Naser Nasiri

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Naser Nasiri ("NN") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

NN : I’m Naser Nasiri, a graphic designer with over two decades of experience in brand identity, poster design, book covers, and more. My academic background in graphic design, combined with international courses, has kept me connected to the latest design trends. Over the years, I’ve collaborated with leading Iranian publishers and worked on cinematic projects like "Wind Whispers in the Meadow" and "Dirty Work." Internationally, I’ve been the artistic director for major festivals and exhibitions, including the World Graphic Design Day and the International Posterism Competition. My work aims to communicate meaningful social and cultural messages through design.

DL: What motivates you to design in general, why did you become a designer?

NN : My motivation for design comes from a lifelong passion for art, which began with my fascination for patterns and colors. As a child, I was drawn to carpet design and miniature painting. Everything changed when I was introduced to graphic design during a trip to Tehran. I immediately felt a deep connection to it, more than any other art form. While I had a strong interest in cinema, poetry, and music, graphic design felt like the perfect medium for me. It allowed me to communicate directly with people, like poetry, but through visual storytelling, which I found captivating and impactful.

DL: Did you choose to become a designer, or you were forced to become one?

NN : I absolutely chose to become a designer. From a young age, I was passionate about art, especially intricate patterns, carpet design, and miniature painting. As I discovered graphic design, I was captivated by its possibilities. It felt like a calling, and I knew it was the field where I could truly express myself. While I had other interests, such as cinema, poetry, and music, graphic design felt like the perfect fit. It wasn’t a decision of force, but a conscious choice to pursue a career where I could connect with people through visual storytelling. For me, design is not just a profession—it’s a way of life.

DL: What do you design, what type of designs do you wish to design more of?

NN : I mainly design book covers, illustrations, and posters, particularly in cinema and music. Book cover design allows me to visually interpret complex literary themes, emotions, and stories, while poster design in cinema and music lets me engage with cultural storytelling on a deeper level. I love working on projects for independent films and experimental music where the visual identity is bold and conceptual. I also enjoy combining illustration with typography and hand-drawn elements to create expressive works. Going forward, I want to focus more on socially engaged projects and explore new media like animated posters and interactive designs. I believe design is a universal language that connects people emotionally and intellectually.

DL: What should young designers do to become a design legend like you?

NN : I don’t consider myself a "design legend," but rather someone who is deeply passionate about design. For young designers aiming to grow, my advice is: Read poetry and literature to fuel your imagination—design is about meaning, emotion, and communication. Draw every day; practice is key. Seek critique and be open to feedback—it’s crucial for growth. Stay curious, never stop learning, and expose yourself to new ideas. Most importantly, be sincere in your work. Don’t follow trends blindly; find your own voice and let your design reflect who you truly are. Design is a lifelong journey, so walk it with passion and humility.

DL: What distinguishes between a good designer and a great designer?

NN : The difference between a good designer and a great designer goes beyond technical skill. A good designer can solve problems and deliver aesthetically pleasing work. A great designer creates meaning—they connect emotionally with their audience. Great designers have a unique voice, emotional intelligence, and authenticity. They ask deeper questions, take bigger risks, and challenge conventions. What sets them apart is consistency and a commitment to continuous learning. A good designer responds to the world, while a great designer shapes it.

DL: What makes a good design a really good design, how do you evaluate good design?

NN : For me, a good design starts with a strong, clear, and original idea. Without a solid concept, even the most beautiful execution feels empty. The technique should support the idea, not overshadow it, whether through illustration, typography, or digital manipulation. Typography is particularly powerful as it can convey tone and emotion even before reading the words. Layout and composition are also key— they provide structure, clarity, and rhythm, guiding the viewer’s eye. When these elements—idea, technique, typography, and layout—work together, a good design becomes truly great.

DL: What is the value of good design? Why should everyone invest in good design?

NN : Good design is more than just aesthetics—it’s about clarity, function, emotion, and impact. It helps ideas connect with people, products stand out, and messages resonate. In a world full of noise, good design makes communication clear, memorable, and human. Investing in good design is investing in connection. It builds trust and gives the audience a reason to engage. Good design shows care—it reflects the values behind it and demonstrates respect for the audience. Ultimately, good design is silent intelligence that shapes how we understand and experience the world.

DL: What would you design and who would you design for if you had the time?

NN : If I had more time, I would design for the poems that have shaped me, for the people I love and have lost, using design as a way to keep their memory alive. I have a deep passion for combining poetry and design, as they both speak from the heart and aim to touch others. I would also design for music that moves me in ways words cannot. For me, designing for music and poetry is not just a commission—it’s a personal ritual, a way to express the inexpressible. If time allowed, I’d dedicate more of my work to these intimate acts of design.

DL: What is the dream project you haven’t yet had time to realize?

NN : My dream project is to create a visual anthology—a book or series—where design, poetry, and music exist together in harmony. It would combine the poems that have shaped me, the melodies that haunt me, and the faces of those I’ve loved and lost. This project would not be commercial; it would be a love letter to everything that has moved me. I want to create a space where design is not just decoration but an emotional documentation, where personal history meets universal feeling. One day, I hope to find the time, courage, and peace to bring this dream to life.

DL: What is your secret recipe of success in design, what is your secret ingredient?

NN : If I had to share a secret ingredient in my design journey, it would be poetry. Poetry teaches me rhythm, balance, metaphor, and emotional honesty—each design I create is, in a way, a visual poem. Along with poetry, my connection to Eastern art, especially Persian carpet design, miniature painting, and calligraphy, has shaped my work. These traditions taught me patience, precision, and the power of symbolism. My success is rooted in blending the sensitivity of poetry with the structure of calligraphy and the intricacy of miniature art, creating designs that speak not just to the eyes, but to the soul.

DL: Who are some other design masters and legends you get inspired from?

NN : I’ve always been inspired by the Push Pin Studios, the Polish School of Posters, and the Swiss Design movement. Their innovative approaches to composition and form deeply influenced my early understanding of design. Japanese designers also resonate with me, particularly their sensitivity to space and silence. Contemporary designers like Fukuda, Armando Milani, Alexander Faldin, and Pekka Loiri inspire me with their minimalist yet culturally rich designs. However, the greatest influence on my work has been my teacher, Ghobad Shiva. His poetic approach to visual storytelling and his ability to translate culture into design have shaped my path profoundly. For me, minimalism must always carry culture and emotional truth.

DL: What are your favorite designs by other designers, why do you like them?

NN : I’ve always admired Milton Glaser’s work, especially his iconic Bob Dylan poster. His ability to blend art, typography, and emotion into a single visual is something I deeply respect. It taught me to see design as a way to capture the essence of a moment or feeling. Armando Milani’s peace poster is another significant influence. His work communicates profound social messages with simplicity and universal power—something I strive for in my own designs. Alexander Faldin’s anti-smoking poster also left a lasting impact. His ability to address a critical issue while maintaining a strong visual identity has been a great learning experience for me. These designers have shaped my approach to creating work with both beauty and purpose.

DL: What is your greatest design, which aspects of that design makes you think it is great?

NN : Choosing a single greatest design is tough for me, as I have many pieces I’m proud of. However, if I had to highlight a few, the book covers I designed for the Western Classic Literature series (16 volumes) for Nafir Publishing stand out. They capture the essence of classic literature while staying fresh and visually engaging. I also have a special connection to some of my film posters, like "A Place Far Away" and "The Wind Blows in the Grass," where I had the chance to visually express emotions and stories. But if I had to pick one, it would be the poster I created for the Abdulqader Maraghei Festival. Its balance, clarity, and cultural significance make it a piece I consider particularly meaningful and powerful.

DL: How could people improve themselves to be better designers, what did you do?

NN : Becoming a better designer is a personal journey that requires patience, curiosity, and a deep connection to life and art. For me, design has always been a way of seeing the world. I immersed myself in poetry, literature, music, and visual arts from an early age. Though I explored many creative fields, I chose graphic design because it allows me to communicate deeply with people. To improve, I studied, observed, and listened. I read daily, learned from great designers, and practiced constantly. I exposed my work to feedback and explored typography, visual storytelling, and cultural codes. To grow, designers must stay humble, keep learning, and find their own voice.

DL: If you hadn’t become a designer, what would you have done?

NN : If I hadn't become a designer, I would definitely be a painter. Painting has always been a vital part of my creative life, and I still explore it today. I would also be writing poetry—it's my soul's language, something I deeply love and practice regularly. Perhaps I would also be crafting things with wood, building small objects or handmade pieces. I've always been drawn to the tactile process of making things with my hands. Whether through painting, poetry, or woodwork, I would still be searching for ways to connect emotion and form, just like I do in design.

DL: How do you define design, what is design for you?

NN : For me, design is a language—one that speaks directly, emotionally, and visually. It's not just about solving problems or creating harmony; it's about building meaningful connections between people and ideas. Design is poetry with structure, where content and form come together to create clarity, emotion, and impact. Design is also responsibility. It carries culture, identity, and memory. A good design should be honest, rooted, and respectful—yet bold and forward-looking. To me, design is a way of understanding the world, revealing the unseen, and communicating what words alone cannot.

DL: Who helped you to reach these heights, who was your biggest supporter?

NN : My wife, who studied cinema and has a sharp, critical eye, has been one of my strongest supporters and toughest critics. She celebrates my successes but also pushes me to never settle for mediocrity. If a design doesn’t meet her standards, she’s honest with me, ensuring I always strive for my best, no matter the pressure. Her care and honesty have been essential in my growth. I am also deeply grateful to my teachers, especially Master Ghobad Shiva, whose influence on my design sensibilities and understanding of cultural responsibility has shaped my career profoundly.

DL: What helped you to become a great designer?

NN : I don’t consider myself a “great” designer—it's a term I find too grand. There are many brilliant designers whose work continues to inspire me. For me, greatness is always just ahead, a direction, not a destination. What has helped me grow is persistence and love. I’ve always been in love with design, and true love is patient. It keeps going even when things are tough, when recognition is slow, or doubts arise. I’ve followed this love, not trends or applause, and kept designing, studying, and creating through both quiet and noisy times. What matters most is staying sincere, focused, and committed to evolving—design is about feeling, building connections between culture and emotion.

DL: What were the obstacles you faced before becoming a design master?

NN : Yes, I've faced vulnerability as an artist, as I believe many designers do. Exposing your inner world to the outside can lead to admiration, but also misunderstanding or even hostility—often from unexpected places, including peers. The creative world is full of contradictions: beauty, connection, but also competition and isolation. I’ve experienced moments of emotional and professional threats due to envy or lack of understanding. However, I’ve never been broken by it. My deep connection to poetry and literature has kept me grounded. Success doesn’t lead to arrogance, and failure hasn’t defeated me. True design is about sincerity, respect, and staying present with the craft.

DL: How do you think designers should present their work?

NN : I believe designers should present their work with honesty, clarity, and an understanding of their own process. It’s not just about showing the final product, but also sharing the story behind it—what inspired them, the problem they were solving, and the cultural or emotional context. Presentation should be a dialogue, not a show-off. When I present my work, I focus on the concept first, then explain the decisions I made to support it. I also think it’s crucial to respect the cultural roots of the work. Humility is key—good presentation invites understanding, questions, and growth.

DL: What’s your next design project, what should we expect from you in future?

NN : In the near future, I plan to focus on web design, especially user interface and user experience design for websites and mobile apps. I believe there’s a need for more poetic, meaningful, and culturally sensitive design in the digital world. I’ll continue working on illustrations and paintings that blend graphic design with storytelling. My goal is to merge design, illustration, and poetry to create emotional, memorable experiences. Expect my future work to balance technology with soul—functional yet thoughtful, modern yet rooted in tradition, fast but not shallow.

DL: What’s your ultimate goal as a designer?

NN : My ultimate goal as a designer is to make life more meaningful, beautiful, and easier for others through my work. I aim to create moments of joy, clarity, and emotional connection. I believe in the power of design to bridge cultural gaps and foster understanding. Through my designs, I hope to contribute to a more empathetic, visually literate world where aesthetics and function work together for humanity’s benefit. Design is not just a profession to me—it’s a way to contribute to the collective well-being and participate in a larger cultural dialogue.

DL: What people expect from an esteemed designer such as yourself?

NN : People expect me as a designer to express their emotions, concerns, and hopes through visual language. They want me to make life more beautiful and meaningful, helping them communicate more clearly and thoughtfully. Designers should be beside people, teaching them how to see and behave gracefully, not above them. We reflect society’s current state and its potential. The trust people place in us is a responsibility we must honor by staying honest, calm, and responsive. Ultimately, they expect not just beauty, but a sincere connection that comforts, inspires, and enlightens.

DL: How does design help create a better society?

NN : Design, especially graphic design, is rooted in society’s needs and behaviors. It solves problems, delivers messages, and enhances experiences. Graphic design helps people navigate systems, understand information, build cultural identity, and make informed choices. It impacts everyday life—from signage to political posters to digital interfaces. The power of design lies in its ability to merge function with emotion, shaping how we move, think, and act. It improves accessibility, sustainability, and safety. Ultimately, design is about ethics—serving others, elevating lives, and creating a more humane society.

DL: What are you currently working on that you are especially excited about?

NN : Right now, I'm working on a few exciting projects related to traffic education. These projects combine animation, video production, environmental graphics, and pictogram design to raise awareness and influence behavior in public spaces. It's an opportunity to use design for practical, everyday impact. At the same time, I'm finalizing several book cover designs, which remain one of my most cherished areas of work. Designing covers allows me to connect deeply with the content, creating more meaningful and resonant visuals. Both these projects—public education and literature—are integral to my design philosophy.

DL: Which design projects gave you the most satisfaction, why?

NN : Designing book covers, especially for poetry and psychology books, has given me the most satisfaction. These genres require a deep emotional and intellectual connection. Poetry needs a visual language that mirrors its subtlety, while psychology asks me to communicate complex human emotions with clarity. What makes these projects fulfilling is the process of immersion—I always read the manuscript multiple times to connect with the author’s voice and core ideas. A good cover doesn’t just sell the book; it invites readers in. When someone tells me the cover reflects their inner thoughts, I know the design has succeeded.

DL: What would you like to see changed in design industry in the coming years?

NN : I hope the design industry becomes more respectful of human sensibilities, especially cultural backgrounds and historical depth. While innovation is important, I feel that modern design trends sometimes overlook the unique beauty of regional cultures, particularly those rooted in the East. I’d like to see design evolve to draw strength from cultural heritage, language, and identity, rather than just chasing novelty or technology. Design should celebrate differences and give content a meaningful, rooted visual language. I hope the focus shifts more to content-driven design, fostering a deeper, more inclusive approach.

DL: Where do you think the design field is headed next?

NN : I believe the design field is moving toward a more interdisciplinary and context-driven future. While technology will remain important, design will increasingly focus on emotional, cultural, and social impact. The future of design will be about creating meaningful experiences that resonate with people, emphasizing purpose and problem-solving. Cultural sensitivity will become more critical as global interaction grows. I also see a rise in sustainable and ethical design, with a focus on harmony with the environment. While AI will shape design, the human touch—empathy and storytelling—will always remain central.

DL: How long does it take you to finalize a design project?

NN : The time it takes to finalize a design project varies depending on several factors. The research phase is crucial, as it involves deeply understanding the subject and exploring the visual forms and techniques. The ideation phase also plays a key role in how visual elements will interact. The timeline depends on the project’s complexity and the medium used. While the duration can range from one week to ten days for most projects, larger and more intricate designs may take longer due to more extensive research, iterations, and refinements. Ultimately, it’s about balancing quality, creativity, and efficiency.

DL: When you have a new design project, where do you start?

NN : When I start a new design project, I begin with thorough research to understand the subject, its goals, and the target audience. This helps me align the design with the project’s purpose. I then dive into exploring the cultural context, including history, symbols, and social aspects, to ensure the design resonates appropriately. Once I have a clear understanding, I move on to brainstorming, sketching, and ideation. After settling on a concept, I focus on execution, carefully selecting colors, typography, and layout to bring the design to life. The process is a balance of creativity, research, and cultural sensitivity.

DL: What is your life motto as a designer?

NN : My life motto as a designer is "Design is not just about aesthetics, it’s about making a difference." I believe every design has the power to influence, communicate, and create impact. This motto drives me to approach each project with responsibility and purpose, ensuring that my work serves a deeper function and resonates emotionally. I also value continuous growth, staying curious, adaptable, and open to new ideas. "Stay humble, keep learning, and let your work speak for itself" is the philosophy I follow every day in my design journey.

DL: Do you think design sets the trends or trends set the designs?

NN : I believe design sets trends. It’s not just a response to existing needs but a force that creates new directions. Designers, with their creativity and awareness of social, cultural, and technological shifts, can shape the visual world and challenge current trends. While designers may be influenced by trends, imitating them too closely harms the work and design itself. Design should be an independent language that expresses innovative concepts. Ultimately, design has the power to define and guide trends, not just follow them.

DL: What is the role of technology when you design?

NN : Technology plays a vital role in my design process by enhancing creativity and efficiency. It doesn’t replace the designer’s vision but supports it, offering tools to refine ideas and integrate different elements like typography, imagery, and multimedia. Technology helps manage design assets, making it easier to execute complex concepts. It allows for more dynamic, impactful designs by combining various creative components. However, while technology amplifies creativity, the core concept and vision always come from the designer.

DL: What kind of design software and equipment do you use in your work?

NN : For my design work, I rely on several key software tools. For graphic design, I mainly use Photoshop, Illustrator, and InDesign, which help with digital illustrations, print layouts, and typography. For motion graphics and video editing, I use Premiere Pro and After Effects to create dynamic visual content. I also use high-resolution monitors and graphic tablets to ensure precise control during the design process. These tools and equipment are essential for creating designs that are visually engaging and technically refined.

DL: What is the role of the color, materials and ambient in design?

NN : Color, materials, and the ambient environment are essential elements in design that deeply influence both the emotional and functional impact on the audience. Color evokes emotions and conveys messages, guiding attention and creating identity. Materials affect the tactile experience and perception of quality, with choices like wood or metal influencing warmth or modernity. The ambient environment, including lighting and layout, shapes the emotional response of users, whether in architecture or digital design. Together, these elements create a cohesive experience that resonates both aesthetically and functionally.

DL: What do you wish people to ask about your design?

NN : I wish people would ask more thoughtful questions about the deeper relationships and behaviors of the forms in my designs. I'd love for them to explore how visual elements like lines, shapes, and colors come together to create meaning and flow. Questions about the underlying systems and structures I use to guide attention and create harmony would be especially rewarding. I want people to appreciate not just the aesthetics but also the intentionality behind the design, where the visual elements are carefully crafted to convey a deeper message or narrative.

DL: When you see a new great design or product what comes into your mind?

NN : When I see a great design or product, I immediately think about the thought process behind it. How did they come up with this idea? I’m always curious about how well they understood the problem and crafted such an effective, beautiful solution. It’s a moment of admiration for the designer's vision and execution. The precision, the intentionality behind each detail—it all feels so perfectly aligned with the purpose. It fills me with respect for the designer and motivates me to push my own creative boundaries, reminding me of the endless possibilities that great design can offer.

DL: Who is your ideal design partner? Do you believe in co-design?

NN : Yes, I absolutely believe in co-design. I think collaborative design leads to richer, more effective outcomes than working alone. When multiple minds come together, new ideas and solutions often emerge that wouldn’t have been possible in isolation. The key to a successful co-design partnership is emotional and psychological alignment, as well as mutual respect for each other's skills and strengths. It’s about creating a space where both partners can contribute freely and bring their unique perspectives to the table. My ideal design partner would be someone who not only has a strong grasp of design principles but also shares a deep respect and understanding of the project’s subject matter. It’s important that both partners are aligned in their vision, but also open to challenging each other’s ideas constructively. Equally crucial is the ability to prioritize the success of the project over individual egos. If both designers can put the project’s success above their own desires for recognition or credit, then the partnership can truly thrive. In this kind of environment, creativity flows freely, and the outcome is always richer and more meaningful because of the shared knowledge and mutual respect that drives it.

DL: Which people you interacted had the most influence on your design?

NN : The people who have had the most influence on my design are a blend of intellectuals, artists, and personal connections that have shaped both my creative vision and my approach to life. Firstly, Seyed Ali Salehi, the poet, has deeply influenced the way I think about the relationship between words and visuals. His profound understanding of language and emotions has shaped my perspective on how to evoke meaning through visual storytelling. Then, Khosrow Masoomi, a film director, also had a significant impact. His nuanced approach to visual narrative in cinema and his understanding of the emotional power of images inspired me to think more critically about how design can impact the viewer's emotions and perceptions. Beyond these mentors, my wife has played an essential role. She has been a constant source of inspiration and constructive critique. She challenges my ideas and pushes me to think deeper, which has led to more refined and thoughtful designs. Her influence goes beyond mere feedback – it's about her understanding of my work, her instinct for what resonates, and the emotional connection she brings to everything she sees. Additionally, the timeless poetry of Rumi has always been a wellspring of creative inspiration. His exploration of human emotions, spirituality, and the complexities of life has shaped how I view the world and how I translate that into design. Lastly, I am fortunate to have friends who work in the fields of culture, art, and literature. Their perspectives on life, their knowledge of history and traditions, and their creative sensibilities continually shape my design process. These individuals keep me grounded, but also constantly challenge my thinking, encouraging me to explore new ideas and push my boundaries.

DL: Which books you read had the most effect on your design?

NN : Poetry has had a profound impact on my design. The emotional depth, symbolism, and layers of meaning in poetry have taught me to look beyond the surface and connect with the essence of a concept, helping me translate it into a visual language. Additionally, reading about psychology and sociology has influenced my approach to design. Understanding human behavior and societal structures enables me to create designs that resonate on a deeper level. These fields help me craft visuals that are not only aesthetically pleasing but also meaningful and impactful.

DL: How did you develop your skills as a master designer?

NN : I developed my skills mainly through self-learning, mastering everything from illustration techniques to using both static and dynamic software. Without formal mentors, my knowledge comes from personal experience. I’ve always been curious and open to experimentation, constantly challenging myself with different design projects. I’ve worked with a wide range of materials, from chalk to metal, expanding my understanding of design processes. This hands-on approach, combined with continuous practice and learning, has shaped my growth as a designer and made me more versatile.

DL: Irrelative of time and space, who you would want to meet, talk and discuss with?

NN : If I could meet anyone, I would love to meet Milton Glaser, whose work has deeply influenced my design philosophy. I’d also want to talk to Jack Nicholson, an actor I greatly admire, and Ennio Morricone, the legendary composer whose music has always inspired me. Another person I’ve always wanted to meet is Monica Bellucci. I even painted three large oil portraits of her. One of the most special moments in my life was being invited to a project for the movie *Fasel Kargadan* (The Season of the Rhinoceros), thinking I’d finally meet her, but I missed the chance due to my teaching commitments.

DL: How do you feel about all the awards and recognition you had, is it hard to be famous?

NN : I don’t think being famous in our field carries the same weight as in other areas. Only a small group of people truly recognize and respect our work. While that brings satisfaction, it also comes with challenges and negative emotions. Personally, I try not to be influenced by external factors. I never had a strong desire to be in the spotlight. If I did, I could have pursued different paths. I studied cinema and worked in the film industry, acting in 21 feature films and working in theater, but I stepped away because I found more value in poetry, literature, and graphic design.

DL: What is your favorite color, place, food, season, thing and brand?

NN : My favorite colors are turquoise blue and lapis lazuli blue, but I also love transparent Portuguese yellow, especially when light makes it glow. I’ve been captivated by it since childhood. I’m passionate about Michelangelo and Raphael, especially Michelangelo, and I’ve always dreamed of visiting Florence and seeing the Sistine Chapel. Autumn is my favorite season—it’s a time of beautiful transformation. As for brands, I admire Bugatti for its excitement, and I appreciate high-quality leather brands, particularly for shoes. I also love Apple for its innovation and design, and luxury brands like Louis Vuitton and Montblanc for their craftsmanship and legacy.

DL: Please tell us a little memoir, a funny thing you had experienced as a designer?

NN : I’m naturally a poetic and serious person, so humor doesn’t come easily to me. However, my classes are quite open and fun, and the connection with my students is filled with shared moments of joy. One funny professional moment I recall was with a film director who didn’t know much about computer software. He loved a poster I made for his film and asked me to make the image bigger. So, I zoomed in, and he praised it, saying it looked better. But when I zoomed back out, he thought it looked even better. Nothing had changed, and we all laughed about it afterward.

DL: What makes your day great as a designer, how do you motivate yourself?

NN : What makes my day great as a designer is the inspiration I draw from poetry and music. They elevate my mood and spark creativity, helping me connect with the emotional side of design. What truly motivates me is the respect and admiration of people I care about—those I’ve worked with or loved in the past. Even if we’ve drifted apart, knowing they recognize my efforts keeps me driven. My motivation also comes from the internal desire to grow, improve, and remain true to my values, ensuring I’m always evolving both as a designer and a person.

DL: When you were a little child, was it obvious that you would become a great designer?

NN : Yes, from a young age, it was clear to everyone around me that design was my path. I spent hours drawing and experimenting with creativity, and it felt natural. However, I don’t consider myself a "great designer." Accepting that label would mean I stop learning, and I believe there’s always more to discover. Learning is essential to me, and I’m passionate about reading books because they constantly teach me new things. For me, the journey of growth and improvement never ends, and that's what keeps me moving forward.

DL: What do you think about future; what do you see will happen in thousand years from now?

NN : The future is beautiful, or at least, that’s what I strive for. It should be beautiful for our children, including my son and all the children of the world. I wish those who perpetuate war and suffering didn’t exist. I have always worked passionately against war and believe in connecting with others, building friendships, and fostering unity. I love all humans, and I see something universally human in everyone. I dream of a world where creativity, love, and harmony guide humanity, and where conflict and suffering are erased. That’s the future I work towards.

DL: Please tell us anything you wish your fans to know about you, your design and anything else?

NN : I’m deeply grateful to all the lines, colors, and compositions that shape my designs. These elements come together to tell a story and define my visual language. Receiving this recognition from Italy, a country I’ve always dreamed of visiting, is truly an honor. I want to thank the entire A'Design Award team and Italy for this amazing prize. This achievement is not just about my work, but also the inspiration drawn from art, culture, and creativity that continues to fuel my passion.