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Interviews with Ambiwishes Technology
Designer profileDesigner of the Day Interview
17 May 2025
I started with visual storytelling—photography and filmmaking—before gradually expanding into branding, advertising, digital design, and cultural curation. Eventually, I transitioned into creative entrepreneurship. Today, I run a cross-cultural design consulting studio and serve as the founder and creative lead of multiple platforms and brand initiatives.
My background spans journalism photography, film production, and an MBA, which allows me to approach design through the lenses of communication, narrative, and business structure. I work with early-stage founders, cultural institutions, lifestyle brands, education platforms, and globally ambitious creatives.
For me, design is not about styling—it’s about building systems. Every project begins with structure and ends with a solution that’s executable, sustainable, and culturally resonant.
My background spans journalism photography, film production, and an MBA, which allows me to approach design through the lenses of communication, narrative, and business structure. I work with early-stage founders, cultural institutions, lifestyle brands, education platforms, and globally ambitious creatives.
For me, design is not about styling—it’s about building systems. Every project begins with structure and ends with a solution that’s executable, sustainable, and culturally resonant.
I received my first camera on my 14th birthday—that moment sparked a deep fascination with expressing ideas through visuals. I studied photography and visual journalism in college, but a short film class shifted my focus toward motion storytelling. That was when I realized I wanted to design narratives, shape timing, and direct emotion.
Since then, I’ve built my creative path across disciplines: film studies in Hong Kong, brand execution in advertising, and later, an MBA in the U.S. that helped me merge creativity with strategy.
I didn’t become a designer through a traditional art school route—I became one by solving real-world problems. To me, design is a form of structured thinking. It’s about clarity, communication, and creative leadership.
Since then, I’ve built my creative path across disciplines: film studies in Hong Kong, brand execution in advertising, and later, an MBA in the U.S. that helped me merge creativity with strategy.
I didn’t become a designer through a traditional art school route—I became one by solving real-world problems. To me, design is a form of structured thinking. It’s about clarity, communication, and creative leadership.
I focus on three priorities in my design work: clear structure, precise messaging, and emotional restraint. I’m not drawn to visual spectacle—I care more about whether the design solves a problem, builds a system, or communicates feeling effectively.
My process starts with thinking, not visuals. I begin by mapping the information structure, then move into visual language. My style leans toward editorial clarity, narrative rhythm, and thoughtful spacing. I like designs that breathe.
Technically, I work with Figma, Adobe tools, and AI platforms like Midjourney, Runway, and ChatGPT to speed up ideation and structure-building. To me, design is about compression—translating complex ideas into sharp, usable forms.
My process starts with thinking, not visuals. I begin by mapping the information structure, then move into visual language. My style leans toward editorial clarity, narrative rhythm, and thoughtful spacing. I like designs that breathe.
Technically, I work with Figma, Adobe tools, and AI platforms like Midjourney, Runway, and ChatGPT to speed up ideation and structure-building. To me, design is about compression—translating complex ideas into sharp, usable forms.
Design, for me, is emotional logic in motion.
I usually start in a calm, analytical state—mapping structure and goals. But once I enter the phase of shaping rhythm, tone, and visual energy, emotion flows in. The best moments are when something just “clicks”—when a design element locks into place and feels undeniably right.
I find deep joy in the shift from chaos to clarity. It brings a sense of creative control, but also emotional resolution. Design is how I express thought—and how I create order out of noise.
I usually start in a calm, analytical state—mapping structure and goals. But once I enter the phase of shaping rhythm, tone, and visual energy, emotion flows in. The best moments are when something just “clicks”—when a design element locks into place and feels undeniably right.
I find deep joy in the shift from chaos to clarity. It brings a sense of creative control, but also emotional resolution. Design is how I express thought—and how I create order out of noise.
My background spans photography, filmmaking, branding, education, and business. These aren’t traditional “design” paths—but they shaped the designer I am today.
My storytelling ability comes from film. My sense of information flow and layout comes from photography. My business judgment and user-centric logic come from my MBA and branding experience. My sensitivity to culture comes from years of content strategy and working across global teams.
These experiences allow me not just to design visuals—but to structure ideas, define strategies, and build ways of expression that go beyond aesthetics.
My storytelling ability comes from film. My sense of information flow and layout comes from photography. My business judgment and user-centric logic come from my MBA and branding experience. My sensitivity to culture comes from years of content strategy and working across global teams.
These experiences allow me not just to design visuals—but to structure ideas, define strategies, and build ways of expression that go beyond aesthetics.
My growth has always been hands-on. I went from being a creator to a creative director, and now, a founder and system-builder leading cross-cultural design initiatives.
Right now, I’m focused on the Anti-Ordinary Incubator, a long-term project I initiated and lead under the Glowstar Art Foundation. It’s designed to support Chinese creatives seeking global growth through strategic design, content planning, and digital tools. I want this platform to become a foundational infrastructure for global creative mobility.
My dream projects are never just about aesthetics—they’re about making design a tool for life transformation. Projects like GlowPass, opportunity databases, or visa support systems are how I apply design thinking to real, structural problems.
Right now, I’m focused on the Anti-Ordinary Incubator, a long-term project I initiated and lead under the Glowstar Art Foundation. It’s designed to support Chinese creatives seeking global growth through strategic design, content planning, and digital tools. I want this platform to become a foundational infrastructure for global creative mobility.
My dream projects are never just about aesthetics—they’re about making design a tool for life transformation. Projects like GlowPass, opportunity databases, or visa support systems are how I apply design thinking to real, structural problems.
My growth has always been hands-on. I went from being a creator to a creative director, and now, a founder and system-builder leading cross-cultural design initiatives.
Right now, I’m focused on the Anti-Ordinary Incubator, a long-term project I initiated and lead under the Glowstar Art Foundation. It’s designed to support Chinese creatives seeking global growth through strategic design, content planning, and digital tools. I want this platform to become a foundational infrastructure for global creative mobility.
My dream projects are never just about aesthetics—they’re about making design a tool for life transformation. Projects like GlowPass, opportunity databases, or visa support systems are how I apply design thinking to real, structural problems.
Right now, I’m focused on the Anti-Ordinary Incubator, a long-term project I initiated and lead under the Glowstar Art Foundation. It’s designed to support Chinese creatives seeking global growth through strategic design, content planning, and digital tools. I want this platform to become a foundational infrastructure for global creative mobility.
My dream projects are never just about aesthetics—they’re about making design a tool for life transformation. Projects like GlowPass, opportunity databases, or visa support systems are how I apply design thinking to real, structural problems.
Don’t get obsessed with your “work”—invest in building systems.
A system could be your workflow, your service structure, your design logic, or your client communication playbook. What you can replicate and improve becomes your real asset.
Also, don’t hide behind “style” to avoid clarity. Style is not a filter—it’s a byproduct of expression. If you don’t know what your design wants to say, no level of polish will make it meaningful.
Most importantly: design is not about visuals—it’s about choices. Your value lies in how well you can make the smartest decisions within limited time, budget, and attention.
A system could be your workflow, your service structure, your design logic, or your client communication playbook. What you can replicate and improve becomes your real asset.
Also, don’t hide behind “style” to avoid clarity. Style is not a filter—it’s a byproduct of expression. If you don’t know what your design wants to say, no level of polish will make it meaningful.
Most importantly: design is not about visuals—it’s about choices. Your value lies in how well you can make the smartest decisions within limited time, budget, and attention.
My daily routine depends on time zones and project stages. Mornings are for deep work—brand strategy, concept structuring, or storytelling. Afternoons are for meetings and collaboration. Evenings are quieter and often when my creative clarity is sharpest.
Little things that satisfy me: a smooth internal sync, a name that clicks, or a line of copy that nails the point.
Little things that satisfy me: a smooth internal sync, a name that clicks, or a line of copy that nails the point.
I observe design trends as a way to track social shifts—but I don’t let them dictate my direction. I prioritize long-term structure and cultural grounding over seasonal aesthetics.
My inspirations come from visual platforms (Behance, Pinterest, Xiaohongshu), emerging tech tools (AI), and shifts in culture and public emotion.
My inspirations come from visual platforms (Behance, Pinterest, Xiaohongshu), emerging tech tools (AI), and shifts in culture and public emotion.
At its core, good design solves a problem. It must meet the functional goal, respond to real needs, and communicate clearly with smooth interaction and emotional relevance.
Design isn’t about visual tricks or aesthetic collages—it’s about creating structure with intention. If you need to explain your design for it to be understood, it might not be good enough.
Design isn’t about visual tricks or aesthetic collages—it’s about creating structure with intention. If you need to explain your design for it to be understood, it might not be good enough.
It’s ready when I stop hesitating.
Designs can always be improved, but I set clear stop-points: does it meet the goal, is it executable, and can it integrate into a larger system? If yes to all, I move on.
Designs can always be improved, but I set clear stop-points: does it meet the goal, is it executable, and can it integrate into a larger system? If yes to all, I move on.
When I think about my biggest design work, it's not necessarily the one with the most visuals or complexity—but the one that carries the greatest vision and deepest meaning.
That would be the "Anti-Ordinary Incubator," a platform I founded and lead. It combines brand strategy, visual systems, content planning, and digital tool development to support Chinese creatives in building a global presence. It’s not just for designers or artists—it aims to bridge creative talent and the world stage.
What drives me is a core belief: the world should hear the voices of Chinese creatives—not only through traditional culture, but also in contemporary language, identity, and value.
This project made me realize that design isn’t just about what we produce—it’s about what we enable. I hope it becomes an infrastructure-like system: one that consistently creates opportunities for visibility, empowers people to express themselves, and encourages them to reach beyond borders.
That’s why this is the most important—and most alive—design I’ve ever done. And perhaps, it’s the one I’ll spend a lifetime building.
That would be the "Anti-Ordinary Incubator," a platform I founded and lead. It combines brand strategy, visual systems, content planning, and digital tool development to support Chinese creatives in building a global presence. It’s not just for designers or artists—it aims to bridge creative talent and the world stage.
What drives me is a core belief: the world should hear the voices of Chinese creatives—not only through traditional culture, but also in contemporary language, identity, and value.
This project made me realize that design isn’t just about what we produce—it’s about what we enable. I hope it becomes an infrastructure-like system: one that consistently creates opportunities for visibility, empowers people to express themselves, and encourages them to reach beyond borders.
That’s why this is the most important—and most alive—design I’ve ever done. And perhaps, it’s the one I’ll spend a lifetime building.
I greatly admire Sagi Haviv for his mastery of logos—minimal yet precise. I’m also inspired by architects like Tadao Ando and Álvaro Siza, who taught me that "silence" can be a form of storytelling.
I live and work between China and the U.S.—mostly Shenzhen and Los Angeles. Culture is inseparable from my design thinking. Music plays while I work, streets give me ideas, and exhibitions are part of my lifestyle.
I enjoy working with people who are proactive and think like owners. I prefer small, strong teams over layered hierarchies.
In collaboration, trust and shared goals matter more than rigid processes. If there’s a problem, we fix it—fast. For me, design is not a service. It’s co-creation.
In collaboration, trust and shared goals matter more than rigid processes. If there’s a problem, we fix it—fast. For me, design is not a service. It’s co-creation.
The Anti-Ordinary Incubator I created has a strong philanthropic dimension—we offer free strategic advice, exposure, and exhibition access to under-resourced but talented creatives.
I believe design shouldn’t be elitist. It should lower the barriers and expand opportunities.
I believe design shouldn’t be elitist. It should lower the barriers and expand opportunities.
A’ Design Award gave me an amazing international platform to showcase my work and connect with creators worldwide.
The top three benefits for me: global exposure, project collaborations, and a clearer understanding of my own design system.
Being selected as Designer of the Day is an honor—and a chance to share my creative mindset and cultural roots with a broader audience.
The top three benefits for me: global exposure, project collaborations, and a clearer understanding of my own design system.
Being selected as Designer of the Day is an honor—and a chance to share my creative mindset and cultural roots with a broader audience.
Design Interview
18 May 2025 · Voyease Interfaccia per Viaggi Virtuali
The core idea behind VoyEase is to create a more human and inclusive form of virtual travel. The inspiration came from a simple question: how can design help people who are unable to travel—due to age, illness, or distance—still feel connected to the world? Rather than offering another static virtual tour, we wanted to design an experience that is real-time, personal, sensory, and emotionally engaging.
Our main focus was on designing an interface and interaction system that feels intuitive, emotionally warm, and respectful of each user’s limitations. We wanted to achieve more than just remote visual access—we aimed to create a sense of presence, allowing users to engage with people and places in real time through a sensory-rich, personal journey.
We plan to further refine the concept and explore technical collaborations to test key features such as real-time streaming and sensory feedback. We hope to build a working prototype and eventually develop an inclusive platform that can benefit real users in healthcare, elder care, and education.
Our main focus was on designing an interface and interaction system that feels intuitive, emotionally warm, and respectful of each user’s limitations. We wanted to achieve more than just remote visual access—we aimed to create a sense of presence, allowing users to engage with people and places in real time through a sensory-rich, personal journey.
This was a self-initiated project based on our shared interest in designing for social impact. We were motivated by real-world challenges—especially the emotional and social needs of people who are physically isolated—and wanted to explore how design could offer a meaningful response.
As a conceptual design, VoyEase has not yet entered production. However, we are open to collaboration or licensing opportunities in the future, especially with partners in healthcare, education, and cultural sectors where this platform could create real value.
We wanted to explore how digital design could extend human experiences beyond physical limits. The idea of helping people who are unable to travel feel reconnected with the world through sensory, real-time interaction felt both timely and meaningful.
We were inspired by inclusive design pioneers who advocate for accessibility and empathy in digital experiences. Projects that combine technology with emotional depth, like sensory storytelling in interaction design, also helped shape our approach.
The design is aimed at people who are unable to travel due to physical, geographic, or situational limitations. This includes elderly individuals, people with mobility challenges, or those in long-term isolation. It is also suitable for education, tourism, and cultural access programs.
Unlike traditional virtual tours, VoyEase emphasizes real-time interaction, emotional presence, and multi-sensory engagement. It is not a passive viewing experience, but a shared journey shaped by the user’s own wishes, making it deeply personal and human-centered.
The name “VoyEase” is a blend of “voyage” and “ease.” It reflects our goal of making travel more accessible, effortless, and emotionally smooth for those who cannot physically explore the world. It also suggests the idea of traveling with comfort, simplicity, and personal meaning.
We used Figma for interface design and prototyping, along with Adobe Illustrator and After Effects for visual development and motion exploration. Storyboards and journey maps were hand-drawn or built with digital sketch tools during the early concept phase.
The most unique aspect is the combination of first-person real-time travel with a sensory interaction system tailored to users’ personal wishes. Instead of offering one-way content, VoyEase creates an emotional and interactive journey that adapts to individual needs and limitations.
The project was developed in collaboration with a multidisciplinary team including interface designers, experience researchers, motion designers, and concept developers. While we did not build a working prototype, we consulted with specialists in wearable technology and remote sensing during the early design phase.
Technology serves as an enabler in this design. It allows remote interaction to feel immediate, sensory, and human. Instead of focusing on complex hardware, we used existing technologies like real-time streaming, voice control, and scent simulation to serve a more emotional and accessible experience.
Yes, the design is grounded in qualitative research. We conducted user interviews and scenario-based testing focused on elderly users, people with mobility challenges, and long-term isolated individuals. These insights shaped the emotional tone, interface clarity, and interaction simplicity of the system.
One challenge was simulating a meaningful travel experience without relying on expensive or experimental hardware. We also had to find a balance between immersive design and accessibility. Sensory simulation, especially smell, posed technical limits, so we focused on a few universally recognizable scents.
We believe design is not only about function but also about impact. A’ Design Award offers a global platform that values cultural context, social relevance, and emotional thinking. We felt this project belonged in a space that encourages inclusive and human-centered innovation.
We deepened our understanding of inclusive design and learned how to translate empathy into practical interaction systems. It also taught us how to balance emotional storytelling with clear structure, so that users can feel connected while never getting lost in the interface.
We believe the future of virtual experiences lies not in replicating reality, but in reimagining connection. VoyEase is just one small step toward designing for those often left behind. We hope more projects in the future will speak for emotional access, not just visual access.
Design Interview
18 May 2025 · Igo Applicazione mobile
The core principle behind IGO is to redesign urban mobility for equity. Inspired by the real pain points of low-income communities in Los Angeles—especially the commuting barriers for night-shift workers—we aimed to create a solution that makes mobility safer, smarter, and more inclusive. The inspiration came from a mix of real-life interviews and a deep belief that mobility is not just transportation—it is access to opportunity.
Our main focus was inclusive user experience and functional innovation. We wanted to reduce the cognitive burden for tech-novice users, while embedding powerful features like voice-triggered emergency alerts and real-time job discovery. Ultimately, we aimed to empower marginalized communities by giving them safer, smarter and more opportunity-linked commutes.
We plan to further develop IGO into a fully functional app pilot program in partnership with local communities and transportation authorities. The next phase includes AI optimization for job matching and route prediction. We also hope to integrate IGO into city-wide smart infrastructure systems to drive long-term urban equity.
The concept development and initial design process took approximately four months, from January to April 2023. This included user research, interface prototyping, feature planning, and visual system development.
This was a self-initiated project based on real community needs. During field research in LA, we observed that car-centric urban planning disproportionately impacted under-resourced groups. IGO was born out of a genuine desire to address this mobility injustice and create a scalable design with social value.
IGO is currently an independent concept project. We are actively seeking partnerships with city governments, nonprofit organizations, and urban mobility accelerators to bring it into real-world application. Our aim is not just commercialization, but to ensure it remains accessible, ethical, and community-centered.
As a designer committed to social impact, I am drawn to projects that serve underrepresented communities. Urban transportation is a field where design can directly affect quality of life. IGO allowed me to explore how intelligent systems and inclusive design can reshape everyday access and equity.
IGO’s design was influenced by both urban mobility systems and inclusive product design cases. Works from studios like IDEO and projects like Google’s Next Billion Users initiative inspired our approach to accessibility and tech-simplicity. I was also influenced by service design thinking that emphasizes user journeys and ecosystem mapping.
The primary users are residents of low-income, carless households in urban areas—especially night-shift workers, elderly passengers, and job-seekers who rely on public transit. IGO is also designed with community-based organizations, city planners, and transit agencies in mind as extended stakeholders.
IGO integrates AI-powered features that go beyond route planning—it includes voice-triggered safety alerts, real-time job listings along travel paths, and a future model for local business integration. Its social mission, paired with a minimalist and human-centered interface, makes it not just a transport app, but a tool for equity and empowerment.
The name “IGO” stands for “I Go,” expressing personal agency and movement. It’s short, direct, and universally understood, aligning with the app’s goal to make commuting simple, empowering, and accessible. The name reflects not just movement—but the freedom to choose where and when to go.
I used Figma for interface prototyping, Adobe Illustrator for icon and system visual development, and Photoshop for presentation graphics. For user flow mapping and UX documentation, I relied on Miro and Whimsical. The prototype was also tested using clickable demos via Figma and Maze.
The integration of AI with mobility equity is the most unique aspect of IGO. Features like voice-triggered emergency alerts, real-time job discovery during commutes, and personalized route learning go beyond typical shuttle systems. The design is not only functional—it’s socially intentional.
Yes. I collaborated with transportation researchers and data analysts to validate route efficiency and target demographics. I also consulted a UX accessibility specialist to ensure the interface meets the needs of elderly and visually impaired users. This was a multidisciplinary design process.
Technology is the core enabler of IGO. AI supports route optimization, job matching, and safety monitoring. Real-time data feeds enable responsive decision-making. Technology in IGO is not ornamental—it’s what makes the service adaptive, inclusive, and efficient.
Yes. I conducted 50 surveys and 10 in-depth interviews with residents from low-income communities in Los Angeles. Research revealed common challenges: safety concerns, high costs, and limited access to work. These findings shaped every feature of IGO—from safety alerts to job discovery integration.
One major challenge was balancing simplicity with functionality—ensuring a seamless user experience while offering complex backend AI support. Another was visualizing “intelligence” in a way that feels intuitive, not overwhelming. It took several iterations to achieve this harmony.
I believe socially impactful design deserves a global platform. Submitting to A’ Design Award was a way to share IGO’s mission and gather validation from an international community of designers, researchers, and innovators. It also opens doors for future collaboration.
I deepened my understanding of human-centered design and how to embed inclusivity at every level—from research to interface to visual tone. I also learned how to communicate complex systems in a clear and emotionally resonant way.
I hope IGO can serve as a reference for designing tech with social purpose. Good design is not only about aesthetics—it’s about empathy, systems thinking, and real-world impact. If this project sparks dialogue on equitable mobility, then the design has done its job.
Design Interview
18 May 2025 · Chillwild Spring Confezione Set di Erbe
The design is rooted in the idea of reviving traditional Chinese herbal wisdom through a contemporary lens. Inspired by Lichun, the Start of Spring in the lunar calendar, it symbolizes renewal, balance, and natural vitality. We aimed to create a wellness product that connects modern users with timeless nourishment, using visual elements like dynamic light and shadow, and materials such as bamboo and biodegradable tea bags to reflect the harmony between nature and design.
Our main focus was to make traditional herbal wellness more approachable, beautiful, and sustainable. We wanted to break the stereotype that Chinese medicine is complex or outdated, and instead present it as something modern, elegant, and intuitive. By simplifying the user experience and elevating the packaging aesthetics, we hoped to bring ancient wisdom into the rhythm of modern life.
This limited edition is a one-time release and will not be reproduced. As a seasonal design inspired by the Start of Spring, it was meant to capture a specific moment of renewal and ritual. While this exact edition is now retired, we will continue exploring new directions under the ChillWild brand with future seasonal collections based on other solar terms.
The concept took approximately four months from initial idea to final production. This included market research, formula development, material sourcing, visual design, and working with craftsmen for the bamboo joint cup. Every detail was refined to ensure both function and meaning.
This concept was developed as the founding design company and one of the co-creators behind the ChillWild brand. As both creative lead and strategic partner, we were responsible for shaping the product’s identity and experience from the ground up. The design was not commissioned in a traditional sense—it was initiated internally as a self-driven project to express the brand’s vision of reimagining Chinese herbal wellness for a new generation.
his design was created by our design company as one of the co-founding partners of the ChillWild brand, specifically for Nichousha (Shanghai) Health Technology Co., Ltd., the company that owns the ChillWild brand. We were responsible for the brand’s overall creative direction and packaging design. The production is carried out by the brand-owning company, and there are no plans to sell or license the production rights to third parties, as the design is tailored to the brand’s exclusive positioning.
This design was part of a brand we co-founded among close friends who share a deep appreciation for traditional Chinese wellness and a desire to bring it into the modern world. After years of working in high-pressure environments, we all experienced firsthand the limitations of Western approaches to health. That led us to explore the wisdom of Chinese herbal culture—not as a nostalgic tradition, but as a living system worth redesigning. We wanted to create something healing, intuitive, and beautiful: a wellness brand that speaks to the pace of contemporary life, but remains rooted in cultural heritage.
Our design was influenced by a combination of classical Chinese aesthetics and contemporary minimalist trends. We were particularly inspired by the visual poetry of Chinese gardens, especially the “borrowed scenery” principle, where light, shadow, and spatial layering convey emotion and flow. In terms of packaging design language, we also studied wellness brands like Aesop and TEALEAVES, which balance functionality with narrative elegance. While we didn’t reference any single designer directly, our creative decisions were shaped by a multidisciplinary blend of cultural heritage, branding insights, and product storytelling.
The target customer is a new generation of urban dwellers—particularly professionals aged 25 to 40—who are looking for health-supportive products that are both convenient and culturally resonant. They care about their well-being but don’t want complex or bitter traditional remedies. Many are design-conscious, eco-aware, and seeking emotional balance in their fast-paced routines. ChillWild offers them a wellness experience that feels thoughtful, aesthetic, and aligned with modern lifestyles while rooted in Chinese herbal wisdom.
Unlike many herbal teas that follow either a pharmaceutical or overly rustic design language, ChillWild strikes a balance between function and form. What sets it apart is its fusion of Chinese seasonal health philosophy (based on ancient texts like Huangdi Neijing) with a minimalist and emotionally resonant aesthetic. The use of light-shadow interaction, sustainable materials, biodegradable corn fiber tea bags, and the handcrafted bamboo-joint cup creates a complete sensory experience that feels grounded, gentle, and elevated. It’s not just a product—it’s a lifestyle invitation.
The product is part of ChillWild’s “Spring Awakening” collection. “Chill” and “Wild” reflect the duality of modern life—we want people to care for their bodies calmly while embracing life passionately. “Spring Awakening” symbolizes new beginnings, aligned with the seasonal transition of Lichun, the first solar term in the traditional Chinese calendar.
We primarily used Adobe Illustrator, Photoshop, and InDesign for branding, packaging layout, and visual refinement. Blender was used for rendering product visuals, and Procreate was occasionally used to sketch early visual metaphors.
The most unique aspect lies in the integration of Eastern cultural philosophy with modern packaging aesthetics. From the “borrowed scenery” light-shadow interaction to the gradient-glazed bamboo joint cup, every detail is designed to evoke a meditative and ritualistic experience—something rarely found in commercial wellness packaging.
The most unique aspect lies in the integration of Eastern cultural philosophy with modern packaging aesthetics. From the “borrowed scenery” light-shadow interaction to the gradient-glazed bamboo joint cup, every detail is designed to evoke a meditative and ritualistic experience—something rarely found in commercial wellness packaging.
Technology played a supporting role in prototyping and visualization. 3D modeling helped us test packaging structures and simulate light-shadow effects. It allowed for faster iteration and more precise storytelling in digital mockups and e-commerce imagery.
Yes. Before designing, we conducted market research on wellness preferences among young professionals, especially those facing chronic fatigue and insomnia. We also studied traditional Chinese texts like Huangdi Neijing to ensure each herbal blend aligned with seasonal health principles.
The main challenge was balancing visual minimalism with cultural richness. We wanted to avoid clichés while staying true to Eastern philosophy. Another difficulty was ensuring the final packaging was both aesthetic and fully biodegradable, which limited some material choices.
We believe that traditional Chinese wisdom deserves a global audience. By submitting to A’ Design Award, we hoped to initiate dialogue on how wellness, sustainability, and aesthetics can co-exist—especially from a non-Western cultural lens.
This project deepened our understanding of how culture can be softly embedded in modern product systems. We also learned to push material boundaries while adhering to sustainable design principles, which will guide our future packaging work.
Only that we hope more young creatives will find inspiration in traditional roots. Design should not only serve commerce but also build cultural memory, especially in a time when everything is rapidly globalizing.
Design Legend Interview
18 May 2025
I entered the creative field through visual storytelling—studying photography at first, then moving into filmmaking to train my sense of rhythm and narrative structure. Later, I pursued an MBA in the U.S. to explore how design connects with business, technology, and culture.
I didn’t follow a traditional academic path. My background is interdisciplinary, blending creative expression with system thinking and strategic problem-solving.
I didn’t follow a traditional academic path. My background is interdisciplinary, blending creative expression with system thinking and strategic problem-solving.
Design, for me, is a way to respond to reality. What truly motivates me is the satisfaction of solving problems—seeing chaos and bringing clarity, structure, and better possibilities through design.
I became a designer because I believe design can improve human life. It helps make complexity more logical, and the world a little more humane.
I became a designer because I believe design can improve human life. It helps make complexity more logical, and the world a little more humane.
I originally wanted to become a film director—but the film industry is slow, with long production cycles. Real life, on the other hand, demands faster expression and quicker feedback.
So outside of filmmaking, I started using design to convey ideas, solve problems, and build systems. Design gave me a faster, more efficient way to engage with the world and create impact.
So no, I wasn’t forced to become a designer—but reality and timing pushed me in that direction, and through practice, I realized this was the path that truly fits me.
So outside of filmmaking, I started using design to convey ideas, solve problems, and build systems. Design gave me a faster, more efficient way to engage with the world and create impact.
So no, I wasn’t forced to become a designer—but reality and timing pushed me in that direction, and through practice, I realized this was the path that truly fits me.
I don’t just design individual products—I build 0-to-1 systems. I love starting from brand positioning and moving through business strategy, visual identity, user experience, and execution. What excites me most is designing projects that span concept, structure, and launch as one integrated journey.
Don’t rush to prove your talent. First, develop your ability to solve complex problems. Practice judgment, synthesis, and communication. Turn your expressive energy into structural power—and commit to long-term thinking. Go deep, not just wide.
A good designer solves the brief. A great designer redefines the problem. That’s the difference—are you executing what's given, or are you reframing the question entirely?
I define great design as something that genuinely solves a problem, communicates without explanation, and can be used, scaled, or extended over time. Aesthetics are valuable—but not the core.
Good design saves time, reduces friction, improves clarity, and builds trust. It’s not an add-on—it’s your operating system for interacting with the world. Investing in design means investing in efficiency and brand equity.
I’d design better information spaces for everyday people—so they don’t have to suffer from complexity, redundancy, or institutional chaos. For example: a more human immigration information system, or a platform that helps creatives make better career decisions. Not to build smarter tools—but to create gentler systems.
My dream project is to build a platform for global Chinese creatives—not just a showcase space, but a structural support system. It would gather opportunities, projects, resources, and cultural expression. I don’t just want China to be seen—I want Chinese creatives to see each other, and cross boundaries together.
My secret is simple: I treat creativity as structure. I don’t chase inspiration—I build reusable logic. Even the most complex project falls into place when the structure is sound.
I admire designers who express profound ideas with minimal language—like Sagi Haviv. He reminds me that a logo can be just a shape, and still carry the weight of an era.
I love designs that transcend time—like architecture, typography, or old brand systems. What amazes me is how "they still speak, even after decades."
My greatest design is the "Anti-Ordinary Incubator." It’s not a single piece—it’s an evolving system. What makes it great is that it’s not just about me—it creates a channel for many others to speak.
See design as long-term structural thinking, not just short-term artistic output. I train daily in judgment, logic, language, and business sense—not just style or taste.
I might have been a film director. I’ve always had a strong sense of framing and storytelling. But that’s exactly why I chose design—it’s more efficient, with faster cycles and direct impact.
Design is the ability to turn chaos into order. It’s not just aesthetic—it’s a tool for reframing problems and mapping out pathways.
It wasn’t one person—it was a network of people who trusted me: partners, clients, friends. They gave me space to define not only the projects, but also myself.
Not inspiration—but training. What I train daily is: information distillation, emotional framing, and structural thinking. These three are the core muscles of my design practice.
The biggest obstacle wasn’t resources—it was not being easily categorized. I work across fields, cultures, and languages. Sometimes people didn’t know where to place me. But then I realized: being undefined is a form of freedom.
Don’t just showcase the visuals—present the solutions. Designers should clearly explain what problem they solved, what decisions they made, what strategies they used, and what impact it created.
My next major project is the continued evolution of the "Anti-Ordinary Incubator," a long-term initiative I founded to support Chinese creative professionals in building global paths. I’m currently designing its AI assistant (GlowPass), a global opportunity database, and a membership system aligned with visa strategies.
My ultimate goal is to use design to build systems that help others succeed. Not just self-expression—but creating tools that enable possibility for others.
People expect me to bring direction, structure, and clarity—not just visuals. They look to me for systems and judgment, not just aesthetics.
Design doesn’t just change surfaces—it reshapes processes, language, structure, and even access to power. It makes information fairer, experiences softer, and choices clearer. It gives people new ways to live.
I’m excited about the international upgrade of the "Anti-Ordinary Incubator." We’re integrating AI tools, membership systems, and a global opportunity database to turn "growth path" into a useful and humane system.
The projects that satisfy me most are the ones that change lives—helping someone get a visa, win an award, or find their direction. These aren’t flashy—they’re empowering.
I’d love to see less visual anxiety—and more discussion around structural solutions and cross-disciplinary collaboration. Designers should be strategic partners, not just stylists.
Design is shifting toward system-building and AI collaboration. Future designers need to master storytelling and aesthetics, but also workflows, data, and tool logic. They’ll become information architects.
It depends on the structure. A 0-to-1 system design can take 3–6 months. For strategy and visual integration projects, it usually takes 4–8 weeks.
I start with three questions: Who are you? Who are you talking to? What action do you want from them? If these aren’t clear, design doesn’t begin.
Less is more.
Good design doesn’t follow trends—it sets them. Trends emerge when enough sharp decisions align.
Technology is an amplifier. It can’t replace judgment—but it boosts speed and opens new directions. I use AI extensively, but I never let it decide for me.
Figma, Adobe Suite, Notion, Runway, Midjourney, and ChatGPT. I’ve built a custom creative ecosystem around these tools.
They’re emotional languages—they create first-glance trust. But without structure and logic, even the richest visuals become a cover-up.
I wish they’d ask: “Why did you design it this way?” Not “How did you make it look so good?”
I immediately break it down—structure, logic, intent. For me, good design isn’t for admiration—it’s for analysis.
I believe in co-design—if we share language and goals. My ideal partner aligns with my values and isn’t afraid to challenge me.
The people who shaped me most weren’t designers—they were sharp thinkers from other fields. They taught me that design isn’t for insiders—it’s for dialogue.
“Invisible Cities,” “How to Read a Book,” “Designing Design,” “The Pyramid Principle.” These taught me structure, perspective, and articulation.
Not by doing more—but by deconstructing better. I analyze others’ work—and my own logic. The more I reflect, the more stable I become.
If time and space were no limit, I’d love to have a deep conversation with Dilraba Dilmurat. I’ve admired her since 2008, long before she became a global star. I’ve watched her grow from someone unknown into an icon, and during many difficult, lonely nights, she gave me the courage to keep going.
Whenever I felt like giving up or losing direction, I’d ask myself: what would Dilraba be doing right now? How would she handle this? She’s been a silent companion through countless hard moments—and proof that strength and grace can co-exist.
Beyond her brilliance in acting, I’m curious how she preserves authenticity under overwhelming exposure—and how, as a woman of ethnic minority background, she holds space for cultural identity and expression in such a visible world.
Whenever I felt like giving up or losing direction, I’d ask myself: what would Dilraba be doing right now? How would she handle this? She’s been a silent companion through countless hard moments—and proof that strength and grace can co-exist.
Beyond her brilliance in acting, I’m curious how she preserves authenticity under overwhelming exposure—and how, as a woman of ethnic minority background, she holds space for cultural identity and expression in such a visible world.
Awards are by-products of the process—not the purpose. I won’t be defined by recognition, but I know it gives me responsibility and voice.
Color: Forest green Place: LA coast Food: Spicy hotpot Season: Early summer Thing: Notebook Brand: Dyson
Once a client looked at my redesigned logo and asked, “Did you use AI for this?” I smiled and said, “No, I used my brain.”
When a complex project starts to click and everything falls into place—that moment of clarity keeps me up all night in the best way.
As a kid, I was always “fixing things”—manuals, menus, notebooks. I never planned to be a designer, but I had a natural intolerance for mess.
If humanity still exists, it’ll be because imagination survives. Design is a real-world extension of imagination—I hope it remains warm and respectful.
I’m not designing my life—I’m using design to understand the world. If you ever feel lost, unseen, or slow—let’s build our own path, together.
Designer Interview
17 May 2025
My creative path began when I received a camera on my fourteenth birthday. Through the lens, I discovered the joy of building visual worlds—expressing mood and imagination through light, framing, and atmosphere. I realized that image-making was not just technical—it was a form of creative expression.
This led me to major in photography in college. To address my family’s concerns about career stability, I chose photojournalism, thinking becoming a reporter might be a safer path. But a video production class changed everything. I made my first short video, and the process of directing—controlling rhythm, designing scenes, guiding emotion—made me realize I wanted to do more: I wanted to become a filmmaker.
Inspired by that experience, I started a student-run video studio in my sophomore year, producing short films, experimental visuals, and commercial projects. Later, I pursued formal film education in Hong Kong and gained hands-on experience through real industry work.
But the more I experienced, the more I realized how slow and restricted the film industry could be. I began searching for a more efficient, flexible, yet equally expressive medium. That’s when I discovered branding and design as tools for emotional and cultural storytelling.
Maybe because I’ve always valued freedom, I wanted to be my own boss. So I went to the U.S. to pursue an MBA, not to leave art behind, but to better prepare myself for entrepreneurship. Today, I run my own design consulting firm and co-founded a nonprofit art foundation with friends. Our mission is to support talented creators who lack access to resources, helping them pursue their artistic dreams without unnecessary detours.
My vision is to help bring great Chinese art and design to the world. Whether as a designer, founder, or future director, I believe storytelling is how I connect with the world.
This led me to major in photography in college. To address my family’s concerns about career stability, I chose photojournalism, thinking becoming a reporter might be a safer path. But a video production class changed everything. I made my first short video, and the process of directing—controlling rhythm, designing scenes, guiding emotion—made me realize I wanted to do more: I wanted to become a filmmaker.
Inspired by that experience, I started a student-run video studio in my sophomore year, producing short films, experimental visuals, and commercial projects. Later, I pursued formal film education in Hong Kong and gained hands-on experience through real industry work.
But the more I experienced, the more I realized how slow and restricted the film industry could be. I began searching for a more efficient, flexible, yet equally expressive medium. That’s when I discovered branding and design as tools for emotional and cultural storytelling.
Maybe because I’ve always valued freedom, I wanted to be my own boss. So I went to the U.S. to pursue an MBA, not to leave art behind, but to better prepare myself for entrepreneurship. Today, I run my own design consulting firm and co-founded a nonprofit art foundation with friends. Our mission is to support talented creators who lack access to resources, helping them pursue their artistic dreams without unnecessary detours.
My vision is to help bring great Chinese art and design to the world. Whether as a designer, founder, or future director, I believe storytelling is how I connect with the world.
I’m the founder of Ambiwishes Technology, a creative consulting company based between Los Angeles and Shenzhen. We focus on brand identity, visual storytelling, and cross-cultural design strategy. Our clients include individual creators, emerging brands, and cultural institutions looking to build meaningful narratives and global presence.
In addition to design consulting, I co-founded a nonprofit art foundation with friends to support emerging talents—especially those who have vision but lack access to international platforms. We aim to help them grow without unnecessary obstacles.
Looking ahead, I hope to expand Ambiwishes beyond creative services. We plan to develop our own software and hardware tools in the future—design-driven technologies that improve how people live, create, and connect.
In addition to design consulting, I co-founded a nonprofit art foundation with friends to support emerging talents—especially those who have vision but lack access to international platforms. We aim to help them grow without unnecessary obstacles.
Looking ahead, I hope to expand Ambiwishes beyond creative services. We plan to develop our own software and hardware tools in the future—design-driven technologies that improve how people live, create, and connect.
To me, design is about integration and intention. Historically, the word “design” didn’t always carry a positive meaning—it implied plotting, setting something up. And in a way, that’s still true: design is about constructing systems, setting up frameworks, and deliberately shaping outcomes.
Design is not limited to aesthetics or visuals. It exists in all areas of life—curriculum design, process design, business models, even life planning. It’s about finding a structured, effective solution to a complex need. At its core, design is the ability to see the whole picture, reorganize resources, and create a strategy that works.
That’s why I see design as a powerful and essential skill. It demands logical thinking, analytical judgment, and the ability to balance constraints with creativity. Whether I’m working on visual storytelling or building a company, I rely on design as a way to make sense of chaos and turn ideas into systems.
Design is not limited to aesthetics or visuals. It exists in all areas of life—curriculum design, process design, business models, even life planning. It’s about finding a structured, effective solution to a complex need. At its core, design is the ability to see the whole picture, reorganize resources, and create a strategy that works.
That’s why I see design as a powerful and essential skill. It demands logical thinking, analytical judgment, and the ability to balance constraints with creativity. Whether I’m working on visual storytelling or building a company, I rely on design as a way to make sense of chaos and turn ideas into systems.
I’m most drawn to projects that balance creative vision with real-world impact—designs that are not just expressive, but executable. With my business background, I care deeply about whether a design can be implemented, scaled, and generate value. I enjoy creating solutions that serve both the brand’s purpose and the investor’s expectations.
The works I enjoy most are those that translate a founder’s original vision into something strategic, beautiful, and commercially viable. To me, great design is not self-indulgent—it respects constraints, delivers results, and still finds a way to be emotionally meaningful.
The works I enjoy most are those that translate a founder’s original vision into something strategic, beautiful, and commercially viable. To me, great design is not self-indulgent—it respects constraints, delivers results, and still finds a way to be emotionally meaningful.
One of the designs I admire most is the Disney theme park system. I often wonder—who was brilliant enough to take a collection of animated characters and build an entire physical world around them? It’s more than visual design—it’s world-building at the highest level.
What fascinates me is how Disney turned intangible stories into immersive experiences, allowing visitors to step into a dreamlike world while creating a highly profitable commercial ecosystem. Every detail—from the architecture and atmosphere to merchandise and emotional cues—is part of a coherent, scalable system.
To me, it’s the perfect example of how creativity, narrative, experience design, and business strategy can all work together. It’s playful, but incredibly precise. As someone who cares deeply about both design and entrepreneurship, I find the Disney park model endlessly inspiring.
What fascinates me is how Disney turned intangible stories into immersive experiences, allowing visitors to step into a dreamlike world while creating a highly profitable commercial ecosystem. Every detail—from the architecture and atmosphere to merchandise and emotional cues—is part of a coherent, scalable system.
To me, it’s the perfect example of how creativity, narrative, experience design, and business strategy can all work together. It’s playful, but incredibly precise. As someone who cares deeply about both design and entrepreneurship, I find the Disney park model endlessly inspiring.
The first thing I designed that had real commercial value was a set of postcards featuring campus views of UCLA. I had just arrived in the U.S. as an MBA student, and I noticed that many students loved taking photos on campus but had nothing physical to remember the space by.
So I shot a series of campus images, designed the layout and packaging, and printed a limited batch of postcards to sell during orientation week. I sold out quickly—and made my first dollar in America, all through design.
Looking back, it wasn’t just about making something visually nice. It was the first time I consciously designed a product that connected emotion, function, and revenue. It taught me that good design creates value—not just beauty.
So I shot a series of campus images, designed the layout and packaging, and printed a limited batch of postcards to sell during orientation week. I sold out quickly—and made my first dollar in America, all through design.
Looking back, it wasn’t just about making something visually nice. It was the first time I consciously designed a product that connected emotion, function, and revenue. It taught me that good design creates value—not just beauty.
Right now, I’m especially fascinated by AI tools and their impact on creative work. I regularly use ChatGPT for ideation, strategy mapping, and language refinement; Midjourney for visual exploration; and Runway for fast-paced video prototyping. These tools have greatly improved my workflow—saving time, reducing costs, and helping me push creative boundaries with smaller teams.
What excites me is that AI doesn’t just automate tasks—it expands access to creativity. For independent creators and startups like mine, it enables us to prototype, experiment, and communicate ideas faster and more clearly.
But I’m also cautious. As AI becomes more capable of generating visuals, concepts, and even content strategy, I often ask myself: will these tools empower creative people—or replace them? What will originality mean in a world of algorithmically generated beauty?
I don’t have all the answers yet. But for now, I choose to treat AI as a collaborator, not a competitor. It’s still up to us, as designers and thinkers, to ask the right questions and build meaning behind the form.
What excites me is that AI doesn’t just automate tasks—it expands access to creativity. For independent creators and startups like mine, it enables us to prototype, experiment, and communicate ideas faster and more clearly.
But I’m also cautious. As AI becomes more capable of generating visuals, concepts, and even content strategy, I often ask myself: will these tools empower creative people—or replace them? What will originality mean in a world of algorithmically generated beauty?
I don’t have all the answers yet. But for now, I choose to treat AI as a collaborator, not a competitor. It’s still up to us, as designers and thinkers, to ask the right questions and build meaning behind the form.
Oddly, I feel most creative when I’m asleep.
My dreams are often vivid—visually rich, emotionally layered, and sometimes strangely structured like storyboards. I’ve come to realize that many of these dreams aren’t random at all. They’re extensions of the problems I’ve been thinking about during the day, processed in a more fluid, symbolic language.
In a dream, there are no budgets, deadlines, or physics—only ideas in their purest form. That freedom allows my subconscious to generate compositions, concepts, and connections I wouldn’t have found through conscious effort.
My dreams are often vivid—visually rich, emotionally layered, and sometimes strangely structured like storyboards. I’ve come to realize that many of these dreams aren’t random at all. They’re extensions of the problems I’ve been thinking about during the day, processed in a more fluid, symbolic language.
In a dream, there are no budgets, deadlines, or physics—only ideas in their purest form. That freedom allows my subconscious to generate compositions, concepts, and connections I wouldn’t have found through conscious effort.
Honestly, I start with budget. As a designer with an entrepreneurial mindset—and as someone who has worked alongside many founders—I’ve learned to treat budget not as a constraint, but as a starting point.
Before thinking about visuals or style, I always ask: What’s the actual budget? Based on that, I choose the right materials, production methods, or even scale of expression. A beautiful idea that can’t be executed within real-world limits isn’t good design to me.
I believe great design allocates resources wisely. When you’re building a brand, a product, or a system, design must speak both emotionally and economically. That’s the kind of thinking I value most—creative, but grounded.
Before thinking about visuals or style, I always ask: What’s the actual budget? Based on that, I choose the right materials, production methods, or even scale of expression. A beautiful idea that can’t be executed within real-world limits isn’t good design to me.
I believe great design allocates resources wisely. When you’re building a brand, a product, or a system, design must speak both emotionally and economically. That’s the kind of thinking I value most—creative, but grounded.
It’s a mix of emotions—rarely simple or singular.
I feel a strong sense of responsibility, especially when I’m designing for founders or mission-driven teams. I know every decision I make affects not just aesthetics, but people, budgets, timelines, and sometimes even dreams.
At the same time, I often feel tension and creative pressure. I’m constantly balancing constraints—limited time, tight budgets, high expectations—while still trying to make something meaningful and beautiful.
But there are also moments of flow, when things click. When a structure falls into place, or a concept finally resonates, there’s a quiet joy—deep, not loud. For me, design isn’t a burst of passion. It’s a kind of long-burning commitment, sometimes hard, sometimes magical.
I feel a strong sense of responsibility, especially when I’m designing for founders or mission-driven teams. I know every decision I make affects not just aesthetics, but people, budgets, timelines, and sometimes even dreams.
At the same time, I often feel tension and creative pressure. I’m constantly balancing constraints—limited time, tight budgets, high expectations—while still trying to make something meaningful and beautiful.
But there are also moments of flow, when things click. When a structure falls into place, or a concept finally resonates, there’s a quiet joy—deep, not loud. For me, design isn’t a burst of passion. It’s a kind of long-burning commitment, sometimes hard, sometimes magical.
Relief, first. Especially in real-world projects where deadlines are tight and resources are limited—seeing a design actually land is like exhaling after holding your breath for weeks.
Then comes focus. I quickly shift into observation mode: how people respond, what works, what needs to be adjusted. I don’t stay in the “celebration” stage very long—I care more about whether it truly functions.
But sometimes, quietly, I do feel moved. Especially when I see a founder standing in their new space, or a user interacting with something we built—that moment reminds me that design, when done right, really can change something. And that always brings me back to why I started.
Then comes focus. I quickly shift into observation mode: how people respond, what works, what needs to be adjusted. I don’t stay in the “celebration” stage very long—I care more about whether it truly functions.
But sometimes, quietly, I do feel moved. Especially when I see a founder standing in their new space, or a user interacting with something we built—that moment reminds me that design, when done right, really can change something. And that always brings me back to why I started.
To me, a successful design is one that solves the right problem at the right depth. It aligns with its context—business goals, user needs, budget, timing—while still holding space for originality and emotion. A good design doesn’t just make things prettier; it creates clarity, connection, and momentum.
The first thing I look for is clarity of intention. Is it clear what the design is trying to say or solve? Then I look at structure—how well the visual or functional system supports that intention. Beauty matters too, but only when it amplifies meaning or usability. If a design is beautiful but confusing, it’s a missed opportunity.
Designers don’t just shape products—we shape perceptions, behaviors, and values. We have a responsibility to ask: What kind of world are we reinforcing through our work? I believe design should create value, not waste; inspire progress, not just consumption. In an age of overstimulation, thoughtful design becomes an act of ethical clarity.
The design field is shifting from being purely visual to becoming more strategic and interdisciplinary. It’s no longer just about how something looks—but how it behaves, how it communicates, and how it fits into a larger system. Designers today need to think in terms of user experience, business goals, social impact, and scalability.
Within this shift, AI has become a major accelerant. On one hand, it has lowered the entry barrier—anyone can generate images, layouts, even logos with a few prompts. On the other hand, it has raised the standard for professionals. Execution alone is no longer enough.
The future belongs to designers who can combine creative thinking with system logic—who can guide not just what is made, but why and how it should be made. I don’t think AI replaces designers; it redefines their role. Our value will lie not in how quickly we produce visuals, but in how wisely we define meaning and structure.
Within this shift, AI has become a major accelerant. On one hand, it has lowered the entry barrier—anyone can generate images, layouts, even logos with a few prompts. On the other hand, it has raised the standard for professionals. Execution alone is no longer enough.
The future belongs to designers who can combine creative thinking with system logic—who can guide not just what is made, but why and how it should be made. I don’t think AI replaces designers; it redefines their role. Our value will lie not in how quickly we produce visuals, but in how wisely we define meaning and structure.
My most recent exhibition was in 2025 at the Red Dot Design Museum in Xiamen, China. My packaging design for Chillwild—a tea brand inspired by traditional Chinese herbal philosophy—was selected for a special exhibition on traditional craft and contemporary design. It was a meaningful moment for me, both as a designer and as someone deeply connected to Chinese culture.
As a Chinese creative working across borders, I’ve always wanted to find modern ways to honor and reinterpret our cultural heritage. In the future, I hope to exhibit more works internationally that bring Chinese aesthetics and philosophies into global conversation—through design that is both contemporary and rooted.
As a Chinese creative working across borders, I’ve always wanted to find modern ways to honor and reinterpret our cultural heritage. In the future, I hope to exhibit more works internationally that bring Chinese aesthetics and philosophies into global conversation—through design that is both contemporary and rooted.
My inspiration comes from three main sources.
First, real people. I often get my best ideas from listening to founders, clients, or users talk about their frustrations or dreams. When people speak with emotion, they unintentionally reveal the problems that really matter—and that’s where design begins.
Second, culture. As someone deeply connected to Chinese heritage, I find endless creative material in language, rituals, visual codes, and philosophical concepts. From ancient medicine to seasonal rhythms, Chinese culture offers a rich visual and emotional system that constantly inspires me.
Third, contradictions. I get inspired when things don’t quite make sense—when tradition meets tech, when softness meets order, when I feel emotionally off-balance. I try to stay open to ambiguity, because that’s often where the original thinking starts.
To stay creative, I don’t wait for ideas—I build inputs: I read across disciplines, walk in unfamiliar neighborhoods, experiment with AI, and keep a visual diary. Creativity is less about sudden magic, more about being present, observant, and responsive.
First, real people. I often get my best ideas from listening to founders, clients, or users talk about their frustrations or dreams. When people speak with emotion, they unintentionally reveal the problems that really matter—and that’s where design begins.
Second, culture. As someone deeply connected to Chinese heritage, I find endless creative material in language, rituals, visual codes, and philosophical concepts. From ancient medicine to seasonal rhythms, Chinese culture offers a rich visual and emotional system that constantly inspires me.
Third, contradictions. I get inspired when things don’t quite make sense—when tradition meets tech, when softness meets order, when I feel emotionally off-balance. I try to stay open to ambiguity, because that’s often where the original thinking starts.
To stay creative, I don’t wait for ideas—I build inputs: I read across disciplines, walk in unfamiliar neighborhoods, experiment with AI, and keep a visual diary. Creativity is less about sudden magic, more about being present, observant, and responsive.
I would describe my design style as structured, emotionally restrained, and narrative-driven. I’m not drawn to noise or trendiness—I prefer clarity, rhythm, and systems that can scale or evolve.
This style grew naturally from my background. I started in photography and film, where framing and timing are everything. Later, I worked in branding, advertising, and business strategy. These experiences taught me that good design is not about decoration—it’s about delivering a message clearly, beautifully, and with intention.
My work often centers around typography, layout hierarchy, cultural textures, and story-informed visuals. I avoid overdesigning—I’d rather leave space for the viewer to feel and interpret.
My process always begins with structure: What is the core message? Who are we speaking to? What are the real limits? Once the frame is clear, I shape tone, pacing, and visual metaphors. I believe great design is not about impressing—it’s about communicating with precision and empathy.
This style grew naturally from my background. I started in photography and film, where framing and timing are everything. Later, I worked in branding, advertising, and business strategy. These experiences taught me that good design is not about decoration—it’s about delivering a message clearly, beautifully, and with intention.
My work often centers around typography, layout hierarchy, cultural textures, and story-informed visuals. I avoid overdesigning—I’d rather leave space for the viewer to feel and interpret.
My process always begins with structure: What is the core message? Who are we speaking to? What are the real limits? Once the frame is clear, I shape tone, pacing, and visual metaphors. I believe great design is not about impressing—it’s about communicating with precision and empathy.
I live between Shenzhen and Los Angeles. Culturally and professionally, I move between East and West—and that in-between space has shaped both my identity and my design philosophy.
Chinese culture deeply influences my work. I’m drawn to rhythm, symbolism, restraint, and structure. I’m inspired by our materials, medicine, language systems, and even philosophies like yin-yang or five elements—which I often translate into visual logic or spatial flow.
The benefit of this background is that I can bridge two worlds. I can interpret Chinese aesthetics for global audiences and bring international thinking into Chinese creative projects. But it also means I’m sometimes misunderstood, or I have to explain more than others.
Chinese culture deeply influences my work. I’m drawn to rhythm, symbolism, restraint, and structure. I’m inspired by our materials, medicine, language systems, and even philosophies like yin-yang or five elements—which I often translate into visual logic or spatial flow.
The benefit of this background is that I can bridge two worlds. I can interpret Chinese aesthetics for global audiences and bring international thinking into Chinese creative projects. But it also means I’m sometimes misunderstood, or I have to explain more than others.
I work more like a creative partner than an outsourced designer. My goal is not just to deliver visuals, but to help shape direction—whether for a brand, a product, or a system.
I usually begin by understanding the business model, audience, and long-term vision. From there, I help clarify the core message, structure the brand’s identity system, and build visual assets that can scale with the company.
I care deeply about practicality. I design for real constraints: team size, budget, production channels. I don’t believe in “one-time wow”—I focus on building systems that grow, evolve, and adapt.
I especially enjoy working with founders and teams who see design as part of their strategic growth—not just as decoration. That kind of collaboration leads to the most meaningful results.
I usually begin by understanding the business model, audience, and long-term vision. From there, I help clarify the core message, structure the brand’s identity system, and build visual assets that can scale with the company.
I care deeply about practicality. I design for real constraints: team size, budget, production channels. I don’t believe in “one-time wow”—I focus on building systems that grow, evolve, and adapt.
I especially enjoy working with founders and teams who see design as part of their strategic growth—not just as decoration. That kind of collaboration leads to the most meaningful results.
First, companies should stop seeing design as decoration. Design is not just about how something looks—it’s about how something works, communicates, and grows. If you’re serious about long-term success, treat design as a strategic asset, not a cosmetic fix.
To choose a good designer, don’t just look at their portfolio—look at how they think. Can they understand your business model? Can they translate complex ideas into clear visual systems? Do they ask good questions before showing solutions?
Once you start working with a designer, trust is everything. Share your business goals, constraints, and concerns openly. A good collaboration happens when the company brings the “problem and vision,” and the designer helps shape the “path and form.” Don’t micromanage pixels—co-build meaning.
To choose a good designer, don’t just look at their portfolio—look at how they think. Can they understand your business model? Can they translate complex ideas into clear visual systems? Do they ask good questions before showing solutions?
Once you start working with a designer, trust is everything. Share your business goals, constraints, and concerns openly. A good collaboration happens when the company brings the “problem and vision,” and the designer helps shape the “path and form.” Don’t micromanage pixels—co-build meaning.
My design process usually begins with structure, not visuals. I start by clarifying: What is the core message? Who are we speaking to? What should this design help achieve?
Once that’s defined, I create a logic map—sometimes in FigJam, sometimes in my notebook. Then I begin testing tone, rhythm, and form. I move between writing, sketching, references, and quick prototyping. I also build moodboards early—not just for aesthetics, but to align emotion and intention.
Before I finalize anything, I always step back and ask: “Can this grow with the brand? Can it be implemented under real-world constraints?”
Once that’s defined, I create a logic map—sometimes in FigJam, sometimes in my notebook. Then I begin testing tone, rhythm, and form. I move between writing, sketching, references, and quick prototyping. I also build moodboards early—not just for aesthetics, but to align emotion and intention.
Before I finalize anything, I always step back and ask: “Can this grow with the brand? Can it be implemented under real-world constraints?”
1.Smartphone – One of the greatest inventions in human history. It has evolved from a phone into a universal tool: camera, editor, remote control, wallet, car key, creative studio. Almost everything I do passes through it.
2.Gaming Console – Games are one of the most complex forms of interaction, and consoles are what make them playable. Great games combine logic, design, aesthetics, and addiction mechanics. They’re not just entertainment—they’re interactive art.
3.Sony A7R V Camera – I still find it magical that we can “freeze” light and memory. This camera gives me creative control and cinematic quality in one compact tool. It’s both emotional and precise.
4.Smart Home Controller – A real-life quality-of-life upgrade. One screen controls lights, air, curtains, and more. It’s design doing what it should: making life easier, smoother, better.
5.Coffee Machine – A well-designed coffee machine isn’t just functional—it adds ritual. It makes you pause, prepare, enjoy. What it delivers is far beyond caffeine.
2.Gaming Console – Games are one of the most complex forms of interaction, and consoles are what make them playable. Great games combine logic, design, aesthetics, and addiction mechanics. They’re not just entertainment—they’re interactive art.
3.Sony A7R V Camera – I still find it magical that we can “freeze” light and memory. This camera gives me creative control and cinematic quality in one compact tool. It’s both emotional and precise.
4.Smart Home Controller – A real-life quality-of-life upgrade. One screen controls lights, air, curtains, and more. It’s design doing what it should: making life easier, smoother, better.
5.Coffee Machine – A well-designed coffee machine isn’t just functional—it adds ritual. It makes you pause, prepare, enjoy. What it delivers is far beyond caffeine.
Because I work across time zones, my days usually start late and end late. The first thing I do after waking up is make coffee—it’s my mental start button.
As a founder, I handle many tasks: team communication, client projects, product building, content planning. I often work 12–16 hours a day, but I enjoy it—because I’m doing what I truly care about.
My schedule is flexible but intense. I shift between collaboration, decision-making, and content creation. I don’t separate “life” and “work” strictly—but I do manage my energy, focus, and momentum with intention.
As a founder, I handle many tasks: team communication, client projects, product building, content planning. I often work 12–16 hours a day, but I enjoy it—because I’m doing what I truly care about.
My schedule is flexible but intense. I shift between collaboration, decision-making, and content creation. I don’t separate “life” and “work” strictly—but I do manage my energy, focus, and momentum with intention.
Don’t rush to find your “style.” Find your lens—your way of seeing, questioning, connecting. The rest will come.
Work on your system thinking as much as your visuals. The future of design is not just how it looks, but how it integrates.
Also, don’t be afraid to be boring. Some of the best designers I know are obsessed with details, structure, and timelines. Consistency beats inspiration.
And finally—protect your curiosity. That’s the only part AI can’t replace.
Work on your system thinking as much as your visuals. The future of design is not just how it looks, but how it integrates.
Also, don’t be afraid to be boring. Some of the best designers I know are obsessed with details, structure, and timelines. Consistency beats inspiration.
And finally—protect your curiosity. That’s the only part AI can’t replace.
Pros: You’ll never get bored. You deal with new problems, people, and systems constantly. You get to learn fast and turn creativity into value.
Cons: Information overload, blurred boundaries. Designers are often asked to solve things outside their scope, while their core creative space shrinks.
Cons: Information overload, blurred boundaries. Designers are often asked to solve things outside their scope, while their core creative space shrinks.
Figure out what to say before deciding how to show it. If it doesn’t solve a real problem, it doesn’t matter how good it looks.
Not software. It’s information synthesis. You need to hear vague problems, break them down into structure, goals, and emotion—and then design something that actually works.
• Software: Figma, Adobe Suite (esp. Illustrator, Premiere)
• Thinking tools: Notion, Whimsical, FigJam
• AI tools: Midjourney, ChatGPT, Runway
• Hardware: MacBook Pro, Sony A7R V
• Inspirations: Behance, Pinterest, Xiaohongshu, films, museums, dreams
• Thinking tools: Notion, Whimsical, FigJam
• AI tools: Midjourney, ChatGPT, Runway
• Hardware: MacBook Pro, Sony A7R V
• Inspirations: Behance, Pinterest, Xiaohongshu, films, museums, dreams
I follow a fairly strict schedule. Before each project, I estimate how much time each stage will take and intentionally leave room for flexibility.
I don’t procrastinate—I start when it’s time to start. And when needed, I can think fast under pressure. But most of the time, I rely on planning and execution, not last-minute inspiration.
I don’t procrastinate—I start when it’s time to start. And when needed, I can think fast under pressure. But most of the time, I rely on planning and execution, not last-minute inspiration.
Depends on complexity. A simple poster or packaging takes 2–5 days. Full branding systems usually need 2–4 weeks. Projects involving naming, storytelling, or cross-media execution can take 1–3 months.
Can you just do something simple, whatever you think?”
I usually reply: “Not really—because chances are, you won’t like it and we’ll end up redoing everything. Design isn’t a guessing game.”
If you’re not sure what you want yet, let’s figure that out first—then I’ll design something that fits.
I usually reply: “Not really—because chances are, you won’t like it and we’ll end up redoing everything. Design isn’t a guessing game.”
If you’re not sure what you want yet, let’s figure that out first—then I’ll design something that fits.
fter founding my studio, I led several 0-to-1 brand builds. We weren’t just designing—we were creating names, positioning, and even helping with first revenue. It changed how I see design: not just visual, but business-critical.
I mainly work with:
• Early-stage founders who need naming, brand strategy, and full visual systems;
• Cultural and art-related organizations looking to build structured storytelling and identity;
• Creative professionals applying for international visas, needing background curation and visual support;
• Personal brands or designers aiming to grow their international presence with strategic design.
• Early-stage founders who need naming, brand strategy, and full visual systems;
• Cultural and art-related organizations looking to build structured storytelling and identity;
• Creative professionals applying for international visas, needing background curation and visual support;
• Personal brands or designers aiming to grow their international presence with strategic design.
I love 0-to-1 projects. You get to name, frame, style, and define everything. Every decision matters—and you get to build something that didn’t exist before.
I’m focusing on building the Anti-Ordinary Incubator, a platform I initiated to support Chinese creatives with global potential. The goal is to provide strategic, long-term support for international growth—through design, storytelling, and structured opportunity systems.
I’m also incubating a few new brands rooted in Chinese cultural logic, such as Chillwild, a modern herbal lifestyle brand.
Long-term, I want to build a cross-cultural creative ecosystem—a support system where talented but under-resourced creatives can be seen, grow, and thrive globally.
I’m also incubating a few new brands rooted in Chinese cultural logic, such as Chillwild, a modern herbal lifestyle brand.
Long-term, I want to build a cross-cultural creative ecosystem—a support system where talented but under-resourced creatives can be seen, grow, and thrive globally.
I lead the core creative direction, but I work with a trusted circle of designers, developers, and editors. Depending on the project, I expand into a small agile team.
Yes, I’m currently leading a platform I personally founded and initiated, called the Anti-Ordinary Incubator, supported by the Glowstar Art Foundation (U.S.). It’s designed to serve Chinese creative professionals—including designers, artists, and content creators—who are looking to expand internationally.
This is not just a design task—it’s a full-scale platform I built from the ground up. I lead everything from brand strategy, visual systems, content structure, membership design, to database and AI-based tools. The goal is to offer structured, long-term support for creatives navigating global opportunities—not just content or inspiration.
This is not just a design task—it’s a full-scale platform I built from the ground up. I lead everything from brand strategy, visual systems, content structure, membership design, to database and AI-based tools. The goal is to offer structured, long-term support for creatives navigating global opportunities—not just content or inspiration.
Feel free to reach out via my website: www.ambiwishes.com
Email: joy@ambiwishes.com
Email: joy@ambiwishes.com
For me, design is not a job title—it’s a way of thinking. It’s a tool for solving problems, building systems, and communicating meaning.
At the core of what I do is something simple: I want to help people like me take fewer detours.
If the things I’ve struggled to figure out can save someone else a few years—or give them more options—then everything I’ve built is worth it.
At the core of what I do is something simple: I want to help people like me take fewer detours.
If the things I’ve struggled to figure out can save someone else a few years—or give them more options—then everything I’ve built is worth it.
