We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Miguel Espejo ("ME").
Miguel Espejo is a Colombian multidisciplinary designer whose work bridges design, photography, tattoo art, and the exploration of functional forms through self-initiated design pieces. With a background in visual communication and years of creative exploration, his practice focuses on the relationship between form, symbolism, and identity. Espejo’s approach integrates artistic intention with functional clarity, often exploring modularity and organic structures. His body of work has evolved through independent projects and personal research, serving as part of a larger search to reveal the patterns behind perception, using mathematics as a key to understand the nature of things.
Miguel Espejo Designs
We are pleased to share with you original and innovative design work by Miguel Espejo.
Miguel Espejo Design - Fractal 9 Sculptural Shelf
Designer Interview of Miguel Espejo:
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?
ME : It all began in 1992, when I was only eleven. My older brother was studying graphic design at a time when there were no computers and everything was done by hand. Watching him develop ideas had a profound impact on me. I started to sit with him, and while he worked, I made my own drawings. Without realizing it, that experience marked the start of a vocation that would transform me forever. My first encounter with the structure of design came in school through technical drawing. I truly enjoyed understanding solids, breaking down their forms, and using set squares, a compass, and pencils with precision. Each sheet was a demanding game where order, cleanliness, and rigor were essential. Later, I studied at La Universidad Los Libertadores (Colombia) and graduated as a Graphic Designer with an honors thesis on visual identity design. Those years were genuinely expansive; I was able to explore artistic drawing, illustration, semiology, descriptive geometry, perspective, photography, typography, editorial design, animation, programming, and web development, among others. I acquired technical tools, but I also discovered that design was far more than a profession: it was a language of expression. My time at university was marked by a key event on this path. In my sixth semester I won the PAD Academic Design Award 2004 from Pontificia Universidad Javeriana (Colombia) with an industrial design product called D2. Being recognized in an area of design that was not directly related to my studies filled me with confidence, and I decided to follow the call of my own ideas. For more than a decade I worked as a freelance graphic designer, developing projects for companies seeking visual clarity and coherence. I strengthened my skills in advertising design, product photography, and print production, with a particular focus on the floriculture sector, where aesthetic sensitivity is essential. In 2017 I faced a professional crisis that led me to reinvent myself. I opened a private tattoo studio called inktegral, where design, drawing, and photography took on a new dimension in the midst of skin and emotions. It was a very human and transformative period that gave me the emotional reward companies could not provide. At the same time, I was quietly developing the sculptural furniture project that brought me here. Fractal 9 was recognized with the A’ Design Award 2025, marking a milestone in my career and the beginning of a new chapter. Today I feel I chose to be a designer because designing is the deepest way to understand and honor life as the result of a greater design.
DI: Can you tell us more about your company / design studio?
ME : Today, I don't have a formally established company, but I do have a studio that grows from within. It is an intimate creative space where creativity, intuition, and the search for meaning come together. It’s not a physical place, but an inner space where the language of design becomes a message.
DI: What is "design" for you?
ME : Design is the origin of everything. I do not see it merely as a human discipline, but as a force that structures life itself. It is enough to observe natural order to discover patterns, structures, rhythms, and proportions that are not accidental. Every form and every function respond coherently to a purpose. I believe we were designed, and therefore designing is also an act of recognition, a way of remembering who we are. It does not matter whether it is a logo, a piece of furniture, or a book: every design is an opportunity to manifest our own creative nature.
DI: What kinds of works do you like designing most?
ME : I enjoy designing logos. They strike me as deeply powerful visual structures: small in size, yet enormous in meaning. They are like graphic seeds that can hold the entire identity of an idea, a business, or a cause. It amazes me to see how stories can be told through the simplicity of forms. Even so, what attracts me most is stepping into new territories where there are no certainties or preset formulas. I want to design more projects that challenge me to learn, integrate knowledge, and find answers.
DI: What is your most favorite design, could you please tell more about it?
ME : Without a doubt, Fractal 9. It is the design that changed my life and my way of seeing the world. It was born as a response to a personal need to make use of a space in the living room of the apartment where I lived. Yet over time it evolved into a piece that goes beyond form and function to acquire deep meaning. It became a vehicle of artistic expression that conveys a message of order, balance, and unity. I discovered that within it lived a mathematical pattern present in nature. I understood that it was not just a piece of furniture, but a doorway to the understanding of a greater order. The consistency and beauty of this pattern led me to follow its trace and turned into a thrilling exploration that became the source of inspiration for writing and designing the book The Number of God? where I begin to present evidence found within the warren of this knowledge. I had never designed a piece of furniture before, nor had I written a book. But this experience taught me that when an idea chooses you, the only thing left is to say yes.
DI: What was the first thing you designed for a company?
ME : It was in 2006, while I was still at university. I worked on a rose catalogue for a company called Milonga Flowers, and I was responsible for product photography, design, and printing. The first version was not good, the lack of experience was obvious. Yet that situation allowed me to learn: the client gave me the chance to redo everything, and he was very pleased with the second delivery. This left me with a great lesson: there is always room to improve when you have the capacity to reflect and the will to act.
DI: What is your favorite material / platform / technology?
ME : Pencil and paper will always be my favorite materials. They let me capture, in the moment, whatever is happening inside. Later on, platforms like Illustrator and Photoshop are essential to shape those ideas and turn them into finished pieces. I am now beginning to explore artificial intelligence, integrating it consciously into the creative process to broaden perspective, deepen analysis, and enrich thinking.
DI: When do you feel the most creative?
ME : Sometimes creativity emerges in silence, when everything seems still. Over the years, though, I have learned that its true drive is born from movement: it appears when I start doing. It is not an epiphany that falls from the sky, but a response that rises from the dialogue among intuition, reason, and action. Each stroke, each attempt, each mistake opens a new door to what might be. Creativity behaves like an underground river: you do not always see it, yet when you dig with patience and faith you eventually find it.
DI: Which aspects of a design do you focus more during designing?
ME : I focus on structural aspects; it is like building a house. If the foundations are strong, everything else can rise safely. That invisible structure gives coherence to the whole and allows details to flow with freedom and beauty.
DI: What kind of emotions do you feel when you design?
ME : When I design, it stirs up a lot. I usually feel excited, because there’s something to solve. But I also feel nervous. Ideas start coming, not too clear, kind of messy at first. Sometimes it’s frustrating when things don’t look like what I had in mind. Still, that part is what keeps me going. What I enjoy most is the moment when the design begins to reveal itself and the pieces start to fit. Feeling that what I am creating has meaning, purpose, and beauty is deeply satisfying. The creative process lets me stay present, focused, and connected with myself.
DI: What kind of emotions do you feel when your designs are realized?
ME : When a design turns out and really says what I was hoping for, I feel something real. It’s not just about how it looks, it’s also everything that led to it. There’s this kind of joy that comes from the whole process. It reminds me why I care about this work, and why it matters to give everything to each idea.
DI: What makes a design successful?
ME : A design is successful when, through harmony, it clearly accomplishes its intent and, at the same time, connects with something deeper in the person who receives it, because it has soul. It achieves this through harmony, as the result of a balance between reason and emotion.
DI: When judging a design as good or bad, which aspects do you consider first?
ME : I cannot escape aesthetics! The first thing I assess is how it looks, whether it captures my attention and sparks an emotion. Then I ask why it looks that way, what logic guided its formal decisions. Finally, I try to understand its purpose and whether it achieved it. For me, a good design must speak clearly through its form, stand on its intention, and rest on a solid concept.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
ME : Desing It is not only about solving visual or functional problems, but about understanding the impact our decisions have on the environment and on people. We run into things all the time that don’t make much sense. Stuff we throw out, systems that waste resources, things that make life harder for someone. Most of the time, it’s not about lacking talent. It’s about not asking the right questions. Design shouldn’t be about going faster, selling more, or making things look nice. It should be about life. I honestly believe we can redesign everything. Not just the objects, but the systems, the habits, and the ways we live. That’s the part that matters to me. Using design to build something better.
DI: How do you think the "design field" is evolving? What is the future of design?
ME : Design is ceasing to be an isolated discipline and becoming a transversal practice. It is no longer enough for something to look good or work; what now matters is how it relates to its surroundings, what impact it generates, what system it belongs to, and what message it conveys. I believe design is called to be a tool for cultural, ethical, and ecological transformation. More and more, it is integrating with science, technology, art, education, and spirituality. In that integration lies a fertile field for imagining new possible futures. Designing will increasingly be a form of thought, a language that shapes not only objects but also relationships, meanings, and the invisible structures that define our experience as humanity.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
ME : It was in 2004, as the winner of the PAD Academic Design Award from Pontificia Universidad Javeriana in Colombia. I took part in a traveling exhibition with the other winners that toured several of the country’s leading universities. I want my next exhibition to take place in 2026. It will be an immersive installation to present Fractal 9, where design, art, mathematics, and consciousness converge. The aim is to create an environment in which each visitor can feel, discover, understand, and remember the fractal order of life not as theory, but as lived experience.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
ME : Nothing inspires me more than the shapes, materials, textures, colors, and structures of nature. I see in it a display of creativity that surpasses everything. My creativity is nourished through dialogue with my surroundings and exchanges with others. I enjoy reflecting on life and questioning what we take for granted. I am motivated by the beauty of simplicity, the depth of symbolism, and the signs that appear when you stay attentive to the present.
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?
ME : I have not yet defined a clear line, because my path has been marked by constant experimentation. For that reason, it is hard for me to speak of a specific or recognizable style. If I had to point to one constant, it would be the search for balance between form and concept. I can say that my focus is on communicating with harmony, no matter the vehicle: a logo, a photograph, a tattoo, a piece of furniture, or a book.
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?
ME : I live in Colombia. Although my work does not literally reflect my country’s visual traditions, I know my sensitivity is shaped by its beauty, diversity, and complexity. My search is oriented toward the aesthetic, the symbolic, and the universal, but that viewpoint is born here. I carry my country in the way I observe the world, even when I try to transcend it. Designing from Colombia has advantages: I feel I have what I need within reach and the freedom to explore without many restrictions. But it also has challenges. There is no well-developed design culture here, which often means the value of one’s work is not recognized. That can be discouraging, yet it can also reinforce the commitment to doing things well, out of conviction and not only for recognition.
DI: How do you work with companies?
ME : I’ve always worked as an external collaborator, taking on freelance projects of all kinds. I can adapt easily to different industries and ways of communicating. I tend to get fully involved in every step of the process, from the first concept to the final delivery. I really value having creative freedom, but I also think clear goals and open communication with the client are just as important. That mix has helped me keep things consistent and build long-term working relationships.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
ME : I believe the first step is to look at the portfolio, because there you can see the designer’s approach, taste, and technical level. Beyond that, it is essential to observe personality and the willingness to listen and translate ideas into clear proposals. The relationship between company and designer works best when there is mutual respect, clear objectives, and honest communication from the outset. When these factors align, results usually exceed expectations.
DI: Can you talk a little about your design process?
ME : It starts with a moment of reflection. I need to really understand what we’re aiming for, see the context clearly, and define the goal. From there, I begin collecting visual and conceptual references connected to the theme. That early immersion helps ideas begin to surface. I then move to creative exploration, where I develop drafts or sketches that establish a base for decision-making. These first strokes help me visualize possible paths and determine which one has more strength or coherence to reach the objective. The process is flexible, yet always guided by a clear purpose.
DI: What are 5 of your favorite design items at home?
ME : More than sophisticated objects, my favorite pieces are those that balance functionality, aesthetics, and personal meaning: 1.My bed, because it represents a place of rest, reflection, and renewal. Design in service of well-being. 2.My terrariums, small contained fractals that remind me of the beauty of detail and the power of the microcosm. 3.Fractal 9, because it is not just furniture; it is the physical manifestation of a profound idea that marked a turning point in my life. 4.Several paintings that, beyond the visual, act as emotional windows to the past, to symbolism, or to inspiration. 5.Books, of course, because editorial design mixes rhythm, order, silence, and message. Each one is a designed experience.
DI: Can you describe a day in your life?
ME : My day starts between 6 and 7 a.m. with a walk or workout session in the park. It is a vital moment to breathe, clear the mind, connect with the body, and prepare for what lies ahead. I then handle some basic household tasks and settle in to work for the rest of the day. During the last year and a half, I have been entirely focused on this new professional stage. Although I have rested little, I feel each day has been a deep investment in the purpose that guides me. There are no major distractions or luxuries of time. My routine is not perfect, but it is fertile. Each day is a commitment to build something that transcends the immediate.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
ME : First, learning to think long term is essential, because good design requires time and maturity. Second, fall in love with the idea, it so you will not abandon it when doubts and setbacks arise. Remember that the stones on the path are the path itself. Lastly, cultivate intuition, confidence, and discipline. Design processes are also opportunities for personal growth.
DI: From your perspective, what would you say are some positives and negatives of being a designer?
ME : I think, the positive side lies in the power to make the invisible visible, to materialize ideas, and to create solutions for the common good with meaning, harmony, and purpose. But there is also a harder side: when design becomes a means to manipulate, to generate empty consumption and destruction. When meaning is lost and only aesthetics, commerce, or power are prioritized. That is why I believe design needs ethics. It is not enough to know how to do it; we must ask why and for whom. Designing is not only a skill, it is a responsibility.
DI: What is your "golden rule" in design?
ME : “Form responds to concept.” A good design is not imposed, it is revealed. Form must be a natural consequence of the concept. When an idea is truly understood, every stroke, every aesthetic choice, every detail becomes a faithful expression of its essence. Design must speak clearly… even in absolute silence.
DI: What skills are most important for a designer?
ME : To grasp the concept. Not just skim it, but dive to its core and bring it back as form, message, and experience. Everything else, like tools, styles, and languages, are just vehicles serving that deep understanding that lets design breathe with meaning. A design without a concept is only decoration.
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
ME : My toolbox starts with the simplest things: pencil and paper. They are the starting point for thinking freely, without technical constraints or imposed structures. That is where the first ideas appear, the raw strokes that later take shape. Some design books accompany me as creative beacons, and of course, the internet is an endless source of visual and conceptual references. In the digital realm, Illustrator and Photoshop are essential; they allow me to translate those initial ideas into precise, versatile final pieces. But beyond the technical, I believe the most important tool is attention.
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
ME : I admit this is one of my weaknesses. I do not usually track time strictly because, for me, designing is not a task; it is an immersion where the clock fades into the background. Although this sometimes means working more hours than ideal, it also lets me reach meaningful results. My time management is not mathematical, it is emotional: I follow the project’s pulse, not the stopwatch.
DI: How long does it take to design an object from beginning to end?
ME : It is hard to answer because each design has its own rhythm. Creativity does not follow a schedule; it follows an inner pulse that sometimes moves smoothly and sometimes resists. Some pieces resolve in hours, others may take years to reveal themselves fully. An object takes the time it needs to become something true. For me, time is not a constraint but part of the creative process. Design ripens; it should not be rushed.
DI: What is the most frequently asked question to you, as a designer?
ME : One of the most frequent and least pleasant questions is: “Could you give me a discount?” Many people do not realize that when I design, I hold nothing back. I devote myself fully and usually try to deliver more than expected. Design is not a service to be bargained like a product on sale. It is a professional, emotional, and symbolic offering that deserves fair value. Behind every line there are hours of experience, study, intuition, and commitment.
DI: What was your most important job experience?
ME : Fractal 9 has been the most important work of my life, not only for the recognition of the A’ Design Award but for the process I went through to develop it. It was a project that required me to integrate what I knew with what I did not. A path driven by love for the idea that spanned exploration, conceptual design, and research, as well as execution, documentation, and an international submission. I did it with no team, no external funding, and no institutional backing. A test of commitment, vision, and resilience. It confirmed that design, when it is born from the heart, can become a total work with the power to transform both the creator and those who experience it.
DI: Who are some of your clients?
ME : I have worked with varied clients. As a graphic designer, I have collaborated mainly with flower growers who want their product to be presented beautifully and at the level it deserves. In that context, visual sensitivity is key to showcasing natural beauty with elegance and professionalism. As a tattoo artist, I have worked with very formal people who wish to leave a meaningful, intimate, and carefully crafted mark on their bodies. Each project has been a unique experience of human connection and personalized design, which I have documented through valuable photographic portraits that highlight not only the tattoos but also the people. They are living canvases with an identity and a unique story to tell.
DI: What type of design work do you enjoy the most and why?
ME : What I enjoy most is developing personal projects because they let me create without external constraints and connect with my most authentic vision. In those intimate spaces, design stops being a commission and becomes a discovery. There I can explore freely, experiment without fear, and satisfy not only a functional need but also an inner inquiry.
DI: What are your future plans? What is next for you?
ME : My next step is to take Fractal 9 into its industrial phase. It was recognized with the A’ Design Award while still a conceptual design, and now it must move to its next natural stage to inhabit real spaces, carry its message, and be shared with people. I also plan to write and design a second digital book titled 9... The Forbidden Fruit, as a continuation of the already published The Number of God? In this new installment I will go deeper into the findings of the exploration of the digital root formula, the pattern of the number 9, and its connection to the structure of natural order. My purpose is clear: to keep creating from intuition and awareness, translating the invisible into something that can be felt, understood, and shared.
DI: Do you work as a team, or do you develop your designs yourself?
ME : Most of my projects have been developed on my own. Not by absolute choice, but to preserve the integrity of the process. I have learned that not everyone shares the same level of commitment, sensitivity, and respect that ideas deserve. Even so, I believe in genuine collaborative work. When there is ethical and emotional affinity, design becomes a powerful conversation. That is why I deeply value the people with whom I have been able to work from respect and love for this profession, like my friends at Fluxus Visual. What would humanity be without teamwork?
DI: Do you have any works-in-progress being designed that you would like to talk about?
ME : The exploration of the digital root formula and the pattern of the number 9 that gave rise to the concept of Fractal 9 continues to expand, consistently revealing itself in new structures. The aim of this project is to help awaken our collective consciousness through evidence of the mathematical order of nature, of which we are a part. “Creation is a poem written with numbers.”
DI: How can people contact you?
ME : You can contact me through the form on my personal website: www.miguelespejo.com, or by writing directly to the email address contact@miguelespejo.com. I will be delighted to receive your messages. Every good dialogue begins with a question.
DI: Any other things you would like to cover that have not been covered in these questions?
ME : I would like to share a little more about the project that brought me here. Fractal 9 goes beyond form and function to become a vehicle of artistic and symbolic expression that conveys a message of order, balance, and unity. It reminds us that we are part of a fractal nature in which every element has a purpose within a larger system. It is an invitation to look within and ask yourself: What is your purpose?