risograph, the imperfection of the print) I also enjoy working digitally, where I can explore different directions and see how an identity translates across formats. Moving between physical and digital design keeps the process interesting for me.

I feel most creative when I have a clear understanding of the project but still have room to experiment. A conversation, a walk, or time away from the screen can help me notice a connection I was missing. I also enjoy exchanging ideas with other creatives, especially when we bring different perspectives to the same concept.

I focus on the relationship between concept, typography, and hierarchy. I want the design to communicate clearly while expressing something specific about the brand. I also consider how it will work across different applications, because a strong direction needs to hold together beyond a single image.

Usually a mix of curiosity, excitement, and occasional frustration. I enjoy exploring possibilities, although there is often a stage when the pieces have not quite come together yet. Finding the right relationship between an idea and its visual expression is what makes that process satisfying.

There is something special about seeing a design exist outside my screen, whether it is a physical package, a live website, or a campaign. I feel proud, but I also become curious about how people respond to it. Seeing the work become part of someone’s everyday experience makes the effort feel worthwhile.

A successful design fulfills its purpose and gives people something recognizable to connect with. For brand work, that means communicating clearly, expressing the brand’s character, and working consistently across different situations. I also value whether the client can continue using and building on the design after the initial launch.

I first consider what the design is trying to accomplish and whether its decisions support that purpose. Then I look at hierarchy, typography, composition, and attention to detail. Personal taste influences my response, but I try to understand the audience and context before judging the work.

Designers have a responsibility to consider what their work encourages people to buy, believe, or do. In packaging, this includes questioning unnecessary components and considering materials and production choices. In communication, it means making information understandable and avoiding misleading messages. These responsibilities belong in everyday design decisions.

I see the future of design as increasingly connected across disciplines, with more overlap between identity, motion, photography, and digital experiences. I am interested in how new tools can create more room for experimentation. At the same time, I believe a designer’s judgment, cultural awareness, and ability to develop a meaningful point of view will remain essential.

I draw inspiration from everyday visual culture: street signage, packaging, books, photography, and the way people use objects and spaces. Traveling and living between different cultural contexts also give me fresh perspectives. I try to understand what makes a reference interesting, whether it is its composition, material, humor, or the feeling it creates.

My work tends to combine clear structure with expressive details. I care about typography and functional layouts, but I also enjoy introducing personality through color, imagery, and unexpected combinations. The balance changes with each project; I want the visual direction to feel specific to the brand while reflecting a thoughtful, consistent approach.

I am originally from Taiwan and currently based in Brooklyn, New York. Working across these two cultural contexts has made me more aware of how visual language can be interpreted differently by different audiences. New York offers a rich mix of creative perspectives and opportunities for collaboration, I love my flexibility while living here, I am pretty outdoorsy, I get my inspiration during I moving aorund. My Taiwanese background remains an important part of how I observe and approach things.

I work with companies both on individual projects and through ongoing freelance collaborations. I begin by understanding their goals, audience, existing materials, and practical needs, then work closely with the team to develop a direction. Depending on the project, I may contribute to identity and packaging or support campaigns, art direction, and everyday brand content.

Start with an honest conversation about your goals, expectations, budget, and timeline. When choosing a designer, look at the thinking behind their work as well as the visual outcome, and consider whether you communicate well together. Specific feedback and trust in each other’s expertise make a meaningful difference to the collaboration.

I start by understanding the brand, its audience, and the problem we are trying to solve. From there, I gather references and develop concepts, then explore how those ideas might translate into typography, color, imagery, and layout. I refine the direction through discussion and test it across relevant applications before preparing the final work.

Glassware/ Kitchware/ Chair/ Alarm Clock/ Coffee maker set

My days vary depending on the projects I am working on. As a freelancer, I move between designing, reviewing feedback, communicating with clients, and coordinating with collaborators. Some days are focused on detailed execution, while others involve research or developing concepts. Outside work, I enjoy cooking, biking and climbimg, and running and of course, spending time with friends, and making room for experiences beyond the screen.

Build a strong foundation in typography, layout, and communication, and stay curious about things beyond design. Try different working environments and pay attention to the kinds of projects and collaborators that bring out your best work. I am still learning myself, but I have found that asking questions and being open to feedback can take you further than trying to appear certain all the time.

One of the best parts is getting to learn about different businesses, products, and people, then turn that understanding into something tangible. The challenges include subjective feedback, shifting expectations, and knowing when to stop refining. As a freelancer, balancing creative work with the practical side of running a practice is also an ongoing learning process.

“Do I genuinely like what I have designed?” is a question I always ask myself. I want to stay true to my judgment and create work I feel proud to share. I also believe in making intentional decisions: whether I am choosing a typeface, adjusting spacing, or developing an image, I want each choice to support the overall idea. This leaves room for intuition and play while giving me a clear way to evaluate and refine the work.

Observation, visual judgment, and communication are essential. Designers need to notice details, connect ideas, and explain their decisions in a way others can understand. Technical skills help bring the work to life, while adaptability and collaboration help it succeed within real projects and teams.

Figma is part of my workflow for digital layouts, sharing work, and collaborating with teams. My broader toolbox also includes tools for image editing, motion, and packaging visualization, depending on the project. Beyond software, I value design books, graphics standards manuals, photography, and physical references that help me think about how the work will look and feel in use.

I approach time management by breaking projects into stages and identifying which decisions need to happen first. Aligning on a direction early helps make later production more efficient. When balancing several clients, I prioritize by deadlines and dependencies, and communicate about availability so there is room for feedback and refinement.

It depends on the scope, the number of applications, and how much research and development the project requires. A single asset and a complete identity or packaging system have very different timelines. I prefer to establish a schedule around the actual stages of the project, including feedback and production, so the expectations are clear from the beginning.

A question I often receive is how I decide which visual direction is right for a brand. I usually return to the audience, the product, and what the brand wants to communicate. References help open up possibilities, but those underlying considerations guide the final decisions.

My time at Atoms was especially formative because I took on broad responsibility for brand content across different channels. I worked from concepts through execution and had opportunities to lead photoshoots and coordinate with photographers and makeup artists. It helped me understand how individual creative decisions contribute to a larger brand story and gave me greater confidence in taking ownership of a project.

Some of the brands and teams I have worked with include Batchwell, Chillhouse, Atoms, and Hatchet, through a mix of freelance, in-house, and agency settings. These experiences span food and beverage, beauty, footwear, and outdoor-related projects. I enjoy learning the specific character of each category and finding a visual approach that feels appropriate to the brand

I especially enjoy projects where I can help develop a brand’s visual direction and follow it through into tangible applications. Connecting identity, packaging, photography, and campaign content gives me the opportunity to build a fuller story. I also find the process more rewarding when there is a close, open exchange with the people behind the brand.

I want to continue building a sustainable independent practice and develop lasting relationships with brands and creative collaborators. I am interested in taking on more projects that connect brand identity, packaging, and art direction, with opportunities to shape the work from concept through execution. I also want to make more space for personal experimentation and collaborative shoots.

Both, depending on the project. I often develop concepts and design work independently, while staying closely connected with the client or creative team. For projects involving photography or other specialties, I enjoy collaborating with people whose skills bring another dimension to the idea. I am comfortable taking ownership while remaining open to other perspectives.

My ongoing work spans brand content, packaging, and digital design. I am currently in discussions with a cookware brand about a potential rebranding project, while continuing to work with several ongoing clients. I do not have a specific project to share publicly just yet, but I look forward to sharing more as the work develops.

People can explore my work and find ways to get in touch through my website, workbyec.org.

And yeah! Please send me an email at pohsuanchu@gmail.com! and check on my portfolio instagram account: @ec___cc, feel free to DM me:)

I am always happy to hear about potential projects and connect with brands, designers, photographers, and other creatives who see an opportunity to collaborate.

The relationships behind the work matter a great deal to me. Many of the most rewarding experiences in my career have come from working with people who are generous with their ideas and care about what we are making together. As I continue developing my practice, I hope to keep building those connections and creating work that reflects that shared commitment.

The project began by looking beyond the product itself and focusing on how people actually enjoy cocktails today. Batchwell isn't just selling cocktail mixers—it enables people to enjoy a premium cocktail experience wherever they are, whether that's camping, traveling, hosting friends, or spending time outdoors.That insight became the foundation of the new identity. I wanted the brand to feel adventurous, approachable, and premium at the same time. The modern-retro visual language allowed us to combine a sense of craftsmanship with a fresh, contemporary attitude. Bold typography, vibrant colors, and playful illustrations work together to create a memorable system while maintaining a refined aesthetic.Rather than simply redesigning the packaging, my goal was to build a cohesive brand experience that communicates freedom, quality, and ease of use. Every visual element supports the idea that enjoying a well-crafted cocktail doesn't have to be limited by place or occasion.

One of the biggest opportunities I saw was redefining what a premium cocktail experience could look like. Traditionally, cocktails are associated with heavy glass bottles, multiple ingredients, and complicated preparation. Batchwell challenged that expectation by making the experience simple without compromising quality.Because portability is central to the product, every design decision needed to reinforce that benefit. The flexible pouch is lightweight, durable, and easy to pack, while the sachets simplify preparation into an intuitive process. Visually, I wanted the packaging to communicate this convenience immediately through clear hierarchy, bold color coding, and clean organization.More importantly, I wanted customers to imagine the moments when they would actually use the product. The design isn't just about carrying cocktails more easily—it represents spontaneity, exploration, and sharing memorable experiences with others.

Creating strong shelf presence doesn't necessarily mean making a product louder. For me, it means creating something that is instantly recognizable while remaining thoughtful and refined.Color became one of the strongest tools in the identity system. Each cocktail flavor has its own distinctive palette, allowing customers to navigate the product line intuitively while creating a vibrant family of products on the shelf. The typography complements this approach by feeling confident and expressive without sacrificing readability.The premium quality comes from consistency rather than decoration. Careful attention to spacing, hierarchy, proportions, and material choices creates a polished brand experience that feels trustworthy and well-crafted. My goal was to make Batchwell stand out because of its clarity and personality, not because it overwhelms the customer.

Research played an essential role throughout the project. Instead of beginning with visual references, I started by understanding how customers interacted with the product and where those experiences took place.We found that many customers weren't using Batchwell exclusively at home. They were bringing it to campsites, beaches, cabins, road trips, and social gatherings because the product offered convenience without sacrificing quality. However, the previous branding didn't fully communicate that lifestyle.This insight encouraged us to reposition the brand around movement and exploration rather than simply cocktails. Every design decision—from the packaging format to the illustrations and graphic system—was developed to reflect that sense of freedom. I believe successful branding should accurately represent how people actually experience a product, rather than how we assume they use it.

I believe consumers today no longer see convenience and quality as opposing ideas. They expect products to deliver both, and good design should communicate that balance naturally.The modern-retro aesthetic helped us achieve this by combining familiar visual references with a contemporary execution. Elements such as bold typography, simplified illustrations, and vintage-inspired color relationships create a sense of authenticity and craftsmanship, while the clean layouts and packaging structure keep the experience modern and efficient.Rather than emphasizing nostalgia alone, the visual language celebrates timeless experiences—sharing drinks with friends, traveling, and enjoying the outdoors. This creates an emotional connection while reinforcing the practical benefits of the product. The result is a brand identity that feels both approachable and elevated, making premium cocktails accessible without losing their sense of craft.

One of my priorities was ensuring that the packaging supported the product experience instead of becoming a limitation. Since Batchwell is designed to be taken anywhere, the packaging needed to feel effortless to carry, durable enough for travel, and intuitive to use.Working collaboratively throughout the project, we focused on creating a system that balanced functionality with brand expression. The flexible pouch reduces weight, minimizes the risk of breakage, and improves storage efficiency, while the individual sachets make preparing cocktails simple and consistent. From a visual perspective, I designed the information hierarchy and graphics so users could quickly identify flavors and understand the product without feeling overwhelmed.To me, successful packaging should solve practical problems while creating an emotional connection. Every structural and visual decision was made to make the experience feel seamless, whether someone is enjoying a cocktail at home or bringing Batchwell on their next adventure.

I wanted the graphics to communicate a lifestyle rather than simply decorate the packaging. Instead of focusing on traditional cocktail imagery, the illustrations celebrate moments of exploration, connection, and spontaneity—experiences that naturally align with how people use Batchwell.The visual language combines bold colors, expressive typography, and playful illustrations to create a sense of movement and energy. Together, these elements tell a story about bringing people together, discovering new places, and enjoying quality cocktails without unnecessary complexity.Good visual storytelling allows customers to imagine themselves using the product before they even pick it up. My goal was to create an identity that feels optimistic, memorable, and inviting while reinforcing the idea that premium experiences can be both approachable and portable.

One of the most valuable insights came from observing how customers actually interacted with the product. Many people weren't treating Batchwell as something reserved for special occasions—they were bringing it on trips, sharing it with friends, and incorporating it into everyday moments.This behavior influenced several design decisions. The packaging system was simplified to make flavor selection more intuitive, the visual hierarchy became clearer for quicker recognition, and the overall identity shifted toward a more energetic and lifestyle-oriented direction. Rather than emphasizing technical product information, we focused on creating an experience that felt welcoming and easy to understand.I believe user-centered design is about listening carefully and translating those observations into meaningful solutions. When design reflects real behavior instead of assumptions, it becomes both more functional and more emotionally engaging.

For me, the strongest aspect of the project is how every element works together as a cohesive system. Rather than relying on a single feature, the identity communicates quality through consistency—across the packaging, typography, color palette, illustrations, and overall user experience.The flexible packaging immediately conveys portability, while the clean layouts and carefully organized information make the product approachable and easy to navigate. At the same time, the modern-retro visual language adds personality and reinforces the sense of craftsmanship behind the brand.I believe premium design isn't about making something look luxurious; it's about creating trust. When every touchpoint feels intentional and thoughtfully designed, customers naturally associate the brand with quality, reliability, and a memorable experience.

I believe the future of beverage packaging will be defined by experiences rather than formats. Consumers increasingly expect products that are beautifully designed, easy to use, and adaptable to different lifestyles, without compromising quality. Designers have an opportunity to rethink how brands fit into people's everyday lives instead of asking people to adapt to the product.With Batchwell, my goal was to demonstrate that portability can enhance a premium experience rather than diminish it. Thoughtful branding, intuitive packaging, and strong visual storytelling can transform a functional product into something that feels memorable and emotionally engaging.Looking ahead, I hope more brands embrace design as a way to simplify experiences while maintaining authenticity and craftsmanship. For me, successful packaging is never just about containing a product—it's about creating meaningful interactions that people remember long after they've finished using it.