Intervjuer med Ana Banić Göttlicher

I graduated in Industrial and Graphic Design from the School of Design at the Faculty of Architecture, University of Zagreb. My education gave me a strong foundation in both aesthetics and functionality, allowing me to approach design from a practical yet creative perspective. I enjoy moving between digital and physical design, connecting form, purpose, and experience.

I’ve always been fascinated by how design can solve real problems and improve daily life. The motivation comes from seeing ideas turn into something tangible that connects with people.

I definitely chose it. Design felt like a natural path for me—it’s where creativity meets logic, and that combination has always inspired me.

I work across industrial and graphic design—products, packaging, and visual identities. In the future, I’d love to design more sustainable, human-centered products that merge aesthetics with responsibility.

Stay curious, stay humble, and never stop observing. Great design comes from empathy and persistence, not just talent.

A good designer creates what works; a great designer creates what moves people. The difference lies in empathy, curiosity, and the courage to question conventions.

A really good design feels effortless — it solves a problem so naturally that you almost don’t notice it. I evaluate design by how well it balances usability, emotion, and clarity.

Good design adds meaning, not just beauty. It builds trust, improves functionality, and enhances how people experience the world — that’s why it’s always worth the investment.

I’d love to design everyday objects that make sustainable living easier for everyone. Simple, beautiful tools that quietly make a positive impact.

My dream project would be creating a line of products that merge traditional craftsmanship with modern design principles. Something timeless, built to last, with a clear story behind it.

Consistency and curiosity. I always try to keep learning, experimenting, and listening — that’s what keeps creativity alive and evolving.

I’m inspired by Dieter Rams for his clarity, Naoto Fukasawa for his sensitivity, and Paula Scher for her boldness. They all remind me that design is both discipline and emotion.

I love designs that age well — like Braun’s classic products or Muji’s minimal everyday items. They prove that timeless design comes from honesty and restraint.

It’s probably a project where I managed to blend function, form, and sustainability seamlessly. For me, a great design is one that people find useful and emotionally engaging over time.

Observe everything and question why things are the way they are. I constantly sketch, read, and experiment — improvement comes from staying curious and never becoming too comfortable.

I would probably have chosen something still connected to creativity — maybe architecture or photography. I can’t imagine a path without visual thinking and problem-solving.

Design is the art of giving shape to ideas so they can serve people better. It’s not just about how something looks, but how it works, feels, and communicates.

My biggest supporters have always been my family and mentors who believed in me from the start. Their trust gave me the courage to take risks and grow.

Continuous learning, patience, and listening. I think understanding people, their needs and emotions, is what truly helps a designer improve.

Like many designers, I struggled with self-doubt and finding my own voice. Over time, I learned that every mistake is part of the process and a step toward clarity.

Designers should tell the story behind their work — the problem, the process, and the purpose. Good presentation connects people to the idea, not just the visuals.

I’m currently exploring projects that combine sustainable materials with simple, functional aesthetics. You can expect designs that focus on durability, clarity, and emotional connection.

My goal is to create designs that truly improve everyday life, things that last, inspire, and make people feel something. I want my work to have both meaning and longevity.

People expect creativity, precision, and consistency, but also authenticity. I think being honest about your process and values matters more than perfection.

Design has the power to make life more inclusive, sustainable, and humane. When done with empathy, it can quietly shape a world that works better for everyone.

I’m working on a project that focuses on modular product design with minimal environmental impact. It’s exciting to see how small design decisions can create long-term positive effects.

The projects that bring the most satisfaction are the ones where users truly connect with the final result. When design makes someone’s daily routine easier or more enjoyable, that’s the real reward.

I’d love to see more focus on sustainability and ethical production, and less on trends. Design should move slower, with more care, thought, and responsibility.

Design is moving toward collaboration, inclusivity, and circular thinking. Technology will keep evolving, but empathy and purpose will stay at the core of great design.

It depends on the complexity, sometimes weeks, sometimes months. I try not to rush, because good design needs time to breathe, evolve, and find its balance.

I start by understanding the problem and the people who will use the design. Research, observation, and sketching ideas come first before anything digital is created.

“Design with purpose, not just for beauty.” Every choice should serve a function, tell a story, or improve experience.

Design can influence trends, but true design focuses on solving problems and creating value. Trends come and go, but good design lasts.

Technology is a tool that expands possibilities but never replaces creativity. It helps visualize, test, and refine ideas efficiently.

I use a mix of digital tools like Adobe Creative Suite for graphic design and CAD software for industrial design. Physical prototyping tools are equally important to test and refine ideas.

Color, materials, and environment shape how people experience a design. They create emotion, communicate meaning, and influence comfort and usability.

I wish people would ask about the thought process and intention behind my designs, not just how they look. The story often matters more than the surface.

I ask how it solves a problem, what decisions were made, and how it makes people feel. Great design always sparks curiosity and reflection.

My ideal partner is someone curious, open-minded, and willing to explore ideas together. Co-design is essential; collaboration often leads to richer, more meaningful outcomes.

Mentors, fellow designers, and artisans have influenced me the most. Learning from their approaches and perspectives helped me shape my own design philosophy.

Books on design theory, creativity, and human behavior have had the biggest impact. Titles like “A century of croatian design” taught me to focus on usability and empathy in every project.

Through constant practice, experimentation, and reflection. I also learned a lot by observing others, seeking feedback, and never being afraid to fail.

I’d love to meet Leonardo da Vinci — a true multidisciplinary thinker. His curiosity and ability to merge art, science, and design is deeply inspiring.

Awards are a recognition of effort, not the goal. Fame is not what drives me; creating meaningful and lasting design is. Recognition is nice, but the work itself matters most.

I’m drawn to neutral colors like gray and earth tones, love coastal and natural spaces, enjoy simple, fresh food, favor autumn for its atmosphere, cherish tools that are well-designed and functional, and admire brands that combine sustainability with aesthetics.

Can this be faster?

A great day is when an idea finally clicks or a prototype works as intended. I stay motivated by curiosity, small wins, and the joy of seeing people interact with my designs.

Not exactly obvious, but I always loved building, drawing, and solving little problems. Those early habits naturally led me toward design.

I imagine design will become even more human-centered and sustainable, blending technology and nature harmoniously. Creativity will still be essential, but empathy will guide innovation.

I want people to know that my work is always driven by purpose, curiosity, and care for the user. Design is not just a profession for me, it’s a way to explore, connect, and improve the world, one thoughtful solution at a time.

I graduated in design from the Faculty of Architecture and began working in design and conceptual art, such as installations for various artistic and dance projects, during my studies.

What made you become an artist/designer?

My passion for design and painting has been present since my earliest preschool days. Although I couldn’t grasp what design was back then, its elements were already a part of my life.

Have you always wanted to be a designer?

It’s hard to say whether I’ve always wanted to be a designer. I believe I gradually recognized the importance and influence of design on everyday life.

The studio specializes in multidisciplinary design, ranging from visual identities, brand design, and packaging, to congress and conference design, as well as product design, modeling, and rendering of both smaller functional objects and larger ones.

For me, design is the art of solving problems creatively, blending functionality and aesthetics to improve everyday life and communication.

It's hard to say which type of design I love the most; every field within design has its own advantages.

My favorite design is the canopy and electric car charging station installed in Zagreb. It is perhaps one of the more technically complex projects I have worked on, and its aesthetic component is on par with its functionality.

A logo for a theater.

Wood and paper, also textile / printing and making textile objects

It depends on the day and the project.

I focus on balancing functionality, aesthetics, and the needs of the user, ensuring the design effectively communicates its purpose while being visually appealing.

When I design, I feel a mix of excitement, curiosity, and fulfillment, as each project is an opportunity to solve problems creatively and bring ideas to life.

When my designs are realized, I feel a deep sense of pride, satisfaction, and joy, knowing that my vision has come to life and can positively impact others.

A successful design effectively solves the problem it was created for, resonates with its intended audience, and strikes the right balance between functionality, aesthetics, and user experience.

When judging a design, I first consider its functionality and how well it meets the needs of the user. Then, I look at its visual appeal, clarity, and how effectively it communicates the intended message or purpose.

From my point of view, designers have the responsibility to create solutions that are sustainable, ethically produced, and mindful of the environment. They should also consider the social impact of their work, ensuring that their designs are inclusive, accessible, and contribute positively to society.

The design field is constantly evolving, driven by advancements in technology, sustainability, and changing social needs. The future of design will likely be more interdisciplinary, with an emphasis on innovation, digital integration, and environmental responsibility. Designers will play a key role in shaping solutions for global challenges, balancing creativity with functionality and ethical considerations.

Zagreb Design Week in Jadran film, Zagreb, Croatia, 2024. My nest exhibition is going to be held when opportunity arrives.

My design inspiration comes from various sources, including nature, architecture, art, and everyday life. I often draw ideas from observing patterns, colors, and structures around me. To feed my creativity, I stay curious and open-minded, exploring new environments, engaging with different art forms, and collaborating with others.

I would describe my design style as minimalist, functional, and concept-driven, with a focus on clean lines, simplicity, and clarity. I gravitate towards this style because I believe that less is more and that design should communicate effectively without unnecessary complexity. The main characteristics of my style include attention to detail, balance, and an emphasis on user experience. My approach to design involves deeply understanding the project’s context, user needs, and the desired emotional impact, always striving for harmony between aesthetics and functionality.

I live in Croatia, and I do feel that the cultural heritage of my country influences my designs. The rich history, traditional art, and local craftsmanship often inspire elements of my work, blending contemporary design with cultural nuances.

A significant pro of living in Croatia is the deep connection to history and natural beauty, which provides a unique foundation for creativity. However, one of the cons is the lack of resources, which can sometimes make it challenging to implement more ambitious or cutting-edge designs. Despite this, I believe limitations often foster creativity and innovation.

When working with companies, I start by understanding their brand, goals, and target audience. I collaborate closely with them to ensure that the design aligns with their vision and strategic objectives. The process typically includes research, brainstorming, concept development, and regular feedback loops to refine the design. I prioritize open communication and flexibility to adapt to the company’s needs while maintaining a strong focus on creating functional and aesthetically pleasing solutions.

Honestly, it's based on the materials provided, experience, and also my instinct on how well the candidate would fit into the team. But it is more complex than that.

My design process begins with understanding the project’s goals, target audience, and constraints. I start by researching and gathering inspiration to develop a clear concept. Then, I move on to sketching or brainstorming multiple ideas, followed by refining the best concepts. I focus on creating a balance between functionality and aesthetics. Once the design direction is clear, I create detailed drafts, prototypes, or mockups, depending on the project. Feedback is crucial, so I iterate and adjust the design based on client input. Finally, I ensure that the design is polished and ready for implementation, with attention to every detail. Communication and collaboration are key throughout the process.

Lamp, water heater, dishware, tablecloth and bed

I work, take care of my child, and in my free time, I spend a lot of time talking on the phone with friends. I also try to find moments for myself to recharge, whether it's through reading, going for a walk, or working on creative projects. Balancing work, family, and personal time can be challenging, but I make an effort to stay organized and enjoy the little moments throughout the day.

Just be brave and yourself, with much respect, first for your self, then for others.

From my perspective, some positives of being a designer include the ability to express creativity, solve problems in innovative ways, and have a direct impact on how people experience the world through design. It’s rewarding to see your work come to life and positively influence users or clients.

However, there are some negatives as well. The pressure to constantly innovate and meet deadlines can be stressful. Working with clients or stakeholders who have different visions can sometimes be challenging. Additionally, the balance between creativity and practicality can be difficult, especially when working within strict constraints or budgets.

Simple and based on solid concept.

I would say creativity and problem-solving.

I use Adobe suite, Rhinoceros, Keyshot, Autocad, external drives, paper sources and samples, different platforms as inspiration etc.

To manage my time effectively, I prioritize tasks based on deadlines and importance. I break down larger projects into smaller, manageable steps and set clear goals for each stage. Additionally, I try to stay flexible and adjust my schedule if unexpected challenges arise, ensuring I can meet deadlines without compromising the quality of the design.

It all depends on the project.

What do you think?

Every project is a new experience so it's very hard to say.

All about my clients can be found on my web-page. Always fair and supportive.

Since I work in various fields of design, it’s truly difficult to highlight just one.

My future plans involve continuing to explore new design challenges and expanding my skills across different areas. I aim to work on more interdisciplinary projects, where design intersects with technology and sustainability. I also plan to further refine my approach to creating impactful, user-centered designs.

I typically handle everything on my own, but for more complex projects, I sometimes involve others.

Currently, I’m mainly working on wonderful conference design projects, and I look forward to every opening and my participation in them.

e-mail: anabanic@4n4design.com

No, thank you.

The creative journey behind the 4N4 Design - Gla Gla Educational Puzzle was inspired by my deep appreciation for Croatian heritage and the rich history of the Glagolitic script. I wanted to create something that not only celebrated this ancient script but also made it accessible and engaging for modern audiences, particularly younger generations.The idea was to combine the historical significance of the Glagolitic alphabet with the interactive and educational potential of puzzles. By designing a puzzle that teaches users about the script, I aimed to create an experience that was both fun and informative. The challenge was to respect the traditional aesthetic of the Glagolitic script while making it visually appealing and functional in a contemporary context.The process involved extensive research into the history and symbolism behind Glagolitic characters, ensuring that the puzzle design remained faithful to its origins while incorporating elements of modern design. The result is an educational tool that bridges centuries of history, providing a playful yet meaningful way to learn about Croatia’s cultural heritage.

The choice of olive wood from Krk Island for the 4N4 Design - Gla Gla Educational Puzzle was a deliberate decision, deeply rooted in both cultural symbolism and practical functionality. Olive trees are a longstanding symbol of Croatian heritage, particularly in the region of Krk, which is known for its rich olive-growing tradition. Using this material not only honored the local history but also provided a tactile connection to the heritage of the puzzle itself.Balancing the historical significance of the olive wood with the practical needs of an educational tool was a thoughtful process. On one hand, I wanted to preserve the authenticity of the material, showcasing its natural beauty and texture. On the other hand, I had to ensure that the material was functional and durable enough for an interactive puzzle that would be handled repeatedly.To achieve this balance, I carefully considered the craftsmanship involved in working with olive wood. I made sure the pieces were lightweight and smooth to handle while maintaining the integrity of the wood’s unique patterns. The warmth and quality of the wood also contributed to the tactile experience, making it more engaging for users while adding a layer of cultural richness.Ultimately, the combination of the material’s historical importance and its functional qualities allowed the puzzle to become a meaningful and lasting educational tool, offering a tactile experience that connects users with Croatia’s cultural heritage while remaining practical and enjoyable to use.

One of the primary challenges was simplifying the characters without losing their historical accuracy. The Glagolitic script consists of intricate shapes and curves, and translating these into puzzle pieces required a careful balance between maintaining the script’s essence and making the pieces easy to handle and fit together. Additionally, the unique forms of each character needed to be distinguishable from one another while still reflecting the visual language of the original script. Another challenge was ensuring that the pieces were not only accurate but also easy to manipulate, especially for younger audiences. To address this, I paid attention to the size and weight of the pieces, ensuring they were both tactile and easy to handle, without compromising the essence of the Glagolitic characters. The puzzle pieces were designed to be durable and smooth to ensure a positive user experience.

The magnetic connection system not only improves the puzzle’s durability and user experience but also supports the educational goals by ensuring an engaging, smooth, and frustration-free interaction with the historical content, making the learning process more enjoyable and accessible.The magnetic system makes the puzzle intuitive and accessible, especially for younger children or beginners who may not yet have developed the dexterity required for more intricate interlocking mechanisms. By reducing the challenge of physically connecting the pieces, the system helps users feel confident in their ability to complete the puzzle, which enhances their learning experience. This, in turn, aligns with the educational objective of making the Glagolitic script more accessible and engaging.

In the future, I hope that educational tools like the Gla Gla Puzzle can inspire other designers to explore the intersection of play, learning, and cultural preservation. By incorporating historical, artistic, and cultural elements into playful designs, we can make education more interactive, and help young people feel more connected to their cultural roots.The educational puzzle sets an example of how localized cultural heritage can become a global educational tool. While specifically Croatian, the puzzle promotes the idea that cultural heritage is a universal asset, and through play, it has the power to transcend borders. The future of cultural heritage education may involve cross-cultural collaborations, where different traditions and scripts are shared and celebrated in global educational environments. This will help foster appreciation and respect for cultural diversity on a global scale.

The decision to integrate Latin letters beneath the Glagolitic characters in the 4N4 Design - Gla Gla Educational Puzzle was inspired by the desire to create an intuitive bridge between ancient and modern scripts, making the learning experience more accessible and relatable for users. The Glagolitic script, while rich in cultural history, may be unfamiliar to many, especially younger generations. By pairing it with the more widely recognized Latin alphabet, I aimed to offer a familiar point of reference that would ease the learning process and encourage engagement.

The goal was to ensure the clarity of the letters on the board, provide enough space for manipulation, and minimize the overall packaging to achieve the smallest possible dimensions given the number of characters.One of the primary concerns was the readability of the Glagolitic characters on the puzzle pieces. The size of 340 x 280 mm provided ample surface area for each character to be clearly represented while ensuring that the visual integrity of the script was preserved. At the same time, the pieces had to be sufficiently spaced to avoid crowding, allowing each character to stand out and be easily distinguishable.

Local heritage played a crucial role in guiding my design decisions throughout the development process of the 4N4 Design - Gla Gla Educational Puzzle. The Glagolitic script, a cornerstone of Croatian cultural history, was central to the design, and it influenced my approach in several ways.First, I focused on maintaining the integrity and historical significance of the Glagolitic script, ensuring that the characters were accurately represented while still being accessible and engaging for a modern audience. I drew inspiration from local historical monuments, such as the Baška tablet, to preserve the authenticity of the script’s shapes and proportions.Additionally, the use of olive wood from Krk Island, a region known for its rich olive-growing tradition, brought a deeper cultural connection to the puzzle. The choice of material not only reflected the local heritage but also provided a tactile experience that linked the puzzle to Croatian craftsmanship and nature.Throughout the design process, I also aimed to balance the traditional aspects of the script with contemporary design principles. This included ensuring that the puzzle was functional and easy to use while still reflecting the cultural richness of the Glagolitic characters.In essence, local heritage was a guiding force in creating a design that was both educational and respectful of the cultural legacy, ensuring that the puzzle was not just a fun activity, but a meaningful way to connect with Croatian history.

During the research phase for the 4N4 Design - Gla Gla Educational Puzzle, I made several unexpected discoveries about Croatian cultural heritage that greatly influenced the final design. One of the most striking revelations was the complexity and depth of the Glagolitic script. While I was familiar with its historical significance, delving deeper into its origins and variations across different regions of Croatia opened my eyes to the intricate connections between language, culture, and history.

The Glagolitic script is just one facet of Croatia’s rich cultural heritage. Future iterations of the puzzle could include other historical scripts, such as Cyrillic or even elements of ancient Croatian art forms. By expanding to include these other aspects of written heritage, the puzzle could help educate users about the diversity of Croatia's linguistic and cultural history.Croatia is known for its rich cultural diversity, with each region possessing unique customs, art, and traditions. Future versions of the puzzle could be designed to highlight regional heritage, such as traditional costumes, architecture, folklore, or local art. Each puzzle edition could represent a different region, allowing users to explore the diversity of Croatian culture in a fun and interactive way.