Chunjia Ouyang and Qihang Zhang

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Chunjia Ouyang and Qihang Zhang ("COAQZ") 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?

COAQZ : Chunjia Ouyang: I studied design with a strong foundation in visual communication and service systems. My education focused on combining aesthetics with strategic thinking — exploring how branding, UI/UX, and human-centered research can work together to create meaningful experiences. Throughout my studies and early career, I sought out multidisciplinary experiences — from working in cultural institutions to collaborating with social impact organizations. These experiences shaped the way I design today: with intention, empathy, and an awareness of how visual systems operate within larger societal frameworks. My training emphasized not just execution, but critical thinking — how to listen, observe, and translate insights into design that truly serves people. Qihang Zhang: My design background is rooted in communication, education, and systems thinking. I studied at UCLA, the University of Oxford, and later completed my Master’s degree at Harvard, where I focused on learning design and technology. Although I didn’t begin in a traditional design program, I was always interested in how information flows, how people interact with systems, and how structure influences behavior. Over time, I transitioned into design through storytelling, research, and product strategy — realizing that design was the most powerful medium to bring clarity, equity, and usability into complex spaces. My academic path gave me a strong interdisciplinary lens, and that’s still reflected in how I approach design: not just as a visual practice, but as a way to make systems more human.

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

COAQZ : Chunjia Ouyang: From a young age, I’ve been naturally drawn to aesthetics. I loved fashion and had a habit of surrounding myself with beautiful, well-designed things. That early curiosity led me to explore drawing, which gave me a solid foundation in visual expression. Later, I moved into the digital space — learning how to bring my ideas to life through software and design tools. I experimented with various media: print magazines, packaging, videos, and eventually user interfaces for apps and websites. In many ways, my creative journey has always been guided by a passion for beauty. But what truly shaped my path as a designer was discovering service design. It helped me realize that I’m not just passionate about visuals — I’m also deeply interested in how people interact with systems, products, and environments. Today, my work focuses on crafting experiences that are not only visually refined but also intuitive and human-centered. To me, the most powerful design happens when aesthetics and function work hand in hand. Qihang Zhang: I became a designer because I’ve always been fascinated by how things work—and more importantly, how they can work better for people. Growing up, I loved dissecting systems, whether it was the structure of a news article, the interface of a mobile app, or the narrative arc of a concert. Design became my way of connecting those pieces: form, function, and feeling. What keeps me motivated today is the idea that design can shift power. In many of the industries I work in—like music, public safety, or AI—information is often inaccessible, confusing, or reserved for insiders. Through design, I aim to bring clarity to that complexity and give people tools that feel empowering, not overwhelming. At its core, I see design as a service. It’s about amplifying human decisions, making systems more transparent, and building experiences that earn trust. That belief continues to guide my work, especially when designing for high-stakes or underserved contexts.

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

COAQZ : Chunjia Ouyang: I absolutely chose to become a designer — though the path wasn’t linear. I didn’t always know it would be my career, but I was always drawn to beauty, systems, and how people experience the world around them. Once I discovered design as a discipline that could blend emotional insight with structured thinking, it felt like home. There were definitely moments of uncertainty, but choosing design was ultimately a decision rooted in alignment — between who I am, what I care about, and how I want to contribute. Qihang Zhang: I chose design — but only after exploring a lot of other paths first. I started in research, policy, and storytelling, trying to make sense of complex systems through words and strategy. But over time, I realized that design could do something none of those fields could: it could translate insight into action, and give people tools to navigate their world more confidently. So in a way, design chose me too. It was the natural outcome of my curiosity, my love for systems, and my desire to make invisible structures more human and clear.

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

COAQZ : We design systems that meet people where they are — especially in moments of uncertainty, vulnerability, or institutional friction. Our work often focuses on public tools, civic platforms, and data-driven services that are meant to serve people who have historically been overlooked or underserved. What excites us most is designing clarity into complexity. Whether it’s helping someone safely report a public safety incident (as in Blueline), apply for social support, or navigate high-stakes workflows, we’re drawn to the invisible layers of design: information flows, emotional friction, micro-decisions, and trust. We’d love to design more tools that live in places most designers don’t look — government portals, legal systems, case management software, infrastructure that affects real lives but rarely feels usable or kind. These are the places where small design decisions can have an outsized impact. Ultimately, we want to keep designing products that are less about visual delight and more about emotional clarity, equity, and long-term care.

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

COAQZ : If there’s one thing we’ve learned, it’s that becoming a “design legend” isn’t about fame, followers, or visual style. It’s about showing up — again and again — with curiosity, humility, and care. Our advice to young designers would be: listen more than you speak. Get close to real problems, especially the messy, overlooked ones. Learn to sit with discomfort. Ask who’s not in the room — and why. And don’t just design what looks good — design what works, what lasts, and what helps. Work on teams that challenge you. Give credit generously. Share your process. And understand that the real impact of your work may never be visible — but it will matter deeply to someone navigating a hard system or a hard day. And finally: remember that design is not a destination, it’s a stance. The legendary part isn’t in the portfolio. It’s in how you think, how you care, and what you choose to make possible.

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

COAQZ : We believe the difference between a good designer and a great designer isn’t just skill — it’s perspective. A good designer solves the problem they were asked to solve. A great designer questions whether that’s the right problem to begin with — and who gets left out of the original brief. Great designers zoom out. They ask harder questions, they sit with discomfort, and they’re willing to balance user needs with systemic realities, ethical tensions, and long-term consequences. Great designers also bring emotional intelligence to their process. They know when to lead and when to listen. They create space for feedback, dissent, and co-creation — not because it’s easy, but because they understand that the best ideas often emerge from dialogue, not isolation. And most importantly, great designers carry a sense of responsibility. Not just to aesthetics or performance, but to the people, systems, and futures their work touches. That awareness transforms design from a product into a practice — one rooted in care.

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

COAQZ : To us, a good design becomes a really good design when it does more than just function — when it builds trust, supports emotionally complex moments, and honors the realities of the people using it. We evaluate great design based on four interconnected qualities. First, clarity: is the purpose and flow of the experience immediately understandable, even in moments of stress or uncertainty? Second, empathy: does the design reflect real user needs, constraints, and emotional states — especially for people who are often excluded from dominant systems? Third, systemic alignment: can the design hold up under real-world pressures, including technical, legal, and ethical constraints, and still deliver meaningful outcomes? And finally, adaptability: does the design evolve in response to feedback, rather than staying fixed to an idealized or limited scenario? In Blueline, for example, we knew the design was truly working not just because people completed tasks, but because they said things like, “I finally feel safe enough to report this.” That emotional signal mattered as much as any efficiency or usability metric. Ultimately, great design earns its place in people’s lives — not because it’s flashy, but because it makes things feel possible, understandable, and human.

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

COAQZ : Good design isn’t just what makes something look better — it’s what makes something work better, feel better, and mean something to the people it serves. At its best, design creates clarity in complexity, trust in uncertainty, and dignity in systems that often feel impersonal or punitive. It reduces friction, amplifies intention, and quietly tells people: you matter. Everyone should invest in good design not just because it delights users — but because it saves time, prevents confusion, and builds credibility. In critical spaces like healthcare, public safety, or education, good design isn’t a luxury — it’s a form of responsibility. We’ve seen firsthand, through Blueline, how design can make emotionally and logistically complex processes feel manageable and humane. That transformation isn’t just aesthetic — it changes how people move through the world. Investing in good design is investing in clarity, equity, and care. And those are things no system can afford to overlook.

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

COAQZ : If we had the time and resources, we would design for people who are navigating public systems at their most vulnerable moments — immigrants applying for residency, families trying to access housing, caregivers managing government paperwork, or anyone who feels overwhelmed by institutions not built with them in mind. We’d love to design tools that translate bureaucracy into clarity — platforms that walk with people through complex processes, in their own language, at their own pace, with emotional sensitivity baked in. Not just forms and flows, but guidance, reassurance, and reminders that their time and dignity matter. There’s immense design potential in places where people are often ignored — the waiting room, the intake form, the automated rejection email. That’s where we’d focus. Because good design shouldn’t only serve the tech-savvy or well-resourced. It should serve the tired, the anxious, the underrepresented. We’d design with these communities — not just for them. That’s the kind of work we believe leaves a lasting impact.

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

COAQZ : Our dream project is to design a public-facing civic platform that helps people navigate housing, immigration, and family services — especially in moments of instability, transition, or language barriers. There are so many people trying to access help — from shelters to healthcare to legal aid — but the systems meant to serve them are often fragmented, opaque, and emotionally exhausting. We imagine a tool that brings clarity to that process: one that’s multilingual, trauma-informed, and designed from the ground up with frontline staff and vulnerable users in the loop. We’d love to partner with city agencies, legal aid orgs, and social workers to rethink how intake forms, appointment flows, and document management systems work — not just to be faster, but to feel safer. Like Blueline, it would be a system that restores dignity through structure. This dream isn’t flashy. It’s not about futuristic tech. It’s about designing infrastructure for care — and building digital tools that feel like they’re really on your side.

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

COAQZ : If we had to name a secret ingredient, it would be clarity with care. We don’t chase trends or complexity for its own sake. Our work is rooted in the belief that design should reduce friction, earn trust, and create space for people to feel understood — especially in systems where that hasn’t always been the case. In projects like Blueline, our process is equal parts systems thinking and emotional intelligence. We dig deep into constraints, flows, and behaviors — but we also ask how a single button, tone of voice, or moment of pause might affect someone’s experience emotionally. We also treat collaboration as core to success. We listen to each other, to users, and to every signal that the system gives us — even the inconvenient ones. That openness helps us build products that are not just polished, but alive. So if there’s a “recipe,” it’s this: start with empathy, layer with rigor, finish with clarity — and test with real people, always.

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

COAQZ : We’re inspired by designers and thinkers who see design not just as craft, but as a form of cultural translation and ethical responsibility. Dieter Rams is foundational — his principles on clarity, restraint, and functional integrity continue to guide how we approach systems and hierarchy. His work reminds us that good design doesn’t need to shout; it just needs to work beautifully and honestly. We also admire Kenya Hara, whose philosophy of emptiness, subtlety, and perception expands how we think about trust and presence in design. His work pushes us to consider how space, texture, and silence can create emotional resonance — a perspective that deeply informs projects like Blueline. Ayako Takase and Cutter Hutton (of Observatory) inspire us through their human-centered approach to public and healthcare environments. Their work demonstrates how design can uphold dignity in even the most institutional systems. From a digital systems perspective, we deeply respect the Apple Human Interface Team, especially their recent evolution of spatial, tactile design in VisionOS. The elegance and intentionality behind their design language sets a high bar for digital calm and visual intelligence. These designers — across disciplines and geographies — have helped us see design not just as an outcome, but as a stance. A way of being in the world.

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

COAQZ : We’re especially inspired by work that combines systems-level thinking with emotional subtlety — designs that are not only functional, but also thoughtful, quiet, and clear. One recent favorite is the Apple Human Interface Team’s work on iOS 26 and VisionOS, particularly the evolution of the “Liquid Glass” aesthetic. It blends depth, materiality, and translucency in a way that feels both futuristic and calming. What we admire most is not just the style, but the underlying intent — to make digital experiences feel spatial, breathable, and human. We’ve also been deeply influenced by Dieter Rams, whose philosophy of “less, but better” continues to guide how we think about hierarchy, clarity, and restraint. His work reminds us that great design often disappears — not because it’s weak, but because it’s so intuitive that it becomes part of life. Another key influence is Kenya Hara, particularly his work with MUJI. His emphasis on emptiness, perception, and sensory design has helped us think about how space, silence, and subtlety can shape trust — especially in emotionally complex systems like Blueline. These designers have one thing in common: they design not to impress, but to respect. And that’s what we aspire to as well.

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

COAQZ : Our greatest design so far is Blueline — not because of its visual polish, but because of what it stands for and how it was built. What makes it great, in our view, is threefold: First, it serves a real need in a space where design is often missing. Public safety tools are rarely designed with empathy. Blueline fills that gap by prioritizing clarity, anonymity, and trust — especially for communities who have been historically underserved or harmed by existing systems. Second, it balances complexity with emotional clarity. The workflows behind reporting, tracking, and responding to incidents are legally and logistically intricate. But we distilled those processes into something people can actually understand and use — without sacrificing nuance. Third, it was co-created with users, not just for them. From community interviews to legal consultations, every aspect of Blueline was shaped by the people it aims to support. That collaborative process is what made the design both grounded and resilient. Blueline is great not because it’s perfect, but because it was designed with purpose, precision, and care — and it continues to evolve in response to the real world.

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

COAQZ : To become better designers, we believe people need to first become better listeners. The foundation of good design isn’t visual — it’s relational. Pay attention to what people say, what they don’t say, and how systems shape their choices. Great design begins with deep curiosity and respect. We also think it’s important to embrace interdisciplinary learning. Some of our most useful design instincts came from outside the traditional design world — from writing, teaching, policy, research. If you want to design for real complexity, learn from complex systems. Another key: work on problems that scare you a little. The moments where we grew most weren’t when we had all the answers, but when we had to ask better questions — about power, equity, trust, and impact. Projects like Blueline pushed us to stretch beyond visual skill into ethical reasoning and service design. And finally: share what you’re learning. Teach, mentor, write things down. You’ll become clearer by explaining your process to others. Design isn’t just what you create — it’s also how you bring others along with you.

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

COAQZ : Chunjia Ouyang: If I hadn’t become a designer, I would probably be an independent artist or working in a field closely related to aesthetics. Since childhood, I’ve been drawing constantly and have always had a strong sensitivity to beauty, composition, and visual balance. Visual expression comes naturally to me, and I think I would have still found a way to use that ability — perhaps through illustration, fashion, or even curation. No matter the form, I think I would always be drawn to creating meaningful visuals that communicate something deeper. Qihang Zhang: If I hadn’t become a designer, I would probably have gone into music marketing and promotions. Before formally entering the design field, I worked on several campaigns in the music and entertainment industry — helping artists connect with their audiences through storytelling, branding, and social engagement. I’ve always been fascinated by how music travels, how audiences form emotional bonds with artists, and how data can support creative discovery. Even now, much of my design work sits at the intersection of music, media, and communication. If not through design, I think I would still be telling those stories — just through campaigns, strategy decks, and fan activations.

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

COAQZ : For us, design is the practice of turning complexity into clarity — not by simplifying the problem, but by understanding it deeply enough to build something human, intentional, and empowering. Design is not decoration. It’s not just about how something looks, but how it works, how it feels, and who it truly serves. It’s the invisible structure that shapes whether someone feels respected, confused, anxious, or confident while navigating a system. In our work — especially on projects like Blueline — design means building trust at scale. It means asking: How do we make this feel safe? How do we give people more agency, more transparency, more dignity? The answers often live in small details: a form field label, a loading animation, a word choice. But when done well, those details become a kind of care. To us, design is ultimately about listening. And building something in response to what you’ve heard — not louder, but clearer.

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

COAQZ : We’ve been fortunate to have many supporters along the way — mentors, collaborators, and communities who believed in our work even before we fully believed in it ourselves. Some of our biggest supporters were each other. Working as a design partnership taught us how to navigate complexity together, how to balance strengths and blind spots, and how to keep going when the work felt overwhelming. That sense of mutual trust became one of our greatest assets. We’re also incredibly grateful to the people who participated in early user interviews, advocacy sessions, and design critiques — especially for Blueline. Their honesty, lived experience, and willingness to engage made the work possible. They weren’t just users — they were co-creators. Finally, we owe a lot to the design mentors who taught us that impact matters more than polish, and that design isn’t about making things look good — it’s about making things work better for real people. We didn’t get here alone. And we carry that truth into every project we take on.

DL: What helped you to become a great designer?

COAQZ : What helped us most wasn’t just tools or trends — it was learning how to listen deeply, think systemically, and design with humility. We come from interdisciplinary backgrounds — research, education, storytelling — and while we didn’t start in traditional design programs, those early experiences taught us how to observe patterns, synthesize complexity, and communicate with care. That foundation shaped how we approach every project. Another key factor was collaboration. Working closely as a team on projects like Blueline reminded us that great design rarely happens alone. It comes from critique, co-creation, and the willingness to be challenged by other perspectives — including the people we’re designing for. Finally, what helped most was staying close to why we design. Not to decorate, not to impress — but to empower. When we focused less on being “great” designers and more on being useful, ethical, and thoughtful ones, the work got better — and so did we.

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

COAQZ : Like many designers working at the intersection of systems and emotion, one of our biggest early obstacles was legitimacy. We didn’t come from conventional design-only backgrounds — our training included communication, research, education, and strategy. For a long time, that made us feel like we had to prove we deserved a seat at the design table. Another challenge was choosing to work on projects that weren’t always “trendy.” Designing for public safety, policy, or invisible workflows isn’t glamorous — and early in our careers, it was hard to find mentors, examples, or recognition in these spaces. We had to carve our own path and define success on our own terms. There were also personal challenges — imposter syndrome, burnout, and the pressure to constantly deliver “perfect” work. Over time, we learned that perfection isn’t the goal — clarity, care, and consistency are. And the more we embraced our interdisciplinary backgrounds, the more we realized they were a strength, not a weakness. Today, we’re grateful for those early challenges. They shaped our voice, our process, and our values — and they continue to remind us that design mastery isn’t about polish, it’s about purpose.

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

COAQZ : We believe designers should present their work with clarity, context, and care. That means going beyond just the final visuals — and explaining why each decision was made, who it was made for, and how it responds to the real-world environment in which it lives. A strong presentation doesn’t just show what’s been built. It tells a story: of the problem, the people, the process, and the purpose. We also think it’s important to be honest. Share what worked — and what didn’t. Show iterations, pivots, and constraints. These details don’t weaken the design — they make it stronger, more relatable, and more grounded in reality. In projects like Blueline, we’ve found that the most powerful presentations are not the ones that impress, but the ones that resonate — especially when they reveal how design can reduce fear, build trust, or return agency to someone who felt overlooked. Design is communication. How we present our work is part of the work.

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

COAQZ : Chunjia Ouyang: Looking ahead, I’m drawn to design projects that engage with global cultures and underserved communities. I believe design has a responsibility not only to solve problems but also to amplify voices that are often overlooked. Whether it’s creating tools for cultural preservation, improving access to services for marginalized groups, or designing inclusive systems that reflect the diversity of our world, I want my next project to be both meaningful and grounded in real human needs. You can expect me to keep designing with empathy, curiosity, and a strong sense of social responsibility. Qihang Zhang: My next focus will continue to explore the intersection of music, data, and social systems. I’m especially interested in designing tools that help emerging artists be discovered more equitably, and that give industry professionals better ways to navigate the flood of digital content with clarity and confidence. I’m also exploring how AI can support, not replace, human-centered decision-making in music and media — through explainable insights, personalized tools, and accessible design. In the future, you can expect me to keep building products that translate complexity into clarity, and that support creativity, transparency, and inclusion in global creative ecosystems.

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

COAQZ : Chunjia Ouyang: My ultimate goal as a designer is to create work that serves real people and contributes meaningfully to society. I’m not interested in design that only lives in a portfolio — I want to build systems, products, and experiences that are accessible, impactful, and actually used by those who need them. Whether it's through public service design, civic technology, or inclusive user experiences, I want my work to help close gaps, solve problems, and bring clarity and dignity to the people it reaches. At the heart of it, I hope design becomes my way of participating in the world — not just aesthetically, but socially and practically. Qihang Zhang: My ultimate goal as a designer is to make the invisible more understandable — to bring care, structure, and emotional clarity to systems that often feel distant or overwhelming. I want my work to live where design quietly restores trust: in a public form that finally makes sense, in a workflow that respects someone’s time, in a product that gives someone the courage to speak up. What matters to me isn’t creating the most beautiful thing — it’s creating the thing that helps someone breathe easier, or feel less alone in a complex moment. I hope my design practice can always stay grounded in that human intention — to notice, to translate, and to build with empathy.

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

COAQZ : We believe that being recognized as designers — especially through platforms like A’ Design Award — comes with both visibility and responsibility. People expect us not just to produce polished work, but to demonstrate clarity, ethics, and care in everything we design. They expect us to listen. To ask better questions. To represent not just innovation, but intention — especially when designing for sensitive systems like public safety, healthcare, or education. In these spaces, people aren’t looking for novelty. They’re looking for respect, access, and trust. We also think there’s an expectation to share — to mentor younger designers, to speak transparently about our process and mistakes, and to use our platform to uplift underrepresented voices. Recognition means little if it isn’t used to widen the circle. Ultimately, we believe people expect us to stay accountable: to our values, to the communities we serve, and to the impact our work leaves behind. And that’s a responsibility we welcome.

DL: How does design help create a better society?

COAQZ : We believe design helps create a better society by making systems more transparent, inclusive, and humane. Good design doesn’t just beautify the surface — it changes how people experience power, information, and dignity in their daily lives. In a world that’s increasingly complex and often inequitable, design can serve as a form of quiet intervention. It can clarify policies, ease access to services, amplify marginalized voices, and create tools that empower rather than overwhelm. It turns overwhelming processes into understandable paths — and that’s a form of social care. With Blueline, our goal was exactly that: to use design not just to improve a digital experience, but to reshape how people relate to safety, trust, and agency. When someone who’s historically been left out of public systems can navigate a process with confidence, that’s not just good UX — that’s a better society, one decision at a time. Ultimately, we believe design is at its most powerful when it listens more than it speaks, and when it’s guided not just by innovation, but by responsibility.

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

COAQZ : Right now, we’re working on the next evolution of Blueline — and it’s a phase we’re especially excited about. After launching the first version, we received valuable feedback from community organizations, case managers, and people directly affected by the public safety process. That feedback shaped our direction for the upcoming release, which integrates AI-powered features to further reduce friction and increase accessibility — including smart triage, auto-summarized reports, and multilingual support. What excites us most is the challenge of doing this responsibly. We're not using AI for novelty — we're exploring how it can enhance trust, not erode it. Every technical decision is balanced with ethical review, inclusive design principles, and real-world testing with our stakeholders. This stage of Blueline feels like the best of both worlds: technological innovation and systems-level care. We’re building something that adapts — not just to devices or workflows, but to people’s lived realities.

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

COAQZ : Without question, Blueline has been the most meaningful and satisfying project we’ve worked on. Not just because of what it does, but because of why we built it — and who it was built for. Designing for public safety meant stepping into a space filled with fear, mistrust, and emotional weight. It required us to listen deeply, question assumptions, and hold space for people whose stories often go unheard. There was no template for what we were trying to build — only the belief that it could be done with care, transparency, and humanity. What made the process deeply fulfilling wasn’t just the launch, but the conversations we had along the way. Hearing from users who said, “This makes me feel safer,” or “I didn’t think this kind of tool could exist for someone like me” — those moments reminded us that design can be a form of quiet advocacy. Blueline challenged us technically, ethically, and creatively — but in the best possible way. It pushed us to grow not only as designers, but as people. That’s the kind of project that stays with you.

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

COAQZ : We’d like to see the design industry move beyond surface-level innovation — toward deeper accountability, inclusivity, and systemic impact. Too often, design is still treated as a layer to polish or a tool to sell, rather than a practice that can challenge power structures, heal broken systems, or advocate for those left out. We want to see more designers embedded in public institutions, civic organizations, and policy teams — not just in startups or agencies. Design has so much to offer in spaces where decisions affect lives at scale, but it’s still underutilized in government, education, and healthcare infrastructure. We also hope the industry invests more in designers from underrepresented backgrounds — not just by hiring them, but by reshaping cultures and decision-making structures so their voices are genuinely centered, not tokenized. And finally, we want to see the metrics of “good design” evolve. Success should not only be measured in KPIs or aesthetics, but in how a product shifts understanding, builds trust, or improves someone’s lived experience. Design can’t fix everything — but it can be a force for equity, clarity, and care. The industry will only live up to that potential if it commits to designing not just with style, but with responsibility.

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

COAQZ : We believe the future of design is moving toward systems thinking with emotional intelligence. It’s no longer just about creating beautiful interfaces or streamlined flows — it’s about understanding the ripple effects of every design decision, and how those decisions shape trust, equity, and access across entire ecosystems. We also see a growing shift toward designing with, not just for. Co-design, community-led input, and participatory methods are becoming essential — especially in public-facing and civic domains. People no longer just want usable tools; they want tools that reflect their voice, protect their dignity, and evolve with their needs. Technology will, of course, continue to accelerate design — especially through AI, automation, and data visualization. But we believe the best designers won’t just chase efficiency. They’ll act as interpreters, facilitators, and ethicists — helping bridge human complexity with machine intelligence in ways that are responsible, contextual, and humane. In short: design is moving beyond artifacts. It’s becoming a deeper practice of listening, translating, and structuring relationships — between people, systems, and the futures we want to live in.

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

COAQZ : It depends on the depth and context — but for us, a project is never truly “final.” Especially in work like Blueline, which deals with public safety and community trust, we view design as a living system that continues to evolve based on feedback, usage, and social context. That said, an initial design phase — including research, strategy, prototyping, and visual implementation — typically spans several months. For Blueline, our first functional release took around 10–12 weeks of concentrated work, followed by several iterations shaped by user testing, legal review, and stakeholder alignment. We don’t treat launch as the end point. Our process includes intentional time for post-launch reflection, refinement, and real-world listening. In sensitive or high-impact spaces, the most important design often happens after version 1 is out in the world. So while timelines matter, we believe quality design requires patience — not perfectionism, but care.

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

COAQZ : We always start with listening. Before any wireframes or visual explorations, we ground ourselves in the problem space: Who are we designing for? What are their needs, fears, and goals? What systems or assumptions are already shaping their experience? For projects like Blueline, that means talking to real people — community members, caseworkers, officers, legal experts. We gather stories, map out tensions, and look for the gaps between intention and reality. It’s in these early conversations that the most important design constraints — and opportunities — begin to emerge. From there, we define success criteria not just in terms of usability, but in terms of emotional clarity and systemic impact. Only once we feel we’ve understood the space ethically and contextually do we move into flow definition, prototyping, and visual design. We don’t believe in designing in a vacuum. Every project starts with humility — and a deep respect for the lived realities that good design must honor.

DL: What is your life motto as a designer?

COAQZ : Design with clarity. Build with care. Stay human. This simple motto reflects the way we approach every project — especially work like Blueline, where trust, emotion, and complexity are always in play. We believe design isn’t just about solving problems; it’s about asking better questions, creating space for empathy, and delivering experiences that respect the full reality of the people they serve. To us, good design doesn’t shout. It listens. And if it does its job well, it makes the world a little more understandable, a little more just, and a little more kind.

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

COAQZ : We believe that the most meaningful design doesn’t follow trends — it creates space for new ones to emerge. Great design is often a quiet trendsetter. It responds to real needs before they become popular topics, and it asks the kinds of questions that eventually reshape expectations. In our work on Blueline, we weren’t trying to follow a visual or UX trend. Instead, we were responding to deep, longstanding gaps in how public safety systems communicate with people — especially those who have historically been excluded or harmed by them. Our design choices were based on empathy, accessibility, and clarity — values that may not always be “on trend,” but are always necessary. At the same time, we recognize that trends can reveal shifts in cultural values and collective imagination. So we pay attention to them — not to imitate, but to understand where people’s attention is moving, and how design can meet that moment with intention. In short: trends may inspire, but design should lead.

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

COAQZ : For us, technology is not the starting point — it’s the amplifier. We don’t design for technology, we design with it — as a means to serve people more thoughtfully, efficiently, and ethically. In projects like Blueline, technology plays a crucial role in making complex civic systems more accessible. From form validation to case tracking to future AI integrations, the technology behind the interface enables trust, responsiveness, and reach. But those features only matter when they are grounded in real user needs. We see technology as a tool that should never outshine the human experience. The best tech quietly supports clarity, safety, and emotional comfort. Whether it’s the use of secure encryption, automated triage suggestions, or multilingual accessibility tools — we apply technology not as a gimmick, but as a way to reinforce care and reduce friction. Ultimately, we believe the role of technology in design is to extend impact without compromising integrity. It should scale empathy — not just efficiency.

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

COAQZ : For most of our collaborative work, especially on projects like Blueline, we rely heavily on Figma for interface design, prototyping, and design system documentation. Its cloud-based structure supports real-time collaboration, which is essential for the way we work as a cross-functional team. We also use Adobe Photoshop for asset refinement, visual polish, and image editing when high-fidelity or texture-sensitive work is needed. For quick communication design and social-facing deliverables, Canva provides lightweight flexibility and rapid iteration. Beyond software, we prioritize simplicity in tools so we can stay focused on the core design questions. Our workflow is less about the latest gear, and more about how we communicate ideas clearly, test often, and build with intention.

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

COAQZ : In our work, especially with projects like Blueline, color, materials, and ambient qualities play a quiet but essential role. They are not just visual choices — they’re emotional cues. They shape how people feel when entering a space, a screen, or a system. We believe that color and tone can convey safety, trust, and clarity. In Blueline, we intentionally avoided anything that felt overly institutional or confrontational. Instead, we chose calm neutrals and soft gradients to lower cognitive load and reduce fear. The goal wasn’t to impress, but to invite. Ambient details — spacing, rhythm, microinteractions — also matter deeply. They determine whether something feels rushed or respectful, whether it overwhelms or reassures. In sensitive contexts like public safety reporting, even the way a form field appears or fades out can impact how empowered someone feels. Materials and motion are not just about aesthetics — they are atmosphere. They help translate intention into experience. When thoughtfully applied, they can create systems that feel not only functional, but humane.

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

COAQZ : We wish more people would ask not just what our design does — but what it protects, what it makes possible, and who it’s truly for. With Blueline, people often focus on features: the anonymity options, the real-time case tracking, or the visual interface. But what we really hope they’ll ask is: What kind of fear or hesitation is this design responding to? What barriers does it quietly remove? What kind of emotional landscape did this product have to consider before it could exist? We hope people ask about the conversations that shaped it — with survivors, with advocates, with those who don’t usually feel safe speaking up. Because the interface is just the surface. What we’re most proud of is the listening, the trust-building, and the ethical decisions behind it. Design isn’t just about what’s visible. Sometimes, its greatest strength is what it makes easier to feel, say, or do. We’d love for more people to ask: What kind of world is this design trying to make a little more possible?

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

COAQZ : Chunjia Ouyang: When I see a great design, my first reaction is often quiet admiration — and a bit of curiosity. I ask myself: why does this feel so right? What decision did the designer make to make it feel effortless, human, or emotionally resonant? I’m especially drawn to designs that combine restraint and warmth — things that don’t scream for attention, but stay with you because they were crafted with care. Sometimes, it’s a small detail — a transition, a micro-interaction, a word choice — that reveals how much empathy went into the work. That’s when I know the design wasn’t just smart, but also kind. Qihang Zhang: My instinct is to deconstruct it. When I see a well-designed product, I immediately want to understand the system behind it: what problem it solves, what constraints it had, and how it fits into a broader workflow or behavior. I often think: what invisible tension did this resolve? What trade-offs were made that I can learn from? Great design makes me pause not because it’s flashy, but because it reflects discipline — clarity of intention, thoughtful structure, and respect for both users and context. And occasionally, I just smile and think: I wish I had designed that.

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

COAQZ : We deeply believe in co-design — not just as a method, but as a mindset. Our ideal design partner is someone who brings curiosity, clarity, and care to the table. Someone who listens actively, challenges assumptions, and designs not for ego, but for impact. Blueline itself was built on this kind of partnership. We come from different disciplines and perspectives, but we share core values: a commitment to dignity, a belief in design as a tool for equity, and a willingness to sit with complexity. That alignment allowed us to design not just for users, but with them — through interviews, co-creation sessions, and iterative testing with real communities. To us, co-design is powerful because it honors lived experience. It shifts the role of the designer from “expert” to “facilitator,” and creates space for more inclusive, durable outcomes. Some of our best design decisions didn’t come from our own ideas, but from conversations with people who had never been invited into the process before. In an ideal partnership, we don’t just divide tasks — we multiply perspectives. That’s where the most transformative work happens.

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

COAQZ : The people who’ve had the greatest influence on our design aren’t necessarily other designers — they’re the people who trusted us enough to share their lived experiences, especially in moments of vulnerability. In the process of designing Blueline, we spoke with survivors of crime, frontline community workers, legal advocates, and even individuals who had once avoided reporting because they feared retaliation or didn’t know where to turn. Their stories — raw, complex, and deeply human — shaped every decision we made. They reminded us that design isn’t about assumptions. It’s about listening, letting go of ego, and staying present with complexity. Some of the most powerful design insights didn’t come from strategy decks or design books — they came from someone pausing, taking a breath, and saying, “This is where I got stuck.” We’ve also been shaped by mentors who encouraged us to see design not as decoration, but as structure and responsibility. And by each other — as partners — pushing one another to be sharper, more ethical, and more patient. In the end, the people who influence our design most are the ones who invite us into their world — and challenge us to build something worthy of that trust.

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

COAQZ : Books that shaped our design philosophy go beyond just design manuals — they helped us think in systems, ethics, and emotion. “Designing for the Digital Age” by Kim Goodwin taught us how to move from user insight to structured interaction. “White” by Kenya Hara reframed our view on subtlety, space, and emotional presence in design. “The Systems Bible” by John Gall reminded us to stay humble when designing within complex civic systems. And “Ruined by Design” by Mike Monteiro sharpened our awareness that every design decision carries ethical weight. Together, these books remind us that good design isn’t just about function — it’s about care, clarity, and consequence.

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

COAQZ : We developed our skills not through a single path, but through a combination of doing, listening, and reflecting — across disciplines and across time. Real-world projects like Blueline taught us more than any textbook could. Designing for real constraints, diverse users, and high-stakes environments pushed us to grow fast — not just in craft, but in systems thinking and emotional intelligence. We also learned by collaborating closely — with each other, with engineers, with researchers, and especially with the people we were designing for. Every critique, interview, or design review became part of our learning loop. What helped most wasn’t chasing mastery — it was staying curious, staying humble, and treating every project as an invitation to listen better and design more responsibly.

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

COAQZ : We’d love to sit down with Kenya Hara, to explore how silence, texture, and cultural perception shape trust and emotion in design. His way of seeing design as an invitation — not a command — resonates deeply with us. We’d also want to meet Donella Meadows, whose work on systems thinking has influenced how we map complexity, feedback loops, and leverage points in design. Her clarity in explaining how change happens would be invaluable. And finally, we’d be curious to talk with James Baldwin — not because he was a designer, but because he understood structure, power, and language with such precision. His insights would remind us that every system we design is political, whether we admit it or not.

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

COAQZ : We’re deeply grateful for the recognition — it validates the care, time, and intention we put into our work, especially on projects like Blueline, where success is often quiet, systemic, and difficult to measure. But we don’t design for awards. We design to make complex systems feel human, and to help people feel seen and supported in difficult moments. If recognition helps amplify that kind of work — or encourages others to do the same — then it’s worth it. As for being “famous,” that’s never been the goal. What matters most to us is being useful, being ethical, and continuing to grow — not just in skill, but in clarity and responsibility.

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

COAQZ : Our favorite color to design with is probably soft green or muted teal — colors that feel calm, grounded, and quietly confident. Favorite place? Any quiet city café with natural light, worn tables, and enough space to think aloud together. Favorite food? Spicy noodles. Preferably at midnight, while iterating in Figma. Favorite season? Autumn, when everything slows down just enough for reflection — and the color palettes get better. Favorite thing? A well-made form field. Clean, intuitive, and smarter than it looks. And favorite brand? We admire brands like MUJI and Apple — not just for their products, but for their commitment to clarity, restraint, and designing with intention.

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

COAQZ : Chunjia Ouyang: One of my funniest moments as a designer came from something as small as a button label. I once worked on a web app where users had to confirm they were ready to submit a report. I originally wrote the button as “I’m Ready” — simple, right? But during testing, one user paused, looked confused, and said, “Ready… for what? To fight? To get married?” It made everyone laugh, but it also hit me: language is never as clear as you think. Eventually, we changed the label to “Submit My Report,” and suddenly no one hesitated. That experience taught me that clarity always beats cleverness in UX writing, and that even tiny words can either guide users or make them feel lost. Now I never underestimate the power of one sentence — or even two words. Qihang Zhang: A funny moment I’ll always remember actually became a kind of inside joke in my design life. I was working remotely with Ruijingya Tang, a fellow product designer and frequent collaborator, on a fast-paced design project. We were both exhausted, hopping between Figma boards and Slack threads late into the night. At one point, she just sighed and messaged me: “好麻呀。” (“So overwhelming…” in Sichuan dialect.) That phrase stuck. We began checking in every morning with variations of it: “今天麻吗?” / “你麻不麻?” — not just as a joke, but as a form of shared empathy. Somehow, it made the work feel lighter. It reminded us that behind all the structured components and system logic, we were just two very human people — tired, caring, and trying our best. Design isn’t always glamorous, and that’s okay. Sometimes the most memorable moments aren’t big launches, but small laughs shared between teammates who speak the same visual — and emotional — language.

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

COAQZ : What makes our day great isn’t always big wins — it’s the small moments of clarity. When a tricky flow finally clicks. When a user says, “This made things easier for me.” When a teammate feels heard during critique. Those are the moments that remind us why we do this. We stay motivated by remembering that design is a form of care. Even on days when the work is messy or slow, we know that clarity we create could help someone move through the world with a little more ease or confidence. That keeps us going. And honestly — a good playlist, spicy snacks, and a color-coded Figma file don’t hurt either.

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

COAQZ : Not at all — but looking back, the clues were there. We were the kind of kids who noticed patterns. Who arranged crayons by hue. Who asked too many “why” questions. Who sketched floor plans for imaginary schools, redesigned book covers, or rewrote subway signage just for fun. We didn’t know it was called “design” back then — we just knew we cared about how things worked, how they looked, and how they made people feel. Becoming designers wasn’t about talent or certainty. It was about following that quiet instinct to make things clearer, kinder, and more meaningful — one decision at a time.

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

COAQZ : A thousand years from now, we imagine the tools will be different — faster, smarter, maybe even invisible — but the human questions will still remain. People will still want to be understood. They’ll still struggle to navigate systems. They’ll still seek clarity, comfort, and connection in moments of fear or uncertainty. We hope that in the future, design evolves not just in technology, but in ethics, inclusivity, and emotional depth. That we build systems that heal as much as they help. That we use intelligence not just to predict behavior, but to extend compassion. And perhaps, a thousand years from now, someone will still be sketching in the margins of a notebook — wondering how to make something just a little clearer, a little kinder, a little more human.

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

COAQZ : If there’s one thing we hope people take away from our work, it’s that design is a quiet form of care. It’s not about being clever. It’s about being clear, being responsible, and being present with complexity — especially when designing for people who don’t always get heard. We don’t have all the answers. We’re still learning, still making mistakes, still asking better questions every day. But we believe in staying close to the work, close to the people, and close to the values that brought us here in the first place. And if you’re someone out there trying to build something more honest, more human, and more helpful — we’re cheering for you. The world needs more of that.