Interviews with Szabolcs Nemeth

I come from a family of educators, and none of my ancestors were artists. Neither of my siblings showed particular inclination or interest in the arts. However, from a very young age, it became clear that I had a special talent: my drawings were far beyond the level of my peers. Although I won several drawing competitions, I didn’t really enjoy competing; I much preferred finding my own solutions and creating works that brought me personal joy rather than producing them at a competitive level. When I was admitted to university, I was extremely happy and enjoyed every moment of my studies. Thanks to the university, I also had the opportunity to travel to several major European cities through scholarships. I participated in the Erasmus program, studying at a university in Kraków, Poland. Additionally, I attended workshops in Hannover and Ljubljana, where I further expanded my professional experience and inspiration. In Hungary during the 1990s, amid the emergence of the market economy, university students had a tremendous opportunity to become directly involved in international commercial processes. With the arrival of the first multinational corporations in Hungary, the advertising market was still unsettled following the political transition. Although various media, marketing agencies, and advertising studios had already appeared, their numbers were still small. As a result, it was quite common for a young graphic designer to work directly for a multinational company without an agency intermediary. Additionally, university students could also work for different advertising agencies even before graduation, which I actively did myself.

I consider myself a traditional artist who believes deeply in the value of classical skills and techniques. I think it is much harder to create meaningful work without them. These are the tools and abilities I learned from classical fine and applied arts, long before the digital era. For example, during university admission, essential criteria included life modeling, study drawing, perspective drawing, portrait drawing, and full-figure drawing.
From my experience, those who master these traditional techniques and later embrace digital design tools gain a significant advantage. I count myself among them: I am capable of thinking and designing without a computer, using just a single sheet of paper and a simple line—much like Renaissance masters did. When it comes to refining the designs and the realization phase, I turn to digital tools to carry out parametric and computer-based processes.
The same philosophy applies to sculpture. Although today it is easy to 3D print figures based on digital models, we always handcraft the original forms first. For example, I model the handle of a fishing rod by hand in sculpting wax before it undergoes digital processing and final refinement.

In visual communication design, I fundamentally enjoy creating two-dimensional graphics, as it is an exciting task. However, many times I feel that this type of design doesn’t offer enough challenge for me. For some reason, life has led me towards creating three-dimensional objects, which is a very exciting field for me.
When I first imagine the core idea, it already creates a state of excitement. After the initial research and conceptual thinking, when I realize that my idea has validity and feasibility, it brings an even higher level of enthusiasm. Then the creative process begins, which, in my case, is very lengthy. I believe that whenever I create an object, I can only confirm its functionality through numerous tests. Therefore, the creative process for me is often long and persistent, requiring the production of many prototypes to be sure that the design truly works.
This is also true for something like an anamorphic fountain, where I create a plan for how a mosaic matrix will visually align on a cylindrical mirror surface. I first create a small-scale model and adjust the graphic in various ways to find the optimal solution.
In the case of a fishing rod, the process is especially exciting because, for example, developing a spring that forms the rod body cannot be done simply based on hand drawings or computer measurements. The spring needs to be tested by actually using it, catching fish, gathering feedback, and then modifying the design accordingly. This process often takes years.

I believe that a designer’s work is truly successful only when there is a strong drive for innovation. It is not enough to simply follow existing patterns or replicate trendy solutions. It is important to have the courage to seek out solutions that do not yet exist at the current moment — true, independent innovation.
To achieve this, one must be able to distance themselves from the current situation and envision things that have never existed before. However, the question is how big those dreams are. A successful designer needs to choose projects that are realistic in scale, both financially and in terms of the required work. If the dream is too big, no matter how fantastic the idea is, it will likely never come to fruition because it may be difficult to secure funding or to present the project convincingly enough to attract investors.
That is why I advocate for working on projects of a scale that does not depend on the skills or intentions of others, but can be realized solely through my own will and capabilities.

Some of my plans have already come to fruition, as I’ve had the opportunity to explore many areas throughout my life. Among them is one particular project that I’ve grown especially fond of, and which has become a central component of my long-term vision: the development of a compact fishing rod.
This is a type of innovation that is never truly finished. I’ve already developed a base system that is compatible with a wide range of reels and can be used for many different fishing methods — from casting from the shore or a boat, to ice fishing, and even underwater snorkeling-based fishing. I truly feel that this is my "dream project" — something I want to keep refining and evolving in the years to come.
My belief in this project is further validated by the success of its patenting process, which lasted eight years. In every country where I applied for protection, the patent was granted. The Wormy products are now protected with 20-year patents in the world’s largest markets. That means no one else can produce or sell them for two decades from the date of filing — and I still have about 12 years remaining under this protection.
I see this as the foundation of my long-term work — a project that I will continue to nurture with dedication, creativity, and care in the coming years.

My advice to younger creators is this: the younger you are, the more important it is to stay connected to where we come from — to remember that some of the world’s most beautiful and enduring works were created without any digital tools.
I often see young people trying to bypass traditional creative processes. They avoid working with physical materials, never pick up a pencil, don’t sculpt or draw by hand, and instead rely entirely on digital tools — and today, increasingly on artificial intelligence.
No one yet knows exactly where this will lead in the long term. It’s a fascinating new paradigm, but also one full of deep and unanswered questions.
Still, I believe that a truly good designer — even in the age of AI — must be capable of independent creation. Like AI, they must absorb the knowledge and achievements of their time, but then take one inventive step beyond, synthesizing those inputs into something entirely new, perhaps even something that never existed before. That’s what I believe defines true innovation.

I believe that anyone who is born with the ability to create something new — and who chooses to put that gift in service of humanity — has received one of life’s greatest blessings. My advice to young designers is to recognize the value of their talent and try to make use of it every single day. Every creation, no matter how small, is a contribution to progress.
At a young age, this may not always feel meaningful. But in the long run, we can begin to see how our work might actually influence the world — even within our own lifetime. And when that realization comes — that your knowledge and creativity have served a greater purpose — it is one of the most fulfilling feelings imaginable.
It’s also why I believe that every creative person should deeply value and continuously develop their abilities. Talent is a gift, yes — but it’s the dedication to growth, to practice, and to self-improvement that gives it true meaning.
For me, the act of creation is mostly a joy — I would say 75% enjoyment and only 25% difficulty. And that 25% is the part that excites me the most: the challenge itself, the search for solutions, the process of figuring things out.
It’s also important to understand that an idea is just the beginning — a spark. The real work comes after. A great idea alone doesn’t guarantee success; it takes time, testing, and determination to even prove its potential. But once that’s done, the creative journey truly begins — and for me, that journey is often more rewarding than the final result.
That fulfillment applies not only to the creation of a product, but also to the journey toward recognition. Winning an award is a wonderful experience — but often, it’s the path you take to get there that brings the greatest joy and meaninng.

My workday begins like most people's — with a cup of coffee and switching on my phone. Then I go through the most urgent tasks for the day and try to reach that point as soon as possible where I can focus on what I do best: design.
Since I have a family and run a business, I can’t dedicate as much time to pure design work as I would like. But that’s the nature of life — and I accept that. The key is to find those moments when I can fully immerse myself in the creative process.
Whenever possible, I try to signal to those around me that I need uninterrupted time to concentrate on tasks that only I can carry out. This is especially important for complex projects — such as my award-winning compact fishing rod — where so many small details are interconnected that only I, as the original creator, truly understand the full system. Whether it’s as a designer, a fisherman, an engineer, or a company director, I’m often the one who can give the most effective answers to design or construction challenges.
So my days are complex — a constant balancing act between design, operations, family life, and entrepreneurship. And to be honest, I may never have as much time for pure design work as I would ideally want. But that, too, is part of building something real — part of the process of creating and maintaining a brand.

I hadn’t really thought about this before, so I’m glad you asked—because I believe my answer differs from what most people might say. Of course, I follow design trends and observe the directions the field is heading in, but they have never been the source of my inspiration. I don’t aim to borrow elements from them or align my work with current styles.
My way of thinking is much more retrospective—I look to the past. I examine what design has produced over the years and seek to offer contemporary yet entirely personal answers to timeless questions. I’m not interested in integrating the current solutions of others into my work; rather, I aim to respond to enduring creative challenges in my own way.
A perfect example of this is my anamorphic mosaic. In that project, I combined classical, traditional techniques with modern technology. I created a four-square-meter surface made of tiny mosaic tiles that initially appears to form a chaotic, unreadable pattern. But when a person looks into the mirrored cylinder of the drinking fountain placed in the center, the mosaic transforms into a figurative image—a mounted royal figure arriving with his army.
The original composition was drawn by hand using graphite, and later I used digital tools to build the mosaic matrix from that image. So the piece is rooted in classical craftsmanship while being realized through modern means.
In essence, I’m always looking for unique solutions. I connect traditional methods with today’s technologies to create something new. This is my individual path—independent of any current trend.

In my view, design—whether it's product design, visual communication, or any other form—must always begin from a rational foundation, and that part must be fully resolved. As I’ve mentioned earlier in this interview in response to another question, it comes down to function and form.
If I’m designing an object for use, it must first and foremost function properly. The function is fundamental. But I must resolve it in a way that also results in a form that is aesthetically pleasing, one that is visually satisfying. I wouldn’t even speak so much about proportions as I would about balance.
If these two elements—function and form—are both fully present and in harmony, then we’re talking about good design. It doesn’t matter which comes first, because one cannot exist without the other. The essence of good design lies in the perfect balance between the two.
For me, a design truly works when I look at it and instinctively say, “Yes, that’s it!” Even if I don’t consciously analyze it in that moment, it’s the balance I’m sensing. That’s why I say “aha”—because it works, and I like it.

In my view, design is an infinite process – a design is never truly “finished.” Of course, there can be certain phases within the design process that represent temporary endpoints. These moments may result in an actual product or even lead to mass production, and the result may be an excellent product – but that doesn't mean the story ends there. In fact, it's much more likely that the life of a product stretches far beyond that initial phase.
I believe that reason, market conditions, and the surrounding business context always dictate when I raise my hand from the table and say, “This phase is now complete” or “This is ready.” But this “ready” only applies to the current state. From that point, it can become a product – but I’m absolutely certain that there’s always room for improvement. And even beyond that improvement, there’s always more to be done – development can continue endlessly.
That’s why I look at everything I do as a milestone, rather than a final destination. Whether it’s product design or brand identity, I design the entire visual communication of my own brands – from trademarks and visual identity elements to packaging and presentation. And here too, the same applies: it’s a continuous evolution with key milestones along the way.
Yes, sometimes a milestone may also represent a major goal achieved, and we may feel we’ve arrived somewhere meaningful – but I still believe the journey never truly ends.

My greatest design work, although it started small, eventually grew into something big because I put an enormous amount of energy, time, and love into it. This is my project called Wormy Compact Fishing Systems. The fundamental reasons behind how this came to be are as follows: I grew up by Central Europe’s largest lake, Lake Balaton, spending my entire childhood there until adulthood. Naturally, my grandfather introduced me to the secrets of fishing, so we fished together from a very young age.
Meanwhile, I pursued a career in design in Budapest, and a few decades later, I once searched for a particular fishing product I wanted to buy. I realized that there wasn’t a device on the market that met my expectations. Only some of my requirements for such a fishing system were fulfilled, so I was instinctively motivated to create one myself.
After I made the first prototype, I understood that there was much more potential in it, and a lot could be improved so that it would not just be a small, individual fishing tool but a complete system that could be used with many different fishing methods. Thus, my desires and skills came together and materialized in a concept that I then realized.
At first, selfishly, I made it for my own use, but I spent a lot of time testing it. It’s interesting with such developments that once you have a prototype, you need to test it continuously in various locations and with different methods. There are many pitfalls with a mechanical device, and this phase reveals how well the different expectations are met.
I had to manufacture and test many different prototypes, which took a lot of time. However, I enjoyed the process of designing and testing — basically, I was fishing the whole time. Of course, it wasn’t always enjoyable because not every prototype worked perfectly, but I kept moving forward and was always able to improve the product.
My original goal was just a single product for myself, but I realized that if it’s good for me, it could be good for others, too. So I started designing a broader system and developed a product line. Initially, the materials used were suitable only for small-series production, and I wasn’t prepared to produce large-scale, low-cost products. However, this changed over the years, and now I’m ready to launch fishing rods made from quality materials with modern CNC technology, featuring carbon composite injection-molded reel seats and cork handles replacing the former hardwood grips.
This manufacturing method allows cost-effective, large-scale production at a competitive price, so I hope the product will become available to a much wider audience.

I would gladly have a conversation with him, and fortunately, he is still alive. I would ask Dieter Rams about his philosophy of 'less but better' and the harmony between functionality and aesthetics.

My lifestyle and cultural identity — which I am deeply proud of — are closely intertwined with my family and the creative path we’ve chosen. I have two children, one of whom is already an adult. My partner is a sculptor, and for over 25 years, we’ve run a creative business together — so it’s fair to say we are a true artist family.
Our younger child recently began studying sculpture at one of Hungary’s most prestigious secondary art schools. In our household, this has become a family tradition: my partner’s parents were artists too, though I myself didn’t come from an artistic background. Yet today, creation is part of our everyday life.
We live in a small town just outside Budapest, nestled in the Danube Bend, surrounded by the beauty of the Pilis mountains. The closeness of nature, a vibrant local cultural scene, and especially the presence of water are deeply important to us. Water, in fact, has always played a key role in my life — I grew up by Lake Balaton, the largest lake in Central Europe, and now we live near the Danube River.
At the moment I’m giving this interview, I’m in Rovinj, Croatia, on the Adriatic coast — one of the dearest places to my heart. I purchased a small apartment in the old town about twenty years ago, and it’s since become our family’s summer retreat. I spend as much time here as I possibly can.
Rovinj (or Rovigno, in Italian) is a thousand-year-old coastal town that was once a humble fishing village. It carries a rich Venetian heritage, and its winding alleys, Mediterranean charm, and historic architecture offer endless inspiration. The climate, the food, the pace of life — all these elements deeply shape how I live, think, and create.
Additionally, one of my partner’s siblings married and settled in Italy over thirty years ago, and we now have a large Italian family with whom we maintain a very close relationship. Their influence, and this inherited Mediterranean sensibility, continues to shape our lives — both personally and artistically.

Is it easy to work with me?
I believe it is. At heart, I’m a mediator-type person who values collaboration based on mutual respect. Honestly, I don’t feel very comfortable within rigid corporate hierarchies — probably because I’m not really a businessperson. I’m a designer. And in structures where roles are clearly divided — owner, CEO, lead designer — I often feel out of place. Yet in my own company, I have to take on all of those roles myself, which can be overwhelming. Ideally, I would spend most of my time designing — that's where I truly feel at home.
Operational tasks, financial responsibilities, delegating work, team building — all of these are challenging for me. Still, I try to create a working environment where people are treated as equals, where collaboration is key. I’m not interested in lecturing or instructing others; I want to work alongside people and learn from them as well. That’s why I naturally gravitate toward studio environments built around mutual creativity and shared ownership.
At the same time, when developing a product of my own for the international market, I can’t ignore the need for professional growth in business areas too. Brand-building, business strategy, and understanding the operational side of running a company are just as important — and I’m still learning those skills.
I like working with people whose strengths complement mine — people with whom I can "merge" ideas and co-create something new. I also value team members who may not focus on creativity but are reliable in execution and consistency.
To me, one of the most important qualities in a good designer is that the materials they deliver should be of such high quality that even those less experienced can confidently use them as a solid foundation for their own work. But this only comes with a significant investment of time and attention.
I consider myself a thorough and detail-oriented person. Not only because it’s my nature, but because I’ve come to understand that in design, many of the subtleties simply can’t be handed off to someone else — unless they’re fully thought through and worked out in detail. That’s why I often feel the need to dive deep and complete those parts myself.

As much as my possibilities allow, I try to take an active role in the smaller communities where I live, particularly by contributing my artistic, curatorial, and professional perspective to support the preservation of the town’s visual identity and to assist the work of the local arts council. I take on this role entirely voluntarily, without financial compensation, because I believe it is important to contribute to the cultural development of the community with my experience, taste, and skills.

As part of this work, we initiate and manage various art competitions, establish local art prizes, and participate in the jury process. I see this as a meaningful, non-profit activity that serves the public good.

In addition, we operate a public community space called “Szabadság Tér” (Freedom Square) in our property, which also houses our studio. This venue is dedicated to showcasing artistic content. We organize exhibitions for local and regional artists, provide a platform for emerging talents, not only in design, fine arts, and applied arts, but also in musical performance.

I believe international design competitions hold incredible significance for the advancement of designers. It is extremely important that anyone capable of creating a high-quality intellectual product shares it on the right platforms to reach a global audience. However, I think many creators still haven’t realized this or hesitate—or simply don’t want—to submit their work to these awards. Meanwhile, with the incredible expansion opportunities provided by the internet, this is arguably the best way for a designer to gain recognition, respect, and achievements.

Winning an award is flattering on its own, but I believe that for an international design prize—such as the A’ Design Award—this is especially true. Receiving such recognition is a wonderful experience, as is attending a Mediterranean evening gala, which remains a beautiful memory. Yet, the true significance of such an award lies primarily in its promotional and marketing value.

For someone like me, who not only participates in these competitions but also has their own product, winning a credible international award is invaluable—not only for raising my personal profile but also for strengthening the recognition of my brand.

I wanted it to work equally well with both top and bottom mounted reels. Its central element is an aluminum, CNC-machined reel seat from which the trigger can be pulled down, making it suitable to receive lower-positioned reels besides upper-positioned ones. There is a threaded shaft hole at the end of the centerpiece into which we can screw in various types of handles. Different spring poles can be fitted in the socket at the other end of the reel seats' axis. The original package can be extended at any time with additional spring poles and grips.

The Classic Range uses stainless steel spring rods, CNC-machined seawater-resistant 6061 T6 aluminum reel seat, and hardwood handles. The result is a truly unbreakable, portable fishing rod that is built to last for decades. The Black Range ONE will soon be launched, with cork composite handles and a carbon composite reel seat unit that is injection-molded for mass production. It is resistant to salt water, alkalis, and UV radiation. This large-scale series creates a significantly more affordable product, which further expands the range of customers and applications.

The concept won the Hungarian Design Award in 2015, followed by another nine years of product development and international patenting.

This concept and the system developed from it are the realization of my desire. I have loved nature and water since I was a child, and design is my other love and also my profession.

I also organized the production of the original version of the product myself. The components produced in various sectors are assembled in my own company's workshop and then released to the market.

What primarily motivated me to create the system was that I couldn't find a device for my market that was tiny, easy to use, and modular, so it could be used for a wide variety of fishing methods at all times of the year.

Of course, every solution that has emerged in the fishing industry today has an impact on the designer who thinks in a unique design. If we look at the reels available on the market, we are talking about a lot of technologies and mechanisms. I had to thoroughly test (fish) every type and size and shape my product based on these experiences.

The target customer group is far from just typical anglers, but everyone who wants an easy-to-obtain fishing experience with an ultra-compact, portable, durable, modular device.

Previously, no other compact fishing rod could accommodate both bottom and top-mounted reels with flawless operation, both in casting and spinning modes. This makes it uniquely versatile. It can be used in all seasons, from a shore, boat, kayak, or SUP, on ice, and even underwater (snorkel fishing). All this is achieved with the detachable reel seat unit, which is the pillar of the system and the patent. The nearly 9-year, complex examination process of the patenting ended with the granting of the patent in every country applied for. Thus, the concept has become a true invention, protected in the world's largest markets until 2037.

The word wor.my probably means a type of live bait for everyone in fishing, but it also refers to the shape of the coiled spring. At the same time, the diminutive suffix refers to the tiny nature of the device, The wo.my logo is a registered trademark in the world's largest markets. I designed the logo and the entire corporate identity myself based on my own idea. The domain of the official website could not be more striking: https://wor.my

It may seem funny to many, but I drew the prototype plans by hand, and I created the first copy completely without digitalization. This specifically means that, for example, I first modeled the pistol grip in sculptor's wax, and then, when I considered its grip/ergonomics and appearance to be appropriate, I carved it out of wood with a knife based on the model.
The aluminum prototype of the reel seat unit was made based on my vector drawings, but on a fully mechanical cutting machine in the workshop of an old professional friend of mine. For years(!) I went to a spring factory that worked with fully mechanical machines: when a sample spring was made based on my drawing, I took it to fish with it, to test it. I had to try out a lot of spring steel, training methods, and bending before I got to the final springs.

Uniquely versatile. It can be used in all seasons, from a shore, boat, kayak, or SUP, on ice, and even underwater (snorkel fishing).

Of course, after the prototype, all the design was done with the help of digital technologies. I have made 3D models of all components, and the fine tuning has already been done on these. The components of the Classic Range are made by CNC machining, which we assemble in our workshop. My new Black Range ONE series, which is made with a carbon composite reel seat, is now made using injection molding technology. The cork grips are also reproduced in large-scale production using professional molds. Stainless steel springs are made on a digital, high-performance, fully automated production line. The processes above show how many different industries had to be involved in the design and production of the product.

Regardless of which product line we are talking about, product design, product development and cost-effective series production are unthinkable without the use of today’s technologies.

The research began with the assumption that there was a fishing rod that could be varied to suit the widest range of methods and locations. Extensive research, conducted with the help of a patent attorney, led to the realization that there was no reel seat with a removable trigger. The design therefore focused on creating such a detachable reel seat that could accommodate spring rods with different mechanical properties at one end, and grips with different ergonomics at the other.

In design and production, it is natural to be uncertain and even take the wrong path several times. But this is exactly what makes us develop. That is why it never bothered me, because this is the nature of design, and this is what makes this profession beautiful. What bothered me was the administrative and financial burden of the international patenting process, which took 9 years. In the end, the process was completely successful, but I didn't find it fun to go through it at all.

After almost a decade of patenting, I received a final decision from the patent offices of several countries around the world stating that I had invented something. This encouraged me to present it in an international design competition.

I really enjoy this journey because it's about a subject that's close to my heart. I could also say that I designed it for myself, but it turned out so well that I have to share it with everyone I can. I have come into contact with many industries (CNC production, pressure molding, etc.). The other miracle is that as a visual communication designer, I also take care of the corporate image and branding and build it as my own.

The above did not mention how easy the system is to use:
Using it is roughly the same as using conventional rods, except that the body's functioning is ensured by a stainless steel spring. We can use interchangeable springs with different mechanical properties depending on the casting weights and the method we use. The spring pole arcs at the same time serve as a line-leading ring. The small size of the device allows you to cast not only from above but also from the side or bottom. The spring, like a catapult, launches the bait.

Curiosity. I have always enjoyed solving problems. Design, for me, is simply a structured way of making everyday life a little better. I don't design because I want to create objects. I design because I want to remove frustrations.

I don't think I ever had another option. Looking back, it feels less like a decision and more like discovering who I already was.

I enjoy creating products that combine mechanics, usability and emotion. I would love to spend even more time designing products that help people reconnect with nature and encourage real experiences instead of screen time.

Forget about becoming a legend. Become genuinely curious instead. Observe people. Listen more than you speak. Learn engineering, psychology, manufacturing and communication. And don't give up after the first hundred failures.

A good designer solves problems. A great designer discovers problems nobody noticed before.

Good design feels inevitable. When people see it, they think, "Why didn't this exist before?" Simplicity is usually the result of enormous complexity behind the scenes.

Good design saves time, reduces frustration and often lasts much longer. It improves everyday life quietly, without asking for attention.

More products that make outdoor activities simpler and more accessible for families and beginners.

A complete ecosystem of compact outdoor products sharing the same design philosophy as Wormy.

Persistence. Most people underestimate how much can be achieved simply by refusing to quit.

Dieter Rams, Naoto Fukasawa, James Dyson, Jony Ive, Luigi Colani and many anonymous engineers whose names most people never learn.

I admire products that disappear in use. The best designs don't constantly remind you they were designed.

Without question, Wormy. It represents more than ten years of development, patents, countless prototypes and an entirely new way of thinking about fishing equipment. What makes it special is not only the product itself but the philosophy behind it.

Keep learning outside design. Read engineering books, study biology, observe nature and build real prototypes. Reality is the best teacher.

Probably something involving nature, craftsmanship or engineering. I need to create things.

Design is empathy transformed into reality.

My family. They believed in projects that often seemed impossible. Without their patience and encouragement, many of my ideas would never have become reality.

Thousands of failures. Every unsuccessful prototype contained valuable information.

Limited resources, limited manufacturing possibilities and years of uncertainty. Independent innovation often means doing the work of an entire company alone.

Tell the story behind the solution, not only the appearance of the object.

Several new developments are already underway, all following the same philosophy: making outdoor experiences simpler, smarter and more enjoyable.

To create products that people still enjoy using decades from now.

Hopefully honesty. I don't want to surprise people with complexity but with thoughtful simplicity.

Every good design removes a small daily frustration. Millions of small improvements eventually shape a better society.

Expanding the Wormy ecosystem and developing digital services that connect users and their outdoor experiences.

Wormy, because it required every skill I had learned during my career. It became much more than a product—it became a personal journey.

Less disposable products. More durability, repairability and genuine innovation.

Toward more sustainable, modular and adaptable products supported by intelligent digital services.

Sometimes months. Sometimes more than a decade.

By identifying what people silently accept as unavoidable.

Never stop asking, "Could this be simpler?"

Great design creates trends. Everything else follows them.

Technology is a tool, never the goal.

I use a combination of CAD software, Adobe Creative Cloud, 3D printing, CNC manufacturing and traditional hand-built prototypes. Digital tools are important, but many ideas are still born with pencil and paper.

Materials communicate honesty. Color communicates emotion. Together they shape the entire experience.

Not "What does it do?" but "Why was it designed this way?"

I immediately start wondering what compromises had to be solved to make it look so effortless.

Absolutely. The best partner is someone who respectfully challenges your assumptions.

Users. Real feedback from everyday people has influenced my work more than any theory.

Rather than one specific book, I have learned from engineering, biology, psychology and product development literature. Nature itself has been my greatest textbook.

By continuously designing, building, testing, failing and starting again.

Leonardo da Vinci. I think our conversation would last for days.

Awards are deeply appreciated because they confirm years of invisible work. They are milestones, not destinations. Recognition brings responsibility more than fame.

Color: Black.
Place: The Adriatic coast and Lake Balaton.
Food: Traditional Hungarian dishes.
Season: Summer.
Thing: My sketchbook.
Brand: Patagonia, because of its philosophy.

After years of developing Wormy, I eventually realized I was carrying more prototypes than actual fishing equipment. Somewhere along the way I became the person testing inventions instead of catching fish. Fortunately, both turned out to be enjoyable.

A single successful prototype can justify weeks of failures. Small progress is enough motivation.

Not at all. But it was obvious that I couldn't stop taking things apart to understand how they worked.

Technology will change dramatically, but human curiosity and creativity will remain exactly the same.

Behind every award-winning product are years of invisible work, uncertainty and persistence. If my work inspires anyone, I hope it is not because of the awards, but because it shows that one determined person can still build something meaningful from a simple idea.

For more than twenty-five years I have been working in my own independent design studio. Unlike large design consultancies, I often manage every stage of development myself—from the original concept through engineering challenges, prototyping, branding, communication and manufacturing.

I sometimes call this approach "backyard design." Without a large engineering team or marketing department, one person has to wear many hats. It is demanding, but it also creates complete creative freedom.

Design is empathy transformed into reality.

It begins with observing people, identifying frustrations they often accept as normal, and then creating something that quietly improves everyday life.

Beautiful form is important, but meaningful function always comes first.

Products that genuinely improve everyday experiences.

I particularly enjoy projects where engineering, ergonomics and emotional value come together naturally. Outdoor products and equipment connected to nature are especially close to my heart.

Without hesitation, Wormy.

It represents more than ten years of continuous development, hundreds of prototypes, international patents and countless lessons learned through testing.

What makes it special for me is not simply the final object, but the philosophy behind it: questioning assumptions that had existed in fishing equipment for generations.

During my early career I designed visual identities, printed materials and exhibition projects for various clients before gradually moving toward industrial and product design.

Materials that honestly express their function.

I enjoy combining stainless steel, aluminum, technical polymers and natural cork. Technology should support the experience, not dominate it.

Usually after observing a problem for a long time.

Ideas rarely arrive instantly. They emerge slowly after collecting many small observations until everything suddenly connects.

Usability comes first.

Then simplicity.

Only after those do I focus on visual refinement.

Curiosity.

Designing feels less like creating something and more like discovering something that was already hidden inside the problem.

Relief first.

Then excitement when people begin using the product in ways I had hoped they would.

When people stop thinking about the product and simply enjoy using it.

The best design quietly disappears into the experience.

Does it solve a real problem?

If not, everything else becomes secondary.

Designers should create products that people keep, repair and enjoy for many years instead of replacing frequently.

Good design is sustainable because people do not want to throw it away.

Products will become increasingly modular, connected and adaptable.

However, timeless simplicity will always remain valuable.

My latest international presentations have been connected to award exhibitions and design events, including A' Design Award and several international design competitions.

I look forward to exhibiting future projects at international design and outdoor industry events.

Nature.

Real users.

Engineering.

Long conversations.

Failures.

Most inspiration comes from observing everyday situations rather than searching for inspiration directly.

Quiet.

Functional.

Honest.

I try to remove everything unnecessary until only the essential remains.

I live in Hungary.

Hungarian designers traditionally learn to solve problems creatively with limited resources. This mindset has had a strong influence on my work.

Sometimes limitations become advantages.

As a collaborative partner.

I like understanding not only what a company wants to build, but why.

Choose designers because they ask good questions, not because they promise quick answers.

Observe.

Question assumptions.

Sketch.

Prototype.

Test.

Fail.

Improve.

Repeat.

• My sketchbook

• A well-balanced kitchen knife

• A mechanical pencil

• A classic camera

• My Wormy prototype collection

A typical day may include sketching ideas, machining prototypes, meetings, photography, writing, testing products outdoors and answering questions from users around the world.

Prototype earlier.

Listen carefully.

Stay humble.

Never fall in love with your first idea.

The greatest advantage is turning ideas into reality.

The greatest challenge is that truly innovative ideas usually require enormous patience.

If something can be simplified, it probably should be.

Curiosity.

Persistence.

Observation.

Communication.

Empathy.

Sketchbook.

CAD software.

Adobe Creative Cloud.

3D printers.

CNC machining.

Photography.

Most importantly: prototypes.

By focusing on priorities rather than urgency.

Long projects require consistency more than speed.

Anywhere between several months and more than ten years.

Wormy itself required over a decade.

"Why hasn't anyone thought of this before?"

That is probably my favorite question.

Developing Wormy from an idea into an internationally patented, award-winning product taught me more than any single project ever could.

Alongside private clients and companies, I also develop my own independent products under my own brand.

Projects that require inventing something genuinely new rather than improving existing solutions.

Expanding the Wormy ecosystem and continuing to create products that encourage people to spend more time outdoors.

Many concepts originate with me, but successful products are always the result of collaboration with engineers, manufacturers, photographers, filmmakers, testers and many dedicated partners.

Several exciting developments connected to Wormy are currently underway, though it is still too early to reveal details.

Through my official website, LinkedIn or the Wormy online platforms.

Design is often associated with talent.

I believe it is much more closely connected to persistence.

Behind every award-winning product are years of invisible work, failed prototypes, difficult decisions and countless small improvements. If there is one thing I hope people remember about my work, it is that meaningful innovation is rarely the result of a single brilliant idea. More often, it is the result of refusing to give up until the idea finally works.

The Birth of Wormy – A Practical, Castable Spring-Based Fishing Tool: My primary goal was to develop a fishing device no longer than 60 centimeters, that would be fully capable of casting, and would feature interchangeable springs. These springs vary in sensitivity depending on the number of arcs they contain: the fewer arcs, the stiffer and snappier the spring behaves. This spring tension plays a key role during casting: Heavier lures require stiffer springs for control and distance, Lighter baits work better with softer, more flexible springs. The spring’s sensitivity is also crucial when playing the fish — helping absorb shocks and reduce line breakage. Creating a tool that was truly castable, not just a static rig, was essential for me. However, the spring mechanism doesn’t work equally well with every reel type. While in theory, most reels could be mounted, not all are efficient or practical for this system. After extensive testing, field fishing, and measuring performance, I concluded that: Baitcasting reels work with the system, but closed-face spincast reels offer the best results, especially those with 5–6 cm diameter spools. Why? Because spincast reels release the line through a central opening in the spool, allowing the line to exit with minimal lateral deviation. This makes the line pass smoothly and cleanly through the spring arcs, which also function as line guides. To pair with this reel type, I designed an ergonomic, pistol-style handle, and integrated a trigger into the reel mount. Spincast reels are operated by resting the index finger on the trigger, while the thumb presses the release button during casting. This setup feels natural, comfortable, and allows for precise control. This process gave birth to the first working prototype of Wormy — a fishing device that is compact, durable, fully castable, and built to meet the practical demands of modern anglers. It became the flagship model now known as the Cast Pack.

The Birth of the Wormy Compact System – A Modular Approach to Universal Fishing: Creating a pistol-grip, spring-powered rod with a top-mounted, closed-face reel was a huge step — but it still wasn’t a true system. It was a tool. Not a platform. That’s when I realized that the entire concept needed a central structural element — the reel seat. This reel seat would serve as the core hub of the entire setup. One end needed an adapter for attaching the spring module, and the other end needed a threaded interface for interchangeable handles. The result was a three-part modular design: Central reel seat, Interchangeable spring unit, Swappable handle section. Everything — the spring, the handle, the reel — connects to the central mount. To support top-mounted reels, I designed a removable trigger module. This trigger slides onto the axis and can be easily removed if you want to mount a bottom-positioned reel instead. By swapping the pistol grip for a straight handle, and flipping the spring assembly to bottom orientation, the exact same spring mechanism becomes a conventional spinning rig when combined with a spinning reel. That’s how the system was born — a modular fishing platform, not just a rod. A system that adapts to different fishing styles using one core unit. The Cast Pack remains optimized for casting techniques — lure fishing, predator targeting, fast-action methods. The bottom-mounted version, which I named Spin Pack, is ideal for: boat fishing, ice fishing, or even snorkel fishing — underwater angling. So the Wormy system emerged as a versatile, modular concept — designed to meet the needs of modern, mobile anglers who want adaptability without compromise.

Awards, Recognition & Validation – The Birth of the Wormy System: Even back when Wormy existed only as a prototype, I was fortunate to receive encouraging recognition: I won first place in the “Concept” category of the Hungarian Design Award. This gave me a huge boost and played a key role in motivating me to begin full-scale development. That development led to the product receiving one of its most important honors so far: a high-level distinction in the “Camping Equipment” category of the international A'Design Award. To me, this is a meaningful and authentic validation of the journey I’ve taken with Wormy — and the results it has produced. The project began from a deeply personal need: I simply couldn’t find a compact fishing solution that matched my requirements.And I had never seen a modular fishing system before — not on the market, and not even as a concept. That gap inspired me to build not just a tool, but an entire compact, durable, and modular fishing platform. Throughout the design process, I kept one clear goal in mind to create a system that is: Small in size, Easy to transport, Extremely durable, And adaptable to as many fishing methods as possible. But not only that — I also wanted it to work in as many environments and weather conditions as possible. In the end, I believe Wormy achieved that goal. It’s a system that allows you to fish: from shore, on water (from a boat), on ice, and even underwater — in any season, all year round.

The Art of Casting – How the Wormy System Performs in Motion: The casting performance of this tiny system depends on a combination of factors — it’s a balance of mechanics, materials, technique, and design. At the heart of it is the spring body, which serves as the core of the casting mechanism. The spring works like a catapult, launching the bait forward with precision and force. The casting motion is similar to that of a traditional fishing rod, but there are key differences: The rod is held with one hand only. The movement doesn’t come from the shoulder, but relies heavily on the wrist. While the arm provides the main swing, it’s the flick of the wrist that drives the cast. When done properly, the spring and bait work together to create a slingshot effect, propelling the bait forward with surprising power. Line control and friction. The spring is designed with arched wire loops that double as line guides. These loops are shaped to: Minimize contact surface with the line, Reduce friction for smoother line release. However, because this is a very short rod, loose line can sometimes snap back into the open loops, causing serious tangles — the kind that often require cutting and re-rigging. To prevent this, I introduced a removable rubber ring that can be placed over the spring. This flexible band: Closes off the open arcs of the spring, Prevents the line from getting caught, Is fully replaceable and easy to attach. Reel selection matters: To achieve optimal casting, the reel must be carefully chosen. Ideally a top-mounted closed-face spincast reel, with a spool diameter of 5–6 cm, and a line outlet of at least 1 cm in diameter for smooth line release. Materials and finish: The spring and the terminal line guide are made from stainless steel and finished with electropolishing. This high-grade surface treatment ensures minimal friction on the line, faster, cleaner casts. The same polished finish is applied to the spring, creating a tight, slick surface that aids line speed and reduces resistance. Learning the cast: Casting with the Wormy system takes a bit of practice. While it’s still a hand-cast, the dynamics are different: The wrist movement is crucial, and timing matters — you need to learn exactly when to release the reel during the motion. Once mastered, the system can match the casting distance of a traditional 2-meter spinning rod — all while being smaller, lighter, and more portable. The Development Process – Patience, Prototypes & Practice: So how did the development process actually unfold? It was an incredibly long and detailed journey. Before I could even test a prototype spring, I had to decide: What gauge of spring wire to use, What type of steel to select, What heat-treatment temperature would yield the right performance. Then came the design phase — I created hand-drawn sketches and digital models. With these designs in hand, I visited a small industrial workshop, where they used manual, mechanically operated machines (not digital CNC) to produce the springs based on my blueprints. Once I had the spring, I sent it for electropolishing, added the terminal line guide, mounted it on one of my early fishing rods — and took it to the water. That’s where the real testing began. Through repeated field use, I slowly began to understand: how the spring needed to be shaped ergonomically, what materials worked best, and what structural features were necessary to meet all the functional requirements. This process took years of fishing with different prototype springs. I tested them for casting, tested them while fighting fish — and refined the design based on every hands-on experience. It was a time-consuming journey —but one I truly enjoyed, because all along…I was fishing.

From Handmade Prototype to Scalable Production – The Classic Range and the Challenge of Growth: The story began with a single fishing rod I made for myself — and with it, I won the Hungarian Design Award in the concept category. This recognition gave me a strong sense of validation and the motivation to keep going. It inspired me to explore the possibility of serial production. The first version — the Classic Range — was crafted using premium materials: Stainless steel spring, CNC-machined, anodized marine-grade aluminum reel seat, Hardwood handles - primarily ash, sealed with a protective lacquer. This combination made for a product that was not only extremely durable, but also functionally unbreakable under normal use. The spring won’t snap — it simply reaches the limit of its elasticity. The aluminum is solid and corrosion-resistant, while the hardwood gives each piece an elegant, natural character. The first handles were sculpted by hand from modeling wax. I then created detailed 3D models, which were later milled using CNC machines. The first reel seat was also produced based on my hand-drawn sketches, manufactured in a small metalworking shop by a skilled, elderly craftsman. The result was a fishing tool that was both ergonomic and visually striking — where functionality and form were given equal attention. The challenge: production cost. Despite its success, it became clear that this model wasn’t scalable. CNC machining and custom hardwood components are simply too costly for large-scale production — even in higher volumes, the unit cost remains too high for the product to be priced competitively in the mid-range market. That led me to a crucial question: How can I keep the core concept and technical performance of the Classic Range, but make it suitable for mass production at a significantly lower cost? The solution: injection molding and composite polymers. The obvious direction was injection molding — using advanced technical polymers. In recent decades, polymer engineering has seen massive advancements. Today, we can work with carbon fiber–reinforced composite plastics, which are extremely lightweight. Offer strength comparable to metals, resistant to acids, bases, and saltwater. Are UV-stable, and in many cases are even lighter than aluminum. With this material and process, I am able to launch a mass-producible version of the system — one that retains the core functionality and spirit of the original, while being accessible at scale. Further Development, New Materials – The Polymer Version & Snorkel Fishing Influence: It’s important to note that the same patent protects the system — regardless of the materials used. The protection applies to the core design and concept, not the specific materials. So both the Classic Range and the polymer-based version share the same intellectual property protection, which is an essential detail for manufacturing and distribution. Around the time I was developing the polymer reel mount, I also discovered a new passion: I fell in love with snorkel fishing. This new way of fishing brought some important practical insights. While hardwood handles hold up well in general, I realized they’re not ideal for saltwater use. Even the best finishes can degrade over time in harsh marine environments. So I started looking for a material that was: lightweight, resistant to moisture and salt, and aesthetically compatible with the new carbon-composite reel mount. That’s when I turned to molded agglomerated cork. It’s a composite material made from ground cork and binders, which allows for: the creation of beautiful, ergonomic shapes, and efficient, large-scale production via casting molds. I began manufacturing the cork grips in quantity. The result is a lightweight, waterproof, stylish handle, perfectly matched with the carbon-composite reel seat. Importantly, the dual-position stainless steel spring remained unchanged. The exact same spring used in the original Classic Range continues to serve here. This gave birth to the modern, mass-producible version of the system —one that: preserves the original mechanical principles, uses cutting-edge materials, and performs equally well from shore, boat, or underwater.

Wormy Fishing Rods: Sustainability and Recyclability at the Forefront of Fishing Equipment: The fishing industry has undergone dynamic development over recent decades, resulting in highly specialized equipment tailored for virtually every fish species and fishing method. Alongside this growth, there has been an increasing demand for environmentally friendly and sustainable solutions, as the mass proliferation of fishing gear poses significant environmental challenges if their lifecycle is not managed responsibly. During the development of Wormy fishing rods, I placed great emphasis on material selection and design aimed at minimizing environmental impact and maximizing product longevity. This approach ensures not only optimal usability but also that all components are fully recyclable, contributing to the principles of a circular economy. Material Composition and Recyclability: Stainless Steel Spring: Both the Classic Range and Black Range ONE product lines utilize the same high-quality stainless steel spring. This type of steel is 100% recyclable, allowing components to be reintroduced into industrial cycles at the end of the product’s life, thereby minimizing material waste. Aluminum Components: The aluminum parts used throughout the rods are also highly recyclable. Aluminum offers environmental advantages because recycling it consumes significantly less energy compared to primary aluminum production, making it a greener material choice. Polyamide-6 (PA-6) Based Carbon Composite Reel Seat (Black Range): The reel seat’s base material is a carbon fiber-reinforced polyamide-6 composite, a well-known, industrially recyclable plastic. This composition provides optimal mechanical properties (lightweight, strength) while ensuring sustainability during waste management. Cork Handle: Cork is a natural, renewable resource harvested sustainably by stripping the bark from cork oak trees, primarily grown in plantations, without harming the tree. Cork is 100% recyclable into granulate for manufacturing new products, enabling a closed-loop material cycle. Additionally, cork has a low ecological footprint, being biodegradable and sourced from carbon-negative forestry. Sustainability Philosophy: Wormy’s development philosophy recognizes that environmental protection depends not only on minimizing waste but also on product durability and longevity. A well-designed, robust, and durable fishing rod can serve for decades, reducing the frequency of replacement, which in turn decreases waste and the carbon footprint of material use. Moreover, throughout the product lifecycle, efficient recyclability of materials is ensured—an essential step toward making fishing gear more sustainable and reinforcing the circular economy.

The Personal Story and Lessons of Patenting the Wormy: In the 1990s, when I was a student at the Hungarian University of Applied Arts, I had the good fortune to meet György Kovári, a patent attorney who gave lectures on industrial property protection. Even back then, during my university years, I applied the patent system to digital image processing solutions related to my diploma project, an anamorphosis calendar, and Mr. Kovári provided significant assistance with the patent application. About one and a half decades later, when the Wormy project reached a level of maturity making it seriously patentable, I contacted Mr. Kovári again to share my ideas with him. After a few weeks of thorough examination, he confirmed that the concept was patentable, and this marked the beginning of a long, complex, and challenging process. In 2015, I submitted my national patent application in Hungary, followed by the initiation of international patent proceedings. This phase lasted over nine years, during which I experienced the complexity and risks of patenting. The process required continuous collaboration with my patent attorney as well as constant responses to questions raised by patent examiners in various countries. The examiners continuously searched worldwide patent databases for prior art or solutions that could be cited as novelty-destroying, potentially blocking the grant of the patent. This “patent roulette” was emotionally and financially very demanding, especially since at any year during the process a reference might emerge that could prevent obtaining legal protection. During the procedure, I also realized that international patent offices and attorneys share their research on a common platform, so if a patent application fails in one country due to prior art, it could affect parallel examinations in other countries as well. Therefore, it is an especially valuable and significant achievement to obtain a patent and become an inventor after such a prolonged examination. However, I am aware that a patent alone is worth nothing if not backed by a competitive, marketable product capable of leveraging the legal protection the patent provides. This story for me is about persistence, expertise, and continuous cooperation, and about how complex and carefully considered the process of obtaining patent protection is, the outcome of which represents substantial value for both the inventor and the market. Mr. Kovári is still my good friend and is 90 years old.

The Significance of Wormy's Modularity – Present and Future: One of Wormy’s greatest strengths is its modularity — a feature that is already proving highly useful, even though it has only begun to manifest in a few basic ways. The existing reel mount unit can already be extended in multiple directions: users can choose from different spring sensitivities, various grip designs, and — thanks to the detachable trigger — mount both top- and bottom-mounted reels. These options alone offer a broad range of configurations, sparking users' imagination and encouraging creative use. However, the true potential of this modularity lies in its future. It is very likely that springs will be developed in many more variations — in form, weight, and mechanical behavior. There is ample room for innovation, from altering spring length and stainless steel coil diameter to experimenting with the number and shape of spring loops that determine its dynamics. All of these refinements could significantly enhance performance and versatility. When we look at the fishing community, two clearly distinct user groups emerge: professional anglers and recreational hobbyists. A professional angler typically selects a rod-and-reel combination that is specifically optimized for a particular species, weight, and technique. This specialization drives much of the fishing industry, where manufacturers create increasingly targeted tools for increasingly specific purposes. In contrast, the average recreational angler approaches fishing with a different mindset. Their goal is not hyper-specialization but practicality, simplicity, and durability. They are less likely to chase a specific species with the perfect setup, and more likely to enjoy the flexibility of an all-purpose rod that’s always ready to go. Wormy was developed for this user group — it functions much like a Swiss army knife: compact, versatile, and always within reach. It was never Wormy’s goal to replace high-end, professional rods. Instead, its compact size and modular structure allow it to excel in places where traditional rods struggle. On a sailboat deck, cluttered with ropes and tensioning equipment, or along an overgrown riverbank with no room for long casts, Wormy offers unique advantages. Its small form and flexible casting angles — from below, the side, or even in tight spaces — allow for precise and effective fishing where larger rods are impractical. Furthermore, the Wormy fits perfectly into modern fishing trends like SUP fishing, where mobility and instant deployment are crucial. Its short, compact design allows quick casting from unstable or space-limited positions, giving it a distinct edge. Ultimately, Wormy is a smart, flexible system that already performs well today — but its true value lies in the modular developments and emerging use-cases it enables for the future, appealing not only to hobby anglers but also to professionals seeking adaptable solutions in unconventional environments.

I believe that in the case of fishing rods — just like with any handheld tool — the design process that leads to a compact or modular-compact version is essential to meet the expectations of today’s fast-paced world. Much like a compact camera or a smartphone, which condense multiple capabilities into a small, portable format, the Wormy was created with this very mindset in mind. This approach is already well established in many other product categories — from multitools and Swiss army knives to ultra-packable sleeping bags. There are countless outdoor products where lightness, portability, and multifunctionality are not just advantages but fundamental requirements. In my view, this compact-oriented thinking has not yet been widely explored in the design of fishing rods. That’s why I am hopeful that Wormy will soon gain the attention it deserves — especially within the world of sports gear and outdoor equipment, where it can truly find its place and reach a broader audience.