YiJun Jiang

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer YiJun Jiang ("YJ") 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?

YJ : I am a graphic designer and visual artist based in the United States and originally from Taiwan. I graduated from Savannah College of Art and Design, where I received her MFA in Graphic Design and Visual Experience. With 10 years of experience in both design and creative education, I was allowed to work and collaborate in professions from different disciplines and adapted myself to digital marketing and technology. My passion lies in breaking down conventional barriers with innovative ideas and melding the worlds of design and art across a variety of mediums. I strive to create solutions that are not only visually compelling, but also engage audiences in a meaningful way. My philosophy centers on crafting distinct, culturally-informed, and unforgettable designs that make a true impact. With a background in various industries, from corporations to education organizations and creative agencies, I have the flexibility and adaptability to tackle any challenge that comes my way.

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

YJ : As a youngster, I was enamored with drawing and contemplated three career paths: artist, art teacher, and designer. Initially, I aspired to be an artist, but concerns about economic instability led me to briefly consider teaching. However, my innate desire for creativity persisted. After navigating through various challenges, I ultimately chose to pursue a career as a designer.

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

YJ : Being a designer has never been a forced decision for me. There are three major reasons why I chose to step into the creative industry. Firstly, being a designer is a process of self-discovery. Just like enjoying and supporting design, it's a wonderful experience that signifies our need for life. Secondly, it allows me to be highly focused and creative. This is a very fortunate thing for me. Thirdly, the career path of graphic design is unpredictable. Seeing your own work in the spotlight reshapes the way you view things.

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

YJ : I love brainstorming ideas the most. There's no standard answer, and there are always endless possibilities. Because once the idea is conceived, the process of bringing it to life from scratch and the sense of accomplishment that comes with it are very important and also the most wonderful part.

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

YJ : Learn to "see" and cultivate a sense of design aesthetics. Platforms like Pinterest, Dribbble, and Behance allow you to view others' works, while following contemporary designers on LinkedIn or Instagram can provide insights into current trends in business. AIGA and Graphis offer insights into the context of designer associations. Additionally, visiting libraries to browse books or simply reading text can sometimes yield unexpected insights. However, I believe the most important thing for a creator is to experience and feel life deeply.

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

YJ : I enjoy learning about various trivia and folk stories. If I had to categorize my work, I think it would heavily utilize cultural symbols. I first understand them with my emotional heart and then design with rationality. For me, artworks can carry memories, emotions, and lifestyle habits.

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

YJ : Design is an attitude and design is a spirit. Whomever a graphic designer serves, in order to complete a good design. The designer has to prepare all kinds of investigation and elements and do his or her job from the moment he or she takes over the design. This process may not be easy and sometimes frustrating. A Designer should realize that this process is necessary and must not be ignored. This extremely attentive and careful attitude can be learned and practiced through design. When we, designers, constantly pursue the meaning of design, we will eventually realize that it can be embodied almost anywhere. If we introduce the concepts and logic of design, we will find that everything will be smarter and more convenient. It is this “not satisfied with the status” spirit that can keep us moving forward or think about and revalue the circumstance. When we encounter problems, we always find better ways to solve them, which can also improve the lives of people around us.

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

YJ : Graphic Design is a pan-discipline and a bridge of communication. For me, a good design has influenced many aspects such as communication, psychology, social sciences, history, scientific and technological literacy, moral ethics, rational demonstration and so on. A good design can be concretely tangible or very abstract and invisible. Those forms are all intermingled with the design. Design can be emotional, but at the same time, it could be so logical and rational. What the most is that rationality should be used to support the strong relevance behind and the support and counter-evidence of mutual influence.

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

YJ : I enjoy learning about various trivia and folk stories. If I had to categorize my work, I think it would heavily utilize cultural symbols. I first understand them with my emotional heart and then design with rationality. For me, artworks can carry memories, emotions, and lifestyle habits.

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

YJ : I enjoy design that intersects with popular culture and involves interdisciplinary collaboration. Besides my design expertise, I have a passion for illustrating and a background in fine arts with professional training. I indulge in entertainment, enjoying various trends in fashion, movies, drama, and music. Being able to contribute to mainstream design as an advocate of artistic expression, whether in album covers, digital marketing, or thematic concepts, and collaborating with individuals from dance, literature, music, and theater, is what I find most fulfilling. I love engaging in creative exchanges with other like-minded individuals.

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

YJ : It is important to have the ability to think independently, learn independently, and make independent judgments. Try to have extensive exposure to various industries and communities, gathering diverse and fresh information. For me, it means perseverance - persisting for one more second when others give up, and taking responsibility for my own work.

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

YJ : I have a deep appreciation for innovative and expressive approaches in design. I enjoy Giorgia Lupi's visual narratives, which maintain the complexity of data in a humanistic way, using personal timelines and trackers that break stereotypes about what data should look like. I love David Carson’s approach to embracing typography as an expressive medium. Carson’s pioneering work in typography breaks conventional rules, using type as a powerful medium for expression. I look forward to Jessica Walsh’s bold, emotional, and provocatively playful style. I am inspired by a design philosophy that values complexity, expressiveness, and emotional engagement.

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

YJ : My favorite design work comes from Stefan Sagmeister, particularly his feature-length documentary called "Happy Film" and its associated project "The Happy Show." The exhibitions toured ten museums worldwide and ultimately became the most attended video exhibition in history. Stefan Sagmeister's designs increasingly focus on human emotions such as beauty, happiness, social phenomena, and contemplations on the broader world. "Emotion" is a concept in Sagmeister's designs that evokes strong feelings. I deeply resonate with the idea that art and design should be human and emotional, which underscores the distinction between humans and machines, including AI.

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

YJ : "Uncover the Imagined Community" is my MFA thesis project, a series of works designed to explore how viewers perceive different aspects of values, using design as a manifestation of cultural expression. My work investigates the intersection of my personal experiences with culture and humanity. Throughout history, definitions of beauty, ugliness, good, and evil have often been dictated by those in power. A key element in my creations is the concept of "value shift." In cultural contexts, "value" gradually evolves over time as each work becomes integrated into the historical framework. In "Imagined Community: Taiwanese Faith in Values," a nation is portrayed as an imagined political community, inherently limited and sovereign. In recent decades, the value of currency has been determined by the public, rendering paper money itself essentially worthless. This is evident in the history of Taiwanese currency, closely tied to shifts in political power. For instance, during the post-war hyperinflation period, people lost faith in both currency and government credibility, turning to materialism in their religious beliefs. My experimental currency showcases the gods most worshiped by Taiwanese believers on the front and the virtues most esteemed by contemporary Taiwanese citizens on the reverse side. When these images resonate and are translated into the language of money, the concept of "mutual belief" seamlessly integrates into people’s lives. In my works, "Life in Objects Taiwan Daily Postage" portrays everyday objects as cultural symbols, evoking nostalgia through imagery featured on postage stamps. The images crafted in my work are dynamic, metaphorical, and intricate, exemplified in "Transitional Reality: A Journey of the Taiwan Nationality," which examines how perceptions of nationality and identity can evolve over time. The transition between political parties during Taiwan’s White Terror period is depicted through a gradient on experimental passports transitioning from white and blue to green. For me, the function of graphic design is to translate ideas into visually comprehensible forms that influence people’s perceptions of specific issues. In an era dominated by technology and social media, this ability is amplified. Ultimately, designers often do not control the dissemination of information. As design becomes increasingly visible, it is worthwhile to explore how designers perceive their value and the challenges they face.

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

YJ : For me, trying to become a better designer means striving to be a better person. Yes, it sounds clichéd. Every designer, whether in advertising or product design, deals with a variety of issues related to daily life and ultimately addresses human needs, regardless of the scale of the problem. The day I realized I was becoming a better designer was the day I began exploring industries outside of design. I started reading books and listening to podcasts about philosophy, psychology, art, history, and even science and finance. From that day on, I no longer confined myself to interactions with a narrow circle but enjoyed making friends with people from diverse fields and backgrounds. As Walt Whitman said: stay curious, not judgmental. Endless curiosity and an open mind are among the most important qualities of a great designer.

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

YJ : I was an art teacher and might end up being a professor. I was an animator and an illustrator. I could be a researcher, a writer, an influencer, a photographer, or an artist. There are so many possibilities. Even now, as a designer, I believe I can still embrace other roles and career opportunities.

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

YJ : Design itself is the process of turning creativity and ideas into something feasible and visible to the world. A designer possesses the ability to capture the essence and insight of things. For me, inspiration comes from life. Sometimes, what others overlook in daily life can become excellent design ideas.

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

YJ : Family and friends are my greatest support. In particular, my parents and younger brother are there for me during my moments of sadness, offering support and encouragement in times of difficulty, and sharing in my joy when I achieve something. Of course, there are times when we experience friction, conflicts, or differing opinions, but they ultimately respect my decisions after careful consideration. I also hope to provide them with the same support and encouragement.

DL: What helped you to become a great designer?

YJ : For me, "attitude" is key to becoming a great designer. The outstanding designers I’ve collaborated with were proactive in communication, patient, and calm, making it very comfortable to work with them. As a result, projects ran smoothly, and overall work efficiency was greatly enhanced. Of course, having a good attitude doesn't mean simply yielding to clients' demands, but rather patiently listening to their concerns and actively proposing more suitable improvements from a professional perspective. For unreasonable requests, it’s important to address them with a gentle yet firm attitude. So now, I see design as a role that combines consultation, execution, and coordination. I hold myself to the same standard.

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

YJ : Time is always the biggest issue. In a comedy show, a young comedian jestingly remarked, “It’s so sad that a person can be both broke and busy, lacking not only money and career but also time.” Though humorous, this concept of being “poor and busy” reflects the reality for many. What benefits can time truly bring me? This is currently my utmost concern and what I strive to optimize. With work being demanding, I also spend my evenings and weekends registering for design competitions, and attending various interviews. Sometimes, I feel like a spinning wheel, constantly rotating until I reach my destination or encounter an obstacle. As a creator, achieving work-life balance is challenging because your life is partially your creation.

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

YJ : Designers must fully convey their creative ideas in their work. The images and descriptions of the work should clearly express the design intent. Conceptual and clear design thinking are essential. The presentation of the work is equally important; whether the rendered images, contextual images, videos, or interactive media are engaging enough matters greatly. The form of the work should align with the theme. I believe modern designers are more courageous in expressing their views and perspectives on phenomena, and they skillfully integrate these into their work.

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

YJ : I will continue to create great and insightful works. I believe designers need to move the upstream of industries and participate in brand/organization planning to bring about some transformation! Through design thinking, I have developed a new perspective: 'It seems that there is always a chance to find a better way to do things.' I hope to bring value to society and culture as a design leader.

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

YJ : People often have high expectations of me and other exceptional designers regarding our output or delivery. For instance, our work should push boundaries, help clients think outside the box, and provide innovative solutions that are not only functional but also visually appealing. We should also be capable of leading a team and clearly communicating design concepts and decisions to clients, stakeholders, and team members. Additionally, I believe that, beyond these qualities, a respected designer typically contributes to setting trends and influencing the design industry.

DL: How does design help create a better society?

YJ : Designers can encourage civic engagement and address social issues. Design can be used to tackle pressing social issues such as public health, poverty, and inequality by creating solutions that address specific needs and challenges. For example, co-design in civic meetings is a more open, equitable approach that incorporates professional opinions and fosters collaborative participation. On the other hand, while interactive design is intended to be interactive, the issues are often predetermined by the designer, with users providing feedback within this framework. This approach may not be sufficient for understanding complex social problems.

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

YJ : I enjoy design that intersects with popular culture and involves interdisciplinary collaboration. Besides my design expertise, I have a passion for illustrating and a background in fine arts with professional training. I indulge in entertainment, enjoying various trends in fashion, movies, drama, and music. Being able to contribute to mainstream design as an advocate of artistic expression, whether in album covers, digital marketing, or thematic concepts, and collaborating with individuals from dance, literature, music, and theater, is what I find most fulfilling. I love engaging in creative exchanges with other like-minded individuals.

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

YJ : Generative art is an inevitable direction for the future, where creations are based on data or sometimes generated randomly. If designers can repurpose these concepts and frameworks to create new visual effects or challenge the boundaries between "technology" and "art," I am very much looking forward to seeing that.

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

YJ : With the assistance of AI, comprehensive designers can leverage it to generate initial collaborative works such as proposals, blueprints, marketing strategies, and legal document drafts. This enables them to communicate more accurately with other departments and even lead and influence them using these initiatives and ideas, thereby transforming into more powerful leaders. Generalist designers will have a greater advantage. Designers will transition into roles as promoters and initiators.

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

YJ : Each project is unique, and depending on its complexity and scope, some pieces may be completed in a matter of hours, while corporate projects involving different departments and divisions could take weeks or even months.

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

YJ : First step, "empathy", standing in the other's shoes to understand what the user is thinking. People don't approach everything with functionality or a detached perspective; they view things emotionally. Second is analysis and research, hoping the elements in the visuals can tell a story. Each project is customized and unique, with different goals and issues.

DL: What is your life motto as a designer?

YJ : My life motto as a designer is "Be True to Your Work, and Your Work Will Be True to You" because I have always taken my work and every project I undertake very seriously. For me, creating great work not only fulfills myself but also honors my clients and those who appreciate my creations. By giving my all each time, my work has a better chance of being noticed. These small accumulations often lead to more opportunities and chances in life.

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

YJ : This is a reciprocal relationship. Design can lead new trends, while existing trends can shape the direction of new designs. Both influence each other in a continuous cycle of innovation and adaptation.

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

YJ : Technology has provided new mediums and tools that enable design to transcend traditional limits, creating unprecedented experiences and products. For example, powerful computing models and high-speed networks have shifted communication from being primarily text-based to becoming mainstream with videos and images. Videos have evolved from 3:4 to 16:9 aspect ratios and now to vertical short videos optimized for mobile devices. Similarly, printing has transitioned to digital production, among countless other examples.

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

YJ : Adobe Suite MacBook iPad Canon camera Figma

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

YJ : Color can enhance the atmosphere of an environment, express emotions, and reflect the history and culture of a region. The arrangement of colors or textures can also alter people's perception of a space. As an expressive tool, color can combine with materials and ambient to create endless possibilities.

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

YJ : I enjoy it when people ask, “Why did you make this design decision?” because I always have reasons behind every approach and solution I provide. By sharing my thoughts, I can gain more insights from others.

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

YJ : I feel inspired when I receive feedback. It prompts me to rethink my own designs and creativity, identifying areas for improvement. I feel happy for the designer who created something great and hope that I can produce equally good or even better designs and products.

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

YJ : I currently work at a digital marketing company with teams across different departments. Regarding expectations for design partners, I believe everyone can be a leader in their own ways. Growth happens naturally when we embrace it. Learning to think logically with strategies, a good designer constantly gathers ideas, refines them, and applies them. Yes, I believe in co-design. When designers get closer to future users, they can provide their perspectives and experiences of reality. By using co-design, designers become more attuned to the end users. The role of researchers or designers shifts from being translators to facilitators.

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

YJ : Change by Design: How Design Thinking Transforms Organizations and Inspires Innovation Human nature is the starting point of design thinking, focusing on "human-centered design"; culture is the source of design thinking, pursuing "cultural creativity." Therefore, modern designers must integrate "empathic technology" with "human-centered design" to create a culturally creative and humanized organization and living environment. In today’s "experience economy," people have shifted from passive consumers to active participants. Design thinking is centered around people, using empathy and understanding to design experiences that create opportunities for active involvement and engagement. One of the most striking points in the book is the idea that "the sooner you fail, the sooner you succeed." The book emphasizes the importance of taking action, suggesting that the ability to take the first step courageously, regardless of success or failure, means that time becomes a valuable asset. Combining ideas with action is everything.

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

YJ : I believe that becoming a master designer requires prioritizing "action-oriented" approaches and "courageous advice." As a master designer, there are many eyes watching: how will you perform? How will you impact and bring about change for the team? Furthermore, if you want to pursue specific goals, you need to voice your interests directly to your supervisor and express your eagerness to participate in projects that excite you. Additionally, it’s important to create your own continuous learning mechanism. While exploring various avenues is beneficial, the focus should be on the cumulative effect of your work and gaining a deeper understanding of yourself and clarifying your direction through practical experience and learning.

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

YJ : Winning awards is an effective way to expand one's network, establish recognition, and open up other opportunities. For designers, it is crucial to ensure that their work resonates with contemporary audiences to avoid becoming self-contained. Therefore, receiving such an award can be incredibly exhilarating. Yes, being famous can be quite challenging and often involves a combination of talent, timing, persistence, and sometimes a bit of luck. The path to fame usually requires significant effort and dedication.

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

YJ : For me, finding solutions to design challenges or overcoming creative blocks can be highly satisfying. To motivate myself, I break down large projects into smaller, manageable tasks and set specific, achievable goals to stay focused and motivated.

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

YJ : I have always believed that I possess a free spirit, driven by a desire for personal growth and to experience different things. At the age of 15, I independently applied to an art school, spending my teenage years immersed in paints and charcoal. My parents were often unaware of my pursuits. As a teenager, I was enamored with drawing and contemplated three career paths: artist, art teacher, and designer. Initially, I aspired to be an artist, but concerns about economic instability led me to briefly consider teaching. However, my innate desire for creativity persisted. After navigating various challenges, I finally chose to pursue a career as a designer.

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

YJ : I envision that future design will create systems and products that are in perfect harmony with the environment. As Earth's limited resources become scarcer, future designs will undoubtedly be based on regenerative and waste-free materials and processes. Additionally, the distinction between physical and digital will become even more blurred. Design will be created in virtual spaces, leading to new forms of artistic expression and interaction. Finally, interdisciplinary integration is bound to happen and is already occurring: design will increasingly blend with fields such as neuroscience, bioengineering, and computing, leading to new design methods and tools that go beyond our current imagination.

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

YJ : My Contact Info: Website: https://jyijun.com/ Instagram: https://www.instagram.com/yijunjiang0820/ Linkedin: https://www.linkedin.com/in/yijunjiang/