Tamás Fekete

Since I was very young, I was interested in drawing, building and assembling, and understanding how objects work. I used to spend hours sketching cars, planes, machines, and scenes from movies and games, copying images with pencil. No one taught me how, I figure things out for myself. But back then, I didn’t know that design as a profession existed. That changed in the last year of high school. I stumbled across an article about a university program that offered car design, and something in me just clicked. Like discovering the word for something you’ve felt your whole life. I suddenly realized that all the things I loved doing, drawing, building, thinking in shapes and mechanics could actually become a profession. It felt like finding a door that had always been there, but I had never known to look for it. I decided to apply to Moholy-Nagy University of Art and Design in Budapest, but I wasn’t ready. My drawing skills were strong, but they were rooted in replicating still images, not creating. I had to start from scratch, not just to sketch differently, but to think differently. I spent months rebuilding my portfolio, learning design thinking, and adapting my approach. Eventually, I was accepted and went on to complete both my Bachelor's and Master’s degrees there. At first, my dream was to design cars. But over time, my focus shifted. I became more interested in the kinds of objects people use every day, tools, products, ideas that quietly improve someone’s experience without needing to shout. That evolution gave my work a new sense of purpose: not just to create something beautiful, but to make something meaningful. So no, I didn’t always want to be a designer. But once I found out what design was, there was no going back. It gave me the words, the tools, and the path I had been unconsciously walking all along.

Openend Design is an independent industrial design studio based between Budapest and Rotterdam, helping startups, inventors, and consumer brands develop physical products, from idea to production. The studio offers end-to-end services including industrial design, prototyping, 3D printing, branding, packaging, and visual communication. The studio specializes in creating products that are not only functional and manufacturable but also emotionally engaging, using form, material, and storytelling to connect with users. A strong focus on design semiotics helps shape visual identities through shape, proportion, color, and finish. Openend Design is particularly suited for clients developing patentable solutions, launching e-commerce products, or looking to refine the user experience of their physical tools and devices. Past projects include award-winning accessories, tools, soft goods, and home products currently on the market. The goal is always to turn ideas into compelling, real-world objects, with clarity, creativity, and purpose.

For me, design is where function meets emotion, it solves problems, but also speaks to people through form, material, and experience. It’s how objects communicate. It creates emotional clarity without needing to explain itself. It’s not just about making things work, it’s about making them feel right. The way an object looks, sounds, or rests in your hand, that all tells a story.

I enjoy projects that let me shape both the form and the function of a product. I like working on sculpted surfaces , shaping objects with precision and flow. At the same time, I’m drawn to the problem-solving side of design, taking an existing product and making it better, more intuitive, or more elegant. There’s something deeply satisfying about inventing a new solution that feels obvious once it’s in front of you.

One of my favourite designs is a pair of scissors I invented, called Vector. It started as a university project, but I eventually turned it into a real product on my own. The concept came from a simple frustration: cutting straight lines is harder than it should be, even with good scissors. Vector solves this with a guiding mechanism, by pressing the handle against the edge of a table, it helps users cut straighter with ease. At the time, I didn’t know how to 3D model complex shapes, but I had hand-sculpted the handle in clay and needed to recreate it digitally. That challenge pushed me to teach myself advanced organic surfacing so I could translate my design into a manufacturable model. What makes this project so meaningful is how much it taught me. I went through every stage myself inventing the mechanism, prototyping, sourcing materials, finding manufacturers for both plastic and metal parts, and learning to negotiate and produce in small batches. It was incredibly difficult at the time, but it gave me a crash course in what it really takes to bring a physical product to life. That project still influences how I work today. It combined invention, ergonomics, manufacturing, and storytelling all in one small, simple tool that solved a real problem.

The first commissioned project I got paid for was designing three different sets of repeating wall tiles, made from cast concrete with various surface coatings. It was for a company developing high-end architectural elements, targeting luxury hotels in Dubai. It was an exciting first assignment, the tiles had to work both as individual pieces and as a cohesive pattern when installed on large surfaces. That project taught me a lot about modular design, texture, and working within material constraints early in my career.

My favorite technology is 3D printing — especially FDM and SLS. As a designer, I find it incredibly powerful because it gives me full control over form, iteration, and execution. I use it extensively for prototyping, but also increasingly for producing end-user products, especially as the technology continues to evolve in quality and surface finish.

For some reason, my deepest focus and most creative energy often shows up between midnight and 3:00 a.m. There is something about this part of the night that helps me tune everything else out and fully drop into focus. Even if I wasn’t productive during the day, that time somehow unlocks everything. I usually try to avoid working at night, but whenever I’ve stayed up late, it’s consistently been the most focused and productive stretch. That said, I don’t rely on a specific time to be creative. Over the years, I’ve learned to switch into that mindset in many situations, especially when I’m already deep into a project and the momentum carries me forward.

I focus on balancing two core things: solving the underlying problem and creating a product that feels high-quality through its form and aesthetics. I care a lot about how something works but also how it looks, how it feels in the hand, and how clearly it communicates its purpose. That said, I always adapt my focus depending on the project. Some require more functional invention and others need emotional storytelling or a strong visual identity. But across all of them, I try to maintain a sense of clarity and refinement in the design. At the same time, I’m always thinking about real-world constraints, especially cost. I consider how a product will be manufactured, what materials make sense, and how to keep the design feasible for production and business. Because in the end, good design isn’t just about the idea it’s about getting it to market successfully, without losing its essence.

The closest thing I can compare it to is a sense of exploration, almost like solving a series of unknowns. Every design challenge feels like a new kind of adventure, whether it’s coming up with a product idea from scratch or just figuring out how two surfaces should transition into each other. There’s excitement in the process, especially when things start to click. Sometimes it’s subtle like choosing the right texture or color, but even those small decisions carry a lot of weight. I enjoy the feeling of being fully absorbed in the work, moving through the uncertainty, and slowly shaping something that didn’t exist before.

It’s a mix of excitement and relief and also pride. Seeing a design come to life is always a big moment, especially after a long and uncertain process. You make so many decisions during development, and you never fully know how it will turn out until it's real. When it works, when the details come together and the product feels right, it’s incredibly rewarding. But what makes it even more exciting is what comes next. Once the design is out in the world, a new phase begins, how people will perceive it, use it, and respond to it. That’s a different kind of challenge, and the excitement keeps going. Hearing someone’s positive experience with something I designed, that’s one of the most meaningful moments for me.

For me a design is successful when it sparks joy, solves a problem in a very natural, almost invisible way. From a more technical point of view, It has to meet the needs of the user and the business. If it’s manufacturable, cost-effective, and makes sense commercially, that’s a success. But I also think a successful design brings something positive to people, whether it makes their life easier, more efficient, or just adds a little joy. In the end, it’s not just about the first impression. It’s whether the product keeps working and stays meaningful over time.

It really depends on the product, every category has its own priorities. But if I had to generalise, I look at two layers: the first impression, and what’s behind it. The first thing I notice is the aesthetics, the proportions, form, colors materials finishing and overall presence. Good design makes a strong first impression. It’s clear when care has gone into every part the shape, the detailing, the flow. It feels deliberate. Then I look at how it functions. Does it solve the problem well? Is it doing something in a smart or unexpected way? Is there real depth behind the form? And finally, I ask what kind of emotion it triggers. A good design makes you feel something whether it’s trust, delight, curiosity, or calm depending on the product’s purpose. If it leaves some kind of emotional impact, that’s usually a very good sign. When a design balances beauty, usability, smart problem-solving, and emotional presence that’s when it really stands out to me.

As designers, we're not just making objects, we're making choices that affect how people live, what gets produced, and how resources are used. That comes with real responsibility. Environmentally, I believe we have to be mindful of what we put into the world. Avoiding waste, overproduction, and unnecessary complexity is part of the job. We need to understand materials, manufacturing, and life cycles so our designs make long-term sense. Socially, I think our role goes beyond function and aesthetics. Designers often have the skillset to connect dots that others don’t even see to understand systems, context, and hidden needs. We should use that to offer solutions that improve everyday life, even in small ways. In the end, design is a tool for shaping the world around us. Using it with care, awareness, and empathy is part of the responsibility.

I think design is going through one of its biggest shifts in decades. We’ve never had this much access to high-quality resources, tools, and inspiration. The general quality of design is rising globally and part of that is due to the rapid integration of AI. In my opinion AI has changed the way designers work almost overnight. I think the future of design will rely less on technical execution and more on human judgment. Designers will need to develop stronger skills in taste, curation, and direction, being able to filter, frame, and guide ideas in a meaningful way and to connect to the human aspect of the product even more. In the future, from technical point of view design will be getting faster, more accessible. But the role of the designer is shifting. We’re moving from creators to interpreters, from makers to meaning-builders. That’s the challenge, and the opportunity.

I haven’t organized a solo exhibition of my work yet, but some of my projects have been featured in group exhibitions. Most recently, a racing kayak I designed was exhibited in 2023 at the Museum of Ethnography (Néprajzi Múzeum) in Budapest, Hungary.

Honestly, it comes from all over the place. I’m constantly observing the world around me. I look at how things are built, how they’re shaped, how they work. Whether it's a tool, a vehicle, or a piece of furniture, I always try to understand the thinking behind it. I pay attention to both the small details and the bigger picture, and I like connecting things that don’t obviously belong together. Whenever something catches my attention or sparks an idea, I take a photo or save it. Over time, I’ve built up a really diverse, organised library of images and references. That helps me go back later and understand where the idea came from or what I found interesting about it. I don’t have one exact source. It depends what I’m looking at. If I’m in the Louvre, I’ll study the colors, composition, and how the art makes me feel. If I’m learning about the technical innovations and features of SpaceX’s Starship, I’ll focus on how the parts interact and try to understand the function behind it. Once I figure that out, it usually becomes a reference point I can use later, even unconsciously. I feed my creativity pretty much all the time. I look at design platforms, magazines, and whatever interesting thing crosses my path. I draw from many different areas, aesthetics, mechanisms, clever ideas and I’ve always been equally interested in art, engineering, and design. I just focus on whatever’s the most interesting thing in front of me at the moment.

I’d describe my style as sculpted, modern, and chic. I lean toward modern minimalism, but I always add something expressive. I use a lot of organic shapes, soft transitions, and dynamic linework. I’m really inspired by the luxury sector, and I often draw from cars, yachts, and architecture when shaping forms. I also try to avoid flat, straight surfaces on my products. My background in drawing and sculpting had a big impact on this. During my studies, I focused a lot on natural forms, anatomy, and soft transitions. That trained my eye and helped me understand how to create flow in a shape. Later, I pushed myself to replicate that same level of organic quality in 3D, which led me down the rabbit hole of digital surfacing and A-class modeling. I pay close attention to how light breaks on a surface. It’s a small thing, but it tells you a lot about whether a shape is working or not. That’s something I always think about while designing, how it will feel visually in real space. I’d say I’m pretty balanced in mixing form and function, but I always try to include one detail that makes the object stand out. It can be something functional, emotional, or purely aesthetic, but it has to be there. I’m not a fan of ultra-minimalist designs that strip away too much. I prefer to keep things interesting and expressive. In terms of approach, I always come back to emotions. Design should make you feel something. Whether it’s comfort, curiosity, confidence, or calm, I think every object should carry some kind of mood.

I was born and raised in Hungary, and I currently live in the Netherlands. Both places shaped me in different ways. Growing up in Hungary gave me a practical mindset being resourceful, finding clever ways to solve things, and that definitely shows in how I approach design. But I wouldn't say Hungary’s cultural heritage directly influenced my design style. Living in the Netherlands, had a different impact. The design culture is different here and I think more all around wherever you go in the cities, in homes, in products — and that makes it a great place to grow as a designer. You’re surrounded by high standards. One of the biggest pros is that people here take design seriously. They invest in it, talk about it, and give honest, thoughtful feedback. That’s super helpful. I can’t really think of major cons, it’s a supportive place to work from.

I always start with a long conversation to understand their goals, whether it's solving a technical challenge, launching a product, or improving something that already exists. From there, I tailor my process. Sometimes I help with just the concept and design, other times I handle the full journey, from sketch to 3D prototyping or even preparing for manufacturing. I build trust, pay attention to the details, stay accountable, and always aim to deliver quality work. That usually fosters a strong relationship and leads to great results.

First, get clear on what you want to achieve. If that’s defined, it’s easier to find the right designer. Don’t just look at the style of their portfolio, try to understand how they think. A good designer doesn’t just make things look good. They solve problems, connect dots, and often bring up things the company hasn’t even considered yet. Have multiple conversations and invest time and energy into these discussions. See how they respond, how they think, and whether there’s a good dynamic. Chemistry matters more than people realize, you’ll be working closely, so trust and mutual respect go a long way. I’d also suggest approaching the process with an open mind. Design might look effortless in the end, but getting there is rarely easy. It takes real time, skill, and mental energy to be creative on demand and make the right decisions under pressure. So give your designer room to explore, and trust that their suggestions are based on a lot of thought and experience. The more you share, business goals, customer pain points, future plans, the more valuable a designer can be.

As much as I’d love to have a set formula, my process always adapts to the project. But in general, I follow a clear flow: I start by understanding the mechanism or use-case behind the product , who it’s for, the business constraints, the cost, all of it. That sets the stage. Then I move into sketching. I usually begin on paper, just to explore ideas fast and visually. Sometimes I bring in AI tools like Midjourney or Vizcom to experiment or push the boundaries, especially early on. After that, I switch into 3D, usually Rhino, Fusion, or Shapr3D to start developing the geometry. Once the concept takes shape, I render it, visualize the feel, and move into prototyping. I use 3D printing a lot to test form, ergonomics, and function. From there, it's all about iterating, refining, validating the solution, and making adjustments based on feedback or new ideas. Once it feels right, functionally and emotionally, I finalize the design, prepare all deliverables, and get it ready for production or client handoff.

On a typical weekday, I start with brewing coffee and read something fun, a random article, a weird piece of news, or anything that catches my curiosity. It’s a nice way to wake up the brain without jumping straight into work mode. Then I map out the day, check if anything needs to shift, and decide where I want to work. Sometimes I stay in my home studio, but often I head to a nice café or a place with a vibe I enjoy, a change of scenery helps me focus. I usually get a few solid hours of deep work in before lunch. After a proper break to reset my mind, I handle meetings and calls if there are any, and keep progressing on whatever project I’m working on. Toward the end of the day, I take a few minutes to plan tomorrow, I look at my tasks, adjust the time blocks, and make sure everything is realistic. Then it’s dinner, some downtime, and doing whatever helps me switch off and recharge.

Try to get real-world experience as soon as you can. School is great for experimenting and developing your thinking, but designing for the market is a different game. There are constraints, budgets, timelines, and users who don’t care about your concept unless it truly works. That kind of pressure teaches you a lot. Also, avoid perfectionism. I know it feels like a strength, but it’s heavy to carry and usually slows you down. Something finished is always better than something perfect. You’ll learn more by finishing things, getting feedback, and improving over time. Lastly, always be curious. Learn from everything around you. Look at how things are made, why they exist that way, and what you would do differently. That’s how you start developing your taste and your voice.

Being a designer is often rewarding, you get to solve interesting challenges and turn ideas into something physical people use and love. There's a deep satisfaction in seeing your thinking become reality. I also enjoy how varied it is, every project brings something new, so it never gets boring. On the flip side, it can be mentally exhausting. We often push ourselves to keep tweaking, perfecting, and exploring different options, sometimes way beyond what’s actually needed. That tendency can easily lead to working excessive hours, and maintaining a good work-life balance becomes a real challenge. You're also making creative decisions constantly and often within very strict timeframes under pressure, and need to explain your thinking to people who don’t always see the full picture. It’s part of the process, but it can be tough mentally. Still, despite the challenges, I wouldn’t trade it.

Design is a language. The form, the material, the way light hits a curve, it all communicates something. I believe a product should not only work, but also feel right and say something meaningful. That emotional “click,” that wow, even if small, is what I aim for. I also believe no design is ever truly finished. There’s always a better way if you’re willing to look for it. That’s what keeps it exciting, the idea that things can always be improved, refined, or seen from a different angle. For me, design is open-ended.

There are many, but for me, it starts with soft skills. Emotional intelligence, empathy, and patience are more important than people think, especially when you’re designing for someone else’s needs, not just your own vision. Being able to really understand others, stay curious, and stick with the problem even when it gets hard, that’s key. Then comes creativity and imagination plus having good taste, which is harder to teach. You need to know when something feels right, even before you can fully explain why. And of course, there’s the technical layer: sketching, 3D modeling, knowing how things are made, and how they work in the real world. But without the mindset and awareness behind it, those tools won’t get you fa

I always start with pen and paper, it’s still the fastest way to explore ideas. From there, I often move into digital sketching using Procreate, or sometimes Vizcom if I want to quickly iterate with AI-assisted linework. Midjourney is another tool I use early on to spark inspiration, especially for styling, form directions, or mood. It’s a great way to explore unexpected visual directions that I might not have thought of. Once a concept takes shape, I jump into CAD. I use Rhino for complex surfaces, Fusion 360 for mechanical design and assemblies, and Shapr3D if I’m working on the go. Blender comes in occasionally if I need to test something more organic or animated. For prototyping, I use FDM and SLS 3D printing, depending on the part and purpose to validate proportions, ergonomics, and functionality. When it’s time to visualize, I render in Keyshot and do post-processing in Photoshop. If there’s packaging or branding involved, I use Illustrator and Indesign. So the tools shift depending on the project, but the workflow stays fairly consistent from idea, to concept, to prototype, to final presentation.

Time management is essential in my work. I can get into deep focus quickly, which helps with creativity, but I need structure to keep things progressing. Every Monday begins with an admin session where I review all projects, check my project log, and block out time in my calendar. For larger projects, I use Gantt charts to plan the full timeline and milestones. It’s also important for me to understand the time requirements of a project from the start. Once I know the expectations and deadlines, I retro-plan all the key steps and actions, and fit them into realistic blocks of time. This gives me clarity and helps ensure that the project is delivered on time without stress or last-minute rushing. I also track my time throughout the week, so I can reflect on how long tasks actually take and improve my planning for the future. But managing time isn’t just about the hours, I also pay close attention to energy and focus. I schedule deep creative work when I’m at my best and leave admin or messages for lower-energy windows. In the end, it’s not just about using the hours well, but using them wisely, so each project gets the quality and focus it deserves.

Well, it always depends on the time available. The process is flexible, and I adapt it to fit the deadline. So my short answer is: the object is done within the time we have. But realistically, design could always take more time to refine. You can keep going forever if you let yourself. Some products can be done in a few weeks, some take months, and some (especially if you're inventing something new) can stretch over years. The main factor isn’t always the design itself, but how many decisions need to be made, and how quickly those decisions happen. When I lead a project, I move fast. I define the timeline early, break the work into phases, and plan backwards from the deadline. That way I always know where I’m at and what’s coming next. Over time, I’ve built a workflow that lets me balance speed, creativity, and structure, and make sure that the result feels right, and lands on time.

I usually get asked, “What kind of products do you design?” and honestly, it’s a harder question than it sounds. My work spans across a lot of categories, from soft goods to technical tools, sports gear tech-gear or packaing. So I often tailor my answer depending on who’s asking, to see how they relate to it. It’s also a good test of how well I can explain what I do in a clear, human way.

One of the most important experiences in my career was designing and launching Vector, a patented pair of scissors I developed together with my father. It started as a university project, but we decided to take it all the way and figure out how to manufacture and launch it ourselves. That process taught me more than any job ever could, from sourcing metal and plastic parts, to learning about patent law, and understanding how much work goes into turning a prototype into something real. The handle had an organic, hand-sculpted shape, and since I had no idea how to model that digitally, I had to teach myself complex surface modeling just to recreate my own design. That skill alone opened many doors later. Later, working as a lead designer at a studio in Amsterdam was equally important for a different reason. I was managing multiple client projects from concept to production, under strict timelines and budgets. I worked on fabric-based products for brands like Nikon, Logitech, JBL, and Ultimate Ears, while also being the bridge between design and production, and juggling multiple time zones and client expectations. It was intense, but incredibly formative. What stood out was learning to design within tight cost constraints, and still find creative, clever solutions. That kind of problem-solving under pressure really sharpened my thinking. It also taught me how to make fast decisions.

I’ve worked with a variety of clients over the years. While working as lead designer at a studio in Amsterdam, I designed soft goods and accessories for brands like Nikon, Logitech, JBL, Lenovo, Schneider Electric, Sennheiser, and Ultimate Ears. I also collaborated with Subkayak, a performance kayak manufacturer, and later worked with companies like Nuvio Inc., Storemasta, Garzini, Oonly, and Chalk Tyme, The mix of big brands and smaller ventures keeps things exciting, every project brings something new to learn.

I enjoy a lot of different types of design work, but the ones that truly get me excited are projects where we're working on something entirely new, something inventive, not yet public, and still being figured out. I love being part of that early phase where everything is open and we’re shaping the product from the ground up to solve a real problem in a smart and unexpected way. Especially when we manage to improve an existing category in a way people wouldn’t expect, both functionally and aesthetically. I naturally have a mindset for improvement, and I enjoy using my own internal “scorecard” to push things further and ask myself: how can we make this even better? At the same time, I really enjoy when I can dive into the sculptural and visual side of design. I'm deeply drawn to surface work and creating strong aesthetics. Developing beautiful, complex forms is something I’ve always loved, especially when there’s time and space in the project to really refine those surfaces and pay attention to CMF and detail. My roots are in sketching and sculpting organic forms, and that transitioned into how I model in 3D today. I love digitally sculpting shapes that are full of movement, clarity, and emotion. This is probably why I’m always excited when a project touches automotive or watercraft design. These sectors really value surfaces, proportions, and emotion, and I’ve always felt a strong connection to that world. If I can combine that kind of aesthetics with smart problem-solving and real-world function, that’s the dream for me. So to sum up, my favourite projects are the ones where I can bring together innovation, beautiful surfaces, and clear function. I want the time and resources to make the object look and feel amazing, but also the technical challenge to keep it interesting. That combination is where I do my best work.

at the moment, I’m focused on two main areas: growing my design practice and also developing a venture in e-commerce. by working with exciting clients globally. I really enjoy the variety and challenges of client work, and I want to keep developing this side. eventually, when the time is right, I’d love to bring in more people and build a small, talented team to take on more complex and ambitious projects together. I already collaborate with freelancers, so that process is slowly taking shape. At the same time, I’m working on developing and launching my own products. I’ve always had a passion for designing not just for others but also as an entrepreneur. My goal is to create a product brand with objects that feel personal, functional, and beautiful. I’m especially drawn to interior products and lighting design, and I’m investing a lot of time into exploring that space. It’s a long game, but a very exciting one, and I like playing both sides: helping others bring ideas to life, and building my own.

Right now, I mostly develop my designs on my own. I have a wide skillset, so I can cover a lot from concept sketching and 3D modeling to packaging and visuals. I’ve designed with a wide range of materials, including soft goods and fabric-based products, and I often work on projects that combine both soft and hard components. I also do graphic design and branding when the project needs it. That said, I don’t believe in doing everything alone. I regularly work with a few trusted freelancers, like engineers, who support certain technical aspects when needed. So even when I’m leading a project solo, I know when to bring in others to make it stronger. I actually feel at home both working independently and as part of a team. It really depends on the context. As an entrepreneur, you naturally wear many hats and take on a lot by yourself, especially in the early phases of a business. But I also find that surrounding myself with great designers and great clients is one of the best parts of the job. It motivates me, and I’m looking forward to growing that further as I build my studio.

Yes, I have a few projects in the works. Some for clients, some that are self-initiated. Right now, I’m developing a small lighting collection that focuses on sculptural forms and emotional impact, designed to bring warmth and atmosphere into a space. I’m particularly interested in exploring and utilising 3D printing to create these objects. I’m also exploring new homeware objects and work on an invention-based concepts that solve everyday problems in unexpected way. These are still under development, but they’re the kind of projects that keep me excited and curious.

People can reach me through my website at tamasfekete.com, by email at tamasfekete.design@gmail.com, or find me on LinkedIn. I’m always open to collaborations, new projects, or just connecting with fellow designers and entrepreneurs.

Honestly, I think we covered just about everything but ask me within a few months and I’ll probably have many more things to say.

I started studying Industrial Design in 2012 at the Moholy-Nagy University of Art and Design in Budapest, where I completed both my Bachelor’s and Master’s degrees. During my studies, I spent half a year at Philips in Amsterdam as a product design intern, learning how product development works in a structured, corporate environment. After finishing my master’s, I worked in design agencies and as a freelancer, gaining hands-on experience across a wide range of projects. During this time, I worked both as an industrial and graphic designer, which became a valuable complementary skill in my career. A few years later, I moved from Hungary to the Netherlands and joined an agency as a Senior Industrial Designer, focusing on soft goods and accessories for major tech brands such as Nikon and Logitech. There, I designed fabric-based products like backpacks, protective cases, and other accessories, developing strong expertise in materials, CMF, and production coordination with factories. In 2022, I founded Openend Design, offering product design and development services, and began working independently with clients around the world. Since then, I’ve developed several award-winning products, including Chalk Tyme and Subkayak D46.

What motivates me most is that moment when an idea becomes real, when you create something that didn’t exist before and it turns out to be both beautiful and useful. That feeling never gets old. Designing feels natural to me, almost instinctive. I’ve always had this urge to create, to draw, build, and solve problems just for the joy of seeing things come to life. As a child, I made models out of paper and plasticine, trying to understand how things were built. That curiosity never left. Becoming a designer was my way of turning all those interests — art, storytelling, engineering, technology, and innovation — into one ecosystem where I could keep learning and creating endlessly. Objects have a deep influence on how we feel and live. They shape our mood, our comfort, and our connection to the world. Knowing that something I design can quietly improve someone’s day is what keeps me motivated. Design gives me the chance to leave a small but meaningful mark on the world.

I chose it completely on my own. At the end of high school, I set my mind on becoming a designer and never really looked back. Once I discovered what design was, it felt like a clear direction, something that connected everything I enjoyed doing. From that point, every decision I made was aligned with that goal. Along the way, my interests evolved. In the beginning, I wanted to become a car designer, that was the dream. But as I studied more, I became fascinated by the broader world of product design. Everyday objects offered endless possibilities for creativity and problem-solving. The more I learned, the more I realized that design isn’t one fixed path; it’s a mindset that can grow and adapt.

Over the years, I’ve designed a wide range of products, each with its own challenges and character. I’ve worked on sports equipment like racing kayaks, innovative pair of scissors, water bottles, and many more across a lot of categories. I’ve designed everyday consumer products as well as tech products with integrated electronics. My work also includes decorative objects and concept pieces that blend technology and craftsmanship. I’ve collaborated with inventors to help shape and refine patented products, from household tools to sports gear. For several years, I specialised in fabric-based product design, creating backpacks, camera accessories, and other soft goods for global brands. What I’d love to design more of are products with strong, dynamic aesthetics — objects that have emotional impact and presence. I’m especially drawn to boats and watercraft; they’re such beautiful objects where form, performance, and emotion come together perfectly. I’d be genuinely passionate to work on more of those.

Stay curious and open-minded. Opportunities often show up in unexpected ways, and the best ones usually don’t look perfect at first. Say yes, try things, and learn from them, even the small or difficult projects can teach you something valuable. Be patient. Design takes time. It takes years to build your eye, your skill, and your intuition. There will be slow periods and setbacks, but they’re all part of it. Just keep improving, keep creating, and hold on to that excitement that made you want to design in the first place. Becoming a good designer takes a lot of patience and practice. It doesn’t happen overnight, and there’s no clear moment when you can say you’ve “made it.” Don’t chase the next shiny thing, focus on what you’ve already started and what you’re good at. Surround yourself with people you can learn from, and stay consistent. That’s how your work and mindset will naturally evolve.

A great designer thinks in more dimensions. They connect dots that most people don’t even see, drawing links between disciplines, ideas, and experiences, and turning that complexity into something clear and effortless. It’s not just about making something beautiful or functional, but about combining both with intelligent problem-solving and invention. A great designer can take insights from completely unrelated fields and translate them into something extraordinary. It’s this ability to think deeply, to merge creativity with logic, and to simplify the complex that truly sets them apart. Just as important, a great designer truly understands the target user — their pain points, wants, and needs — and keeps that at the center of every decision.

For me, good design works on multiple levels. It’s not just about how it looks, but about depth, meaning, and intention. It should make sense, feel right, and ideally, make you feel something too. A strong design also surprises me. It might be crafted so precisely that you can’t immediately tell how it was made, or it challenges your expectations in a clever way. But good design isn’t only about creativity — it’s also about answering the needs of the business behind it. Designing something that works commercially, that people actually buy and use, is often the hardest part. Beyond aesthetics, I value craftsmanship, quality, and how well a design solves the problem it’s meant to — not just functionally, but also in terms of production, cost, and market success. When a design manages to balance emotion, intelligence, and commercial sense, that’s when I consider it truly great.

Good design sells. To put it bluntly, it’s as simple as that. It creates emotion, desire, and trust in ways that price alone never can. The way something looks, feels, and communicates its purpose has a direct effect on how people connect with it. There are countless objects, interiors, and products in the world, but only a few truly stand out — the ones that make you feel something, that you remember, or that you keep choosing again and again. The power of good design is that it resonates emotionally and adds value that goes far beyond function. Good design can also make existing solutions better — more efficient, easier to produce, and often cheaper — with clear benefits for both the business and the user. For businesses, it increases perceived value and helps products succeed in crowded markets.

That’s a difficult question because my curiosity constantly shifts. I’m not the type who dreams of one specific project for years; I get inspired when the right challenge appears. When that happens, I immediately know what I want to dive into, and I make the time for it. Before I designed my first kayak, I wasn’t even focused on that type of product, but I had the skills to take it on and make something unique. The same happened with soft goods — I never imagined I’d be designing backpacks and accessories, but once I did, I became completely fascinated by that world. That’s why I prefer to keep this question open. Each project brings a new direction and a new kind of excitement. I’d rather stay curious, adaptable, and ready for whatever opportunity truly sparks something in me.

I’d like to create and launch a product under my own brand one day — something where I can shape the process from concept to final story. After years of designing for clients, it would be meaningful to apply that experience to something more personal and long-term. I’m especially drawn to interior and lifestyle design, the kind of objects that make a home feel better to live in. I like creating things that quietly influence the atmosphere and make everyday moments feel a little more special.

If I tell you, it wouldn’t really be a secret anymore, right? For me, a big part of it is patience, resilience, and not giving up when things get difficult. I tend to stick with projects longer than most and have this quiet optimism that even if it’s tough now, it will turn out fine in the end. I trust that instinct, and it’s proven right more often than not. Once I start something, I keep pushing, sometimes well past the point where others would stop. That persistence has opened doors and led to results I wouldn’t have reached otherwise. Another part of it is how I connect skills. I’m always learning, experimenting, and refining. Over time that compounds, and you start seeing links between areas that seem unrelated. That’s often where my best ideas come from — connecting dots others might not notice. And finally, aesthetics. For me, the right form and proportions are very important. Even the most functional design loses its soul if it feels off visually. I try to give every object an organic, sculpted quality, something that feels balanced, natural, and emotionally triggering. That’s what makes the design alive when you look at it.

I’d say the Subkayak D46 is the design I’m most proud of so far. It brought together everything I’ve learned: technical precision, aesthetics, and hands-on process. I led the entire project from 3D scanning and reverse-engineering the client’s handmade prototype to reshaping the surfaces, adjusting proportions, and refining every curve through A-class modeling. It was a mix of sculpting and engineering, which is exactly what I enjoy most. The kayak has a strong two-part look, with a central core wrapped by an outer shell that gives it a clear identity and a sense of motion even when it’s still. I also integrated customizable 3D-printed parts, which made production more efficient and opened options for personalisation. I’m really proud of how it turned out.

I think the best thing any designer can do is to never stop learning. I’m naturally curious, and that curiosity has shaped my path more than anything else. I try to stay open to many disciplines — architecture, gastronomy, art, and design from all over the world. You can always find unexpected connections between fields, and those often lead to the most original ideas. I also believe in trying new things while constantly refining what you already know. Experimentation gives you fresh perspectives, but deep practice gives you mastery. The balance between the two is where real growth happens. Another key part is understanding human emotions and the connection between people and the objects they use. Every detail matters — how it feels, how it looks, how it communicates. Figuring these things out requires empathy. A good designer always keeps the user in mind and designs for their needs, not just for the sake of form. For me, staying curious, being open-minded, and designing with empathy are the things that keep me evolving as a designer. Once you stop exploring or stop caring about how people connect with your work, your designs lose their purpose.

That’s an interesting question. Before I decided to study product design, I was very interested in media — especially video creation and editing. I always enjoyed storytelling through visuals, so I could easily imagine myself working in that field. Outside of design and the creative world, I’d probably be an entrepreneur in hospitality. Both my parents ran a restaurant for 30 years, and that place was like a second home to me. I grew up around that environment and I really liked it, so if I hadn’t chosen design, I’d most likely have followed that path.

That’s always a difficult question, because my definition of design keeps evolving as I gain more experience. The word “design” is used so broadly today that it can mean almost anything, but for me, it’s the balance between emotion, function, and aesthetics. Design is about shaping how people experience the world. It’s not only about how something looks or works, but how it makes you feel when you use it. A well-designed object has a kind of harmony. it solves a problem, while it carries a personality and resonates emotionally with the use. For me, design is the process of translating ideas, emotions, and needs into something physical that improves life, even in a subtle way.

In the beginning of my studies, my parents were very supportive. They never doubted my path or tried to steer me in another direction. They just let me be myself and explore what I was interested in. Later, my wife became my biggest supporter. She’s been by my side through every high and low, encouraging me when things get tough and celebrating the wins just as much as I do. Having people who truly believe in you — not just in your work, but in who you are — makes all the difference.