Interview with Szabolcs Nemeth

Szabolcs Nemeth ("SN") interviewed on Saturday, 28 June.

Could you please tell us about your experience as a designer, artist, architect or creator?

SN : I have been working as a designer in the creative industry for over thirty years. I began my studies at the Hungarian University of Applied Arts, where I was admitted to the industrial design program in 1992. I earned my Master of Arts (MA) degree in Visual Communication Design, specializing in graphic design, in 1997. During my university years, I actively engaged with computer-based graphic software, which made digital tools and modern technology a fundamental part of my work from early on. Thanks to this, I was able to take on significant assignments right after graduation, working for notable international companies such as Oracle, Siemens, and Telewestel—one of Hungary's pioneering telecommunications firms. Shortly after earning my degree, I co-founded my own design studio with sculptor Katalin Kalmár. Our work focused on both two- and three-dimensional design, covering visual communication, corporate identity design, and public art projects. We participated in several successful sculpture competitions organized by Hungarian municipalities, winning multiple awards. As a result, we installed bronze sculptures in public spaces across various towns in Hungary, including Budapest’s Castle District. Our clients have also included the Hungarian Presidential Office and the Prime Minister’s Office. Over the past decades, I have combined traditional design approaches with contemporary technological tools, creating works that reflect both cultural context and opportunities for visual innovation.

How did you become a designer?

SN : I come from a family of educators, and none of my ancestors were artists. Neither of my siblings showed particular inclination or interest in the arts. However, from a very young age, it became clear that I had a special talent: my drawings were far beyond the level of my peers. Although I won several drawing competitions, I didn’t really enjoy competing; I much preferred finding my own solutions and creating works that brought me personal joy rather than producing them at a competitive level. When I was admitted to university, I was extremely happy and enjoyed every moment of my studies. Thanks to the university, I also had the opportunity to travel to several major European cities through scholarships. I participated in the Erasmus program, studying at a university in Kraków, Poland. Additionally, I attended workshops in Hannover and Ljubljana, where I further expanded my professional experience and inspiration. In Hungary during the 1990s, amid the emergence of the market economy, university students had a tremendous opportunity to become directly involved in international commercial processes. With the arrival of the first multinational corporations in Hungary, the advertising market was still unsettled following the political transition. Although various media, marketing agencies, and advertising studios had already appeared, their numbers were still small. As a result, it was quite common for a young graphic designer to work directly for a multinational company without an agency intermediary. Additionally, university students could also work for different advertising agencies even before graduation, which I actively did myself.

What are your priorities, technique and style when designing?

SN : I consider myself a traditional artist who believes deeply in the value of classical skills and techniques. I think it is much harder to create meaningful work without them. These are the tools and abilities I learned from classical fine and applied arts, long before the digital era. For example, during university admission, essential criteria included life modeling, study drawing, perspective drawing, portrait drawing, and full-figure drawing. From my experience, those who master these traditional techniques and later embrace digital design tools gain a significant advantage. I count myself among them: I am capable of thinking and designing without a computer, using just a single sheet of paper and a simple line—much like Renaissance masters did. When it comes to refining the designs and the realization phase, I turn to digital tools to carry out parametric and computer-based processes. The same philosophy applies to sculpture. Although today it is easy to 3D print figures based on digital models, we always handcraft the original forms first. For example, I model the handle of a fishing rod by hand in sculpting wax before it undergoes digital processing and final refinement.

Which emotions do you feel when designing?

SN : In visual communication design, I fundamentally enjoy creating two-dimensional graphics, as it is an exciting task. However, many times I feel that this type of design doesn’t offer enough challenge for me. For some reason, life has led me towards creating three-dimensional objects, which is a very exciting field for me. When I first imagine the core idea, it already creates a state of excitement. After the initial research and conceptual thinking, when I realize that my idea has validity and feasibility, it brings an even higher level of enthusiasm. Then the creative process begins, which, in my case, is very lengthy. I believe that whenever I create an object, I can only confirm its functionality through numerous tests. Therefore, the creative process for me is often long and persistent, requiring the production of many prototypes to be sure that the design truly works. This is also true for something like an anamorphic fountain, where I create a plan for how a mosaic matrix will visually align on a cylindrical mirror surface. I first create a small-scale model and adjust the graphic in various ways to find the optimal solution. In the case of a fishing rod, the process is especially exciting because, for example, developing a spring that forms the rod body cannot be done simply based on hand drawings or computer measurements. The spring needs to be tested by actually using it, catching fish, gathering feedback, and then modifying the design accordingly. This process often takes years.

What particular aspects of your background shaped you as a designer?

SN : I believe that a designer’s work is truly successful only when there is a strong drive for innovation. It is not enough to simply follow existing patterns or replicate trendy solutions. It is important to have the courage to seek out solutions that do not yet exist at the current moment — true, independent innovation. To achieve this, one must be able to distance themselves from the current situation and envision things that have never existed before. However, the question is how big those dreams are. A successful designer needs to choose projects that are realistic in scale, both financially and in terms of the required work. If the dream is too big, no matter how fantastic the idea is, it will likely never come to fruition because it may be difficult to secure funding or to present the project convincingly enough to attract investors. That is why I advocate for working on projects of a scale that does not depend on the skills or intentions of others, but can be realized solely through my own will and capabilities.

What is your growth path? What are your future plans? What is your dream design project?

SN : Some of my plans have already come to fruition, as I’ve had the opportunity to explore many areas throughout my life. Among them is one particular project that I’ve grown especially fond of, and which has become a central component of my long-term vision: the development of a compact fishing rod. This is a type of innovation that is never truly finished. I’ve already developed a base system that is compatible with a wide range of reels and can be used for many different fishing methods — from casting from the shore or a boat, to ice fishing, and even underwater snorkeling-based fishing. I truly feel that this is my "dream project" — something I want to keep refining and evolving in the years to come. My belief in this project is further validated by the success of its patenting process, which lasted eight years. In every country where I applied for protection, the patent was granted. The Wormy products are now protected with 20-year patents in the world’s largest markets. That means no one else can produce or sell them for two decades from the date of filing — and I still have about 12 years remaining under this protection. I see this as the foundation of my long-term work — a project that I will continue to nurture with dedication, creativity, and care in the coming years.

What are your advices to designers who are at the beginning of their career?

SN : My advice to younger creators is this: the younger you are, the more important it is to stay connected to where we come from — to remember that some of the world’s most beautiful and enduring works were created without any digital tools. I often see young people trying to bypass traditional creative processes. They avoid working with physical materials, never pick up a pencil, don’t sculpt or draw by hand, and instead rely entirely on digital tools — and today, increasingly on artificial intelligence. No one yet knows exactly where this will lead in the long term. It’s a fascinating new paradigm, but also one full of deep and unanswered questions. Still, I believe that a truly good designer — even in the age of AI — must be capable of independent creation. Like AI, they must absorb the knowledge and achievements of their time, but then take one inventive step beyond, synthesizing those inputs into something entirely new, perhaps even something that never existed before. That’s what I believe defines true innovation.

You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?

SN : I believe that anyone who is born with the ability to create something new — and who chooses to put that gift in service of humanity — has received one of life’s greatest blessings. My advice to young designers is to recognize the value of their talent and try to make use of it every single day. Every creation, no matter how small, is a contribution to progress. At a young age, this may not always feel meaningful. But in the long run, we can begin to see how our work might actually influence the world — even within our own lifetime. And when that realization comes — that your knowledge and creativity have served a greater purpose — it is one of the most fulfilling feelings imaginable. It’s also why I believe that every creative person should deeply value and continuously develop their abilities. Talent is a gift, yes — but it’s the dedication to growth, to practice, and to self-improvement that gives it true meaning. For me, the act of creation is mostly a joy — I would say 75% enjoyment and only 25% difficulty. And that 25% is the part that excites me the most: the challenge itself, the search for solutions, the process of figuring things out. It’s also important to understand that an idea is just the beginning — a spark. The real work comes after. A great idea alone doesn’t guarantee success; it takes time, testing, and determination to even prove its potential. But once that’s done, the creative journey truly begins — and for me, that journey is often more rewarding than the final result. That fulfillment applies not only to the creation of a product, but also to the journey toward recognition. Winning an award is a wonderful experience — but often, it’s the path you take to get there that brings the greatest joy and meaninng.

What is your day to day look like?

SN : My workday begins like most people's — with a cup of coffee and switching on my phone. Then I go through the most urgent tasks for the day and try to reach that point as soon as possible where I can focus on what I do best: design. Since I have a family and run a business, I can’t dedicate as much time to pure design work as I would like. But that’s the nature of life — and I accept that. The key is to find those moments when I can fully immerse myself in the creative process. Whenever possible, I try to signal to those around me that I need uninterrupted time to concentrate on tasks that only I can carry out. This is especially important for complex projects — such as my award-winning compact fishing rod — where so many small details are interconnected that only I, as the original creator, truly understand the full system. Whether it’s as a designer, a fisherman, an engineer, or a company director, I’m often the one who can give the most effective answers to design or construction challenges. So my days are complex — a constant balancing act between design, operations, family life, and entrepreneurship. And to be honest, I may never have as much time for pure design work as I would ideally want. But that, too, is part of building something real — part of the process of creating and maintaining a brand.

How do you keep up with latest design trends? To what extent do design trends matter?

SN : I hadn’t really thought about this before, so I’m glad you asked—because I believe my answer differs from what most people might say. Of course, I follow design trends and observe the directions the field is heading in, but they have never been the source of my inspiration. I don’t aim to borrow elements from them or align my work with current styles. My way of thinking is much more retrospective—I look to the past. I examine what design has produced over the years and seek to offer contemporary yet entirely personal answers to timeless questions. I’m not interested in integrating the current solutions of others into my work; rather, I aim to respond to enduring creative challenges in my own way. A perfect example of this is my anamorphic mosaic. In that project, I combined classical, traditional techniques with modern technology. I created a four-square-meter surface made of tiny mosaic tiles that initially appears to form a chaotic, unreadable pattern. But when a person looks into the mirrored cylinder of the drinking fountain placed in the center, the mosaic transforms into a figurative image—a mounted royal figure arriving with his army. The original composition was drawn by hand using graphite, and later I used digital tools to build the mosaic matrix from that image. So the piece is rooted in classical craftsmanship while being realized through modern means. In essence, I’m always looking for unique solutions. I connect traditional methods with today’s technologies to create something new. This is my individual path—independent of any current trend.

How do you know if a product or project is well designed? How do you define good design?

SN : In my view, design—whether it's product design, visual communication, or any other form—must always begin from a rational foundation, and that part must be fully resolved. As I’ve mentioned earlier in this interview in response to another question, it comes down to function and form. If I’m designing an object for use, it must first and foremost function properly. The function is fundamental. But I must resolve it in a way that also results in a form that is aesthetically pleasing, one that is visually satisfying. I wouldn’t even speak so much about proportions as I would about balance. If these two elements—function and form—are both fully present and in harmony, then we’re talking about good design. It doesn’t matter which comes first, because one cannot exist without the other. The essence of good design lies in the perfect balance between the two. For me, a design truly works when I look at it and instinctively say, “Yes, that’s it!” Even if I don’t consciously analyze it in that moment, it’s the balance I’m sensing. That’s why I say “aha”—because it works, and I like it.

How do you decide if your design is ready?

SN : In my view, design is an infinite process – a design is never truly “finished.” Of course, there can be certain phases within the design process that represent temporary endpoints. These moments may result in an actual product or even lead to mass production, and the result may be an excellent product – but that doesn't mean the story ends there. In fact, it's much more likely that the life of a product stretches far beyond that initial phase. I believe that reason, market conditions, and the surrounding business context always dictate when I raise my hand from the table and say, “This phase is now complete” or “This is ready.” But this “ready” only applies to the current state. From that point, it can become a product – but I’m absolutely certain that there’s always room for improvement. And even beyond that improvement, there’s always more to be done – development can continue endlessly. That’s why I look at everything I do as a milestone, rather than a final destination. Whether it’s product design or brand identity, I design the entire visual communication of my own brands – from trademarks and visual identity elements to packaging and presentation. And here too, the same applies: it’s a continuous evolution with key milestones along the way. Yes, sometimes a milestone may also represent a major goal achieved, and we may feel we’ve arrived somewhere meaningful – but I still believe the journey never truly ends.

What is your biggest design work?

SN : My greatest design work, although it started small, eventually grew into something big because I put an enormous amount of energy, time, and love into it. This is my project called Wormy Compact Fishing Systems. The fundamental reasons behind how this came to be are as follows: I grew up by Central Europe’s largest lake, Lake Balaton, spending my entire childhood there until adulthood. Naturally, my grandfather introduced me to the secrets of fishing, so we fished together from a very young age. Meanwhile, I pursued a career in design in Budapest, and a few decades later, I once searched for a particular fishing product I wanted to buy. I realized that there wasn’t a device on the market that met my expectations. Only some of my requirements for such a fishing system were fulfilled, so I was instinctively motivated to create one myself. After I made the first prototype, I understood that there was much more potential in it, and a lot could be improved so that it would not just be a small, individual fishing tool but a complete system that could be used with many different fishing methods. Thus, my desires and skills came together and materialized in a concept that I then realized. At first, selfishly, I made it for my own use, but I spent a lot of time testing it. It’s interesting with such developments that once you have a prototype, you need to test it continuously in various locations and with different methods. There are many pitfalls with a mechanical device, and this phase reveals how well the different expectations are met. I had to manufacture and test many different prototypes, which took a lot of time. However, I enjoyed the process of designing and testing — basically, I was fishing the whole time. Of course, it wasn’t always enjoyable because not every prototype worked perfectly, but I kept moving forward and was always able to improve the product. My original goal was just a single product for myself, but I realized that if it’s good for me, it could be good for others, too. So I started designing a broader system and developed a product line. Initially, the materials used were suitable only for small-series production, and I wasn’t prepared to produce large-scale, low-cost products. However, this changed over the years, and now I’m ready to launch fishing rods made from quality materials with modern CNC technology, featuring carbon composite injection-molded reel seats and cork handles replacing the former hardwood grips. This manufacturing method allows cost-effective, large-scale production at a competitive price, so I hope the product will become available to a much wider audience.

Who is your favourite designer?

SN : I would gladly have a conversation with him, and fortunately, he is still alive. I would ask Dieter Rams about his philosophy of 'less but better' and the harmony between functionality and aesthetics.

Would you tell us a bit about your lifestyle and culture?

SN : My lifestyle and cultural identity — which I am deeply proud of — are closely intertwined with my family and the creative path we’ve chosen. I have two children, one of whom is already an adult. My partner is a sculptor, and for over 25 years, we’ve run a creative business together — so it’s fair to say we are a true artist family. Our younger child recently began studying sculpture at one of Hungary’s most prestigious secondary art schools. In our household, this has become a family tradition: my partner’s parents were artists too, though I myself didn’t come from an artistic background. Yet today, creation is part of our everyday life. We live in a small town just outside Budapest, nestled in the Danube Bend, surrounded by the beauty of the Pilis mountains. The closeness of nature, a vibrant local cultural scene, and especially the presence of water are deeply important to us. Water, in fact, has always played a key role in my life — I grew up by Lake Balaton, the largest lake in Central Europe, and now we live near the Danube River. At the moment I’m giving this interview, I’m in Rovinj, Croatia, on the Adriatic coast — one of the dearest places to my heart. I purchased a small apartment in the old town about twenty years ago, and it’s since become our family’s summer retreat. I spend as much time here as I possibly can. Rovinj (or Rovigno, in Italian) is a thousand-year-old coastal town that was once a humble fishing village. It carries a rich Venetian heritage, and its winding alleys, Mediterranean charm, and historic architecture offer endless inspiration. The climate, the food, the pace of life — all these elements deeply shape how I live, think, and create. Additionally, one of my partner’s siblings married and settled in Italy over thirty years ago, and we now have a large Italian family with whom we maintain a very close relationship. Their influence, and this inherited Mediterranean sensibility, continues to shape our lives — both personally and artistically.

Would you tell us more about your work culture and business philosophy?

SN : Is it easy to work with me? I believe it is. At heart, I’m a mediator-type person who values collaboration based on mutual respect. Honestly, I don’t feel very comfortable within rigid corporate hierarchies — probably because I’m not really a businessperson. I’m a designer. And in structures where roles are clearly divided — owner, CEO, lead designer — I often feel out of place. Yet in my own company, I have to take on all of those roles myself, which can be overwhelming. Ideally, I would spend most of my time designing — that's where I truly feel at home. Operational tasks, financial responsibilities, delegating work, team building — all of these are challenging for me. Still, I try to create a working environment where people are treated as equals, where collaboration is key. I’m not interested in lecturing or instructing others; I want to work alongside people and learn from them as well. That’s why I naturally gravitate toward studio environments built around mutual creativity and shared ownership. At the same time, when developing a product of my own for the international market, I can’t ignore the need for professional growth in business areas too. Brand-building, business strategy, and understanding the operational side of running a company are just as important — and I’m still learning those skills. I like working with people whose strengths complement mine — people with whom I can "merge" ideas and co-create something new. I also value team members who may not focus on creativity but are reliable in execution and consistency. To me, one of the most important qualities in a good designer is that the materials they deliver should be of such high quality that even those less experienced can confidently use them as a solid foundation for their own work. But this only comes with a significant investment of time and attention. I consider myself a thorough and detail-oriented person. Not only because it’s my nature, but because I’ve come to understand that in design, many of the subtleties simply can’t be handed off to someone else — unless they’re fully thought through and worked out in detail. That’s why I often feel the need to dive deep and complete those parts myself.

What are your philanthropic contributions to society as a designer, artist and architect?

SN : As much as my possibilities allow, I try to take an active role in the smaller communities where I live, particularly by contributing my artistic, curatorial, and professional perspective to support the preservation of the town’s visual identity and to assist the work of the local arts council. I take on this role entirely voluntarily, without financial compensation, because I believe it is important to contribute to the cultural development of the community with my experience, taste, and skills. As part of this work, we initiate and manage various art competitions, establish local art prizes, and participate in the jury process. I see this as a meaningful, non-profit activity that serves the public good. In addition, we operate a public community space called “Szabadság Tér” (Freedom Square) in our property, which also houses our studio. This venue is dedicated to showcasing artistic content. We organize exhibitions for local and regional artists, provide a platform for emerging talents, not only in design, fine arts, and applied arts, but also in musical performance.

What positive experiences you had when you attend the A’ Design Award?

SN : I believe international design competitions hold incredible significance for the advancement of designers. It is extremely important that anyone capable of creating a high-quality intellectual product shares it on the right platforms to reach a global audience. However, I think many creators still haven’t realized this or hesitate—or simply don’t want—to submit their work to these awards. Meanwhile, with the incredible expansion opportunities provided by the internet, this is arguably the best way for a designer to gain recognition, respect, and achievements. Winning an award is flattering on its own, but I believe that for an international design prize—such as the A’ Design Award—this is especially true. Receiving such recognition is a wonderful experience, as is attending a Mediterranean evening gala, which remains a beautiful memory. Yet, the true significance of such an award lies primarily in its promotional and marketing value. For someone like me, who not only participates in these competitions but also has their own product, winning a credible international award is invaluable—not only for raising my personal profile but also for strengthening the recognition of my brand.

Szabolcs Nemeth Profile