We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Szabolcs Nemeth ("SN").
Szabolcs Németh was born in 1971 in Keszthely, Hungary. He obtained a master's degree in graphic design from the Department of Visual Communication of the Hungarian Academy of Arts & Design in Budapest, in 1997. (Today's MOME). He carries out comprehensive design activities in his own companies. Hungarian Design Award winner. He has received international patent protections for his invention in the world's largest markets. Expert in the fields of industrial property rights, industrial design, crowdfunding, and visual communication.
Szabolcs Nemeth Designs
We are pleased to share with you original and innovative design work by Szabolcs Nemeth.
Szabolcs Nemeth Design - Wormy Compact Fishing Systems
Designer Interview of Szabolcs Nemeth:
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?
SN : My parents were teachers, so I didn't come from an artistic family. It became clear at a very young age that I could draw much better than average, and I genuinely loved drawing. Even in elementary school, I won several drawing competitions. I've wanted to become an artist since I was a child, although I wasn't exactly sure what kind. For a long time, I imagined myself as a constructor, but eventually I became most interested in graphic art and visual expression through graphics.
DI: Can you tell us more about your company / design studio?
SN : I founded our design studio more than a quarter of a century ago together with sculptor Katalin Kalmar. Through this company, we have completed various projects for Hungarian, international, and multinational clients. Our activities extended beyond graphic design and implementation—we were also engaged in traditional sculptural work. We participated in public competitions announced by local municipalities in Hungary for the creation of public sculptures, and we won several of these tenders. As a result, I gained in-depth experience in three-dimensional execution—on the one hand, in metalworking related to bronze casting, and on the other hand, in digital metal processing with the advent of CNC machines.
DI: What is "design" for you?
SN : For me, design means the perfect harmony of function and form.
DI: What kinds of works do you like designing most?
SN : Since I graduated as a visual communication designer and graphic designer, I consider this my primary field of expertise. Later, I also began designing objects—particularly those that had not existed before. I especially enjoy creating things that are entirely new and unique.
DI: What is your most favorite design, could you please tell more about it?
SN : Undoubtedly, my largest and most successful project to date is the ‘Wormy Compact Fishing Systems.’ This is a compact fishing rod I designed with the goal of creating a tool that is extremely small in size, versatile, and virtually unbreakable. In the concept category, I won the Hungarian Design Award with this fishing rod. Later, the product was realized and led to several patent successes: it received patent protection in the world’s largest markets, including the United States, China, several countries in the European Union, Australia, and South Korea.
DI: What was the first thing you designed for a company?
SN : Immediately after graduating, I received a commission from Siemens Hungary to create a promotional calendar of my own design, for which I was also responsible for full production, manufacturing, and delivery. It was a conical anamorphic calendar, the original prototype of which I developed as part of my graphic design thesis at the Hungarian University of Applied Arts. The Siemens marketing director saw this piece at an exhibition and, based on it, commissioned me to create a version adapted specifically for Siemens.
DI: What is your favorite material / platform / technology?
SN : I am particularly drawn to natural materials – it is important for me to establish a direct connection with the material from the earliest stages of the design process. I enjoy sketching by hand on paper and working with clay in three dimensions. I believe that manual modeling supports thinking and helps to shape ideas into tangible forms. During the initial phase of form development, I often rely on traditional tools. At the same time, contemporary digital technologies also play a key role in my work, especially during product development and prototyping. In my practice, traditional craftsmanship and modern manufacturing techniques complement each other in a natural and harmonious way. Working with metals constitutes a significant part of my professional activity. Metal casting and CNC machining have become central to my process – both as a result of my personal interest and the direction my professional journey has taken.
DI: When do you feel the most creative?
SN : I feel most creative when I can think in terms of a system and search for the key to solving one of its components. I am typically drawn to tasks that are on a scale I can fully comprehend – where I can imagine answering every question and resolving each challenge on my own. I believe that every big solution is made up of many small ones. The creative process for me lies in organizing and aligning these smaller answers into a coherent whole. There is always a larger objective or a central challenge, but reaching it involves a series of smaller questions that must first be addressed. When I manage to bring together all these fragments into a complete solution, that's when I feel at my most inventive.
DI: Which aspects of a design do you focus more during designing?
SN : When I design, I focus on creating a strong dialogue between function, form, and material. My process often begins with understanding the system or context in which the object will exist – I think in terms of relationships rather than isolated objects. I pay particular attention to: Material integrity – How the material can speak for itself, whether it's natural, like clay or wood, or industrial, like metal. I want the material’s character to remain visible in the final piece. Functionality and usability – I enjoy solving problems through clear, thoughtful design solutions. Every part should have a reason to exist. Manufacturing and feasibility – I work closely with traditional and digital fabrication techniques (including CNC and casting), so I’m always aware of how an object can be produced – not just theoretically, but in practice. Tactility and human interaction – Especially in physical products, how something feels, how it invites use, and how it lives in the hand or space is crucial to me. Systemic thinking – I often see design as a layered structure of interconnected elements. I'm at my most creative when I can work through small details while holding a broader system in mind.
DI: What kind of emotions do you feel when you design?
SN : Designing often takes me through a range of emotions, but above all, I experience a deep sense of curiosity and focus. At the beginning of a project, there's usually a spark of excitement – the unknown is energizing. As I start exploring ideas, that turns into engagement, almost like solving a puzzle that keeps unfolding. For example, when I was designing a fishing rod, it was especially important for me to achieve a perfect harmony between functionality and ergonomics. During the fine-tuning of material selection and form, I felt a deep satisfaction when the details came together into a tool that is not only efficient but also enjoyable to use. When I reach a moment of clarity – when different parts come together into a working whole – I feel a quiet form of satisfaction, even joy. It’s not loud, but it’s meaningful. There are also times of frustration or doubt, of course, especially when something doesn’t work as expected. But even those moments are part of the process – they lead somewhere if I stay with them. Ultimately, design makes me feel alive, because it connects thinking, sensing, and making into one continuous flow.
DI: What kind of emotions do you feel when your designs are realized?
SN : When I design, I experience a rich spectrum of emotions, but what stands out most are curiosity and focused engagement. At the outset of a project, there’s an energizing excitement about the unknown possibilities. As I dive deeper into exploring ideas, that excitement evolves into a deep focus, almost like unraveling a complex puzzle. For instance, while designing a fishing rod, I was deeply absorbed in balancing functionality with ergonomic comfort. Each decision—whether about material choice or subtle shifts in form—brought moments of quiet satisfaction. When all these details aligned into a coherent and practical tool, I felt a profound sense of accomplishment and even joy. Of course, frustration and doubt also arise, especially when things don’t behave as intended. Yet, these moments are integral to the creative process—they challenge me to find new solutions and push the design further. Ultimately, designing makes me feel truly alive. It’s the seamless flow where thinking, sensing, and creating come together, making every project a unique emotional journey.
DI: What makes a design successful?
SN : A successful design balances function, beauty, and user experience. It solves a real problem and feels natural to use. It respects the material’s character and brings all parts into harmony. Practicality and sustainability are key—if a design can’t be made or used well in real life, it falls short. The best designs combine tradition and innovation to create meaningful, enjoyable experiences.
DI: When judging a design as good or bad, which aspects do you consider first?
SN : The first things I look at are functionality and user experience. Does the design solve the problem it sets out to address? Is it easy and intuitive to use? If these basics aren’t met, other qualities matter less. Next, I consider material honesty—whether the design respects and highlights the character of the materials used. I also pay attention to aesthetic coherence and how well the elements work together as a whole. Finally, I think about feasibility: can this design be realistically produced and sustained? A great idea must also be practical to have true value.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
SN : As a designer who loves nature and spends countless hours by rivers and lakes, I believe our responsibility is to create with respect—respect for the environment, for the people who use our designs, and for future generations. Just like a healthy ecosystem depends on balance and care, design must be thoughtful and sustainable. We should choose materials and processes that minimize harm and waste, and strive to create products that last, not just serve a fleeting trend. Designers are also storytellers and guides. We shape how people interact with the world and with each other. So it’s vital that our work supports community well-being and fosters a deeper connection to nature, inspiring users to appreciate and protect the environment just as we cherish it by the water. In essence, a designer’s role is to bridge creativity with responsibility, crafting solutions that honor both people and the planet.
DI: How do you think the "design field" is evolving? What is the future of design?
SN : Design is evolving much like a river’s course—always shifting, adapting, and responding to the world around it. Just as water finds new paths but never loses its essence, design today blends tradition with innovation, craft with technology, and sustainability with creativity. The future of design lies in deeply listening to nature and society. Designers will need to be even more mindful of their impact, creating solutions that not only solve problems but also restore balance to our environment. I see a future where design embraces circularity—materials flow in loops instead of straight lines, waste is minimized, and products have life cycles that honor the earth. Technology will be a helpful tool, but the heart of design will remain the human connection to nature and the materials we work with. In short, design’s future is about harmony—between old wisdom and new ideas, between function and beauty, and above all, between people and the planet.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
SN : My design inspiration flows from the timeless beauty of classical arts and the profound wisdom of nature. The balance and harmony found in ancient sculptures, architecture, and paintings teach me about proportion, rhythm, and elegance—principles that never grow old. Nature, on the other hand, is an endless wellspring of ideas. From the delicate veins of a leaf to the rugged textures of stone, from the changing light of dawn to the quiet strength of ancient trees, I find constant reminders of how to blend strength with grace, and simplicity with complexity To feed my creativity, I immerse myself in these worlds—walking among old masterpieces, spending time outdoors, observing natural forms and patterns. I believe that true creativity is born when we listen deeply to the stories told by both human craft and the earth itself. In essence, my work is a dialogue between the heritage of classical art and the ever-changing, living canvas of nature.
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?
SN : I don’t see my work as having a fixed design style. Rather, I am guided by the needs of the project and the best way to solve the specific task at hand. My approach respects tradition and craftsmanship, while embracing modern technologies and processes where they add value. Instead of fitting my work into a particular style, I focus on understanding the problem deeply and finding the most fitting, balanced solution. This means blending timeless principles with innovative methods, adapting to the materials, context, and purpose. My design approach is flexible and practical, always rooted in respect for the past but open to the possibilities of the future. It’s about letting the task lead the way, rather than forcing the work into a predefined aesthetic.
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?
SN : I live in Hungary, surrounded by rich cultural traditions, folk craft, and a deep appreciation for natural materials. This cultural heritage shapes how I approach design—with thoughtfulness, simplicity, and a respect for what came before me. At the same time, I feel a strong emotional and aesthetic connection to the Mediterranean world—to its warmth, clarity, and timeless balance. The sea, in particular, inspires me with its colors, rhythms, and natural elegance. This duality—Central European depth and Mediterranean openness—creates a unique tension and harmony in my work. Living and working in Hungary comes with both opportunities and limitations. On one hand, there is a strong tradition of problem-solving with modest means, which pushes creativity in grounded, honest ways. On the other, resources and access to international networks can sometimes be more limited. But perhaps this very contrast helps me find a design voice that blends craft and innovation, rootedness and openness. I let the local heritage guide me, while the sea reminds me to think freely and breathe.
DI: How do you work with companies?
SN : As the developer and producer of my own designs, I’m closely involved in every step of the production process—from concept to the final product. My work requires the use of multiple technologies, often involving specialized tools, materials, and techniques from different suppliers and locations. In the beginning, coordinating all these elements was definitely a challenge—finding reliable partners, understanding lead times, and ensuring consistent quality across different processes. But over time, I’ve built a strong and flexible network of trusted professionals and workshops. Now I’m able to navigate the entire production chain with confidence, choosing the right tools and methods based on the specific needs of each project. For me, production isn’t just about execution—it’s a creative part of the design process. I enjoy the problem-solving aspect of it, and I see technical limitations as opportunities to refine and improve.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
SN : Working with a designer is not just about aesthetics—it's about solving complex problems together. My advice to companies is simple: bring your designer in early, trust them not just with the visuals, but with your questions, your uncertainties, even your constraints. Designers think in systems, not just in shapes. Choosing a good designer isn’t about picking the trendiest portfolio. It's about finding someone who listens, who asks the right questions, who can adapt without losing their clarity. Someone who’s curious—not just about form, but about how your users live, think, and feel. And remember: great design doesn’t come from perfect briefs. It comes from open dialogue, trust, and patience. When a company shares their real story, and lets the designer be part of it, that’s when meaningful results happen.
DI: Can you talk a little about your design process?
SN : My design process begins with understanding the core problem and the user’s needs. I start with hands-on exploration—sketching, modeling, and experimenting with materials to get a feel for the concept. From there, I blend traditional craftsmanship with digital tools to refine the design. Throughout, I stay flexible and open, letting the project’s unique challenges guide each step. Whether crafting the precise functionality of a fishing rod or the visual playfulness of an anamorphic fountain, I aim for solutions that are both practical and meaningful.