We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Zilian(Joy) Li ("ZL").
Zilian(Joy) Li is an award-winning designer that helps make the World a better place with their original and innovative creations and advanced design works.
Zilian(Joy) Li Designs
We are pleased to share with you original and innovative design work by Zilian(Joy) Li.
Zilian(Joy) Li Design - Chillwild Spring Herbal Set Package
Zilian(Joy) Li Design - Voyease Virtual Travel Interface
Zilian(Joy) Li Design - Igo App Design
Designer Interview of Zilian(Joy) Li:
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?
ZL : My creative path began when I received a camera on my fourteenth birthday. Through the lens, I discovered the joy of building visual worlds—expressing mood and imagination through light, framing, and atmosphere. I realized that image-making was not just technical—it was a form of creative expression. This led me to major in photography in college. To address my family’s concerns about career stability, I chose photojournalism, thinking becoming a reporter might be a safer path. But a video production class changed everything. I made my first short video, and the process of directing—controlling rhythm, designing scenes, guiding emotion—made me realize I wanted to do more: I wanted to become a filmmaker. Inspired by that experience, I started a student-run video studio in my sophomore year, producing short films, experimental visuals, and commercial projects. Later, I pursued formal film education in Hong Kong and gained hands-on experience through real industry work. But the more I experienced, the more I realized how slow and restricted the film industry could be. I began searching for a more efficient, flexible, yet equally expressive medium. That’s when I discovered branding and design as tools for emotional and cultural storytelling. Maybe because I’ve always valued freedom, I wanted to be my own boss. So I went to the U.S. to pursue an MBA, not to leave art behind, but to better prepare myself for entrepreneurship. Today, I run my own design consulting firm and co-founded a nonprofit art foundation with friends. Our mission is to support talented creators who lack access to resources, helping them pursue their artistic dreams without unnecessary detours. My vision is to help bring great Chinese art and design to the world. Whether as a designer, founder, or future director, I believe storytelling is how I connect with the world.
DI: Can you tell us more about your company / design studio?
ZL : I’m the founder of Ambiwishes Technology, a creative consulting company based between Los Angeles and Shenzhen. We focus on brand identity, visual storytelling, and cross-cultural design strategy. Our clients include individual creators, emerging brands, and cultural institutions looking to build meaningful narratives and global presence. In addition to design consulting, I co-founded a nonprofit art foundation with friends to support emerging talents—especially those who have vision but lack access to international platforms. We aim to help them grow without unnecessary obstacles. Looking ahead, I hope to expand Ambiwishes beyond creative services. We plan to develop our own software and hardware tools in the future—design-driven technologies that improve how people live, create, and connect.
DI: What is "design" for you?
ZL : To me, design is about integration and intention. Historically, the word “design” didn’t always carry a positive meaning—it implied plotting, setting something up. And in a way, that’s still true: design is about constructing systems, setting up frameworks, and deliberately shaping outcomes. Design is not limited to aesthetics or visuals. It exists in all areas of life—curriculum design, process design, business models, even life planning. It’s about finding a structured, effective solution to a complex need. At its core, design is the ability to see the whole picture, reorganize resources, and create a strategy that works. That’s why I see design as a powerful and essential skill. It demands logical thinking, analytical judgment, and the ability to balance constraints with creativity. Whether I’m working on visual storytelling or building a company, I rely on design as a way to make sense of chaos and turn ideas into systems.
DI: What kinds of works do you like designing most?
ZL : I’m most drawn to projects that balance creative vision with real-world impact—designs that are not just expressive, but executable. With my business background, I care deeply about whether a design can be implemented, scaled, and generate value. I enjoy creating solutions that serve both the brand’s purpose and the investor’s expectations. The works I enjoy most are those that translate a founder’s original vision into something strategic, beautiful, and commercially viable. To me, great design is not self-indulgent—it respects constraints, delivers results, and still finds a way to be emotionally meaningful.
DI: What is your most favorite design, could you please tell more about it?
ZL : One of the designs I admire most is the Disney theme park system. I often wonder—who was brilliant enough to take a collection of animated characters and build an entire physical world around them? It’s more than visual design—it’s world-building at the highest level. What fascinates me is how Disney turned intangible stories into immersive experiences, allowing visitors to step into a dreamlike world while creating a highly profitable commercial ecosystem. Every detail—from the architecture and atmosphere to merchandise and emotional cues—is part of a coherent, scalable system. To me, it’s the perfect example of how creativity, narrative, experience design, and business strategy can all work together. It’s playful, but incredibly precise. As someone who cares deeply about both design and entrepreneurship, I find the Disney park model endlessly inspiring.
DI: What was the first thing you designed for a company?
ZL : The first thing I designed that had real commercial value was a set of postcards featuring campus views of UCLA. I had just arrived in the U.S. as an MBA student, and I noticed that many students loved taking photos on campus but had nothing physical to remember the space by. So I shot a series of campus images, designed the layout and packaging, and printed a limited batch of postcards to sell during orientation week. I sold out quickly—and made my first dollar in America, all through design. Looking back, it wasn’t just about making something visually nice. It was the first time I consciously designed a product that connected emotion, function, and revenue. It taught me that good design creates value—not just beauty.
DI: What is your favorite material / platform / technology?
ZL : Right now, I’m especially fascinated by AI tools and their impact on creative work. I regularly use ChatGPT for ideation, strategy mapping, and language refinement; Midjourney for visual exploration; and Runway for fast-paced video prototyping. These tools have greatly improved my workflow—saving time, reducing costs, and helping me push creative boundaries with smaller teams. What excites me is that AI doesn’t just automate tasks—it expands access to creativity. For independent creators and startups like mine, it enables us to prototype, experiment, and communicate ideas faster and more clearly. But I’m also cautious. As AI becomes more capable of generating visuals, concepts, and even content strategy, I often ask myself: will these tools empower creative people—or replace them? What will originality mean in a world of algorithmically generated beauty? I don’t have all the answers yet. But for now, I choose to treat AI as a collaborator, not a competitor. It’s still up to us, as designers and thinkers, to ask the right questions and build meaning behind the form.
DI: When do you feel the most creative?
ZL : Oddly, I feel most creative when I’m asleep. My dreams are often vivid—visually rich, emotionally layered, and sometimes strangely structured like storyboards. I’ve come to realize that many of these dreams aren’t random at all. They’re extensions of the problems I’ve been thinking about during the day, processed in a more fluid, symbolic language. In a dream, there are no budgets, deadlines, or physics—only ideas in their purest form. That freedom allows my subconscious to generate compositions, concepts, and connections I wouldn’t have found through conscious effort.
DI: Which aspects of a design do you focus more during designing?
ZL : Honestly, I start with budget. As a designer with an entrepreneurial mindset—and as someone who has worked alongside many founders—I’ve learned to treat budget not as a constraint, but as a starting point. Before thinking about visuals or style, I always ask: What’s the actual budget? Based on that, I choose the right materials, production methods, or even scale of expression. A beautiful idea that can’t be executed within real-world limits isn’t good design to me. I believe great design allocates resources wisely. When you’re building a brand, a product, or a system, design must speak both emotionally and economically. That’s the kind of thinking I value most—creative, but grounded.
DI: What kind of emotions do you feel when you design?
ZL : It’s a mix of emotions—rarely simple or singular. I feel a strong sense of responsibility, especially when I’m designing for founders or mission-driven teams. I know every decision I make affects not just aesthetics, but people, budgets, timelines, and sometimes even dreams. At the same time, I often feel tension and creative pressure. I’m constantly balancing constraints—limited time, tight budgets, high expectations—while still trying to make something meaningful and beautiful. But there are also moments of flow, when things click. When a structure falls into place, or a concept finally resonates, there’s a quiet joy—deep, not loud. For me, design isn’t a burst of passion. It’s a kind of long-burning commitment, sometimes hard, sometimes magical.
DI: What kind of emotions do you feel when your designs are realized?
ZL : Relief, first. Especially in real-world projects where deadlines are tight and resources are limited—seeing a design actually land is like exhaling after holding your breath for weeks. Then comes focus. I quickly shift into observation mode: how people respond, what works, what needs to be adjusted. I don’t stay in the “celebration” stage very long—I care more about whether it truly functions. But sometimes, quietly, I do feel moved. Especially when I see a founder standing in their new space, or a user interacting with something we built—that moment reminds me that design, when done right, really can change something. And that always brings me back to why I started.
DI: What makes a design successful?
ZL : To me, a successful design is one that solves the right problem at the right depth. It aligns with its context—business goals, user needs, budget, timing—while still holding space for originality and emotion. A good design doesn’t just make things prettier; it creates clarity, connection, and momentum.
DI: When judging a design as good or bad, which aspects do you consider first?
ZL : The first thing I look for is clarity of intention. Is it clear what the design is trying to say or solve? Then I look at structure—how well the visual or functional system supports that intention. Beauty matters too, but only when it amplifies meaning or usability. If a design is beautiful but confusing, it’s a missed opportunity.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
ZL : Designers don’t just shape products—we shape perceptions, behaviors, and values. We have a responsibility to ask: What kind of world are we reinforcing through our work? I believe design should create value, not waste; inspire progress, not just consumption. In an age of overstimulation, thoughtful design becomes an act of ethical clarity.
DI: How do you think the "design field" is evolving? What is the future of design?
ZL : The design field is shifting from being purely visual to becoming more strategic and interdisciplinary. It’s no longer just about how something looks—but how it behaves, how it communicates, and how it fits into a larger system. Designers today need to think in terms of user experience, business goals, social impact, and scalability. Within this shift, AI has become a major accelerant. On one hand, it has lowered the entry barrier—anyone can generate images, layouts, even logos with a few prompts. On the other hand, it has raised the standard for professionals. Execution alone is no longer enough. The future belongs to designers who can combine creative thinking with system logic—who can guide not just what is made, but why and how it should be made. I don’t think AI replaces designers; it redefines their role. Our value will lie not in how quickly we produce visuals, but in how wisely we define meaning and structure.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
ZL : My most recent exhibition was in 2025 at the Red Dot Design Museum in Xiamen, China. My packaging design for Chillwild—a tea brand inspired by traditional Chinese herbal philosophy—was selected for a special exhibition on traditional craft and contemporary design. It was a meaningful moment for me, both as a designer and as someone deeply connected to Chinese culture. As a Chinese creative working across borders, I’ve always wanted to find modern ways to honor and reinterpret our cultural heritage. In the future, I hope to exhibit more works internationally that bring Chinese aesthetics and philosophies into global conversation—through design that is both contemporary and rooted.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
ZL : My inspiration comes from three main sources. First, real people. I often get my best ideas from listening to founders, clients, or users talk about their frustrations or dreams. When people speak with emotion, they unintentionally reveal the problems that really matter—and that’s where design begins. Second, culture. As someone deeply connected to Chinese heritage, I find endless creative material in language, rituals, visual codes, and philosophical concepts. From ancient medicine to seasonal rhythms, Chinese culture offers a rich visual and emotional system that constantly inspires me. Third, contradictions. I get inspired when things don’t quite make sense—when tradition meets tech, when softness meets order, when I feel emotionally off-balance. I try to stay open to ambiguity, because that’s often where the original thinking starts. To stay creative, I don’t wait for ideas—I build inputs: I read across disciplines, walk in unfamiliar neighborhoods, experiment with AI, and keep a visual diary. Creativity is less about sudden magic, more about being present, observant, and responsive.
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?
ZL : I would describe my design style as structured, emotionally restrained, and narrative-driven. I’m not drawn to noise or trendiness—I prefer clarity, rhythm, and systems that can scale or evolve. This style grew naturally from my background. I started in photography and film, where framing and timing are everything. Later, I worked in branding, advertising, and business strategy. These experiences taught me that good design is not about decoration—it’s about delivering a message clearly, beautifully, and with intention. My work often centers around typography, layout hierarchy, cultural textures, and story-informed visuals. I avoid overdesigning—I’d rather leave space for the viewer to feel and interpret. My process always begins with structure: What is the core message? Who are we speaking to? What are the real limits? Once the frame is clear, I shape tone, pacing, and visual metaphors. I believe great design is not about impressing—it’s about communicating with precision and empathy.
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?
ZL : I live between Shenzhen and Los Angeles. Culturally and professionally, I move between East and West—and that in-between space has shaped both my identity and my design philosophy. Chinese culture deeply influences my work. I’m drawn to rhythm, symbolism, restraint, and structure. I’m inspired by our materials, medicine, language systems, and even philosophies like yin-yang or five elements—which I often translate into visual logic or spatial flow. The benefit of this background is that I can bridge two worlds. I can interpret Chinese aesthetics for global audiences and bring international thinking into Chinese creative projects. But it also means I’m sometimes misunderstood, or I have to explain more than others.
DI: How do you work with companies?
ZL : I work more like a creative partner than an outsourced designer. My goal is not just to deliver visuals, but to help shape direction—whether for a brand, a product, or a system. I usually begin by understanding the business model, audience, and long-term vision. From there, I help clarify the core message, structure the brand’s identity system, and build visual assets that can scale with the company. I care deeply about practicality. I design for real constraints: team size, budget, production channels. I don’t believe in “one-time wow”—I focus on building systems that grow, evolve, and adapt. I especially enjoy working with founders and teams who see design as part of their strategic growth—not just as decoration. That kind of collaboration leads to the most meaningful results.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
ZL : First, companies should stop seeing design as decoration. Design is not just about how something looks—it’s about how something works, communicates, and grows. If you’re serious about long-term success, treat design as a strategic asset, not a cosmetic fix. To choose a good designer, don’t just look at their portfolio—look at how they think. Can they understand your business model? Can they translate complex ideas into clear visual systems? Do they ask good questions before showing solutions? Once you start working with a designer, trust is everything. Share your business goals, constraints, and concerns openly. A good collaboration happens when the company brings the “problem and vision,” and the designer helps shape the “path and form.” Don’t micromanage pixels—co-build meaning.
DI: Can you talk a little about your design process?
ZL : My design process usually begins with structure, not visuals. I start by clarifying: What is the core message? Who are we speaking to? What should this design help achieve? Once that’s defined, I create a logic map—sometimes in FigJam, sometimes in my notebook. Then I begin testing tone, rhythm, and form. I move between writing, sketching, references, and quick prototyping. I also build moodboards early—not just for aesthetics, but to align emotion and intention. Before I finalize anything, I always step back and ask: “Can this grow with the brand? Can it be implemented under real-world constraints?”
DI: What are 5 of your favorite design items at home?
ZL : 1.Smartphone – One of the greatest inventions in human history. It has evolved from a phone into a universal tool: camera, editor, remote control, wallet, car key, creative studio. Almost everything I do passes through it. 2.Gaming Console – Games are one of the most complex forms of interaction, and consoles are what make them playable. Great games combine logic, design, aesthetics, and addiction mechanics. They’re not just entertainment—they’re interactive art. 3.Sony A7R V Camera – I still find it magical that we can “freeze” light and memory. This camera gives me creative control and cinematic quality in one compact tool. It’s both emotional and precise. 4.Smart Home Controller – A real-life quality-of-life upgrade. One screen controls lights, air, curtains, and more. It’s design doing what it should: making life easier, smoother, better. 5.Coffee Machine – A well-designed coffee machine isn’t just functional—it adds ritual. It makes you pause, prepare, enjoy. What it delivers is far beyond caffeine.
DI: Can you describe a day in your life?
ZL : Because I work across time zones, my days usually start late and end late. The first thing I do after waking up is make coffee—it’s my mental start button. As a founder, I handle many tasks: team communication, client projects, product building, content planning. I often work 12–16 hours a day, but I enjoy it—because I’m doing what I truly care about. My schedule is flexible but intense. I shift between collaboration, decision-making, and content creation. I don’t separate “life” and “work” strictly—but I do manage my energy, focus, and momentum with intention.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
ZL : Don’t rush to find your “style.” Find your lens—your way of seeing, questioning, connecting. The rest will come. Work on your system thinking as much as your visuals. The future of design is not just how it looks, but how it integrates. Also, don’t be afraid to be boring. Some of the best designers I know are obsessed with details, structure, and timelines. Consistency beats inspiration. And finally—protect your curiosity. That’s the only part AI can’t replace.
DI: From your perspective, what would you say are some positives and negatives of being a designer?
ZL : Pros: You’ll never get bored. You deal with new problems, people, and systems constantly. You get to learn fast and turn creativity into value. Cons: Information overload, blurred boundaries. Designers are often asked to solve things outside their scope, while their core creative space shrinks.
DI: What is your "golden rule" in design?
ZL : Figure out what to say before deciding how to show it. If it doesn’t solve a real problem, it doesn’t matter how good it looks.
DI: What skills are most important for a designer?
ZL : Not software. It’s information synthesis. You need to hear vague problems, break them down into structure, goals, and emotion—and then design something that actually works.
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
ZL : • Software: Figma, Adobe Suite (esp. Illustrator, Premiere) • Thinking tools: Notion, Whimsical, FigJam • AI tools: Midjourney, ChatGPT, Runway • Hardware: MacBook Pro, Sony A7R V • Inspirations: Behance, Pinterest, Xiaohongshu, films, museums, dreams
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
ZL : I follow a fairly strict schedule. Before each project, I estimate how much time each stage will take and intentionally leave room for flexibility. I don’t procrastinate—I start when it’s time to start. And when needed, I can think fast under pressure. But most of the time, I rely on planning and execution, not last-minute inspiration.
DI: How long does it take to design an object from beginning to end?
ZL : Depends on complexity. A simple poster or packaging takes 2–5 days. Full branding systems usually need 2–4 weeks. Projects involving naming, storytelling, or cross-media execution can take 1–3 months.
DI: What is the most frequently asked question to you, as a designer?
ZL : Can you just do something simple, whatever you think?” I usually reply: “Not really—because chances are, you won’t like it and we’ll end up redoing everything. Design isn’t a guessing game.” If you’re not sure what you want yet, let’s figure that out first—then I’ll design something that fits.
DI: What was your most important job experience?
ZL : fter founding my studio, I led several 0-to-1 brand builds. We weren’t just designing—we were creating names, positioning, and even helping with first revenue. It changed how I see design: not just visual, but business-critical.
DI: Who are some of your clients?
ZL : I mainly work with: • Early-stage founders who need naming, brand strategy, and full visual systems; • Cultural and art-related organizations looking to build structured storytelling and identity; • Creative professionals applying for international visas, needing background curation and visual support; • Personal brands or designers aiming to grow their international presence with strategic design.
DI: What type of design work do you enjoy the most and why?
ZL : I love 0-to-1 projects. You get to name, frame, style, and define everything. Every decision matters—and you get to build something that didn’t exist before.
DI: What are your future plans? What is next for you?
ZL : I’m focusing on building the Anti-Ordinary Incubator, a platform I initiated to support Chinese creatives with global potential. The goal is to provide strategic, long-term support for international growth—through design, storytelling, and structured opportunity systems. I’m also incubating a few new brands rooted in Chinese cultural logic, such as Chillwild, a modern herbal lifestyle brand. Long-term, I want to build a cross-cultural creative ecosystem—a support system where talented but under-resourced creatives can be seen, grow, and thrive globally.
DI: Do you work as a team, or do you develop your designs yourself?
ZL : I lead the core creative direction, but I work with a trusted circle of designers, developers, and editors. Depending on the project, I expand into a small agile team.
DI: Do you have any works-in-progress being designed that you would like to talk about?
ZL : Yes, I’m currently leading a platform I personally founded and initiated, called the Anti-Ordinary Incubator, supported by the Glowstar Art Foundation (U.S.). It’s designed to serve Chinese creative professionals—including designers, artists, and content creators—who are looking to expand internationally. This is not just a design task—it’s a full-scale platform I built from the ground up. I lead everything from brand strategy, visual systems, content structure, membership design, to database and AI-based tools. The goal is to offer structured, long-term support for creatives navigating global opportunities—not just content or inspiration.
DI: How can people contact you?
ZL : Feel free to reach out via my website: www.ambiwishes.com Email: joy@ambiwishes.com
DI: Any other things you would like to cover that have not been covered in these questions?
ZL : For me, design is not a job title—it’s a way of thinking. It’s a tool for solving problems, building systems, and communicating meaning. At the core of what I do is something simple: I want to help people like me take fewer detours. If the things I’ve struggled to figure out can save someone else a few years—or give them more options—then everything I’ve built is worth it.