We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Hiromi Maeo ("HM").
Hiromi Maeo is a designer specializing in universal and minimal design, focusing on creating value and meaningful experiences through simplicity and functionality. With a career spanning branding, graphic design, and user interface design, Maeo has worked on various international and domestic projects, collaborating with prominent clients across industries. Recognized for thoughtful design approaches, Maeo’s work aims to address societal challenges and improve lives through innovative and strategic solutions. By combining attention to detail with a deep understanding of cultural and brand contexts, Maeo contributes to creating timeless designs that resonate globally.
Hiromi Maeo Designs
We are pleased to share with you original and innovative design work by Hiromi Maeo.
Designer Interview of Hiromi Maeo:
DI: Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
HM : As a child, I loved sketching and was captivated by drawing the natural scenery and everyday surroundings. Over time, I discovered the joy of creating original characters and felt fortunate to be in an environment that nurtured my individuality. During my student years, I regularly submitted illustrations to the reader's page of my favorite fashion magazine. One day, I received a call from the editorial team, informing me that my work had been chosen as the cover illustration for the back page. The joy and pride I felt in that moment are still vivid in my memory. While I was thrilled that my efforts were recognized, I also felt uncertain about whether I could sustain this path. Later, I encountered the field of design, which offered new possibilities beyond self-expression. Unlike illustration, design allowed me to bring clients’ visions to life and create work that could influence a wider audience. This realization gradually shifted my focus from illustration to design, laying the foundation for my current career. Looking ahead, I aim to continue creating designs that bring new value and joy to people, making a meaningful impact through my work.
DI: Can you tell us more about your company / design studio?
HM : Enhanced Inc. is a Tokyo-based design company that delivers brand design by integrating Japanese aesthetics with a global perspective. Our approach involves reinterpreting the "Zen" spirit, particularly the "beauty of space," in a contemporary way to create universal and timeless designs. To achieve this, we emphasize dialogues with clients and conduct thorough research to delve deeply into the essence of their brands. Since our establishment, we have contributed to enhancing the brand value of clients from diverse industries, including ANA NEO, Amazon Japan, NTT Com Online, Astellas Pharma, and Ricoh. Our Strengths: - Universal and Minimal Design: A philosophy that eliminates unnecessary elements to highlight the essence of a brand, pursuing beauty that transcends time and culture. - Collaborative Client Partnerships: Deeply understanding the client’s vision and mission to create designs that consistently enhance long-term brand value. - Fusion of Zen Spirit and Global Sensibility: Developing a unique design language that blends Japanese traditional aesthetics with global appeal. Project Highlights: For instance, in the MTRL project ( https://www.behance.net/gallery/28289535/MTRL-KYOTO-New-Identity ), we adopted a dynamic design approach where the logo elements can transform into various forms such as signage, typography, and patterns. This highlights the global dynamism of MTRL’s multifaceted activities and earned an A' Design Award for its innovation and flexibility. Similarly, in the logo design for ANA NEO ( https://www.ana-neo.com/ ), we expressed ANA's tradition of the "wings of the heart" while embodying a vision that connects real and virtual realms. The arrow motif within the logo symbolizes a bold challenge to uncharted territories and forward-looking aspirations. Furthermore, in the GAZE project ( https://www.behance.net/gallery/32149453/GAZE- ), we were selected as the winner of a global competition involving 10 companies. The logo, which merges traditional Chinese aesthetics with modern global branding strategies, was highly praised. When it appeared in an interview video with Jack Ma, it became a significant source of pride for our team. Under the mission, "Enhance your brand. Enhance your future," we strive to be a partner in co-creating the future with our clients through design.
DI: What is "design" for you?
HM : For me, design is life itself. As a brand designer, I see the logos, packaging, and advertisements that fill our daily lives as more than just the faces of companies or products—they influence our thoughts, actions, and even emotions. Design is my way of connecting with the world and finding joy, and I always strive to engage with it sincerely, believing in its boundless potential. With the advancement of technology, human perception and activity continue to expand into new realms such as virtual spaces, cross-reality, outer space, and even the robotics industry. In these fields, design plays a crucial role in enhancing user interfaces and creating immersive experiences. In robotics, design is essential to facilitate natural interactions between humans and robots, an area with tremendous potential for innovation. I am deeply interested in these challenges and aspire to create groundbreaking designs in the realms of space exploration and robotics. Furthermore, I aim to explore the potential of brand design across all industries, working with curiosity and a strong sense of responsibility. Even in a society where AI is becoming more prevalent, design remains indispensable for moving people’s hearts and inspiring action. I believe that by leveraging AI, we can enhance efficiency while achieving innovative and impactful designs. Design is not only a means to realize individual dreams but also a force for guiding society and the world toward a better future. Believing in its potential, I am committed to taking on new challenges as a designer.
DI: What kinds of works do you like designing most?
HM : What I find most rewarding is designing corporate brands with consistency. By building unified designs across all touchpoints—logos, packaging, websites, and even internal tools and product proposals—I believe we can maximize brand value. To achieve this, it is essential to deeply understand the client’s philosophy and vision and reflect them in the design. For example, for one client, we implemented a cohesive design from the logo to internal tools, product proposals, and the website. As a result, the brand’s consistency was strengthened, earning trust from the client and enhancing its market reputation. This approach closely aligns with my philosophy of pursuing "universal and timeless design." The process of accurately capturing a client’s aspirations and translating them into visual forms is incredibly fulfilling, and the sense of accomplishment upon completing such designs is unparalleled. Looking ahead, I aim to take on more complex global-scale brand unification projects and deliver even greater value through my work.
DI: What is your most favorite design, could you please tell more about it?
HM : My favorite design is Apple’s brand design. From the packaging of the iPhone and iPad to the spatial design of Apple Stores, the captivating product design of Vision Pro, and even their website, Apple maintains a consistent worldview across all touchpoints. The “unboxing experience,” in particular, is a masterpiece that elevates user anticipation and deepens attachment to the brand. For example, the iPhone packaging is meticulously designed with calculated tactile sensations and sounds to enhance the user experience. Meanwhile, Apple Stores function as works of art, with carefully arranged products and lighting that consistently convey the brand’s value to visitors. Apple’s design is further distinguished by its simple yet sophisticated typography, calculated use of white space, and intuitive usability. The ability to experience the same brand value across products, stores, and websites serves as a perfect example of the “consistent brand design” I strive to achieve. Moreover, Apple’s design philosophy is deeply influenced by Dieter Rams’ “Ten Principles of Good Design.” Principles such as “Good design emphasizes the essence of a product” and “Good design is as little design as possible” are clearly reflected in Apple’s products and brand experiences. These principles resonate strongly with my pursuit of “universal and timeless design.” Every time I engage with Apple’s designs, I am moved by how design can profoundly impact emotions and experiences. I aspire to incorporate the same level of consistency and innovation into my own projects, creating brand experiences that leave a lasting impression.
DI: What was the first thing you designed for a company?
HM : The first design I created for a company was a real estate flyer during my student internship. It was for the sale of luxury condominiums, requiring a design that reflected the sophistication of the high-end product. Although I participated as an assistant, this first professional experience was invaluable in shaping the foundation of my design career. I was particularly inspired by the refined designs created by the company’s top designer. Their meticulous attention to detail and mastery in conveying a sense of luxury left a profound impact on me. This experience continues to influence my design philosophy, especially in logo and brand identity projects, where I always prioritize the importance of fine details. While I felt a bit nervous during my first professional experience, seeing the design I contributed to come to life and reach the client brought me immense joy. This experience became one of the key moments that ignited my passion for design and continues to drive me today.
DI: What is your favorite material / platform / technology?
HM : Digital tools are indispensable in my design work. Adobe Illustrator has been my trusted partner for many years, particularly for graphic design, while Photoshop remains essential for image editing. I am also deeply intrigued by the advancements in AI image generation technology. For web design, I rely on Figma, which excels in enabling real-time collaboration with clients, making decision-making both efficient and effective. Since 2023, AI technology has played a vital role in my creative activities. Tools like Chat GPT, Gemini, and Perplexity have improved the efficiency of tasks such as text creation and translation by approximately 40%, allowing me to focus more on refining the finer details of my designs. I am also eager to explore the potential of video generation AI to further enhance my skills. While AI serves as a powerful tool for efficiency, I strongly believe that human creativity, emotions, and thought processes remain indispensable in design. Looking ahead, I aspire to explore new partnerships with AI as AGI (Artificial General Intelligence) and ASI (Artificial Superintelligence) evolve. My goal is to harness the power of AI to pursue innovative and efficient design expressions that push creative boundaries. At the same time, I value analog methods during the early stages of design, such as sketching ideas with pen and paper. This process is the foundation of my creativity and offers a unique value that digital tools cannot replicate. By integrating both digital and analog approaches, I aim to expand the scope of my design and achieve richer expressions.
DI: When do you feel the most creative?
HM : I feel most creative during the quiet late-night hours. This time allows my mind to relax and focus inward, naturally sparking new ideas. During the day, I use noise-canceling headphones to block out external sounds, enhancing my concentration. An organized desk is another crucial factor in supporting my creativity. For example, the concept for "MTRL KYOTO," which won an A' Design Award, was born in such an environment. "MTRL KYOTO" views physical materials, talents, businesses, and Loftwork itself as "materials" and visualizes their interactions through design. The logo’s symbols represent a fusion of tradition and innovation, while the neutral color palette emphasizes the individuality of each element. This design is also celebrated for its dynamic structure, allowing it to be applied in various forms such as signage, typography, and patterns. While environments like cafes or nature can provide inspiration, excessive visual stimuli can often disrupt my concentration. That’s why my desk, with minimal distractions, serves as the ideal creative space. Moving forward, I aim to leverage new technologies and tools to further enhance efficiency and pursue more impactful creativity.
DI: Which aspects of a design do you focus more during designing?
HM : The aspects I focus on in design vary depending on the object, but in logo design, I consistently pursue refinement, simplicity, and universality. Simple shapes are not only memorable and globally recognizable but also designed for long-term use, minimizing the need for frequent changes. For instance, a simple act like folding one corner of a square can give a shape a story and meaning. In the logo design for MTRL KYOTO, I combined abstract and geometric motifs to visualize the fusion of tradition and innovation. This approach emphasizes stripping away the unnecessary to distill the essence of the concept, rather than relying on specific motifs. These methods are deeply connected to my design philosophies, such as "universal and minimal design" and "the fusion of Japanese Zen spirit and global sensibility." The Zen principles of "beauty in emptiness" and "the elegance of subtraction" form the core of my design approach, reflecting a pursuit of simplicity that carries profound depth. In digital domains such as websites, I prioritize user experience while striving for a balance with aesthetic appeal. Through these philosophies, I aim to accurately translate clients’ visions into enduring brand designs that resonate deeply and stand the test of time.
DI: What kind of emotions do you feel when you design?
HM : When starting a new project, I feel a great sense of anticipation and excitement, but I also experience some anxiety about meeting the client’s expectations. Once I immerse myself in the design process, I often lose track of time, finding that several hours have passed in intense focus. Afterward, I make it a point to step back and review my ideas and designs objectively by engaging in other tasks. There are times when ideas don’t come easily, but in such moments, I refresh myself by going for a run or reading comics. This process often leads me to discover new concepts that I couldn’t reach through surface-level thinking. The sense of accomplishment when these ideas take shape is truly unparalleled. As a design nears completion, I feel a sense of satisfaction but also an insatiable desire to deliver even better results. This often drives me to revisit and refine my work further. Design is a continuous challenge, but it is also the driving force behind my growth and one of the main reasons I am so passionate about this profession.
DI: What kind of emotions do you feel when your designs are realized?
HM : When my designs take shape and are released into the world, I feel an indescribable sense of accomplishment, as if something I had long struggled with has finally come to life. I am deeply curious about how people will perceive the design, how they will react to it, and what kind of impact it will have on them. For example, in one logo design project, we received not only positive feedback on social media but also in real life. The client reported a significant increase in inquiries from potential new employees as a direct result of the design. Knowing that the design has gone beyond its visual appeal to influence people's actions and emotions reinforces the value of my work. Additionally, when launching a web service or website, I can observe real-time responses through the Internet and social media, which provides immediate insights. The words of appreciation I receive directly from clients are another major source of motivation. However, these moments only fuel my desire to aim higher and create even better designs. Each time I witness the tangible impact of a design, I am reminded of how it can enrich people's lives and emotions. This realization inspires me to set new goals and deliver even more refined results in future projects. This continuous process of challenge and growth is what drives my passion for design.
DI: What makes a design successful?
HM : For me, a successful design is, first and foremost, one that contributes to achieving the client’s business goals and fundamentally addresses the problems faced by users. Ideally, it should also align with my own design philosophy, which includes "universal and minimal design," "fusion of Japanese Zen spirit and international sensibility," "visualization of universal value," and "balance of minimalism and functionality." To achieve these goals, I believe the following elements are indispensable: - Intuitive functionality that makes the design user-friendly - Universal beauty that stands the test of time - Original thinking that breaks free from conventional frameworks - Technical skills to bring these ideas to life - User experience grounded in a deep understanding of user behavior and psychology - A clear and consistent concept that ties everything together A design that embodies these elements is not only visually appealing but also delivers genuine value to both clients and users.
DI: When judging a design as good or bad, which aspects do you consider first?
HM : When evaluating a design, the first aspect I consider is its visual appeal. While I acknowledge that standards of beauty are subjective, my basic premise is that designs that lack visual appeal are less likely to attract attention. Next, in the case of logo design where the concept is critical, I assess whether the concept is clearly expressed. For website or service design, I prioritize usability, focusing on whether users can achieve their goals seamlessly. These elements not only significantly influence the overall impression of the design but are also closely tied to my design philosophies, such as "fusion of minimalism and functionality" and "creation of an integrated brand experience." For example, in logo design, I always strive to incorporate functionality and express the brand’s worldview in a unified manner through minimalistic designs that eliminate unnecessary elements.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
HM : I believe that designers hold significant responsibilities toward society and the environment because design has the power to influence people's behavior. Therefore, contributing to the resolution of social issues and pursuing ethical design are essential roles for us as designers. For example, considering universal design in an aging society can lead to information transmission that is accessible to everyone. Additionally, the use of environmentally friendly materials is crucial. In printed materials and packaging, actively adopting FSC-certified or recycled paper can support sustainability. Furthermore, sustainability-focused approaches can be applied across various design fields. For instance, in logo design, creating designs that are intended for long-term use can reduce the need for frequent rebranding and the associated reprinting or production of new promotional materials. This, in turn, can indirectly minimize the wastage of resources. Such practices can be extended to other design areas, broadening the impact designers can have in promoting sustainability. Through these efforts, I aim to contribute as a designer to the realization of a more sustainable society.
DI: How do you think the "design field" is evolving? What is the future of design?
HM : I believe that the most significant change in the design field is the rise of AI. The development of image and video generation AI has already made a substantial impact on some areas of design, and it holds the potential to transform the entire field of graphic design. Currently, I sense that many designers are not fully adapting to this change, but I actively stay updated on AI tools that can be applied to design and experiment with their potential to avoid being left behind by this major shift. However, I do not yet have a clear answer as to what the future of design will look like in an era where AGI (Artificial General Intelligence) and ASI (Artificial Superintelligence) are widespread. While I hope to be optimistic, I believe designers who merely create what they are told are likely to be replaced by AI. This is why I think we must strive to become "irreplaceable designers." Specifically, it is essential for designers to reflect their individuality and philosophy in their work and provide value that only humans can create—something AI cannot replicate. Moreover, by actively embracing AI as a partner, designers can evolve into "superstars" with a diverse range of skills and unprecedented creativity. AI not only takes over mundane tasks but also serves as a sounding board for ideas and sometimes even as a mentor. Through this collaboration with AI, I believe it is vital to deepen our understanding of businesses and continue honing comprehensive skills, such as marketing and problem-solving, to stay relevant and indispensable.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
HM : I do not have any exhibitions planned at the moment. However, I consider exhibitions to be a valuable opportunity to showcase my designs directly to a wide audience and gather their feedback. If the opportunity arises, I would love to hold an exhibition in the future. To that end, I am committed to working hard to create even more compelling works. Currently, my activities are primarily online. I showcase my past works on Behance ( https://www.behance.net/enhanced_hiromimaeo ) and actively participate as a lecturer in an online community focused on sharing knowledge and disseminating information about brand building. Through these efforts, I aim to connect with a broader audience and continue exploring the possibilities of design.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
HM : My designs are inspired by a wide range of sources. I draw significant inspiration from the works of great designers of the past, contemporary creators featured on platforms like Behance, architecture, and even from interacting with people. In particular, engaging with individuals from different fields provides me with fresh perspectives. Additionally, I nurture my creativity by reading books, and watching manga and movies. These diverse inputs serve as the driving force behind my designs.
DI: How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
HM : My design style is based on "universal and minimal" design. I aim to achieve the client’s business goals and solve user problems through a unique approach that blends the Japanese Zen spirit with an international sensibility. In logo design, I pursue a style characterized as minimal, simple, modern, geometric, and abstract. This style is deeply rooted in the Zen philosophy I have cultivated as a Japanese designer. In logos, which are intended for long-term use, I focus on incorporating the concept into simple shapes that anyone can draw. By avoiding reliance on specific motifs, I use abstract and geometric elements, paring them down to the essentials. At the same time, I incorporate experimental approaches whenever possible to constantly explore new expressions. In brand design, I prioritize maintaining consistency across all touchpoints, including logos, packaging, and websites. In this regard, I have been significantly influenced by Apple’s brand design. For web design, I prioritize the user’s perspective, striving to create designs that are intuitive, easy to use, and help users achieve their goals. These approaches embody my design philosophies of "fusion of minimalism and functionality" and "creation of an integrated brand experience." Additionally, I have a strong interest in new technologies such as AI, and I believe that actively integrating them into the design process can lead to more innovative and effective outcomes.
DI: Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
HM : I live in Japan, and its cultural heritage has a profound influence on my designs. Specifically, the Zen spirit and the traditional Japanese aesthetic concept of "the beauty of space" are deeply embedded in my design philosophy of "universal and minimal design." This philosophy emphasizes creating designs that are simple yet profound, leveraging balance and space to achieve harmony. Living in Japan offers many advantages. The country’s rich cultural background, including traditional architecture, craftsmanship, seasonal natural beauty, family crests, and traditional colors, provides a wealth of inspiration. Additionally, Japan’s design industry upholds exceptionally high standards, offering an ideal environment for honing and advancing design skills. However, there are challenges as well. In Japan, design often heavily relies on textual information, which necessitates finding creative ways to communicate effectively through visual elements alone. Moreover, the highly competitive nature of the Japanese market demands constant exploration of fresh ideas. While this can be challenging, it also serves as a driving force for growth. In this context, I aim to create designs that combine the traditional aesthetics of Japan with international perspectives and cutting-edge technologies, striving for originality and functionality in every project.
DI: How do you work with companies?
HM : When working with companies, the process typically begins with an inquiry, followed by a detailed hearing conducted via an online meeting. During the hearing, I confirm the company’s vision, target users, competitive analysis, and design direction. If necessary, I create an initial proposal that outlines the project direction, schedule, and estimate. Once the project is approved, the design production begins. As the design nears completion, I submit a detailed proposal that includes the concept and design plan for final confirmation with the client. The production period varies depending on the scale of the project. For example, a logo design can be completed in as little as one month, while branding an entire service, including web design, may take up to eight months. I primarily use Slack for client communication and Google Meet or Zoom for online meetings. When collaborating with companies, I prioritize establishing a shared understanding. To achieve this, I maintain frequent contact and engage in thorough discussions to ensure that the project goals and direction are always aligned between myself and the client.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
HM : When working with designers, the most important thing for companies is to adopt a collaborative attitude, creating together rather than leaving everything to the designer. One key indicator of a good designer is their ability to propose ideas that go beyond simply fulfilling the brief and offer additional value. For example, when requesting a website renewal, a designer who can propose solutions aligned with the company’s future prospects and web strategy, rather than just updating the design to maintain the status quo, is a valuable asset. Such proposals may come with appropriate costs, but selecting a partner who supports the company’s growth alongside it will provide significant long-term benefits. However, issues often arise between companies and designers due to differences in expectations. For instance, there are cases where the production cost does not match the scope of work or an unacceptable price is presented. Other common discrepancies include misunderstandings about the scope of work or the number of revisions. To avoid these issues, it is essential to establish clear agreements through proposals or contracts beforehand. I often compare design to tailor-made clothing from a high-end brand, crafted with premium materials and exceptional skill. Just as such clothing deserves an appropriate price, designs created by experienced and proven designers should be compensated fairly. Experienced designers with a solid track record excel at accurately understanding a company’s needs and delivering effective designs. This expertise is not developed overnight, and their skills and experience should be compensated appropriately. However, appropriate compensation does not simply mean high production costs. Some designers may charge high fees but fail to meet a company’s needs, while others may offer low-cost services but lack the quality required. Therefore, companies must avoid judging solely based on cost. Instead, it is crucial to carefully evaluate a designer’s skills, portfolio, and, most importantly, their willingness to collaborate with the company.
DI: Can you talk a little about your design process?
HM : My design process varies depending on the project, but I will explain it using logo design as an example. First, I organize preliminary information to deeply understand the client’s requests and the brand’s current situation. I then use a mind map to extract keywords that will form the foundation of the concept. This approach helps capture essential elements from diverse perspectives. In some cases, I also utilize thought processes such as the double diamond method. Next, I use pen and paper to freely sketch ideas and develop shapes for the symbol. At this stage, I am mindful not only of general grid structures but also of applying grids based on the Fibonacci sequence or the golden ratio wherever possible. I also utilize AI tools for text proofreading or as a sounding board to explore ideas from multiple angles. AI, which never tires, is invaluable for efficiently comparing and evaluating a large number of ideas. Afterward, I use Illustrator to create a rough shape based on the sketch and conduct research to ensure there are no similar logos. This involves using tools like image searches and the WIPO trademark search database to confirm originality. Once originality is confirmed, I refine the symbol, creating multiple variations for comparative verification. During this process, I meticulously check if the numerical values of each element have mathematically pleasing proportions and whether the logo maintains visibility even at small sizes, leveraging my aesthetic sense honed over the years. I then combine the chosen symbol with a logotype and make final adjustments to the logo. This includes setting colors and establishing an overall color concept. To prepare the logo for diverse applications, I develop a visual identity using mockups and other tools. Finally, I compile these processes into a proposal and present the completed logo design to the client. If revisions or additional color variations are requested, I implement these changes and deliver the finalized logo data. Additionally, I create and provide guidelines that summarize how to use the logo.
DI: What are 5 of your favorite design items at home?
HM : There are several design items in my home that I have carefully selected and truly love. 1. BALMUDA Rain: A humidifier with a unique, vase-like form that sets it apart from conventional humidifiers. Its design blends seamlessly into the space. Placed in the living room where the family gathers, it serves as both a practical device and a visual accent. 2. BALMUDA The Pure: An air purifier I have been using for nearly 10 years. In addition to its excellent purifying ability, its sophisticated design integrates beautifully with the interior. Like the Rain, it is placed in the living room and maintains a comfortable air environment. 3. Custom-designed Desk: A one-of-a-kind desk with a wooden top covered with black-painted iron. It is not only well-designed but also functional, aiding in the dissipation of heat from electronic devices. Despite its weight, which can be challenging, I feel a strong attachment to it. It resides in my room, supporting my work and creative activities. 4. Serge Mouille's LAMPADAIRE 1 LUMIÈRE (Reproduction) : A lamp by Serge Mouille, a designer active in the 1950s and 1960s. I had long admired this product and purchased it when I was younger. I still use it with great fondness. The organic curves of the shade have always captivated me, and it has been a fixture in my room for many years. 5. Herman Miller's Sayl Chair : Known for its frameless backrest that feels unrestrictive, it offers exceptional comfort and high cost performance. The chair’s high-quality design is also a standout feature, and I use it in combination with my custom desk. These items are all simple, minimal, yet functional, resonating deeply with my design style of "universal and minimal." Living surrounded by such functional simplicity greatly influences my creative work.
DI: Can you describe a day in your life?
HM : My day begins with a cup of coffee in the morning. After a cup to wake me up, I skip breakfast and dive straight into work. I start by checking my emails and schedule, and then proceed with tasks such as creating logo designs, meeting with clients, and designing websites. In between, I make sure to stay updated on design-related information and articles. I don’t have a set time to finish work, but I usually work until around 11:00 p.m., depending on the day’s tasks and my level of focus. After work, I refresh myself with muscle training or jogging to maintain my physical fitness. Following the workout, I take a bath to relax and relieve the fatigue of the day. I then unwind by watching movies, reading comics, or playing games, fully relaxing both physically and mentally. I often go to bed around 3 or 4 in the morning. On weekends, I like to visit a bar run by an acquaintance and enjoy engaging with people from various fields. I also value time with my family and often spend quality moments with them over meals.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
HM : To young designers, my first advice is to go beyond the online world and value real-life experiences. For example, touch various objects to understand their textures, feel the air and atmosphere of a space, and carefully capture the enthusiasm and emotions that emerge from conversations with people. The experiences you gain through your five senses will undoubtedly add depth and originality to your designs and become invaluable assets for the future. If possible, traveling abroad to experience different cultures and customs can also be a wonderful source of inspiration. Additionally, always reflect on your own designs and strive for continuous improvement. Ask yourself, "What do I want to achieve?", "What kind of designer do I want to become?", and "What are my dreams?" Introspection, objective evaluation of your work, and a commitment to improvement are essential for creating mature designs. It is also crucial to have confidence in your design. However, remain humble enough to listen to the opinions of others and flexible enough to incorporate their feedback. This openness will lead to further growth. As a young designer, you may encounter harsh opinions and criticism from senior designers or clients. Remember, such feedback is often a sign of their expectations for you. Don’t be discouraged—stay positive and keep challenging yourself to pursue your dreams and goals.
DI: From your perspective, what would you say are some positives and negatives of being a designer?
HM : The greatest pleasure of working as a designer is contributing to the growth of our clients’ businesses. Specifically, the joy of enhancing a brand image through design, which in turn leads to increased sales, is unparalleled. Additionally, when collaborating with clients to create designs and services, receiving words of gratitude from them gives me a profound sense of accomplishment. However, during my time working for a company, there were moments when I struggled to find a compromise between the organization’s policies and my design direction. This experience ultimately led me to pursue independence, allowing me to chase my ideal designs. Since becoming independent, I have gained the ability to view design and client feedback from multiple perspectives, enabling a deeper understanding. By effectively utilizing social media, I have also received project inquiries from overseas, significantly broadening my horizons. Of course, managing a business is not without its challenges. However, after becoming independent, my sense of responsibility and attachment to my designs has grown stronger than ever. Creating better designs directly enhances the reputation of my company, motivating me to continuously improve the quality of my work. I firmly believe that the profession of a designer holds immense potential—not only to solve clients’ problems but also to drive change in addressing societal challenges. I aspire to continue being a designer who can have such an impactful influence.
DI: What is your "golden rule" in design?
HM : My "golden rule" in design is to create "simple, beautiful, long-lasting, and innovative designs with no waste." This principle deeply resonates with Dieter Rams’ "10 Principles for Good Design," which consistently guide my work. Specifically, I am strongly influenced by the principles: "Good design is innovative," "Good design is aesthetic," "Good design has longevity," "Good design is consequent down to the last detail," and "Good design is as little design as possible." For example, in logo design, I strive to maintain consistency while clearly expressing the essence of the design. I aim to use abstract and geometric elements, avoiding reliance on specific motifs, to create designs that are simple yet deeply meaningful. Additionally, I focus not only on visual appeal but also on functionality and durability, ensuring that the design can withstand long-term use. This rule extends beyond logo design to encompass entire brand identities and web design projects. In every project, my goal is to minimize unnecessary elements while delivering a visually impactful and meaningful message.
DI: What skills are most important for a designer?
HM : The most important skills for a designer span a wide range, but the following are particularly essential: 1. Technical Expertise: Proficiency in design tools like Adobe Illustrator and Figma, along with a deep understanding of typography, layout, and color palettes. 2. Problem-Solving Skills and Creativity: The ability to accurately grasp user challenges and client goals, and to create optimal designs within constraints. Additionally, balancing creative thinking with critical evaluation to consistently improve designs. 3. Insight into User Experience (UX) : Focusing on usability and comfort to optimize the user’s experience. 4. Understanding of Marketing and Business Management: A clear grasp of the client’s business goals and how design contributes to enhancing brand value and driving revenue. This includes understanding how design integrates with marketing campaigns and plays a role in long-term branding strategies. 5. Cultural Awareness and Diversity: Respecting and integrating diverse cultural values into design to resonate with global audiences. 6. Continuous Learning: Adapting to new technologies and trends, such as AI, and leveraging them to create innovative solutions. 7. Time Management and Project Planning: Efficiently managing multiple projects while delivering high-quality results on time. 8. Ethical Responsibility and Sustainability: Pursuing sustainable and ethical design practices by considering the social and environmental impacts of design decisions. By integrating these skills, designers can create work that balances beauty and functionality while addressing both user needs and business objectives.
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
HM : My design toolbox is well-balanced with software, applications, hardware, and sources of inspiration. Here are the main components: Software and Applications: - Adobe Illustrator: Central to logo design and graphic creation, ideal for precise work and geometric designs. - Figma: Used for web and UI design, enabling real-time collaboration with clients and teams. - Photoshop: Utilized for photo editing and creating prototypes or mockups. - AI Tools (ChatGPT, Gemini Advanced, Perplexity, Felo, ImageFX, etc.): Used for brainstorming ideas, generating images, and drafting text. Hardware: - MacBook Pro: My main machine, offering high performance and reliability. - Wacom Tablet: Essential for hand-drawn sketches and detailed design work. - Herman Miller Sayl Chair: Provides excellent support for long hours of work. - Three Monitors (including MacBook): Used for viewing information from multiple perspectives and improving workflow efficiency. Sources of Inspiration: - Behance: A primary platform for exploring the works and trends of other designers. - Books: Key references include *LOGO MODERNISM*, which provides profound insights into logo design through the lens of modernism, and Dieter Rams’ *Less and More*, which deepens my understanding of design philosophy. - Architecture and Nature: Traditional Japanese architecture and the beauty of changing seasons inspire many of my designs. Tools for Process Support: - Pen and Paper: Crucial for expanding ideas and concretizing concepts. - Note Apps: For quickly recording ideas and accessing them later with ease. - Mockup Tools: Used to convey the final design’s practical application to clients. - WIPO Trademark Database and Image Search Engines: Ensure originality by checking for similar logos. By effectively utilizing these tools, I strive to create designs that harmonize functionality and aesthetics.
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
HM : Designing can indeed be a time-consuming task, which is why I prioritize efficient time management. Here are my main approaches: 1. Prioritizing Tasks: I organize daily tasks based on importance and deadlines, tackling high-priority items first. For larger projects, I create detailed plans early on and carefully estimate the required resources. 2. Creating a Focused Environment: I use noise-canceling headphones to block external distractions and utilize time-blocking to reserve specific periods for deep work. This helps me maximize focus and productivity. 3. Breaking Down Tasks and Tracking Progress: I break larger projects into smaller, manageable tasks and use tools like Backlog to track progress. This ensures that I have clear steps toward achieving project goals. 4. Incorporating Breaks: To maintain focus during long work hours, I take regular short breaks. Activities like jogging or stretching not only refresh my mind but often spark new ideas. 5. Leveraging Tools for Efficiency: I utilize AI tools to streamline repetitive tasks, allowing me to dedicate more time to creative work. By combining these methods, I aim to deliver high-quality designs within the given timeframe while meeting client expectations.
DI: How long does it take to design an object from beginning to end?
HM : The time required to design an object depends significantly on the type of object, the scale of the project, and the client’s requirements. For example, designing a logo typically takes about one month at minimum. This includes all stages, such as concept development, sketching, digitization, proposals, and revisions. In contrast, web design requires around two to six months, depending on the site’s scale and functionality. The process involves tasks such as page structuring, wireframing, UI/UX design, and multiple client reviews. For comprehensive brand identity development, which includes logos, business cards, packaging, and websites, the timeline extends to about three to eight months. This additional time is necessary to ensure consistency across all elements and to refine each component to the highest standard. Even when short timelines are requested, maintaining quality remains my top priority. To achieve this, I work closely with clients, maintaining frequent communication and providing regular updates to ensure the process stays efficient and transparent.
DI: What is the most frequently asked question to you, as a designer?
HM : One of the most frequently asked questions I receive as a designer is, “How long does it take, and how much does it cost to design something?” Many people are curious about both the timeline and the associated costs of the design process. I often explain that the time and cost vary significantly depending on the object, the scale of the project, and the client’s requirements. For example, a logo design typically takes about one month at minimum. This includes concept development, sketching, digitization, proposals, and revisions. As for the cost, it depends on factors such as the complexity of the proposal and the number of revisions, and it is not inexpensive. However, I always make an effort to explain the value behind the price, ensuring that clients understand its fairness. I often compare design to tailor-made clothing: just as high-quality materials and exceptional craftsmanship justify the price of custom-made garments, design reflects the value derived from experience and expertise. Another common question is, “How do you come up with ideas?” To this, I explain that my inspiration comes from a wide range of sources, including architecture, nature, other designers’ works, and everyday life. Additionally, I use tools like mind maps and sketches to explore and organize ideas from multiple perspectives. I see these questions as valuable opportunities to enhance transparency about the design process and to share the philosophy and value behind my work.
DI: What was your most important job experience?
HM : I have several experiences that I consider the most important in my career. Among them, the MTRL project, the logo design for bouncy, and the logo design for GAZE stand out as particularly significant. The logo design for bouncy was a project for a social media news platform, visually representing how information spreads online and across social media. This project received high praise on social media platforms and heartfelt gratitude from the client, making it a highly rewarding experience. For GAZE, the challenge was to blend Chinese traditional aesthetics with modern branding strategies. The logo was selected in an invitation-only competition involving 10 companies worldwide, and the success of exceeding the client’s expectations became a significant confidence booster for me. In the MTRL project, the focus was on creating a brand identity that symbolized diversity and dynamism. Through close collaboration with the client, I was able to accurately translate their vision into design, making this project an incredibly meaningful experience. These experiences reinforced my understanding that design is not just a visual element but a powerful tool to convey a brand’s values and message. They also highlighted the importance of close communication with clients and attention to detail as critical factors for success. These projects provided invaluable opportunities to embody my design philosophy of "universal and minimal design," contributing significantly to my growth as a designer.
DI: Who are some of your clients?
HM : My past clients include major companies such as ANA NEO, Amazon Japan, NTT Com Online, Astellas Pharma, and Ricoh. For these companies, I worked on projects ranging from logo design to website renewals and branding initiatives. I have also collaborated with startups across various industries, including the gaming sector. Notably, I provided multiple logo designs for a game-related company led by the director of Final Fantasy XV, successfully enhancing the client’s brand identity. Through these projects, I have cultivated a flexible design approach tailored to the diverse needs of clients from different industries and scales. This experience has enabled me to deliver effective designs that align with the unique requirements of each client.
DI: What type of design work do you enjoy the most and why?
HM : The type of design work I enjoy the most is creating brand identities. I find it immensely rewarding to design across multiple touchpoints, such as logos, packaging, and websites, to create a cohesive and unified expression of a brand’s individuality. I particularly enjoy the process of deeply understanding a client’s vision and values and translating them into a design that resonates with both the brand and its audience. The sense of accomplishment I feel when every element comes together harmoniously and contributes to the client’s business growth is unparalleled. Logo design is another aspect of design that I find especially fulfilling. Crafting simple yet meaningful designs that leave a lasting impression aligns perfectly with my philosophy of "universal and minimal design." Through these types of projects, I am reminded that design is more than just a visual element—it is a tool to convey value and meaning. This realization continues to fuel my passion for design.
DI: What are your future plans? What is next for you?
HM : My future plans involve building upon my design philosophy and skills to take on more diverse fields and international projects. I aim to focus on integrating AI and sustainability into my designs, contributing to innovative projects that challenge conventional frameworks and create new value. In the field of brand development, I hope to collaborate with more clients to bring their visions and goals to life through design. Beyond providing customized designs tailored to client needs, I want to help uncover potential opportunities they may not have realized, ultimately contributing to the long-term enhancement of their brand value. Additionally, I aspire to actively engage in design education and knowledge sharing. As a lecturer or speaker, I aim to pass on my experience and philosophy to the next generation of designers and creators, fostering the growth of the industry as a whole. Supporting young designers in realizing their full potential is a mission I consider deeply important. Lastly, I want to continue pursuing timeless designs that resonate with clients and users for years to come. To achieve this, I plan to delve deeper into the essence of design, striving for minimalistic yet meaningful expressions. Through these activities, I aim to shape a future where design contributes positively to society and culture.
DI: Do you work as a team, or do you develop your designs yourself?
HM : My design process varies depending on the scale and nature of the project. For some projects, I handle all aspects of the design process myself, working directly with clients to ensure their vision is fully realized. This approach is particularly effective for logo design or smaller brand identity projects, where maintaining a cohesive and detailed design is essential. For larger web development projects or those involving multiple components, I collaborate with external teams. For instance, I work alongside developers, copywriters, and other specialists, leveraging their expertise to achieve the best results. In such cases, I primarily focus on visual design and concept development while also playing a role in overseeing the overall project direction. In both approaches, I place great emphasis on close communication with clients. By sharing progress and aligning on goals throughout the process, I ensure that the design accurately reflects their vision and requirements. Whether working independently or as part of a team, my ultimate goal is to deliver designs that are optimal and effective for the client.
DI: Do you have any works-in-progress being designed that you would like to talk about?
HM : I am currently working on several projects. One of the most significant is designing a logo for a new company entering the international market. This project aims to maintain the overall brand consistency of the group while creating a design that resonates with a new audience. Another project involves the redesign of a website for a new digital service. While the details cannot be disclosed at this time, the focus is on delivering an intuitive and user-friendly design. Efforts are being made to improve information organization and visibility, ensuring users can quickly access the content they need. In both projects, I prioritize close communication with clients to share and clarify their vision, translating it into impactful visual designs. I look forward to seeing these projects come to fruition and providing designs that create new value for a wide audience.
DI: How can people contact you?
HM : If you would like to get in touch with me, please feel free to use any of the following methods: 1. Email You can reach me directly at ( hello@enhanced.jp ). I strive to respond within 24 hours. 2. Website Contact Form Visit official website contact form ( https://enhanced.jp/ ) and fill out the necessary details. 3. Social Media You can also message me on - Behance ( https://www.behance.net/enhanced_hiromimaeo ) - LinkedIn ( https://www.linkedin.com/in/enhanced/ ) - Facebook ( https://www.facebook.com/enhancedjp ) These platforms also showcase my portfolio and design activities. Whether it’s a project inquiry or a question about design, I’d be happy to hear from you. I’ll ensure prompt and thoughtful communication.
DI: Any other things you would like to cover that have not been covered in these questions?
HM : While these questions have covered many aspects of my work, I would also like to highlight the impact that design can have on society and culture. I believe that design is more than just a visual element—it has the power to influence people’s behavior and values. For example, sustainable design can positively impact not only clients and users but also society as a whole. Choosing environmentally friendly materials or creating designs that stand the test of time are some ways to achieve this. Additionally, by embracing diversity and inclusivity in design, we can contribute to building a better and more equitable society. Moreover, I am continually exploring how design can function as a tool to achieve clients’ visions and goals. For me, design is not just a profession but a creative challenge to provide new value to people and brands.