We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Qihang Zhang ("QZ").
Mike (Qihang) Zhang is a product designer and entrepreneur with a background in user experience design, marketing, and communications. With experience spanning industries such as technology, media, and social impact, he focuses on designing solutions that enhance accessibility, engagement, and inclusivity. His work has been recognized with multiple international design awards. Mike has contributed to projects in the music analytics, mental health, and digital heritage sectors, collaborating with organizations like Chartmetric, Born This Way Foundation, and National Geographic. Through his multidisciplinary expertise, he aims to develop thoughtful and impactful user experiences that bridge technology and human needs.
Qihang Zhang Designs
We are pleased to share with you original and innovative design work by Qihang Zhang.
Qihang Zhang Design - Chartmetric Mobile Music Analytics App
Designer Interview of Qihang Zhang:
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?
QZ : My journey into design was shaped by a blend of academic exploration, creative experimentation, and personal discovery. I didn’t grow up knowing I would be a designer—but looking back, the signs were always there. I was fascinated by visual storytelling, drawn to album covers, digital interfaces, and the emotional impact of thoughtful design. I studied Communications and History at UCLA, later attended Oxford as a visiting student, and earned a Master’s in Learning Design, Innovation, and Technology from Harvard. I’ve also been admitted to Stanford’s MBA program, which I plan to pursue in the future. These interdisciplinary experiences gave me a strong foundation in narrative, systems thinking, and cultural empathy. It was during my time at UCLA that I first recognized the power of design as a form of storytelling—one that can influence behavior, evoke emotion, and drive change. What began as casual tinkering with album redesigns and data visualizations quickly became a calling. I taught myself Figma, built my own music data tools, and eventually transitioned into product design—driven by a desire to create human-centered experiences that are both visually compelling and deeply functional. Today, as a Senior Product Designer at Chartmetric, I lead the design of AI-powered music analytics tools used by top artists, labels, and managers around the world. For me, design isn’t just a profession—it’s a way to translate empathy into action, and to help others see and shape the world differently.
DI: Can you tell us more about your company / design studio?
QZ : Chartmetric is an award-winning music data analytics platform that helps artists, labels, managers, and executives make smarter, faster decisions in the digital music economy. We aggregate and analyze millions of data points daily from platforms like Spotify, TikTok, YouTube, Apple Music, Instagram, and more—offering powerful insights into artist performance, audience demographics, playlist placements, and market trends. Our users span across the music industry, from global powerhouses like Sony Music and Warner Records to indie labels, booking agencies, and creative professionals worldwide. As a Senior Product Designer at Chartmetric, I lead the design of core features across our web and mobile apps, with a particular focus on building intelligent, human-centered tools that simplify complex datasets. One of my proudest contributions is the design of our mobile app, which won the A’ Design Award for transforming how music professionals track real-time analytics on the go. My work bridges UI/UX, visual design, and product strategy—ensuring our platform is not only data-rich but also intuitive and delightful to use. Chartmetric sits at the intersection of technology, creativity, and culture. We believe that data should empower—not overwhelm—the people who shape the future of music. Through thoughtful design and collaboration, we aim to democratize access to industry intelligence and support artists and teams at every stage of their journey.
DI: What is "design" for you?
QZ : To me, design is the art of intentional problem-solving—where empathy meets functionality and form serves purpose. It’s not just about how something looks, but how it works, how it feels, and most importantly, how it serves the people using it. As a product designer, I see design as a bridge between data and human experience. Whether I’m simplifying a music analytics dashboard or shaping the flow of an interactive storytelling app, my goal is always the same: to make the complex feel intuitive, and to craft experiences that inform, empower, and emotionally connect. Design is also a form of quiet advocacy. Every layout, interaction, or micro-decision reflects values—what we prioritize, who we include, and how we define clarity or accessibility. In this way, design becomes a tool for inclusion, equity, and transformation. It’s not just a discipline—it’s a responsibility.
DI: What kinds of works do you like designing most?
QZ : I’m most drawn to designing digital tools that sit at the intersection of data, emotion, and utility—products that help people make smarter decisions while also feeling seen and supported. I particularly enjoy crafting experiences that simplify complex information. Whether it’s designing AI-powered insights for music professionals or building interactive platforms for emotional storytelling, I thrive when I’m turning abstract ideas into intuitive, meaningful interfaces. I believe good design should feel invisible—it should guide, not distract; empower, not overwhelm. Projects that involve systems thinking, narrative layers, and high-impact social or cultural value resonate most with me. I’m especially passionate about tools that amplify underrepresented voices or offer new ways of engaging with music, memory, and identity. Ultimately, I enjoy designing products that are not only functional but also emotionally intelligent—where every detail, from color to micro-interaction, contributes to a deeper human connection.
DI: What is your most favorite design, could you please tell more about it?
QZ : One of my favorite design projects is the Chartmetric Mobile App, which recently won the A’ Design Award. This app was a deeply rewarding challenge—it pushed me to rethink how music professionals access real-time data in the fast-paced digital landscape. Our goal was to create a mobile-first experience that didn’t just replicate our desktop analytics tools, but truly reimagined them for artists, managers, and A&R executives on the go. I focused on distilling large, complex datasets—playlist movement, audience shifts, social metrics—into clear, actionable visuals that could be understood at a glance. What makes this design meaningful to me is not just the interface, but the impact. The app is now used by music professionals across the globe to track trends, discover talent, and make smarter decisions—anytime, anywhere. It also reflects my core design philosophy: that data can be empowering when it’s made accessible, beautiful, and human-centered. From color systems to micro-interactions, every detail in the app was thoughtfully considered. Winning the A’ Design Award was a great honor, but even more rewarding was hearing from users that the app helped them discover their next breakout artist or prepare for a label pitch. That’s when I know the design truly worked.
DI: What was the first thing you designed for a company?
QZ : The first thing I officially designed for a company was a set of social media graphics for National Geographic’s World Heritage Journeys initiative, in collaboration with UNESCO and the European Union. As part of a storytelling team, I was tasked with creating visually compelling content that could highlight cultural heritage sites across Europe—ranging from medieval towns to sacred pilgrimage routes. It was my first time working within strict brand guidelines while also trying to bring emotional and historical depth to digital assets designed for Instagram and Facebook. I had to balance storytelling with brevity, and visuals with platform constraints. More importantly, I learned how design can serve as a cross-cultural bridge—sparking curiosity, empathy, and global dialogue through carefully crafted images and copy. Looking back, this project shaped my early understanding of design’s power beyond aesthetics. It was my first real experience turning research, culture, and mission into a visual language that people across the world could connect with in seconds. That sense of clarity and impact still drives my work today.
DI: What is your favorite material / platform / technology?
QZ : My favorite “material” is data—especially when paired with intuitive interface design and intelligent systems like AI. I’m fascinated by how raw information, when structured and visualized correctly, can become a powerful storytelling tool. Whether it’s music metadata, audience demographics, or social trends, I see data as a medium for insight, not just numbers. In terms of tools, I rely heavily on Figma for design and prototyping—it allows me to move quickly, collaborate in real time, and maintain design systems at scale. For more dynamic work, I also enjoy using Webflow and Framer to prototype interactions and test ideas visually. On the technology side, I’m deeply interested in generative AI and how large language models can enhance user workflows, which is something I’ve integrated into features at Chartmetric. Ultimately, I’m less loyal to any single platform and more inspired by technologies that help me bridge the gap between logic and emotion—turning complexity into clarity.
DI: When do you feel the most creative?
QZ : I feel most creative in two moments: during quiet, focused solitude—and during collaborative energy with people I trust. In solitude, especially late at night or early in the morning, my mind is free to wander without constraint. That’s often when I connect unexpected dots, sketch ideas, or reimagine a complex problem from a new angle. But I also find creativity in collaboration—when I’m brainstorming with engineers, writers, or fellow designers. There’s something generative about exchanging perspectives across disciplines. I find that my best ideas often emerge not from a blank canvas, but from tension, feedback, or a shared constraint that challenges me to think differently. Ultimately, creativity for me is less about waiting for inspiration and more about creating the right environment—one where curiosity, clarity, and empathy can thrive.
DI: Which aspects of a design do you focus more during designing?
QZ : I focus most on clarity, emotion, and scalability. Clarity is fundamental—if a user can’t understand what to do within the first few seconds, the design has failed. I pay close attention to hierarchy, typography, and interaction flow to ensure that users feel guided, not confused. Every element must serve a purpose. Equally important is emotional resonance. Whether I’m designing for music professionals or people navigating grief, I think about how the product makes them feel. Does it reduce anxiety? Does it create a sense of momentum, trust, or delight? These emotional cues often come from subtle choices in color, motion, tone, or spacing. Finally, I always think about scalability—can this design grow with the product? Can it support localization, future features, or different user types? I aim to build systems, not just screens—so my designs are modular, adaptable, and resilient over time.
DI: What kind of emotions do you feel when you design?
QZ : Designing evokes a mix of focus, curiosity, and quiet joy. At the beginning of a project, I often feel a surge of curiosity—eager to explore the problem space, understand the users, and uncover insights that will guide the experience. That sense of discovery energizes me. As the work progresses, I shift into a state of deep focus. There’s something meditative about aligning pixels, crafting interactions, and refining flows. Time disappears when I’m fully immersed—it’s a feeling of being both grounded and in motion. When a solution finally clicks—when something complex becomes simple, or when a visual metaphor perfectly lands—I feel a quiet joy. It’s not dramatic, but deeply satisfying. And when I see that design helping someone in the real world—saving time, reducing confusion, sparking delight—that’s when the emotion becomes profound. In those moments, design feels like a small but meaningful act of care.
DI: What kind of emotions do you feel when your designs are realized?
QZ : When a design is realized and launched into the world, I feel a mix of pride, humility, and anticipation. There’s pride, of course—in seeing something that began as a rough sketch or a fleeting idea become a fully functional product. It’s especially meaningful when the final result stays true to the original intent, yet evolves through collaboration and iteration. At the same time, I feel a sense of humility. Once a design is live, it no longer belongs to just the designer—it becomes part of people’s everyday experiences. That’s when I become the learner again—observing, listening, and sometimes being surprised by how people use (or don’t use) what we’ve built. But perhaps the strongest emotion is anticipation. I’m always eager to see what impact the design will have: Will it make someone’s job easier? Will it empower an emerging artist? Will it help someone feel more confident, curious, or connected? For me, the realization of a design isn’t the end—it’s the beginning of a new feedback loop, a new chapter of learning and refinement. That’s what makes the work so meaningful.
DI: What makes a design successful?
QZ : A successful design balances clarity, emotion, and context. It solves the right problem, for the right user, at the right time—while feeling effortless and intentional. At its core, good design must function. It should guide users seamlessly toward their goals, reduce friction, and provide value with minimal cognitive load. But success isn’t just about usability—it’s about emotional impact. A design that’s intuitive but also builds trust, inspires confidence, or sparks joy creates a deeper, lasting connection with users. Context also matters. A beautiful interface that ignores business needs or technical constraints may not be sustainable. A successful design works within real-world limitations—yet still finds room for elegance, efficiency, and adaptability. To me, success is also measured by longevity. Can the design evolve as the product scales? Can it support edge cases, localization, and future features? If yes, it’s not just a design—it’s a system. Most importantly, I consider a design successful when it quietly improves someone’s day—when users don’t notice the design itself, but feel empowered by what it enables them to do.
DI: When judging a design as good or bad, which aspects do you consider first?
QZ : The first thing I look for is clarity: Does the design make it immediately obvious what the user should do, and does it reduce cognitive friction? A good design doesn’t make people think too hard—it guides them intuitively toward their goal. Next, I assess intent. Is the design solving the right problem, or is it just solving it beautifully? Aesthetics are important, but without a strong rationale behind layout, flow, and interaction, even the most visually polished design can fall short. I also pay close attention to emotional tone—how does the design feel? Is it respectful, engaging, trustworthy? Does it acknowledge the user's context and create a positive, empowering experience? Finally, I consider how the design holds up across different devices, users, and use cases. Scalability, accessibility, and flexibility are often overlooked—but essential traits that distinguish great design from merely good design. In short: purposeful clarity, emotional resonance, and adaptability are the key signals I use to evaluate design quality.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
QZ : Designers have a responsibility to shape not just products, but the world we live in. Every design decision—big or small—has ripple effects on behavior, accessibility, inclusion, and sustainability. That gives our work both power and responsibility. Socially, we must design with empathy and equity in mind. Who are we designing for? Who might we be excluding? Good design should serve diverse communities, remove barriers, and create opportunities for connection and empowerment—especially for those historically underrepresented or marginalized. Environmentally, we must recognize that even digital design has a footprint. The systems we create influence consumption patterns, screen time, server load, and even hardware lifecycles. Responsible design means choosing simplicity over excess, and efficiency over indulgence—creating products that are not only effective but also mindful of their long-term impact. At a broader level, designers are cultural translators. We help people navigate complexity, make decisions, and form meaning. That means our work carries ethical weight. We must design transparently, resist manipulation, and use our craft to foster understanding rather than exploitation. In short, our responsibility is to design not just for users—but for humanity.
DI: How do you think the "design field" is evolving? What is the future of design?
QZ : The design field is evolving from being primarily visual and artifact-driven to being increasingly systemic, adaptive, and AI-augmented. We’re moving beyond screens and pixels—into ecosystems, behaviors, and ethical frameworks. In the near term, generative AI will drastically reduce the barrier to entry for basic design execution. Tools will get smarter, faster, and more accessible. But this doesn’t mean designers will be replaced. Instead, it shifts our focus from creating individual assets to orchestrating entire experiences—designing intent, flow, and impact across time and contexts. The future of design lies in our ability to integrate logic and empathy, data and narrative. Designers will act more like facilitators, strategists, and translators—connecting technical capability with human need. Design will be increasingly collaborative, interdisciplinary, and conscious of global challenges like mental health, digital well-being, and sustainability. Ultimately, design’s future is not just in making things look better—it’s in helping society work better. As our tools evolve, so must our values. The next generation of designers will be judged not just by what they make, but by what they enable.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
QZ : My most recent exhibition was Art Shopping Paris in April 2025, held at the Carrousel du Louvre. I showcased Radiant Embrace, an interactive digital work that explores emotional memory through immersive design. Exhibiting alongside a global roster of artists and designers, it was a powerful reminder of how design can transcend language and connect us through shared human experiences. My next exhibition will be RE-CRAFT at ICFF NYC 2025, an international design showcase supported by Dezeen. I’m honored to be part of this forward-thinking platform that highlights sustainability, material innovation, and the future of craft in design. Looking ahead, I hope to present a solo or thematic exhibition that explores the intersection of memory, data, and identity—using immersive storytelling and AI-generated visuals to invite reflection on how we construct and preserve personal histories in the digital age.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
QZ : My design inspiration often comes from unexpected intersections—between data and emotion, structure and story, memory and technology. I’m fascinated by how information can become a narrative, how interfaces can evoke feeling, and how design can create meaning from complexity. I draw a lot of inspiration from music—not just sonically, but structurally. The way a song builds tension, plays with rhythm, or uses silence is not unlike how a user experience unfolds over time. Artists like Björk, FKA twigs, and Ryuichi Sakamoto remind me that creative work can be deeply experimental yet emotionally resonant. I also look to architecture and cinema. The way a space is shaped or a scene is framed often teaches me something about flow, contrast, and presence. I’m especially drawn to the visual clarity of minimalist Japanese architecture and the layered symbolism in Wong Kar-wai films. To feed my creativity, I maintain a “curiosity habit”—I document fragments of ideas, textures, layouts, or even overheard conversations in a running digital journal. I regularly visit design blogs, exhibitions, and music videos, but I also stay curious about fields outside of design—psychology, education, AI, even urban planning. Ultimately, I believe inspiration isn’t something you wait for—it’s something you train your attention to recognize in the world around you.
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?
QZ : I would describe my design style as emotionally intelligent, data-aware, and narratively grounded. It sits at the intersection of clarity and feeling—where structure meets storytelling. Visually, I gravitate toward clean, modular systems with purposeful use of color, hierarchy, and motion. I aim for simplicity, but never at the expense of depth. I often use subtle gradients, micro-interactions, and layered layouts to guide attention and evoke emotional resonance. I believe that even highly technical tools—like music analytics dashboards—can feel warm, empowering, and intuitive when designed with care. My style evolved naturally from my background in storytelling and my love for systems. I’ve always been fascinated by the challenge of making complexity approachable—whether it’s mapping artist growth across platforms, or creating immersive memorial experiences that help people process grief. I’m drawn to themes of memory, time, identity, and the hidden narratives beneath the surface. My approach to design is grounded in systems thinking and human insight. I start by understanding users deeply—their emotions, pain points, and aspirations. Then I build frameworks that scale, while leaving room for nuance and surprise. I believe the best designs don’t scream for attention—they quietly earn trust, invite engagement, and reflect empathy in every interaction.
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?
QZ : I currently live in the San Francisco Bay Area, but I was born and raised in China. My design perspective is deeply shaped by this bicultural experience—navigating between East and West, tradition and innovation, history and future. Growing up, I was surrounded by a rich visual and philosophical heritage—from the symmetry of Ming gardens and the restraint of Song Dynasty ink paintings, to the layered symbolism of Chinese characters. These early exposures taught me to appreciate balance, negative space, and the beauty of subtlety—elements that continue to inform my design language today. At the same time, living and working in the U.S.—especially in a fast-paced, tech-driven environment like Silicon Valley—has pushed me to embrace rapid iteration, systems thinking, and cross-disciplinary collaboration. It’s a space that values innovation, but also demands clarity and speed. The greatest advantage of this dual cultural lens is adaptability. I can design with empathy for global users, balancing emotional depth with technical precision. The challenge, however, is sometimes navigating differing expectations—between aesthetic sensibilities, communication styles, or definitions of “good” design. But I see this tension not as a limitation, but as a source of creative richness. Ultimately, my work is shaped by the belief that design is a universal language—but one that must always respect and reflect local nuance.
DI: How do you work with companies?
QZ : I work with companies as a strategic design partner—someone who doesn’t just deliver visuals, but helps define problems, shape solutions, and translate business goals into meaningful user experiences. At Chartmetric, I collaborate closely with product managers, engineers, data scientists, and executive stakeholders to drive feature development from concept to launch. My role is often cross-functional: I lead user research, define design systems, prototype interactive flows, and advocate for design quality throughout the product lifecycle. Whether I’m working in a startup or enterprise setting, I approach each engagement with curiosity, structure, and empathy. I believe in building strong relationships based on trust, shared language, and mutual respect. I listen closely to both user and stakeholder needs—and then work to align them through thoughtful, scalable design. I also bring a strong storytelling lens to my work. I often help companies not only refine the user interface, but also clarify their product narratives, value propositions, and long-term design vision. In short, I don’t see design as a service, but as a partnership—one that blends creativity with strategy, and vision with execution.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
QZ : My first suggestion is: treat designers as strategic partners, not just executors. The earlier a designer is brought into a project, the more value they can contribute—not only in visual execution, but in framing the problem, shaping the user journey, and aligning design with business goals. Companies should look for designers who ask thoughtful questions, not just produce beautiful outputs. A good designer is someone who’s curious about your users, comfortable with ambiguity, and able to translate complexity into clarity. Technical skills matter, but what truly sets a designer apart is their ability to connect with users, collaborate across teams, and think in systems—not just screens. When hiring or collaborating with a designer, ask: Can they articulate the “why” behind their decisions? Do they show empathy for both users and stakeholders? Can they adapt to your product’s evolving needs over time? Finally, set designers up for success. Give them context, access to users, and a seat at the table. The best results happen when design is integrated—not isolated. Good design is never just decoration—it’s decision-making, empathy, and long-term thinking made visible. Companies that recognize this will always build better products and stronger teams.
DI: Can you talk a little about your design process?
QZ : My design process is grounded in systems thinking, user empathy, and iterative collaboration. It’s not linear—it’s adaptive, evolving with the complexity of the problem and the needs of the team. I usually begin with immersion: understanding the problem space through stakeholder interviews, data analysis, competitive research, and most importantly—user input. I want to grasp not just what users do, but how they think and feel. From there, I move into definition—shaping a clear problem statement and design principles to guide the work. This phase helps align product, engineering, and business around a shared direction. Next comes ideation and prototyping. I sketch multiple approaches, build wireframes or interactive mockups in Figma, and test early concepts with real users. I strongly believe in designing with—not just for—the user, so feedback is integrated early and often. After refining the flow, I shift into visual design and documentation, ensuring accessibility, scalability, and consistency with the design system. I collaborate closely with engineers during handoff, supporting implementation and QA to ensure high fidelity in the final build. But the process doesn’t end at launch. I treat every release as the beginning of a new feedback loop. I monitor usage, gather insights, and iterate continuously—because great design is never static, it adapts and improves with real-world context. Whether I’m designing a mobile app for music professionals or an interactive platform for memory preservation, this process allows me to balance structure with creativity, and vision with execution.
DI: What are 5 of your favorite design items at home?
QZ : MUJI Wall-Mounted CD Player – This piece by Naoto Fukasawa is a perfect example of minimalism with emotional warmth. Pulling the cord to play music feels both analog and nostalgic, reminding me that interaction design doesn’t always require a screen. Apple Magic Trackpad – As a designer, this is my go-to tool for flow-state work. Its tactile precision, subtle haptics, and seamless integration make it a quiet yet powerful part of my daily creative routine. Kindle Paperwhite – I love how it blends thoughtful digital interaction with the simplicity of reading. The e-ink display, long battery life, and distraction-free interface embody design that truly respects the user’s attention. A vintage flip clock – It’s not the most efficient device, but its physicality and rhythm bring a kind of calm that digital clocks can’t replicate. I love how it turns time into a kinetic experience—click by click. A handmade ceramic incense holder from Kyoto – It’s small, irregular, and imperfect—but that’s what makes it beautiful. It reminds me that good design doesn’t have to be mass-produced or symmetrical. Sometimes, feeling is more important than form. Each of these objects brings together form, function, and feeling in a unique way. They remind me, daily, of what thoughtful design can achieve.
DI: Can you describe a day in your life?
QZ : My days usually begin with quiet focus. I wake up around 7:30 AM, start with a short walk or mindfulness practice, and then ease into work with a cup of coffee and a review of my design to-do list. I like to block out the first few hours of the day for deep work—whether that’s wireframing a new feature, refining flows in Figma, or writing UX copy for an AI-powered tool at Chartmetric. By late morning, I shift into collaboration mode—syncs with product managers, engineers, and sometimes marketing or data teams. As a Senior Product Designer, a big part of my role is aligning across disciplines and making sure design decisions are grounded in both user need and product strategy. Lunch is my reset time, often soundtracked by new music releases or a podcast on design or technology. I find that letting my mind wander a little mid-day actually helps me problem-solve better in the afternoon. Afternoons are a mix of critique sessions, user feedback reviews, and hands-on iteration. I also try to leave space for mentorship—whether reviewing a junior designer’s work or offering portfolio feedback to a mentee. Evenings are more fluid. Sometimes I’ll attend a design event, sketch personal ideas, or work on passion projects like Memory Land. Other times, I disconnect entirely—read, cook, or catch a live performance. I believe creative energy is renewable, but only if you protect it. My life isn’t perfectly structured, but I try to balance rhythm with flexibility—so that I can show up consistently for my team, while still leaving room for curiosity and surprise.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
QZ : Don’t wait until you feel “ready” to start. You grow by doing, not by perfecting. Some of my most meaningful opportunities came when I said yes before I felt fully qualified—and then figured it out along the way. Learn to embrace feedback as a gift, not a threat. The best designers I know are not the ones with the flashiest portfolios, but the ones who listen well, stay curious, and adapt without ego. Invest in understanding people, not just pixels. Tools and trends will change, but empathy, storytelling, and critical thinking will always be essential. Read outside of design. Observe human behavior. Stay emotionally attuned. Also, don’t be afraid to shape your own path. I didn’t take a traditional design degree route. I taught myself Figma, built side projects, and combined my background in storytelling and systems thinking to craft a design identity that’s uniquely mine. You can too. And finally—take care of your creative spirit. The design industry can be intense, but remember that rest, play, and inspiration are not luxuries—they’re part of the process. Protect your perspective. It’s what makes your work matter.
DI: From your perspective, what would you say are some positives and negatives of being a designer?
QZ : One of the biggest positives of being a designer is the ability to shape experiences that impact people’s lives—often in quiet but powerful ways. We get to make the complex feel simple, the invisible feel seen, and the ordinary feel meaningful. There’s immense fulfillment in watching your work empower someone, solve a problem, or spark an emotion. Design also gives you access to incredibly diverse domains. You might work on healthcare one year, music the next, and sustainability after that. It’s a profession that thrives on curiosity and offers constant opportunities to learn, grow, and collaborate with others. But the challenges are real too. One downside is the emotional weight of care. Designers are expected to empathize deeply—with users, stakeholders, and even constraints—often absorbing tensions that others overlook. This can be both exhausting and invisible. Another challenge is ambiguity and undervaluation. In some environments, design is still seen as an add-on rather than a strategic force. You may have to constantly advocate for your seat at the table, explain your value, or navigate unclear expectations. And then there’s the pressure to stay current. The field moves fast, and it’s easy to feel like you’re falling behind. But I’ve learned that depth matters more than trend-chasing. Being a good designer isn’t about knowing every tool—it’s about staying grounded in purpose, people, and process. Despite the trade-offs, I wouldn’t trade this path for anything. Design is one of the few disciplines where imagination meets responsibility—and that, to me, is both a privilege and a challenge worth embracing.
DI: What is your "golden rule" in design?
QZ : Design with intention, not decoration. Every element—every color, line, interaction, or word—should have a reason to exist. If it doesn’t serve clarity, emotion, or function, it doesn’t belong. Great design isn’t about adding more, but revealing what matters. I often ask myself: Does this choice help someone feel more confident, informed, or empowered? If not, I revisit it. Because to me, good design is quiet but purposeful—it gets out of the way, so people can do what they came to do.
DI: What skills are most important for a designer?
QZ : The most important skills for a designer go beyond tools—they lie in how we think, listen, and solve. First, empathy is foundational. You need the ability to see the world through someone else’s eyes, to understand not just what people do but why they do it. Great design starts with understanding real human needs. Second, systems thinking—the ability to zoom out, see connections, and design for scalability and longevity. Whether you’re creating a component library or mapping an onboarding journey, understanding how parts relate to the whole is critical. Third, communication. You need to articulate your ideas clearly, advocate for design decisions, and build alignment across disciplines. A designer who can explain why something works earns trust and influence. Fourth, visual and interaction design fundamentals—typography, hierarchy, layout, motion, accessibility. These are the craft skills that bring ideas to life with clarity and beauty. And finally, adaptability. Tools, trends, and constraints will keep changing. What doesn’t change is your ability to learn, unlearn, and stay curious. A good designer makes things look good. A great designer makes things work, feel right, and matter.
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
QZ : My toolbox spans across software, hardware, habits, and inspirations—because great design requires both precision and perspective. On the software side, Figma is my daily driver—for wireframing, prototyping, and system design. I also use Framer and Webflow for high-fidelity interaction and motion exploration, and Notion or FigJam for early ideation, mapping, and collaboration. For more technical prototypes or data-driven interfaces, I work closely with tools like Dovetail (for user research), Miro, and occasionally GPT-powered systems for interaction logic or copy suggestions. Hardware-wise, I keep it minimal: a MacBook Pro, Apple Magic Trackpad, and iPad Pro with Pencil for sketching and feedback annotation. I also keep a physical notebook nearby—because sometimes the best ideas come when I step away from the screen. Beyond tools, I rely heavily on rituals and resources to feed creativity. I visit Are.na, Mindsparkle Mag, and The Brand Identity for visual inspiration, and I keep a rotating playlist of music to match different stages of my workflow—from deep ambient tracks for focus to cinematic scores for concept exploration. Books like The Design of Everyday Things, Emotional Design, and Speculative Everything have been foundational. But I also draw from literature, architecture, and even film—especially for understanding narrative, flow, and emotional timing. To me, tools aren’t just about execution—they’re a reflection of how I think, observe, and translate the world into meaningful experiences.
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
QZ : I manage my time by designing my schedule as intentionally as I design products. I typically structure my day around energy levels rather than just time blocks. I protect my peak creative hours—usually in the morning—for deep design work like wireframing, ideation, or systems building. Meetings and collaboration sessions are scheduled in the afternoon when I’m more externally focused. I also apply product thinking to my calendar: breaking large projects into smaller, testable milestones and aligning them with feedback cycles. This helps me stay nimble and avoid over-designing before direction is clear. Tools like Notion and linear task systems help me track progress, but what matters most is priority clarity: I always ask, What is the single most important design decision I need to move forward today? Importantly, I build in space to rest and reflect. Creativity can’t be rushed, and burnout helps no one. I’ve learned that stepping away—whether for a walk, music break, or short journaling session—often leads to better ideas and faster resolutions. In short: I manage time by managing focus. It’s not about doing more—it’s about doing the right things, at the right pace, with the right presence.
DI: How long does it take to design an object from beginning to end?
QZ : It depends on the object, the context, and the level of fidelity required—but in most cases, designing something meaningful is not a linear sprint—it’s an evolving cycle. For a feature in a digital product, the process might take anywhere from 2 to 8 weeks, depending on complexity, cross-functional coordination, and iteration rounds. A small UI component or empty state may be done in a few focused days. A system-level redesign or AI-powered tool can take several months, especially when research, data modeling, and scalability are involved. But more than time, I think in terms of phases: Discovery & research Concept & prototyping User testing & iteration Final design & handoff Post-launch evaluation Some projects move through these rapidly, others slowly—but each phase adds layers of insight that improve the outcome. I’ve also learned that no design is ever truly “finished.” Even after launch, feedback loops and real-world use reveal opportunities to refine and evolve. So rather than chasing perfection from the start, I focus on crafting value early and improving over time. Design is not just about delivery—it’s about learning. And that process takes the time it needs to be thoughtful, relevant, and human-centered.
DI: What is the most frequently asked question to you, as a designer?
QZ : The question I get most often is: “How did you get into design?” People are often surprised to learn that I didn’t come from a traditional design school background. I started in communications, storytelling, and education—and slowly transitioned into product design by teaching myself the tools, building side projects, and focusing on human behavior and systems. I think people ask this because design can feel like a mysterious field from the outside. My answer is always this: design is a mindset, not just a job title. If you’re curious, empathetic, and willing to learn how things work (and break), you’re already halfway there. And the follow-up question is often: “What tool should I learn first?” My answer? Start with your eyes and ears—watch how people interact with everyday things. Then pick up Figma.
DI: What was your most important job experience?
QZ : My most important job experience has been my role as a Senior Product Designer at Chartmetric. It’s where I’ve had the opportunity to work at the intersection of data, music, and design—building tools that empower artists, managers, and labels in over 70 countries to make smarter, faster decisions. One of my proudest moments was leading the design of the Chartmetric Mobile App, which won an A’ Design Award for its intuitive approach to delivering real-time analytics on the go. It wasn’t just a UI challenge—it was a strategic one: how do we turn complex data into simple, actionable insights for people with very different goals and workflows? At Chartmetric, I’ve learned how to balance user empathy with technical feasibility, how to collaborate closely with engineers and data scientists, and how to design at both the pixel level and the system level. I’ve also had the chance to mentor younger designers, shape our design culture, and advocate for design as a core driver of product strategy. More than anything, this experience taught me that great design happens when you listen deeply, build collaboratively, and stay relentlessly curious—even when the data is messy and the deadlines are tight.
DI: Who are some of your clients?
QZ : Through my work at Chartmetric, I’ve had the opportunity to design for some of the most influential names in the global music and entertainment industry. Our platform is used by teams at Sony Music, Warner Music Group, Universal Music Group, TikTok, Live Nation, BMG, Netflix, and many others—ranging from major record labels to independent distributors, artist managers, booking agencies, and data-driven creative professionals. In addition to enterprise clients, I’ve also designed tools that directly support independent artists, content creators, and emerging talent scouts—providing them with access to the same level of insight and intelligence previously reserved for the industry’s biggest players. Outside of Chartmetric, I’ve also worked on creative projects and campaigns with organizations such as Tesla, National Geographic, and UNESCO, where I focused on brand storytelling, content strategy, and digital experience design. I’m proud that my work has served such a diverse spectrum of users—from grassroots creators to global executives—and that each design, no matter the scale, contributes to smarter decisions, stronger stories, and more human-centered digital experiences.
DI: What type of design work do you enjoy the most and why?
QZ : I enjoy designing human-centered systems—tools that make complex information feel intuitive, and experiences that balance clarity with emotional resonance. Whether I’m working on a music analytics platform or an immersive memory-preservation app, I’m most energized when I get to translate abstract, often overwhelming data into something useful, beautiful, and humane. I love the challenge of building structure out of ambiguity—creating systems where users don’t just navigate, but feel guided. I’m especially drawn to projects that combine logic and empathy—where functionality meets storytelling. That’s why I’ve found deep fulfillment in working on products like the Chartmetric Mobile App or Memory Land, where the impact goes beyond screens and into the decisions, memories, or healing journeys of real people. Ultimately, I love design work that requires both precision and poetry—where I get to solve hard problems while staying connected to the human experience at the core.
DI: What are your future plans? What is next for you?
QZ : Looking ahead, I’m excited to keep building at the intersection of design, data, and emotional intelligence—crafting tools and experiences that empower people not just to act, but to feel, remember, and grow. In the near future, I plan to deepen my work in AI-powered product design—exploring how large language models and intelligent systems can simplify decision-making without sacrificing nuance or empathy. I’m particularly interested in how these technologies can be used to support underrepresented voices in music, education, and mental health. I also plan to continue expanding Memory Land, the immersive storytelling platform I co-founded. I believe there’s still so much to explore in how we design for grief, remembrance, and legacy in the digital age—and I want to help create a future where digital memorials are as thoughtful and healing as physical ones. Longer term, I hope to mentor and collaborate with more designers across disciplines, contribute to design education, and possibly exhibit more conceptual work that blends technology, culture, and memory on an international stage. Whatever comes next, I know this: I want to keep designing with purpose, asking better questions, and using my craft to make complexity more human.
DI: Do you work as a team, or do you develop your designs yourself?
QZ : Both—and I believe being able to do both well is what makes a designer truly versatile. At Chartmetric, I work as part of a highly collaborative, cross-functional team that includes product managers, engineers, data scientists, and fellow designers. We operate in agile sprints, and my role involves not only crafting design solutions, but also facilitating alignment, clarifying scope, and ensuring a shared vision across disciplines. I thrive in these team environments—where ideas are challenged, perspectives are diverse, and great design emerges through iteration and dialogue. At the same time, I also pursue independent design work—especially for concept-driven or emotionally sensitive projects like Memory Land. In these solo or small-team efforts, I often take on multiple roles: researcher, visual designer, interaction architect, and storyteller. This allows me to push boundaries, prototype freely, and explore themes like grief, identity, or memory in more personal ways. Ultimately, I see design as a team sport guided by individual clarity. Whether leading or supporting, collaborating or creating solo, I always aim to stay grounded in purpose, and to bring out the best ideas—regardless of where they come from.
DI: Do you have any works-in-progress being designed that you would like to talk about?
QZ : Yes—I'm currently working on two exciting fronts that blend design, technology, and human experience. At Chartmetric, I’m leading the design for our next generation of AI-powered tools, including a more conversational interface for exploring music data and an intelligent assistant that helps artists and managers make strategic decisions faster. The challenge is turning dense, multidimensional data into a flow that feels human, intuitive, and even inspiring. We’re rethinking how people search, filter, and learn—not through dashboards, but through dialogue. In parallel, I’m also expanding Memory Land, the immersive storytelling platform I co-founded. We're currently prototyping a new module that helps families co-create memory timelines—layering multimedia, voice notes, and even generative art to preserve collective memories in a way that feels deeply personal and emotionally healing. We're exploring how design can hold space for grief, nostalgia, and reflection—especially across generations. Both projects are pushing me to think beyond interfaces—toward experiences that are adaptive, emotionally aware, and grounded in meaning. It’s a space where I feel challenged and deeply fulfilled, and I’m excited to keep building.
DI: How can people contact you?
QZ : You can reach me via email at gemike.zhang@gmail.com, or connect with me through my portfolio website: www.zhangqihang.com. I’m also active on LinkedIn under the name Mike (Qihang) Zhang, where I share thoughts on design, creativity, and technology. Whether you're interested in collaborating, learning more about my work, or just exchanging ideas—I’m always happy to connect.
DI: Any other things you would like to cover that have not been covered in these questions?
QZ : Just one thought: I believe design is ultimately an act of care. It’s easy to get caught up in pixels, prototypes, or performance metrics—but at the heart of it, we design to help people navigate their lives with a little more clarity, dignity, or joy. Whether I’m building tools for artists, experiences for families, or systems for scale, I try to hold onto that purpose. Design isn’t just about solving problems—it’s about honoring the human experience. And I’m incredibly grateful for platforms like A’ Design Award that recognize that deeper intent. Thank you for making space for stories like mine, and for reminding all of us why design matters.