1. Based on the graphic itself: First, the overall proportion of MI in the Xiaomi graphic logo changes, with the width becoming longer and the height becoming shorter. The reason is that Hara moved the three vertical lines of M and the width of the vertical line of I. Why did he move? It is to distinguish the thickness of Beishi's strokes in Beisheng Year 15 in M's Daughter, rather than the width rhythm of "positive, negative, positive, negative", which loses recognition when the special material seems to be seen. This second LM. 2. In the era of Nokia and Apple’s iOS updates, the necessity of changing the graphic logo itself from a square shape to a perfect R-angle has been explored and proven to be adaptable. It visually looks like a rounded square, and the static plane brings a sense of visual activity, which is in line with Hara's living expression. In order to cater to the future "dynamic plane" era, I made a sense of breathing, which is a reflection on Xiaomi's future logo usage scenarios and an understanding of his so-called Eastern thinking. Warmth is all I can think of. 3. Based on the font design itself, Hara chose the "small capital letters" method. Based on the Roman font, the thickness of the lowercase letters is adjusted to be consistent with that of the uppercase letters. The O is consistent with the graphic labeling rules and chamfers. The stroke thickness and spacing rhythm are adjusted to be consistent with the stroke thickness and rhythm of MI in the graphic label to ensure that the serif curve rules are consistent with MI's. The chamfers are consistent and can become the second visual memory point when Xiaomi graphic labels and letter labels are used separately;