Interviews with Pan Yong

I like drawing since I was a very little boy. At my young age, I was very easily attracted by beautiful colors, especially those color pencils selling in the art store. Then I started the official study of art in the most famous art school in Shanghai, Hua Shan art school, for 4 years. After graduation, I entered Tong Ji University studying advertising for 3 years. And then, I got the scholarship from Lasalle Colledge of the Arts in Singapore. So I continue studying art for 4 years. With a passion for art, I became a designer.

I usually put user experience, the top function of the project, and the choice of technology (coding language) as top priorities.

Most of the time, I feel calm. Sometimes I feel energetic. When my design astonished people, I feel excited and full of fulfillment.

My background is fine art. I'm also curious about how technology can create new things. I think the passion for art and my curiosity shaped me as a designer.

I grow from a little boy who loves colors, to an artist. After that, I learned how to code. As for the future plan, to live my life well. I wish my watch face designs could become stock watch faces on those big smartwatch brands.

Spend more time to explore the world, feel the world, read the world. Use your eyes and heart more rather than hands. Live your life. You don’t need to learn to be a designer first and then to live your life. Learn to live your life first, and then you will know when to be a “designer”.

Try not to explain art. Just feel it.

I spent most of the day sitting behind the screen, working as UX designer and front end developer. When I feel tired, stand up and walk around. After work, usually, have a drink or listen to music at home.

Read up some design or fashion magazines, even sci-fi ones. It will help grow your innovation power. I think the design trends matter when you want your designs to last for a long period of time (e.g 3- 5 years). Sometimes you even need to think beyond the design trends.

When the user gets astonished. When the user feels like to come back and expects more from the designer.

It's hard to say how to decide a design is ready. I think design cannot be completed even it's ready. A design might be ready in a certain period of time, might not be suitable for another period of time.

There is a website done by me which made me proud of myself. It's the official website of NKF (The National Kidney Foundation Singapore). I learned a lot from it, not only design skill, but programming skill as well.

Jony Ive. His iPhone4. Yes, iPhone4. I’m not talking about the whole iPhone series. I’m not talking about the iPhone 2G (1st generation), although it re-defined the phone. The iPhone4 moved the antenna from inside to outside, which nobody dares to try. Apple made a breakthrough. Even iPhone4 did have the antenna problem in the end, but it paved the way for iPhone4s (and future models) to refine it. Eventually, the outside antenna becomes a success.

I lived in Shanghai for 24 years. Now I live in Singapore. The living experience in both two countries actually helps me a lot in my design. Shanghai has its own particular culture called “海派文化（an exotic boutique and Shanghai-only type)”. Singapore is a multi-cultural country and has its unique culture called “Nonya”. When both two cultures combine, it gives me a wide range of inspirations. Sometimes it makes me feel that technology seems to be the limitation.

I guess it should be “try to be patient”. An important skill for a designer is being able to convince your inner self. As a designer, you need to be patient to convince the client. You need to be patient to convince your manager. You need to be patient to convince your inner self.

I believe that a designer should be responsible for pushing society forward and for making a refined environment. Not only think about how to satisfy customers, but also should consider whether the design can take our society to the next level. We design for the future.

I saw a lot of great designers from all over the world in different design areas. I have a very good opportunity to learn from them.

My main focus was achieving a balance between football identity and information readability.

A smartwatch screen is very small, so I created a clear visual hierarchy. The time is the most dominant information, followed by the national identity and the central flag graphic. Supporting information such as steps, weather, heart rate and battery level is positioned around the main content.

I wanted users to recognize the country they support immediately, but still be able to read essential smartwatch information with a quick glance.

I see this design as a system rather than a single watch face. The concept could be expanded for future international football tournaments, different countries, clubs, players and sporting events.

I would also like to explore more customization, allowing users to select their team, accent colors and preferred complications while keeping the same visual language. The design could therefore evolve into a broader collection rather than remaining specifically connected to the 2022 World Cup.

The initial idea came quite quickly because the World Cup already provided a very strong visual direction. However, developing the complete design system, experimenting with different national flags, refining the information hierarchy and testing the design on an actual smartwatch took several weeks.

A significant amount of time was spent making sure that countries with very different flag designs could still work consistently within the same interface.

This was a self-initiated project rather than a commissioned design.

The World Cup is an interesting event because millions of people temporarily become very emotionally connected to colors, flags and national symbols. Since a smartwatch is something people wear throughout the day, I thought it could become another way for fans to express their support.

That idea became the starting point for the project.

I developed the design independently and my intention has been to produce and distribute my smartwatch designs myself through digital smartwatch platforms rather than licensing the production rights to another company.

Because it is a digital product, the design can also evolve continuously. New versions, countries and functions can be introduced without having to redesign a physical product.

I have always been interested in the smartwatch as a new type of design canvas. Unlike a traditional watch, the interface can change according to context, personal interests or events.

The World Cup was particularly suitable for this because people strongly identify with their teams. I wanted to explore how a smartwatch face could become both a functional interface and a small digital expression of football fandom.

There was not one particular designer or existing watch face that directly influenced the project.

Most of the visual inspiration came from football culture itself. National flags, football jerseys, stadium graphics, television sports graphics, supporter banners and hand-painted signs all contributed to the visual direction.

The distressed brush treatment was particularly influenced by the spontaneous visual language of football supporters rather than polished corporate graphics.

The primary target users are football fans who own smartwatches and want to express support for their national team.

However, I also designed it for people who enjoy colorful, expressive and information-rich watch faces. The interface still provides practical everyday information such as time, date, weather, steps, heart rate and battery status, so it can continue to function as a daily watch face rather than simply being decorative.

One important difference is that I did not simply place a national flag behind a conventional smartwatch interface.

The flag becomes part of the entire visual system. The icons, accent colors and graphics adapt to the country's visual identity while the overall layout remains consistent.

The rough painted texture also gives the design a handmade and energetic feeling. It contrasts with the clean typography and digital information, creating a combination of emotional sports graphics and precise digital interface design.

The name World Cup 2022 was intentionally straightforward.

I wanted the name to immediately communicate the context in which the collection was created. Rather than giving the design an abstract name, the title records a particular moment in football history and connects the watch face directly with the experience of following the tournament.

In that sense, the design also becomes a small digital memory of the event.

I used graphic design tools to create and refine the visual assets, including the national flags, distressed textures, icons, typography and interface elements.

I then used smartwatch face development tools to assemble the interface and connect dynamic information such as time, date, battery, weather, heart rate and step count.

An important part of the process was testing the interface on an actual smartwatch. Something that looks good on a large computer monitor can feel completely different when reduced to a watch-sized OLED display.

For me, the most unique aspect is that it works as a visual system for many different countries while maintaining a recognizable identity.

France, Argentina, Croatia, Morocco, England, Brazil and Portugal all have very different flags and color combinations. However, they can all fit within the same interface structure.

That modular approach allows the watch face to change personality without losing the identity of the overall design.

I developed the project independently, covering the concept, visual design, interface layout and smartwatch implementation myself.

Working independently also meant that I needed to consider both the creative and technical sides of the project. I had to think not only like a graphic designer but also like an interface designer, considering data, screen limitations, readability and how the design would behave on an actual device.

Feedback and real-device testing were still important parts of refining the final result.

Technology is fundamental to the design because this is not simply an image displayed on a watch.

The interface combines continuously changing information including time, date, weather, step count, heart rate and battery level. The visual design therefore has to respond to dynamic data while remaining readable.

Technology allows the watch face to combine the emotional qualities of graphic design with real-time information. That combination is one of the reasons I find smartwatch design particularly interesting.

The project was influenced more by visual and usability research than by large-scale statistical research.

I studied how information is normally read on smartwatch displays, which information users need most frequently, and how hierarchy, contrast and scale affect glanceability.

I also studied different national flags carefully. Their proportions, colors and visual complexity vary significantly, so I needed to understand how each could be adapted without losing its identity.

Finally, I tested the designs at actual watch size rather than evaluating them only on a computer screen.

One of the biggest challenges was creating consistency across many national flags.

Some flags are visually simple while others contain detailed symbols, emblems or multiple colors. They also have very different levels of contrast.

At the same time, the smartwatch display provides very limited space. I had to prevent the graphics from competing with important information such as the time.

The final solution was to create a strong modular grid and information hierarchy, then allow the colors and national graphics to change inside that structure.

I wanted to see how the work would be evaluated beyond the smartwatch community.

Smartwatch face design combines graphic design, interaction design, information design and technology, but it is sometimes viewed simply as digital decoration. Submitting the project to an international design competition allowed me to present it as a complete design discipline.

It was also an opportunity to benchmark my work against international design standards and receive recognition from a broader professional design community.

One of the most important things I learned was the value of designing a system instead of an individual screen.

If I had designed each country's watch face separately, the collection could easily have become inconsistent. Creating a modular structure first allowed different national identities to exist within the same design language.

I also became more conscious of designing for real viewing conditions. On a smartwatch, small differences in typography, spacing, contrast and icon size can have a significant impact on usability.

I think one interesting aspect of this project is that it demonstrates how wearable interfaces can communicate something about the person wearing them.

Traditional watch faces mainly communicate time. Digital watch faces can communicate time, information, personality, interests and even cultural moments simultaneously.

With this project, I wanted the smartwatch to become a small digital supporter banner on the wrist. It celebrates football, but at the same time it remains a functional everyday interface. That relationship between technology, information and personal expression is what continues to attract me to smartwatch face design.

The focus was to create a visually captivating and user-friendly interface while enhancing the wearer’s emotional and practical engagement with time. The goal was to make a design that stands out but remains functional across different settings.

I plan to further refine and adapt the design for broader compatibility across smartwatch platforms. There’s also potential for collaborations with smartwatch brands to produce exclusive editions.

Each design took several months of iterative development. For instance, The Plant - Advent and Nature Smartwatch Face was developed over two months, while English and Numbers IV Smartwatch Watch Face spanned four months. For this particular concept, it took about three months.

The designs were driven by my passion for merging art and technology, particularly in wearable devices. They weren’t commissioned; they were personal projects to explore new ideas and concepts.

Currently, the designs are available on platforms like the Google Play Store, Timeshow and Facer. I am open to licensing agreements with companies or continuing to produce and market these designs under my personal brand, Artalex.

My interest in wearable technology and the opportunity to bridge art with functional devices inspired me to venture into smartwatch face designs.

Yes, the designs were influenced by minimalist and futuristic aesthetics, as well as user feedback from smartwatch communities. Iconic industrial design trends also played a role.

The target customers are professionals and tech-savvy individuals who value aesthetics and functionality in wearable devices. The designs cater to both casual and formal users.

Its unique blend of emotional design elements, such as daily encouraging slogans, the use of dual systems for time-reading and innovative battery indicators, alongside a clean, minimalist aesthetic, differentiates it from others.

The names reflect the essence of each design. For instance, “The Plant” signifies growth and life, aligning with the design’s integration of nature-inspired visuals. “Artalex English And Numbers IV” represents the seamless integration of text and numerals.

I primarily used design tools like Adobe Illustrator, Photoshop, and Figma for prototyping. For functionality testing, I used smartwatch-specific SDKs like Watch Face Studio and Facer.

The combination of postmodern and futuristic aesthetics with functional features like event notifications, step counters, and battery indicators is unique. The emotional connection through daily slogans and adaptable themes also stands out.

While most of the design and development work was independent, I collaborated with watch enthusiasts for beta testing.

Technology plays a central role, from utilizing advanced smartwatch features to ensuring compatibility across multiple platforms and screen resolutions.

Yes, I conducted research on user preferences, studying how smartwatch users interact with time displays and other features. Feedback from existing designs also informed my iterative process.

Challenges included ensuring cross-platform compatibility, balancing aesthetics with functionality, and managing technical constraints like resolution and battery efficiency.

The decision was driven by a desire to gain global recognition and feedback for my work. Participating in competitions like the A’ Design Award provided valuable exposure.

I learned the importance of iterative design, user feedback, and staying updated with technology trends. These experiences have improved my ability to merge aesthetics with functionality.

I’d like to emphasize my design philosophy: blending art and technology to create designs that not only serve a purpose but also inspire and connect emotionally with users. Additionally, my journey into smartwatch design is part of a broader goal to push the boundaries of wearable technology.

My focus was on balancing minimalism with advanced functionality. I wanted to create designs that enhance the user experience by being intuitive yet visually stunning. For example, integrating a dual-reading system or battery indicators into visual elements like plants enhances practicality without cluttering the interface.

I aim to expand these designs into more smartwatch platforms and explore partnerships with major smartwatch brands. Additionally, I plan to evolve the designs further by incorporating AI-driven features and customizable elements to adapt to user preferences.

Each design took several months of iterative development. For instance, The Plant - Advent and Nature Smartwatch Face was developed over two months, while English and Numbers IV Smartwatch Watch Face spanned four months. For this particular concept, it took about three months.

Most of my smartwatch designs stem from personal inspiration and the desire to push the boundaries of smartwatch aesthetics and usability. They were not commissioned but rather born from my passion for merging design and technology.

Currently, the designs are available on platforms like the Google Play Store, Timeshow and Facer. I am open to licensing agreements with companies or continuing to produce and market these designs under my personal brand, Artalex.

I saw a gap in the smartwatch market for designs that balance artistic expression with practical functionality. My background in both art and technology allowed me to bridge this gap and create something truly unique.

I draw inspiration from movements like Bauhaus minimalism and futurism, as well as cutting-edge tech innovations. While my work is original, these influences help shape my design philosophy.

The target audience includes professionals, tech enthusiasts, and individuals who appreciate sleek, functional designs with a modern aesthetic. The flexibility of my designs caters to both business and casual users.

My designs stand out because they merge aesthetic artistry with innovative functionality, such as the use of dual systems for time-reading or the integration of battery indicators into visual motifs.

The names are reflective of the design themes. For example, The Plant - Advent and Nature highlights the organic design and the connection to growth and life, while Code Titanium Alloy emphasizes the robust, futuristic elements.

I primarily used design tools like Adobe Illustrator, Photoshop, and Figma for prototyping. For functionality testing, I used smartwatch-specific SDKs like Watch Face Studio and Facer.

The integration of emotional design elements, such as encouraging daily slogans in The Plant, and features like dual reading systems in Artalex English and Numbers IV, make them stand out in a crowded market. For this design, it is the futuristic elegance.

While most of the design and development work was independent, I collaborated with watch enthusiasts for beta testing.

Technology plays a crucial role in translating the artistic vision into functional smartwatch faces, especially in ensuring compatibility across multiple devices and platforms.

Yes, I conducted research on user preferences, studying how smartwatch users interact with time displays and other features. Feedback from existing designs also informed my iterative process.

One major challenge was balancing aesthetics with battery efficiency, as highly detailed visuals can drain power. Ensuring cross-platform compatibility was another technical hurdle.

The decision was motivated by a desire to gain recognition and validate my work on a global scale. Winning awards like the A’ Design Award has been a great honor and a testament to my efforts.

I learned the importance of user feedback and iterative improvement. Each design taught me how to better integrate technology with artistic principles, enhancing both functionality and aesthetics.

I’d like to emphasize my design philosophy: blending art and technology to create designs that not only serve a purpose but also inspire and connect emotionally with users. Additionally, my journey into smartwatch design is part of a broader goal to push the boundaries of wearable technology.

The essence of cyberpunk aesthetics plays a crucial role in this design, while also providing the user with the freedom to select various colors that complement different scenes and outfits. It strikes a balance between embracing the cyberpunk vibe and offering personalization options to suit individual preferences and styles.

There is a possibility that this design could pave the way for a series of forward-thinking designs in the future. It might be a good idea to consider incorporating more customization options to enhance user experience. The extent of customization, however, will depend on how smartwatch technology evolves over time. We'll have to keep an eye on the advancements and adapt accordingly.

Initially, it began as an experimental watch face design, serving as a testing ground. Gradually, I ventured into exploring different color schemes and layouts, continuously expanding the possibilities. As ideas flowed in and out, a distinct cyberpunk vibe started to emerge, capturing my attention. Nurturing this sensation became a two-week endeavor, dedicating time and effort to refine the watch face's overall ambiance.

Watches are commonly worn to keep track of the current time. However, my vision is to transform this experience into a glimpse of the future. I aspire for individuals to feel a sense of leadership and anticipation when they wear a watch, allowing them to think ahead of time and stay one step ahead. The goal is to create a watch that evokes the feeling of being at the forefront of progress and encourages forward-thinking.

It's really amazing to see a company taking an interest in someone's work. If a company were to appreciate and consider buying my design, it would be such an honor for me. It's incredibly validating to know that my work has caught their attention and holds value in their eyes.

I aspire to see my designs become part of my daily life.

It primarily stems from my own curiosity and experimentation with ideas.

Everyone.

The crucial element is the exhilarating feeling of being ahead of the curve, thinking and anticipating beyond the confines of the current moment. It's about embracing a mindset that transcends the ordinary and propels us into a realm of forward-thinking and innovation.

The concept is quite straightforward: the "Cyber" element draws inspiration from cyberpunk aesthetics, while the notion of "Element" signifies a connection to the future. It's a fusion that combines the edginess of cyberpunk with the essence of what lies ahead.

Adobe Photoshop, Facer, and WatchMaker app.

It effectively conveys the sensation of being ahead of one's time.

I managed the entire process, from conceptualization to deployment on the watch, entirely on my own.

The focus of this design is not primarily on the technological aspects of its development. The Facer and WatchMaker apps handle those aspects effectively.

Not much on the research. When the ideas come, just do it.

To achieve a well-organized and precise dial, one needs to strategize the arrangement of information indicators while eliminating unnecessary elements. A key aspect is to leverage the dots as a primary element, creating a captivating cyberpunk vibe.

There's a mix of confidence and a touch of uncertainty, but I'm eager to give it a shot nonetheless.

The principle of "less is more" is a golden rule in design, and through creating this watch face, I've come to appreciate it on a deeper level.

At times, it's best to trust your instincts and go with the flow when ideas keep flowing in. There's no need to overthink things. Allow your ideas to guide you and simply enjoy the journey along the way.

The main focus is to make the user check the time, date, and other information more easily. Check the date of the current month without aiming where the date number is, besides, the date at the center does not occupy other space so the dial does not look crowded.

Maybe more color combinations will come out. Make it a flagship category of my future designs.

The concept is from the prototype. I did not spend much time to get the ideas, maybe about one or two days.

After I got the prototype done, I started thinking about how to put more information into a small dial while keeping it from looking crowded.

This design is done for me. Currently, I don't have plan to sell it. If any company wants to buy it, I would like to hear.

Ease of using. The speed of checking time. To make people's life easier.

No, no other designs. The influence is from my prototype.

From casual user to business user, basically, everyone.

The elements in the dial (eg. step count) shifts its position to avoid being overlapped by the hour hand. For example, at 8 am or 8 pm, the hour hand overlaps the step count numbers. So the step count shifts its position to elsewhere so user can still check step number easily.

The name is from the prototype name, Simple code. This design is considered as an upgraded version. So I named it Simple Code II.

I use the app called Watchmaker.

The Aesthetic and the user experience.

No, I didn't collaborate with others.

This design is more focused on the user experience. For the technical part, there is not much to deal with.

I didn't do any research. The idea is from the prototype.

The challenge is to shift the elements on the dial from being overlapped, meanwhile to still keep the overall aesthetic.

The last year winning gave me confidence in my design so I know where I can go in to. Besides, I want this Simple Code II design to earn its international recognition.

I usually use it by myself for a while to get the insight of which part can be improved, and then gradually make some changes to the design.

You can download this watch face from the Samsung galaxy store, from the Watchmaker App, and from the Facer app.

With the idea, a hybrid type, in mind, I realised that the way of reading the time itself could be a hybrid type. So the main focus is how to convert the natural way of read the time into a unique hybrid type. How do we read the time? “4:50 pm” right? Why not “Four45 pm”? That will make the number-based time a text and number combined type.

For my own use or sell it.

It took me about 2 days to get the initial prototype, and about 2 - 3 months to refine it.

There are basically two types of the watch face in the watch industry, analog and digital. I want to do something beyond the traditional.

Currently, the design is used by myself, and I’m selling the watch face on Samsung Galaxy store. If companies intent to buy, maybe I plan to sell it or lease the production rights. I’m happy to see it coming.

I got the inspiration of putting the natural way of telling time directly onto watch face so that people can read the time naturally and intuitively.

Almost anyone, unless the user cannot read English.

The intuitive way of reading the time.

The name is quite straightforward. It just means “English + Numbers”.

Adobe Photoshop and Watchmaker app.

The user experience.

I did it on my own. Conceptualized it. Design it. Code it. All by myself.

The role of technology in this design is not the most important. It just does its basic function — fetch the correct data.

No, there is no data research involved.

The hour text in English has a different length. “Eleven” is much longer than “One”. So the challenge is how to arrange the space for English text.

I didn’t decide. If lucky, I guess, my design will be nominated. Just like this time. One day, I received the email from A’Design, saying that this watch face design was nominated.

I got a lot of feedback from my social media posts.

The main goal in designing this watch face is that I try to put as many essential information as possible but at the same time it doesn’t feel crowded.

I guess it could be the start of a series of modularised minimalism stylish watch faces.

It’s pretty quick. Once I had this idea, I quickly drafted and developed the prototype using Watchmaker app. It just took me about 1 day.

It’s just for my own use initially. I want to have a watch face for me to check all the essential information (e.g weather, date, temperature) in a very quick way, and I want it to be in beautiful minimal style.

Currently, the design is used by myself. If companies intent to buy, maybe I plan to sell it or lease the production rights. I’m happy to see it coming.

For the convenience of myself. Besides, it’s hard to find an informative, easy-to-read, modularised and stylish watch face.

Almost everyone.

It has a lot of information inside the small dial but at the same time, it doesn’t feel crowded. Besides, it’s really easy-to-read.

The name of this design, The Plant, is from its background watermark. The background watermark is actually a pencil sketch of a plant. I drew it in Shanghai, 1998. It’s a piece of pencil drawing practice in Hua Shan Art School. I love it.

Adobe Illustrator and Watchmaker app.

The most unique aspect is its visual and user experience. Simple minimalism style, easy-to-read visual together with all the essential functions for daily use.

I did it on my own. Conceptualized it. Design it. Code it. All by myself.

The role of technology in this design is not the most important. It just does its basic function — fetch the correct data.

No, there is no data research involved.

The challenge is how to organize all the information blocks in a beautiful layout. The layout must be not-crowded and easy-to-read at the same time.

I didn’t decide. If lucky, I guess, my design will be nominated. Just like this time. One day, I received the email from A’Design, saying that this watch face design was nominated.

I got a lot of feedback from my social media posts.

I started learning drawing at 16 years old. At a very young age, I was always curious about colors. I still remember how I felt when I saw those color pencils laid down on the shelf. Those color pencils sold in the art store somehow calmed me down. Sometimes I even wonder why everything has “bright” and “dark”. Yeah, a young boy was attracted by the “light” and “shadow” in the world. I guess that is why I still keep the passion for “art” when others dropped it. “Design” to me is a driving force, a leading force. When others do not have a clue, I already had. That is “design” to me. It makes me proud.

I chose to be a designer. A young boy was attracted by the colors. I believe designing can contribute to the future.

I like to design anything that related to product design, e.g wearables, and mobile devices.

I’m not a legend. What should young designers do? I would say, spend more time to explore the world, feel the world, read the world. Use your eyes and heart more rather than hands. Live your life. You don’t need to learn to be a designer first and then to live your life. Learn to live your life first.

I think a good designer focuses on current happenings in the world, while a great designer more tends to think about the future. The great designer thinks more about something that hasn’t happened.

When the user gets astonished. When the user feels like to come back and expects more from the designer.

I believe a good design not only can add value to the design itself and its customers but add more value to the future society and make our environment a better place as well. A good design improves humanity.

Basically, anyone, as long as who doesn’t intend to get the work done for free. Nothing is free in design.

I wish I could design watch faces for those big brands and potential watchmakers in the watch industry (if they have made a smartwatch, or plan to.)

Try not to start designing for the sake of design. Try not to look for inspiration. Sometimes it comes by chance. Try not to explain art, just feel it.

Jony Ive, Issey Miyake, Craig Mullins

I like iPhone4 from Jony Ive. Yes, iPhone4. I’m not talking about the whole iPhone series. I’m not talking about the iPhone 2G (1st generation), although it re-defined the phone. The iPhone4 moved the antenna from inside to outside, which nobody dares to try. Apple made a breakthrough. Even iPhone4 did have the antenna problem in the end, but it paved the way for iPhone4s (and future models) to refine it. Eventually, the outside antenna becomes a success.

It’s hard to decide which one is the greatest. A different design has a different aspect of a strong point. For me, I think there is one design worth mentioning. That was a logo I designed in 2000 when I was in Hua Shan Art school in Shanghai. My design won the school sports games logo design competition. The school sports games used my logo. It made me proud and a little bit famous.

Explore the world. Stay with the latest design trend. Try to think about what people haven’t thought of.

I might have become a programmer in the IT world, coding interface.

“Design” comes into the picture at the moment when others do not have an idea “what to do” but I know “what to do”. “Design” is an accomplishment that makes others think “Wow, I’ve never seen this before. How could it be like that! Why couldn’t I think of that?”

When I had my second job, after I lost the first one, I met my department manager. He taught me how to live when I was kind of lost myself. I learned something from him. I learned how to see things around me.

I was born in Shanghai, China, and lived there for 24 years. Now I live in Singapore. The living experience in both two countries actually helps me a lot in my design. Shanghai has its own particular culture called “海派文化（an exotic boutique and Shanghai-only type)”. Singapore is a multi-cultural nation and has its unique culture called “Nonya”. When both two cultures combine, it gives me a wide range of inspirations. Besides, of course, those works from famous design masters like Jony Ive, Issey Miyake, etc. Their works taught me a way of seeing and thinking.

I think the obstacle will be learning to convince myself. As a designer, sometimes I need to convince myself to make tough decisions. Be creative and, at the same time, be flexible.

I prefer designers to present their works as close to the end product as possible. Not only is it easier to convince, but frustrations are avoided in the end.

I will continue to design watch faces as watch face design is my current research area.

My ultimate goal is to live well.

I will continue to pursue better outcomes from my design.

A designer should be responsible for pushing the society forward and for making a refined environment. Not only think about how to satisfy customers, but also should consider whether the design can take our society to the next level. We design for the future.

At the current moment, I start thinking of refining the first prototype of my other watch face. This watch face has become version 2 and version 3. But people keep asking for the first version which actually is just a prototype. I guess it’s time to make it version 1.

As I said before, that was a logo I designed in 2000 when I was in Hua Shan Art school in Shanghai. My logo participated in the school sports games logo design competition. The school sports games used my logo. It made me proud and a little bit famous. This is the first time I won a design competition.

I would like to see some products or services, those innovations that could re-define the way people live again. We saw how iPhone re-defined the phone. We saw how Apple Music and Spotify changed the way people listen to music. I would like to see such innovations coming.

I think the next design direction will be on the services for people to better interact with their mobile devices.

I would say that a month or two could be the ideal time. Along the way, projects might keep changing and evolving.

I think I will start putting myself into the user’s shoes. This is a good way to understand the end user’s needs and produce great user experience.

Try not to explain art. Just feel it.

It depends on how designers play the role in “design”. If designers play a “leading” role, like Jony Ive, they make the design set the trends. But if designers just want to satisfy their clients and get the project done, they are playing the “follower” role, they make the trends set the design.

When I design, I put the technology in a quite important position. Because it somehow limits the range of imagination. Besides, it also determines whether the project could be extendable in the future.

iPad and Apple Pencil. iMac with Photoshop, Sketch, Illustrator. Coding IDE such as webstorm, Android studio, etc.

They are very important. The combination of colors and materials defines the user’s mood and experience. The ambient (environment) also plays a critical role. The ambient and the colors or materials relate to each other. Different relationship produces a different mood and experience.

I like it when people ask: “Where can I get/buy your design?”

I will ask myself: “What can I learn from it? Why is it so attractive to me?”

Ideal design partner? Maybe someone who has the characteristic of “willing to listen and accept”. Like I said before, the obstacle of being a great designer is whether you can convince yourself to accept. Everyone has an ego. It’s how much willing to listen and accept that make you great designer and ideal design partner.

I guess some strangers on the internet who interacted with my social media posts have an influence on my design. For example, my two award-winning watch face designs, quite a large amount of people tried those watch face prototype and gave me a lot of wonderful feedback. They helped a lot. Thank them!

I read the magazine ImagineFX quite a lot.

For technical skill, as I make more and more projects, my skills get improved. For my innovative skill, see the world with a heart. Feel it, watch it, explore it.

Steve Jobs and Jony Ive.

The award and recognition do helped expose my work to the world. But I’m not doing my designs for the sake of being famous. I focus on producing better artwork. People become famous because of their works, not awards (although awards do help).

Favorite brand: Apple. Favorite place: anywhere I can merge myself into the crowd. But I prefer quiet places by the way. Color, food, season? I’m not sure. I eat a lot.

I joined my previous company as front end developer, yes, I know how to code, and I joined as a coder. After just a few days, our team manager saw my design works, he immediately decided to let me do the design job. The funny thing was after other team managers saw my design, they all came to my team manager asking whether can borrow me to help them or not.

It makes my day great when people see my work and yell out: “Wow, you really did that? Oh my……….”. It really motivates me.

No, I like drawing when I was a little boy. I thought I will be an artist.

In a thousand years, people perhaps do things on their skin, send emails from wearables like glasses.

Ask me whether I open to a new job opportunity, or open to a new project to co-design, maybe?

The Artalex is just a simple name, consists of “Art” and “Alex”. Quite straightforward, Alex learns art, that is Artalex. A few years ago, I started thinking that I should come up with a name. Maybe I could use it for my future? Maybe I will set up my own studio? But at least, I need a name.

“Design” comes into the picture at the moment when others do not have an idea “what to do” but I know “what to do”. “Design” is an accomplishment that makes others think “Wow, I’ve never seen this before. How could it be like that! Why couldn’t I think of that?”

I like challenging things. Those things that bring people fresh experiences. Like I said, those works that can make people think “Wow, how could it be like that!”

iPhone4. Yes, iPhone4. I’m not talking about the whole iPhone series. I’m not talking about the iPhone 2G (1st generation), although it re-defined the phone. The iPhone4 moved the antenna from inside to outside, which nobody dares to try. Apple made a breakthrough. Even iPhone4 did have the antenna problem in the end, but it paved the way for iPhone4s (and future models) to refine it. Eventually, the outside antenna becomes a success.

I couldn’t remember the first design I did for a company. But I do remember one project I did for my friend’s company. It is a set of icons for a food order POS system on the iPad. At that time I was trying to implement the sense of Zen. People went into the restaurant having dinner, might be trying to release their stress after work. So the sense of Zen can calm customers down. The idea behind is to let people have a peaceful dinner. It’s very simple.

I haven’t figured out which one is my favorite technology. So far for my watch face, I’m using watchmaker app and android studio.

When I’m half-drunk. Yes, sometimes creativity needs “sober”. What I mean by “sober” here is that we all live in a distractive world. We somehow don’t know what we want clearly enough. That’s when “sober” comes into the picture. Drink a little bit, get yourself half-drunk, forget about “something“ in real life, then you have a clear mind to think about what you truly want. It’s ok to have a drink.

User experience. It not only helps my product keep existing users coming back, but also makes my design attract more potential users.

A little bit of curiosity. I’m curious about what my current design will become? I’m curious about how people will react to my solution.

I feel fulfilled and am proud of myself.

When the user gets astonished. When the user feels like to come back and expects more from the designer.

The users’ response to the design. To me, I don’t think there is “good” or “bad” design. There is “excellent” or “ordinary” design. If a design failed to impress the users, it is an ordinary design.

A designer should be responsible for pushing the society forward and for making a refined environment. Not only think about how to satisfy customers, but also should consider whether the design can take our society to the next level. We design for the future.

The “design” nowadays is more and more focused on the “relationship” between design and user rather than being focused on the design itself. The future of design, I guess, is the focus on how much a design can contribute to society refinement and on making our environment a better place for future generations.

I haven’t held my own exhibition. The last exhibition I participated was in my art college, final year exhibition, in 2007. I hope I can have my own one in the next one or two years.

I like artworks from Craig Mullins (www.goodbrush.com) very much. His paintings make the viewer feel the light. When you look at his artwork, you can really feel the volume of the light, regardless of the brush strokes are fine or rough. So I learned a very important concept from him, that is, every piece of art has its relationship to the surroundings. Art never exists separately by its own. So in the case of design, whatever you do, your design should have the spirit to make contact with surroundings.

I would say: “Try to be ultimate simplicity with clear functionality.” With such style, my design not only can reduce a large amount of user’s learning time but also make the user feel the beauty of my design much faster. So, the approach? I imagine myself as an end user, and ask myself: “What is the most important function I need here? What’s the simplest way to achieve it?”

I was born in Shanghai, China, and lived there for 24 years. Now I live in Singapore for more than 14 years already. The living experience in both two countries actually helps me a lot in my design. Shanghai has its own particular culture called “海派文化（an exotic boutique and Shanghai-only type)”. Singapore is a multi-cultural country and has its unique culture called “Nonya”. When both two cultures combine, it gives me a wide range of inspirations. Sometimes it makes me feel that technology seems to be the limitation.

I currently work as a UX consultant and front end developer.

I think “Willing and dare to think out of the box” is the spirit of a good designer. But I have to admit that sometimes companies wish designers to “quickly finish the job in traditional ways”. Although the deadline is there, if the company encourages designers to push the limit, it will be great.

Gather client’s requirement. Finding a suitable technology. Brainstorm the idea. Learning existing data. Draft the prototype. Use it internally for some time. Find out what to improve. Refine and build the product.

Balcony, coffee machine, bookshelf, iMac, iPad and Apple Pencil.

I spent most of the day at the office, behind the Mac. In spare time, I read surf internet and think about my freelance projects. Sometimes go out with friends, drink with friends.

Spend more time to explore the world, feel the world, read the world. Use your eyes and heart more rather than hands. Live your life. You don’t need to learn to be a designer first and then to live your life. Learn to live your life first, and then you will know when to be a “designer”.

Being a designer makes me excited (I’m curious about new things). However, it also has a negative side. Sometimes clients don’t share the same view as yours. Sometimes people don’t appreciate your work. You might feel upset. But how you face and deal with it is important. It can turn “negative” into “positive”. Don’t give up.

First, ask yourself “what can be improved” in your design. Second, be truthful to your client and to yourself.

Able to convince your inner self.

iPad and Apple Pencil. iMac with Photoshop, Sketch, Illustrator. Coding IDE such as webstorm, Android studio, etc. Goes library and museum. Sometimes go to the pub and get a bit of drink to keep my mind rolling.

I usually don’t particularly sit at the desk and “officially” start designing. Inspiration comes by chance. Sitting at a fixed location doesn’t always guarantee a nice idea. Some cool ideas might come during cooking time. Use time wisely. Work smart.

How about 2 - 3 days? Actually, there is no particular answer. There are many aspects involved, such as the client’s requirement, the client’s changing of mind, resource of hardware and software, efforts of research, number of meetings, etc.

Can you design a logo, it doesn’t have to be complicated, just simple one will do, ok?

I guess it should be “try to be patient”. Like I said, the most important skill for a designer is being able to convince your inner self. As a designer, you need to be patient to convince the client. You need to be patient to convince your manager. You need to be patient to convince your inner self.

Some are strangers who came across my portfolio website, asking for design favors. Some are job agents asking whether I still open to new opportunities. Some are friends’ friends asking whether can design a logo, a poster for them. Sometimes I, myself. I do some projects for my own use.

Anything I designed for myself. I have 100% freedom.

I would like to be well-known for my watch face designs.

Almost by myself. Sometimes, I help other teams providing ideas.

At the current moment, I start thinking of refining the first prototype of my other watch face. This watch face has become version 2 and version 3. But people keep asking for the first version which actually is just a prototype. I guess it’s time to make it version 1.

By email at alexpanyong@gmail.com. By my website www.artalex.me. By social media, Facebook, Instagram, Twitter @artalexme. People can get my contact number from there. I will be glad to see people contact me. I appreciate it.

Thank you A’Design Award & Competition for giving me the opportunity to let more people know me. Thank you!

The ring is deliberately quiet because I wanted fitness data to feel integrated, not intrusive. It tells a story without breaking the minimal mood of the design.

My background in interactive art taught me to design with rhythm, spacing and user flow in mind. This mindset directly shaped how the grid and typography work together.

The lowercase typography came from studying calm interfaces that avoid visual shouting. Lowercase creates a friendlier, more conversational relationship between the watch and its wearer.

The challenge was preserving the geometric logic without letting the circle distort the composition. I redesigned spacing, corner paddings and alignments so the layout feels native on both formats.

I started by defining the absolute essentials. Everything else was removed. This ensured the health indicators appear as part of the design rather than additional modules.

The design began as a strict geometric sketch. After multiple user feedback cycles, it evolved into a softer, more approachable composition without losing its structural roots.

The Artalex Et 101 Smartwatch Face is a concentrated expression of everything the Artalex brand stands for. It merges geometric discipline with emotional calm, presenting an interface that feels crafted rather than engineered. It reflects my vision for wearable design by showing that technology can communicate with clarity while still carrying artistic intent.

This design champions the idea that wearable interfaces can be simultaneously artistic and efficient. It suggests a shift toward interfaces that feel curated rather than crowded.

One of the strongest insights I can share is that successful interface design grows from constraint. When you limit your visual tools and focus deeply on purpose, you create space for artistry to emerge naturally within functionality. The Et 101 project taught me that a watch face is not only a layout challenge. It is a communication design exercise where clarity, emotion and usability must coexist.

The accent colors were carefully chosen to stand out against the subdued, neutral background, creating a focal point that quickly draws the user’s attention. Each color represents a different customization mode or theme, allowing users to personalize their experience. The vibrant colors enhance the user experience by improving readability and providing a refreshing aesthetic that keeps the interface visually engaging.

The evolution from Simple Code II to Simple Code IV was driven by user feedback and a commitment to minimalism. Previous iterations taught us the importance of clear, customizable, and user-centric design. With each iteration, we focused on reducing unnecessary details, sharpening visual clarity, and providing more control over personalization—features that are now core elements in Simple Code IV.

The dual-reading system combines traditional analog hands with a central digital counter to give users multiple ways to track seconds. This approach respects traditional timekeeping while embracing digital capabilities, offering a flexible experience for users who may prefer one method over the other. It was designed with accessibility in mind, ensuring users have an easy way to read seconds in any format they prefer.

Designing for both round and square formats required careful attention to proportionality and alignment. The interface elements in Simple Code IV are adaptively positioned to ensure each element maintains a balanced and centered appearance, regardless of the display shape. This flexibility was achieved through modular design principles that adjust to the constraints of different formats without losing aesthetic consistency.

Winning the Bronze A’ Design Award was a significant validation of our design approach and has motivated us to push boundaries in future projects. This achievement highlights the importance of blending innovation with user-centered design and will continue to inspire us to seek unique ways to balance form and function in our upcoming smartwatch face designs.

Our creative process focused on simplifying visual elements without compromising functionality. We prioritized essential information and structured the layout to minimize visual clutter. Customization options allow users to personalize certain features, striking a balance between simplicity and user control. This minimalist approach ensures that the design remains elegant while offering practical utility.

Simple Code IV embodies the philosophy of merging art and technology by infusing traditional design elements with interactive functionality. My background in interactive art influenced the focus on an intuitive, aesthetically pleasing interface that feels dynamic and expressive. This fusion helps users connect with the watch face on both a functional and emotional level, bridging the gap between utility and artistic appeal.

User feedback was instrumental in refining the design. The community emphasized the importance of readability, customization, and energy efficiency, leading us to enhance these aspects in Simple Code IV. Insights from the smartwatch community also inspired us to innovate with elements like the dual-reading system for seconds, addressing both aesthetic preferences and functional needs.

Looking ahead, we see Simple Code IV setting a precedent for highly customizable, visually distinctive smartwatch faces. We aim to incorporate advancements in AI-driven customization, adaptive displays, and eco-friendly features. Future iterations will likely explore deeper integration with wearable technology trends, focusing on creating an even more personalized, responsive experience for users.

The square shape with softened corners is inspired by the concept of blending strength with subtlety. The robust square represents precision and structure, which are essential in technology, while the rounded corners add a gentle, approachable feel, making the design less rigid and more user-friendly. This combination not only reflects the dual nature of technology—powerful yet adaptable—but also enhances visual comfort, aligning with Apple’s iconic design language.

Designing for Android years ago taught me the importance of adaptability and user experience in diverse tech ecosystems. The Apple Watch, with its distinct user interface and unique design standards, encouraged me to refine this concept, focusing on minimalist aesthetics and seamless interaction. My prior experience helped me approach the Apple version with a mature understanding of cross-platform consistency, while taking advantage of Apple’s specific strengths in display and typography.

The colors were chosen to give users expressive options without overwhelming the minimalist design. Each color serves as a mood-setter: green for balance, red for alertness, blue for calmness, and orange for warmth. Despite the contrasts, they all blend harmoniously, emphasizing that minimalism doesn’t have to be monotonous. The goal was to give users the ability to express their personality subtly while maintaining an elegant, coherent aesthetic.

With advancements in smartwatch technology, I was able to push the design further, enhancing clarity, contrast, and user interaction. One challenge was ensuring readability on a small display while preserving visual appeal, especially with limited space for text and graphics. However, modern OLED displays allowed for vibrant colors and deep contrasts, which helped me introduce more detailed and refined typography, elevating the overall design.

Optimizing for two sizes required a careful balance between visual proportions and functional readability. I ensured that font sizes and spacing scaled gracefully across both sizes, maintaining clarity and usability without sacrificing aesthetic coherence. I also paid attention to how different screen sizes affected battery usage, adjusting brightness and refresh rates to optimize performance without compromising on the experience.

This watch face exemplifies my belief that technology can be both functional and expressive. By designing an interface that is visually engaging yet purpose-driven, I aim to show that wearable tech can be a canvas for creativity. It’s an interactive piece that bridges the gap between art and everyday utility, allowing users to experience a sense of aesthetic appreciation with each glance.

I believe the jury appreciated the innovative typography, which merges clarity with artistic nuance, as well as the balanced color scheme that enhances user engagement. The design’s accessibility, paired with its visually stimulating and user-friendly interface, likely stood out for its ability to communicate information clearly while maintaining an aesthetic harmony. Its success lies in making an everyday function feel unique and visually appealing.

Facer.io provided a robust platform for testing various iterations and receiving user feedback, which was instrumental in fine-tuning the design. The platform’s community-driven insights highlighted which elements resonated most with users, allowing me to iterate on typography and layout. Facer.io’s feedback loop helped ensure that the final product was not only aesthetically pleasing but also practical and intuitive for users.

This design is a testament to my belief that functionality and art can coexist harmoniously. With Artalex, I aim to demonstrate that everyday technology need not sacrifice beauty for usability. This smartwatch face merges both elements, offering users an artful experience while serving practical needs. It’s a reflection of my commitment to creating designs that enhance daily interactions by adding a layer of aesthetic enrichment.

The dot patterns serve as both a visual signature and a tool for structuring information. Inspired by the pixelated look of digital screens from classic cyberpunk media, the dots create a futuristic effect while establishing a visual hierarchy. This approach allows the smartwatch face to look distinctively cyberpunk yet remain readable, with larger dots drawing the eye to essential information like the time.

The design’s spatial organization was a response to the need for an intuitive, glance-friendly layout. I divided the Cyber Element Smartwatch Face into areas for time, date, and additional metrics, ensuring each section has its own visual identity. This structured approach came naturally as I prioritized both function and form, arranging information so users can absorb key data effortlessly.

The hybrid font style, blending solid top halves with dot patterns below, originated from a desire to evoke the transition from analog to digital. This typographic treatment emphasizes the progression from clarity to abstraction, which felt in line with cyberpunk’s blend of technology and art. It also reinforces the watch’s layered, futuristic look while making sure the time remains clear.

Designing for both round and square watch faces required careful consideration of spacing and alignment. I adopted a flexible layout that could adjust to different screen shapes without losing its identity. By focusing on core visual elements that work well within circular and square boundaries, I ensured the design’s impact remained consistent and visually appealing across formats.

The customizable color themes allow users to express their style while maintaining the watch face’s cohesive look. I approached this by selecting a limited but versatile palette that harmonizes with the core design. Each color option was tested for readability and aesthetic appeal, ensuring that whichever theme users choose, the smartwatch face retains its distinct cyberpunk identity.

In a genre often associated with complexity, I see minimalist cyberpunk as a way to distill the essence of the aesthetic without overloading the interface. This approach can inspire a new direction in smartwatch design, one where futuristic visuals enhance usability rather than compromise it. I hope this philosophy encourages more designers to explore functional minimalism within visually rich styles.

The day-of-week indicator serves as both a functional element and a visual divider. I iterated through several versions, experimenting with positioning and scale to achieve a balance that would integrate seamlessly with the overall design. This feature ultimately adds depth to the layout, creating a clear spatial boundary while also providing useful information at a glance.

My background in both art and technology profoundly shapes my design approach, as I strive to merge aesthetic appeal with technical functionality. In Cyber Element, I drew upon my experience to create a unique visual language that feels both futuristic and user-friendly. This perspective allows me to craft interfaces that resonate with users on both emotional and practical levels.

Building on the success of Cyber Element, I aim to refine my approach by further exploring simplicity and sophistication. Future projects will continue to focus on creating visually striking designs that prioritize usability. By leveraging emerging technologies, I hope to push the boundaries of smartwatch interfaces, crafting experiences that are both innovative and intuitively satisfying for users.

The accent colors—Rouge (red) and Paon (blue)—were chosen for their high visibility and emotional impact. Red is traditionally associated with urgency and action, making it ideal for marking crucial information such as the date. Blue, on the other hand, evokes calmness and stability, perfectly aligning with timekeeping. The neutral background ensures the colors are striking but not overwhelming, drawing users’ attention to key data points while maintaining an overall minimalist aesthetic. This balance enhances readability and aligns with the user experience I envision: both engaging and serene.

Winning the A’ Design Award underscored the importance of versatility in design. Simple Code IV Rouge and Paon are crafted to maintain aesthetic harmony and functionality, whether on a round or square watch face. This is achieved through the central spiral layout, which naturally adapts to different formats, and the careful placement of time indicators along the circular path. The minimal design avoids crowding, allowing for an effortless visual transition across device shapes. This adaptability ensures that the design remains intuitive and appealing regardless of format.

The center display was reimagined to combine elegance with practicality, inspired by the need to make every element of the watch face multi-functional yet unobtrusive. The second counter adds a subtle, rhythmic element to the design, helping users keep time at a glance without overwhelming the interface. This feature is part of my broader philosophy of integrating movement into the design, creating a living, breathing interface that feels alive and responsive, rather than static.

Facer.io provided a flexible platform that allowed me to experiment with animations and interactivity, pushing the design beyond static visuals. It enabled real-time previews and a collaborative environment to test how different elements responded to user interactions. Facer’s community also offered valuable feedback, helping me refine elements like color contrast, iconography, and positioning. The platform’s capabilities inspired me to think beyond traditional layouts and explore more dynamic, user-centric designs.

With each iteration, my focus has increasingly shifted towards creating a balance between visual appeal and intuitive functionality. In earlier designs, I was more focused on aesthetics; however, Simple Code IV emphasizes usability without sacrificing design. I now prioritize the experience of the user, ensuring that each design element serves a purpose while contributing to an overall cohesive look. This evolution represents my commitment to minimalism that is not only visually pleasing but also purpose-driven.

Users often requested a clearer, faster way to access essential information like time and date. Based on this feedback, I enhanced the clarity of these elements in Simple Code IV. The distinct color coding and center positioning of key information allow users to read the time and date at a glance, addressing concerns of previous designs where information could blend too seamlessly. I also incorporated suggestions to make the design more versatile for different wrist sizes, ensuring better legibility across various device formats.

Simple Code IV represents my belief that smartwatch design should be both a visual delight and a seamless experience. I envision interfaces that interact with users in a way that feels natural and responsive. Going forward, I aim to blend more subtle animations and responsive elements, making the watch face an extension of the user’s own rhythm. This balance of aesthetics with core functionality reflects my commitment to designs that are not only stylish but also improve daily life through simplicity.

Developing Simple Code IV has cemented Artalex’s reputation as a brand focused on innovative yet practical digital design. This project highlights my dedication to pushing boundaries in user-centered design, and it’s become a defining piece in Artalex’s portfolio, showcasing our approach to blending artistry with technical precision. The project has reinforced my brand’s identity as a creator of refined, minimalist interfaces that elevate user experience and align with contemporary design trends.

The jury likely appreciated the minimalist yet functional aesthetic of Simple Code IV, as well as its adaptability across various device formats. The clear, user-centric display of time and date and the innovative use of color to differentiate information likely resonated. Moving forward, these elements could inspire a trend towards cleaner, more efficient smartwatch interfaces that prioritize readability and adaptability. Simple Code IV is a step toward interfaces that respect users’ time and attention, setting a new standard for both beauty and practicality in digital design.

The integration of heart rate data onto the flag was inspired by the emotional intensity of football. Fans often experience heightened heart rates while watching games, reflecting the thrill and passion of the sport. By merging physiological data with national symbols, the design creates a uniquely personalized experience, as users see their emotional responses directly linked to their national pride. This synergy between data and symbol makes the smartwatch face more than just a display—it becomes a canvas for the user’s own excitement and pride.

Winning the Bronze A’ Design Award was a recognition of my effort to harmonize form and function. Smartwatch designs must not only look appealing but also function smoothly in a compact space. For this project, I focused on simplicity and high contrast, ensuring that every detail served a purpose. Elements like bold colors, clear icons, and concise data placements were meticulously balanced to provide both aesthetic appeal and easy readability, meeting the technical demands of the smartwatch without sacrificing visual impact.

Optimizing contrast was crucial in making the design both visually striking and easily readable. A black background was chosen to enhance the vividness of the national flags, creating a stark contrast that helps colors pop and makes information more visible. The flags’ colors were carefully balanced to avoid overwhelming the small display, ensuring that each watch face retains clarity and can be read at a quick glance, even in varying lighting conditions.

My experience at Lasalle College of the Arts instilled in me the importance of storytelling through design. This background in interactive art encouraged me to think of the smartwatch face as a dynamic medium where art and technology meet. The World Cup 2022 design reflects this by combining meaningful symbols (national flags) with functional elements (time, heart rate), making each watch face a blend of artistic expression and practical usability—a wearable tribute to both sports and culture.

Each country’s flag presents unique colors and patterns, which posed a challenge in maintaining a cohesive look across the collection. I approached this by creating a consistent layout for time, heart rate, and icons, while adjusting contrast and saturation to accommodate each flag’s colors. This ensured that while each watch face had its distinct personality, they all shared a unified visual language that identified them as part of the same collection.

Facer.io provided a flexible platform that allowed for intricate customization, which was instrumental in realizing my vision. Its responsive capabilities helped me fine-tune the layout to fit various watch sizes and formats, while its layering features enabled me to position elements like the flags and heart rate data in visually engaging ways. Facer.io was pivotal in bridging the gap between my design ideas and their practical implementation.

The World Cup is not just a tournament; it’s a global celebration. I envisioned this design as a way for fans to wear their support proudly, not just on game days but every day. By placing the flags and team symbols front and center, the design embodies the energy and community of the FIFA World Cup, allowing users to feel a part of the larger football culture and share their passion in a personal and tangible way.

Designing for different Apple Watch sizes required a keen focus on adaptability. To maintain visual consistency, I developed a responsive layout that adjusted key elements like font size, flag placement, and icon scale to suit various screen dimensions without losing clarity. This attention to scalability ensured that the watch face retained its impact and readability, whether viewed on a larger or smaller display.

Creating the World Cup 2022 Smartwatch Face has reinforced my commitment to merging art with functionality in future designs. This project highlighted the power of combining data with meaningful visuals to create interactive, wearable art. Moving forward with Artalex, I aim to continue exploring ways to enhance user connection through design, whether it’s through personal symbols, customizable data displays, or new ways to blend technology with cultural expression.

The evolution from Simple Code II to Sim Code Digi was about embracing reductionism. Initially, there was a temptation to add more features to appeal to a broader audience. However, the breakthrough came when I realized that simplicity resonates more deeply with users seeking efficiency. Each design iteration stripped away unnecessary components until only the essentials remained, guided by the principle that “less is more.”

Using variable font weights to differentiate hours from minutes adds an intuitive hierarchy to the display. This subtle distinction allows users to grasp the most critical information—hours—at a glance, while minutes provide context without overwhelming the visual flow. It’s a design choice aimed at both readability and aesthetic balance, reinforcing the elegance of Sim Code Digi.

The low-battery indicator’s discreet appearance at 10% aligns with my philosophy of minimizing distractions. Most users don’t need constant reminders about their battery level; only when action is necessary does the indicator appear. This decision respects the user’s attention while providing critical information at the right time, maintaining the face’s clean aesthetic.

Sim Code Digi challenges traditional smartwatch designs by rejecting information overload. Many interfaces clutter the screen with widgets, notifications, or animations. Instead, my design strips the interface to its core purpose: telling time. Winning the A’ Design Award affirms that radical simplicity can redefine user experience and set new standards in interface design.

The pure black background enhances battery efficiency and creates a timeless canvas for the red accent. Red was chosen for its universal association with urgency and attention, ensuring key elements like the low-battery indicator stand out. This deliberate color palette reflects a balance between functionality and aesthetic purity.

My background in interactive art shaped my approach to Sim Code Digi, particularly in fostering engagement through simplicity. Interactive art taught me that the user’s interaction should feel intuitive and meaningful. By reducing distractions, the design creates a seamless dialogue between the user and their temporal environment.

Designing for both round and square displays required meticulous adjustments to ensure visual harmony. The challenge was to maintain proportions and readability without compromising the minimalist ethos. Customizing spacing, alignment, and scaling for each format ensured the design retained its integrity across devices.

Sim Code Digi paves the way for future smartwatch interfaces to embrace minimalism without sacrificing functionality. Its focus on user-centric information hierarchy could inspire a new wave of designs that prioritize clarity and essentialism, influencing both industry standards and user expectations.

This project highlights a growing preference for streamlined, distraction-free designs. Users increasingly value interfaces that respect their time and attention. Sim Code Digi reflects this shift, proving that simplicity, when executed thoughtfully, can create a more satisfying and impactful user experience.

Winning the award validated my efforts to push boundaries in smartwatch interface design. It encouraged me to think even further about how innovative design can set new standards for user engagement in wearable tech. The recognition reaffirmed that there is a strong appetite for interfaces that balance functionality with aesthetic appeal, pushing me to explore even bolder concepts in future projects.

Each iteration was influenced by user feedback emphasizing readability, battery efficiency, and simplicity. Early versions experimented with more detailed graphics, but users preferred a cleaner, more minimal look. Through feedback, I learned the importance of reducing visual clutter while maintaining essential information. Iterations also improved readability by adjusting font sizes and contrast, ensuring the design was not only visually appealing but also practical for daily use.

Coding for multiple platforms presented challenges in maintaining consistent functionality and appearance. Each platform has unique constraints, like handling animations or displaying dynamic text. To address these, I had to refine the design for optimal performance across devices, which taught me to streamline features without compromising on aesthetics. Overcoming these technical hurdles strengthened the design, making it more resilient and adaptable.

The goal was to prioritize clarity and reduce visual noise. Essential information like battery, date, and steps is positioned subtly, integrated within the design rather than overpowering it. I used a monochromatic color scheme with soft contrasts to allow these details to blend in harmoniously, preserving the futuristic aesthetic while ensuring that vital data is easily accessible at a glance.

Color themes were chosen to complement various lighting conditions and personal styles. Darker themes work well in low-light settings, minimizing screen glare, while lighter ones improve visibility outdoors. The variety allows users to customize their watch face according to their mood or setting, making the watch face versatile and responsive to different user needs and preferences.

The layout was designed based on how people intuitively read time: larger elements for hour markers and subtle indicators for minutes. The human brain quickly identifies primary information first, so the layout emphasizes hour readability. This design respects natural reading flows, allowing users to tell time with minimal cognitive effort.

This design champions simplicity and customization, qualities I believe will be central to future smartwatch interfaces. The blend of text and numerals offers an alternative to purely numeric or analog styles, suggesting a more conversational, human approach. Future interfaces may adopt similar blends to cater to users seeking both functionality and a personalized experience.

Focus on simplicity and user feedback. Wearable technology is personal, so the design must align with user needs and preferences. Reducing unnecessary elements while optimizing readability and battery efficiency is key. Listening to user feedback during development can help identify what truly matters to users and refine the design accordingly.

This design reflects my belief that technology should blend seamlessly with our daily routines and personal aesthetics. By reimagining traditional time-telling methods in a digital format, I aimed to create a watch face that feels both artistic and functional. My vision for wearable tech is to bridge art and technology, enriching everyday experiences with designs that are not only useful but also personally meaningful.

The metallic patterns and dot elements were inspired by the juxtaposition of business professionalism and casual relaxation. These subtle elements suggest robustness and precision, reminiscent of fine industrial materials like titanium alloy. At the same time, the dots add a touch of playfulness, bridging the gap between formal aesthetics and personal expression. This unique blend aligns with the dual-purpose appeal of the smartwatch, effortlessly shifting from professional to casual settings.

My background in interactive art shaped the user experience design significantly. With interactive art, engagement is about fostering a connection between the observer and the piece, and I wanted to evoke a similar response with the smartwatch face. Balancing functionality with a futuristic appeal meant ensuring that users could intuitively interact with the watch while still feeling captivated by its aesthetic. I approached it as both a digital canvas and a practical tool, ensuring that the interface maintained a sense of flow and responsiveness.

The creative spark came from a random graphic pattern that stood out for its unique texture and symmetry. That moment was pivotal; the pattern had a raw, almost industrial quality that inspired the titanium alloy theme. It led me to explore how abstract visuals could be refined into a cohesive digital interface. This pattern evolved into the final design, with refined metallic details that capture the timeless allure of premium materials.

One major technical challenge was ensuring the titanium alloy look remained consistent across different display formats. Smartwatches come with varied screen qualities, resolutions, and color ranges, so the metallic effect had to be adaptable. I experimented with different shades, light reflections, and textures to achieve an alloy-like appearance that holds up on both high-end and standard screens. The solution was a combination of subtle shading and layered effects that create the illusion of depth.

The layout was crafted to strike a balance between clarity and futuristic style. I used a minimalist approach to organize the information, ensuring that each data point is immediately accessible. Key elements, such as time, date, and weather, are arranged hierarchically, allowing users to quickly understand the display at a glance. To introduce a touch of innovation, I added dynamic patterns and subtle animations that make the face feel alive without overwhelming the core functionality.

Translating physical materials into digital form was an exercise in creating texture and depth through pixels. I learned that achieving a premium look requires more than just color accuracy – it’s about how light and shadow interact on screen. For the Code Titanium Alloy, I developed a unique shading technique that simulates the reflection and texture of titanium alloy, making the digital interface feel as tangible as possible.

One unexpected insight was how small adjustments in color and texture could completely transform the perception of material quality. I experimented with various shades and effects, discovering that subtle gradients and light play could mimic a real metallic surface. This realization shaped my approach, reinforcing the importance of detail in digital material design.

I envision the Code Titanium Alloy Smartwatch Face setting a precedent for material-inspired digital aesthetics in smartwatch design. As technology and design continue to merge, I believe we’ll see more interfaces that capture the essence of physical materials, bringing a sense of tangibility to digital displays. This trend will elevate smartwatch aesthetics, allowing digital devices to blend seamlessly into our personal style.

The success of Code Titanium Alloy has profoundly impacted my vision for future designs under my brand, Artalex. This recognition has encouraged me to push further in blending art and technology, focusing on designs that are both innovative and versatile. Going forward, I aim to explore new material inspirations and push the boundaries of digital aesthetics, creating interfaces that resonate on an emotional and visual level.

Transforming the Muse Smartwatch Face into something reminiscent of an ancient artifact or gemstone was a conscious decision. I wanted to elevate the experience of checking the time, turning it into a moment of discovery rather than mere function. The gemstone effect ties back to ancient, timeless beauty—a form that feels personal and valuable. It’s about making technology feel intimate, as though the watch face itself holds stories and memories, much like a precious stone.

Balancing artistic vision with functionality required careful layering and contrast. The Muse Smartwatch Face was designed with distinct layers, each responsible for different time elements. The challenge was ensuring that time information remains accessible without overpowering the design. Through intentional color contrasts and selective highlights, I could guide the user’s eye to critical details while preserving the artistic flow.

The highlighted totem layers and glare-like strokes for indicating hours and minutes were both creative and technical decisions. During development, I experimented with different layering techniques, which allowed me to add depth without clutter. The subtle, glare-like strokes resemble natural light reflections on minerals, making the hour and minute markers feel organic and intuitive. This approach enhances the time display’s clarity while maintaining a natural, flowing aesthetic.

Integrating additional information like the date, step count, and battery level was a delicate balancing act. These elements were embedded centrally, yet subtly, so they wouldn’t compete with the totemic layers. I used minimalistic icons and muted colors, ensuring they blend into the overall design but remain easily accessible. This approach allowed the Muse Smartwatch Face to retain both its utility and aesthetic integrity.

Receiving the A’ Design Award has been a humbling experience, validating my philosophy that art can redefine functionality. This recognition encourages me to continue exploring the intersection of aesthetics and usability in future designs. It reinforces my belief that a watch face can be more than a utility—it can be a canvas for art and personal expression, pushing me to innovate further in my work.

The decision to use Roman numerals was inspired by their classic, timeless appeal. They lend an ancient aura to the design, creating a sense of continuity with historical timekeeping methods. Meanwhile, the color choices were aimed at enhancing the gemstone aesthetic—deep greens, blues, purples—each hue chosen to evoke a different precious stone, giving users a feeling of wearing something unique and storied.

The Muse Smartwatch Face’s evolution from an initial iPad sketch to the final product involved critical design decisions. One of the most significant was the transition from abstract shapes to a more refined totemic pattern that could still convey time subtly. Deciding on the right color scheme and achieving the gemstone texture were also pivotal. These elements shaped the final design’s identity as something both functional and artistic.

The Muse Smartwatch Face embodies my philosophy that technology and art aren’t mutually exclusive but can coexist to enhance user experience. I believe that an interface should evoke emotion and reflect the user’s personal style while maintaining usability. The Muse Smartwatch Face is a product of this philosophy, merging art and technology in a way that brings beauty to the functional aspects of timekeeping.

As wearable interfaces evolve, I envision the design principles behind the Muse Smartwatch Face influencing a future where technology feels more intimate and personalized. Wearable tech has the potential to be as much about self-expression as about utility. My hope is that these principles—integrating symbolic design, material-inspired textures, and an emphasis on user connection—will shape a future where wearables are viewed as personal artifacts rather than mere gadgets.

The translucent sapphire blue was chosen to harmonize with the digital screen, creating a visual that’s rich and elegant yet functional. This choice was inspired by the need for clarity; the transparency allows users to read the information beneath the hands. The level of transparency was fine-tuned by adjusting the opacity in small increments, balancing visual allure and readability so that the hands complement, rather than obscure, the data display.

The date-centric arrangement reflects my commitment to user-centered design, especially for quick readability. By positioning the date, month, and day linearly in the center, users can quickly grasp the essential calendar information. This layout emerged from my broader philosophy that smartwatch interfaces should be efficient and focused on user needs without excessive distractions. Winning the Bronze A’ Design Award further validated this minimalist, user-first approach.

The blue/black, white/grey, and brown/purple options were curated to appeal to various user groups and settings. Research included surveys and feedback sessions where users shared color preferences based on attire and occasion. For example, the blue/black combination fits a professional look, the white/grey provides a modern, minimalist feel, and the brown/purple offers a unique, sophisticated choice. These colors also consider readability in different lighting conditions, ensuring that each combination maintains clarity.

Since the prototype in May 2018, feedback was crucial in refining the design. Early versions had fewer interactive elements, and users requested better clarity under diverse lighting conditions and more customizability. Based on this, I introduced adjustable brightness, improved component placements, and refined the date arrangement for quicker readability. Each iteration aimed to enhance the user experience while preserving the essence of the initial design.

Creating a pattern that added depth without compromising readability required a nuanced approach. I experimented with subtle textures and low-contrast patterns that would remain in the background without distracting from the foreground information. The final pattern is delicate enough to be visually appealing while maintaining functional clarity, enhancing the watch’s aesthetics without overshadowing the critical data.

Simple Code II Sapphire embodies my growth as a designer focused on blending functionality with artistic elements. My background in interactive art taught me the importance of user engagement, and this watch face is a testament to that learning. It represents a fusion of art and technology, aiming for an interface that’s intuitive yet visually expressive, marking a step forward in my vision for smartwatch design.

To create a design that adapts to both casual and formal settings, I focused on a timeless aesthetic with subtle metallic accents and a balanced color scheme. The watch face was developed with versatile, minimalist elements that resonate in both casual and business contexts. This approach allows users to wear the watch throughout the day, seamlessly blending with different styles.

One of the main challenges in developing for both Android and Samsung watches was maintaining consistency in appearance and functionality across varying screen resolutions and hardware limitations. I tackled this by using scalable vector graphics (SVGs) and modular code that allowed for flexibility. Adjustments were made to ensure each platform’s nuances were addressed, maintaining a consistent user experience across devices.

Looking forward, I envision enhancing the Simple Code II Sapphire design language by integrating adaptive elements that respond to user behavior and preferences. Future iterations could incorporate more interactive features while retaining the core principle of effortless readability. This evolution will focus on preserving the design’s minimalist essence while adapting to technological advancements and changing user expectations.

I aimed to create a seamless and natural interface, where functional elements felt like part of the aesthetic. By merging the battery indicator with the plant background, the design conveys battery status without disrupting the visual flow. The plant illustration changes subtly as battery life decreases, adding a dynamic, organic touch that harmonizes with the face’s themes. This solution minimized on-screen clutter while making the battery status more intuitive and visually engaging.

My background in interactive art has always emphasized storytelling and engagement. For The Plant, I envisioned a design that could adapt to different contexts while maintaining a unified experience. The Advent theme was crafted with clean, structured elements for a professional look, while the Nature theme embraced organic shapes and softer tones. Despite these contrasts, the recurring plant motif and balanced typography ensure that both themes are connected aesthetically, offering users a consistent yet versatile interface.

I focused on making the event notification feature subtle yet noticeable. Using color and spacing, notifications blend seamlessly into the watch face without overwhelming the display. For example, a small color change in the plant drawing or a dot near the main time display indicates new events. This approach allows users to stay informed without sacrificing the minimalist and clean aesthetics central to the Advent and Nature themes.

Throughout the development, I discovered the importance of simplicity in wearable interfaces. Initial concepts were more elaborate, but real-world testing highlighted that simplicity not only enhances aesthetics but also usability. Another discovery was the impact of color adaptability; as users tested different color combinations, I saw how small adjustments in color and contrast could vastly improve readability and user satisfaction. This feedback helped refine the final product into something both functional and visually appealing.

I approached color adaptability by selecting a versatile palette with enough contrast to keep text and icons clear in various lighting conditions. Each color option was tested to ensure the readability of key information remained consistent. I also used subtle gradients and balanced color accents that adapt based on the user’s chosen scheme. This maintains a coherent aesthetic while giving users freedom to personalize their experience without compromising usability.

Balancing technical constraints with creative vision was a rewarding challenge. WatchMaker’s framework required optimizing animations and interactions to ensure smooth performance across devices. I collaborated closely with developers, iterating on aspects like frame rates and responsiveness while preserving the artistic intent. This iterative process ensured that the final design was both visually captivating and technically robust, meeting WatchMaker’s standards without losing the essence of the concept.

Transforming the plant drawing into an interactive watch face was about translating a static concept into a dynamic, functional design. I envisioned the plant as a living entity that reacts to changes in battery life, time, and notifications. Each visual element was adjusted to serve a dual purpose: aesthetically pleasing as a standalone image and functional in an interactive setting. This evolution allowed the design to maintain its organic roots while becoming an engaging tool for users.

I see The Plant as part of a growing trend toward interfaces that foster emotional connection through personalization and interactivity. Future smartwatch designs can build on this by incorporating subtle, mood-enhancing elements and adaptive visuals that respond to the user’s daily life. This approach to emotional design in wearables can make technology feel more human-centered, moving beyond functionality to enhance the user’s well-being and experience.

My advice would be to focus on a core concept that can be adapted to different contexts without losing its identity. By establishing a strong visual and functional foundation, designers can explore variations that cater to different user scenarios. It’s also important to test designs in real-world situations to understand how small adjustments can impact usability. Striving for simplicity, adaptability, and emotional resonance will help create versatile interfaces that users can relate to and rely on.

In designing for both ease of access and a futuristic look, I focused on a minimalist layout, carefully positioning the elements to minimize clutter. Each display element, from battery status to step count, is laid out for quick readability, while the aesthetic is kept sleek and modern with metallic and subdued tones. The futuristic aesthetic is achieved through subtle gradients and text styles that resonate with high-tech design principles without overpowering functionality.

User feedback played a crucial role in refining the design. Early users requested additional features like step counting and battery percentage, which led to the careful integration of these elements without overwhelming the interface. Research highlighted the importance of a balanced interface where each added feature could be accessed without compromising readability. This feedback refined the font choices, element placement, and the intuitive navigation flow, making each iteration more user-friendly.

Development spanned over a year from May 2017 to July 2018, with key milestones including the prototype phase, where I tested the linguistic-numeric balance, followed by usability testing, which brought valuable insights for layout refinement. Another major phase involved technical optimization to ensure seamless performance across platforms. The final milestone was achieving a cohesive color palette that could shift for different environments, enhancing visual comfort and style flexibility.

To accommodate non-English speakers, I focused on universally recognizable symbols and numbers. Additionally, I considered localization options for future updates, including potential language packs. The core of the design relies on a minimalist approach, ensuring that even users unfamiliar with English can easily grasp the watch face’s primary functions, such as time and essential metrics.

The inspiration for color theme switching was to cater to both professional and casual settings. The palette includes themes that shift from muted tones suitable for work environments to vibrant colors for more casual or outdoor settings. This versatility allows users to match the face to their environment and personal style, enhancing the watch face’s adaptability across various scenarios.

Developing for both the Samsung Gear Store and WatchMaker presented technical challenges, such as ensuring compatibility with different screen resolutions and battery efficiencies. Each platform had unique constraints, requiring adjustments in graphics and code to maintain a consistent experience. These challenges prompted optimizations that ultimately strengthened the design’s performance and adaptability across devices.

Looking forward, I envision smartwatch interfaces becoming more context-aware, adapting displays based on user activity or location. Emerging trends like AI-driven personalization and improved battery technology might allow for even more dynamic and intuitive displays, offering seamless transitions between data types. This evolution would open new avenues for interactive, highly personalized designs.

Deciding which elements to include and how to arrange them involved a meticulous balancing act. I focused on essentials, like time, battery, and steps, while positioning them to avoid overcrowding. I prioritized central placement for the time display, with secondary metrics subtly integrated around it, achieving both aesthetic harmony and functional clarity.

For designers aiming to blend innovation with usability, I recommend focusing on the core user needs first, then introducing creative elements that don’t detract from the main functions. Iterative feedback, prototyping, and testing are invaluable to refine layouts and interactions, ensuring practicality and a smooth user experience. Balancing aesthetic appeal with practical usability requires a design philosophy grounded in empathy for the user’s daily needs.