Insight
2025 Sandoll Saisiot: Type Conference, Our Unfinished Inquiry
On October 18, Sandoll Saiesiot: Type Conference marked its third edition. Under the theme Those Who Question, the conference provided a meaningful opportunity to share the thoughts and experiences cultivated over time in each participant’s respective field, as well as the outcomes of their ongoing inquiries. The Q&A sessions held after each session clearly reflected the attendees’ strong engagement. With more than 200 questions raised in total, the venue was filled with an intense spirit of inquiry.
There were many insightful questions that could not be fully addressed on site. Following the event, Sandoll reached out to the speakers once again to revisit these questions and listen to the ideas and reflections that could not be continued during [Saisiot 2025].
Sandoll type designer, Jang Gaseok
― Q1: You mentioned that 「SD Choyang」 is a font that has been reinterpreted in a contemporary way based on an original source. When drawing from the past, did you have any criteria for distinguishing where ‘reference’ ends and where ‘your own interpretation’ begins?
This is a very difficult question—it feels like something I would need to research more deeply and write a paper about. In fact, I am still continuously thinking about how to draw that line. In the case of 「SD Choyang」, I tried to understand, from the perspective of a font designer, the subtle boundary between the sense of burden and the sense of appeal felt in the original letterforms. After first understanding why these letters were made the way they were—the intention of the type and its structural context—I adjusted the degree of form so that it was not overly excessive, using overall design unity and balance as guiding criteria, in order to allow 「SD Choyang」’s own character to emerge. Elements from the original source that felt clearly burdensome were addressed more decisively.
There were also moments when I questioned whether it was appropriate for me to establish such criteria or processes, especially since there are many people who have studied far more extensively than I have. While this process may be somewhat subjective, I believe that, as a font designer, it is precisely these kinds of attempts that lead to the creation of new results.
― Q2: In the case of 「SD Choyang」, you mentioned that it was influenced by traditional writing methods such as yeogipyeongchul. When designing Latin alphabets or fonts for other languages, do you also often find yourself influenced by the writing traditions of those language systems?
Even within sans-serif fonts, there are many different classifications, so expressions derived directly from traditional writing methods are not always prominent. In the case of 「SD Choyang」 Latin, it shares the formal characteristics of Hangul as well as the historical background of the Early Grotesque category.
The Latin of 「SD Choyang」 was designed by Jung Taeyoung. The contrast in stroke weight in diagonal letters such as M, V, and X was designed to remain subtly present, similar to the contrast applied in Latin calligraphy and Serif styles. The rounded terminals seen in letters such as Q, r, and f also reflect writing-based characteristics more strongly than those found in contemporary neo-grotesque sans fonts.
「SD Choyang」 Latin
― Q3: As a non-native Korean speaker, were there any difficulties or interesting experiences you encountered when designing Hangul fonts?
I was able to learn Hangul writing methods to some extent while studying in Korea and learning the Korean language. In terms of expression, I was already somewhat familiar with Hangul, as it belongs to the same East Asian cultural sphere where similar tools, such as brushes, have traditionally been used. However, no matter how much Korean I learned, it remained difficult to grasp the impressions that emerge from certain structures when designing Hangul fonts. Since I did not grow up in Korea, there seem to be cultural and generational differences.
For example, when I first saw the Ahn Sang-soo font, the geometric tal-nemoteul (탈네모틀) structure felt extremely fresh and modern to me. However, after listening to other Koreans, I learned that the Ahn Sang-soo font is considered a radical font from the 1990s, and rather than feeling contemporary, it carries a retro sensibility that evokes that period. Because I lacked this cultural and historical background, I initially found it somewhat difficult to grasp the impressions produced by certain structures when designing Hangul. That is why I wanted to explore projects with a strong historical context, such as 「SD Choyang」, and I believe there is still much for me to learn.
On the other hand, there were also many interesting experiences from my perspective as a foreigner. For example, the ssang-gieok in the Gaseok font originates from the draft “꼬” character. The short vertical stroke of “ㅗ” collided with the left gieok stroke of the ssang-gieok, so it was drawn as a fully curved line to yield space, while the right gieok, for the same reason but in the opposite direction, was drawn as a completely straight line. Other Koreans found this very strange, but I thought it worked well. If explained logically, it could be persuasive, and I felt that what we perceive as ‘strange’ often comes from visual unfamiliarity rather than something being definitively right or wrong. Using the excuse that I am a foreigner who does not fully know, I leaned toward a slightly more distinctive form.
The ssang-gieok(ㄲ) form in the Gaseok font
― Q4: Lately, I have been strongly feeling the importance of type design. When starting to study it for the first time, what kind of direction or approach would be advisable? What do you think is the most effective way to develop a sense for fonts?
If we are talking about developing a sense for drawing fonts, I would first say: look a lot and draw a lot. However, while drawing, you need to think about why you are drawing it the way you are. I always do that myself, from my undergraduate years up until now.
Simply saying that you drew something because it looks pretty feels insufficient to me. Of course, that approach may make sense for conceptual fonts or for graphic designers. In my case, I think of fonts as tools that people use. At the very least, I think it is important to have your own criteria or logic—something you believe is right. By drawing a lot and trying to find answers, and by reading books and looking up materials such as academic papers, I feel that my sense for fonts naturally developed over time.
Minumsa book designer, Hwang Ilseon
― Q1: I remember how you described the impression of 「SD Choyang」 through metaphors such as yeot-gawi(Taffy Scissor) and window lattice bars. While using 「SD Choyang」, were there any other images that came to mind?
Images of clothing and street scenes from the late Joseon period came to mind. Perhaps it could be called a kind of genetic memory. Rather than the classic appearance of newly imported modern culture from that time, more everyday and modest images surfaced.
― Q2: Since book design is a field that is particularly closely related to fonts, what do you think is the most effective way to develop a sense for fonts?
By repeatedly looking at, feeling, and analyzing cases that appear well made, you can gradually develop your own understanding and build your own system of classification. Of course, for such analysis, prior learning of basic font terminology and typographic principles is necessary.
― Q3: When you look at books or printed materials in everyday life, are there things you naturally pay attention to as a book designer? I am curious about any kind of occupational habit. Also, what do you consider to be the conditions of ‘well-made book design’?
I try to seek out a new sensibility. There is a kind of occupational habit of feeling the need to find a new approach different from yesterday. As for well-made book design, I would say it involves refined typography, carefully crafted binding, dramatic ideas that convey the content, and a sense of novelty.
Seoul Women's University Professor, Minbon
― Q1: Hwaljjak Myeongjo appears to have a broad scope and a very large volume of work. Could you share how much time and resources were required for its development? Also, where did the name ‘Hwaljjak Myeongjo’ come from?
Timeframe: I began conceiving the initial draft during my master’s program at the University of Reading in the UK, which was about 13 years ago. However, due to making a living, the actual hands-on working time would amount to only a few years. Over that period, there were continuous discoveries, research, and trial and error. Diverse experiences across Europe, the United States, and Asia were added, along with changes in the technological environment, and many other factors intertwined, leading the original plan to be continuously revised and expanded.
Resources: In the early stages, I was driven by a rather abstract motivation to organize the history of modern and contemporary Hangul text fonts. Rather than fixating on the specific forms of particular types, I first tried to grasp their historical ‘lineages’ and ‘structures.’ I found that libraries around the world hold a surprisingly large number of modern and contemporary Hangul printed materials, which became valuable references. I also continue to exchange materials based on historical sources with several domestic research groups and companies.
On the name: ‘Hwaljjak Myeongjo’ carries a double meaning. First, as an adverb, hwaljjak means ‘wide open,’ ‘open and clear,’ or ‘in full bloom.’ At the same time, it is also an abbreviation referring to a ‘type case.’ By attaching this word to Myeongjo, I wanted to draw out multiple layers of meaning.
More specifically, it brings together the following ideas:
An intention to once again ‘open wide’ and reveal the history of Hangul text fonts that are gradually being forgotten.
A desire to reinterpret, with an open attitude, the somewhat old-fashioned and even gloomy impression evoked by the term ‘Myeongjo,’ which recalls the difficult modern and contemporary past.
An ambition to sort out and organize a large ‘case’ filled with jumbled types.
And above all, a wish to propose the kind of open and receptive attitude that I believe our society needs today.
― Q2: You mentioned that this font carries on the spirit of the three figures who established the foundations of modern Hangul type. As a designer, I find it difficult to set criteria for how far to reference the past and how to internalize it as my own. I would appreciate your thoughts on this.
I believe the fundamental question should come first: ‘What are I—or we—trying to propose to the people around us in this contemporary moment, and what kind of contribution do we want to make?’ Depending on how you answer that question, criteria will naturally emerge for how far to reference the past, or whether it even needs to be referenced at all.
In the Hwaljjak Myeongjo project, the goal itself is to survey and organize the history of Hangul type, so it was inevitable to actively reference many elements from the past. Through that process, I discovered that the overall flow of Hangul text Myeongjo fonts in fact branched out from a single origin, can be organized into roughly three major streams, and that all of them could potentially be threaded back onto a single axis through the perspective of ‘type size (optical sizing).’
This kind of organization is both an idea and a realization that I would like to propose to the field of Hangul typography today. In this context, the past functioned as a ‘tool’ for my objective, rather than as something to be reproduced or restored.
If my ‘proposal’ did not particularly require referencing the past—if such a thing even exists—for example, if it were about a Hangul signage system for aliens with a completely different visual perception, or for artificial intelligence devices, then the amount of past material to be absorbed might indeed be smaller…
― Q3: The background pattern you consistently use in your lecture materials and font look images was very striking. Was there a particular reason you chose it?
I often cite 20th-century Dutch type design as one of the best examples that demonstrate the essence of modern type design. These works have had a significant influence on my own practice as well. (This was also mentioned in my Saisiot lecture.)
I scanned a marbling pattern that was actually used on the cover of a Dutch book published during that period, then adjusted its proportions and colors to use it as a background, with the intention of visually infusing the cultural atmosphere of that time and place.
When you look closely at marbling patterns, the way organic forms gather and disperse is beautiful. To me, that movement often feels like a visual metaphor for the historical flow of human cultures blooming and fading across different parts of the world.
In short, you could think of it as a kind of ‘background narrative’ that connects the theme of the lecture with my type design.
The marbling pattern used in the Hwaljjak Myeongjo font look
― Q4: I am curious how you integrate intuitive sensibilities about beauty with an analytical approach in a balanced way during your work.
In my case, the two do not seem to occur at the same time. Sometimes intuition comes first and analysis follows; at other times, intuitive sensibility emerges as the result of analytical thinking. (Either way, the pleasure provided by dopamine is ‘delicious.’) Because the two always arise in a chain, they are already attached like two sides of the same coin, leaving little need to balance them separately.
CEO of Seaside City, Jeon Wooseong
― Q1: We are living in an era where ‘fast branding’—brands that briefly gain attention by riding trends and then disappear—is widespread. In such an environment, what strategies and attitudes do you think brands need in order to secure sustainability?
Above all, brands should not think about riding trends. Trends are a form of fashion. Fashion keeps changing, and there are already more than enough brands trying to follow the current trend. This makes it difficult to express something distinctly our own within that space. What matters, therefore, is strengthening our own identity and uniqueness more solidly. Rather than chasing trends, that should be considered first. Our own image and character can never be created by following trends.
― Q2: You have differentiated brands through what you call ‘a subtle edge of newness.’ In a time when similar visuals and tone and manner are oversaturated, what does differentiation mean to you?
Ultimately, it means creating values that clearly distinguish us from our competitors. This aligns closely with how I define branding itself. If similar visuals and tone and manner are oversaturated, I think it is strategically better to go in a completely different direction. Differentiation makes people look at us one more time and take interest, even amid fierce competition. There is a quote by Coco Chanel that I like: “To be irreplaceable, one must always be different.” In other words, I believe differentiation is the way to make our brand an irreplaceable presence in the market.
― Q3: Do you have any routines or habits in your daily life that help you build insight into branding, such as brand development and strategy?
I do not have any particular routines or habits. Rather, I try to experience a wide range of things. I try to see a lot, feel a lot, and if there is a place—online or offline—that offers visual stimulation or diverse inspiration, I go there to see, hear, and experience it. These everyday inspirations and stimuli often help when implementing branding strategies, especially brand communication strategies. What is important for this is attitude: constantly thinking about how what I am experiencing at the moment can be applied to the brand I am currently considering. If that counts as a routine or habit, then I suppose that would be it.
― Q4: As a director, what kind of team members do you want to work with? For example, do you prefer generalists with broad experience across many areas, or specialists with deep expertise in a specific field?
I have never really divided people into generalists and specialists. What matters more is the determination to make the project one is responsible for a success. To achieve success, conventional ways of thinking and ordinary attitudes are rarely enough. Instead, sharp sensibility and passion are required. To develop sharp sensibility, curiosity about phenomena, creativity, and imagination are important. Passion, in turn, is accompanied by perseverance, effort, and attitude. For that reason, I think these are capabilities or dispositions that cannot simply be categorized as generalist or specialist. As for whatever they may lack, that is something I can fill in.
CEO of Horizon Union, Song Hoseong
― Q1: When researching user responses after a project launches, which metrics or types of feedback do you consider most important? There are cases where qualitative reactions are positive but quantitative numbers do not follow—how do you interpret and respond to that?
I look at metrics in three stages. Right after launch, I track immediate reactions such as app reviews and CS inquiries. Between weeks 4 and 8, I look at adaptation metrics like conversion rate and time spent. After three months, I track long-term performance indicators such as MAU and average order value.
When qualitative feedback is positive but the numbers do not follow, there are two possibilities. First, the measurement point may be too early—people may say something is “good,” but it takes time for habits to change. Second, there may be a real issue—the product looks good but is inconvenient to use. In those cases, I closely examine the actual usage logs of people who said it was “good,” and review them again by segment through cohort analysis.
One interesting case from my time at Musinsa was that users in their 20s adapted immediately, while users in their 30s complained for over a month. But from around week six, the conversion rate among users in their 30s actually became higher. That is why you need to wait at least three months. And if qualitative feedback is good, it means the direction is right—you just need to find out “what is blocking it.”
― Q2: Your career path seems to have had many turning points. I am curious about what led you to decide on job changes and independence. At what point do you feel the need for change, when you experience a sense of stagnation?
Honestly, it was not planned. Each time, I moved when I felt, “This won’t work if I keep going like this.” After spending 12 years at Naver, things became routine, and I wanted to have different experiences rather than continue learning only within that environment. It is not that moving to places like Laundrygo or Musinsa led to dramatically greater growth; wanting a variety of experiences felt more important.
There are four common signs. When the learning curve flattens, when the limits of impact become visible, when imagining “Will I still be doing this in 10 years?” feels stifling, and when you do not want to get up on Monday morning. Your body does not lie.
That said, you should not move based on thirst alone. I spent at least six months thinking it through each time. I asked myself questions like, “Is this thirst caused by the environment, or is it my own issue?”, “Have I learned everything I can here?”, and “Is the value I can offer in a new place clear?” Only after answering those did I move. Looking back, I have never regretted it.
― Q3: As years of experience accumulate, persuading C-level executives as a designer feels increasingly difficult. Have you experienced similar challenges, and if so, could you share specific examples or persuasion techniques?
It actually becomes more difficult as your experience increases, because expectations rise. Early on, I learned through repeated failures and trial and error. At Musinsa, even when I carefully prepared design strategy documents, a single question—“How much will this increase sales?”—made me realize that working this way would not be effective. I was speaking in designer language such as “consistent experience” and “brand identity,” but at the executive level, they think in terms of “sales,” “conversion rate,” and “LTV.”
So I completely changed my approach. I started the first slide of the PPT with numbers—“stagnation in non-fashion category growth,” provided context through competitor analysis, and presented impact with concrete figures—“if we separate the beauty store, conversion increases 2.5x, target 200 billion won within one year”—before proposing design execution plans.
The key points are these: speak their language; follow the sequence of problem → opportunity → solution; attach a story to numbers; surface risks first; and present a phased approach. And if you start with “CEO OO, may I ask you about one concern?” it becomes a “consultation” rather than a “proposal.” Persuading C-level executives is not about design skill—it is a battle of business understanding.
― Q4: When a brand’s image is already fixed, it can be difficult to identify new strengths. How do you approach defining strengths or emotional points in such cases?
In my experience, there is no such thing as a fixed image. There are only fixed perspectives.
I use a few methods. First, asking the reverse question: “What do you use when you do not use our brand?” When we asked this at Laundrygo, the answer was, “I spend the entire weekend doing laundry,” which revealed that what customers really wanted was not laundry itself, but “time 확보.” Second, uncovering hidden DNA. Musinsa originally started as a community, so we rediscovered that and strengthened features like Snap—“browsing other people’s fashion styles,” and “finding where to buy the item worn in a style I like.” Third, identifying what competitors cannot do. At Buffs, Weverse focused only on HYBE and YG Select only on YG, so we differentiated ourselves as a multi-label platform. Fourth, reinterpreting past assets—framing a “30-year-old café” not as “outdated,” but as “a space that connects generations.”
In practice, we dismantle the brand to find gaps between perception and reality, persistently ask “why?” from the customer’s perspective, run frame-shift workshops like “What if we were a fashion brand?”, and validate through A/B testing. The question I always ask is, “If we go out of business tomorrow, what would customers say?” The answer to that blank is the true strength.
― Q1: I am curious about your junior and senior years as a designer. What kinds of concerns and realizations did you experience during that time? If there is something designers in this phase should not miss, what would it be?
Good concepts come from intense consideration and interpretation, and good form comes from a meticulous eye and hand, and from sitting with the work for a long time. Good design cannot be achieved in a single leap. It is important to treat each project as a practice, to faithfully walk the long journey of being a designer, and to cultivate a sense of gradual improvement along the way.
― Q2: I am aiming to grow from a brand designer into a branding director. It seems that this requires abilities beyond those of a designer alone. Could you share experiences or advice that were most helpful to you in the process of growing into a director?
A director needs the ability to see the big picture and strong metacognition. While it is important to diligently carry out the tasks at each stage of a project, it is equally important not to lose the ability to step back and view the overall picture. I also believe that one of the key roles of a director is being able to read and understand the perspectives of all stakeholders surrounding a project—not only the director’s point of view, but also that of designers, clients, and others.
― Q3: You mentioned that through understanding lettering and typography, along with a quote by Paula Scher, a new design world opened up for you. Could you tell us more about that experience? I am curious how it influenced your working method or design philosophy.
When you work with logotypes over a long period of time, you begin to feel that the letters themselves possess a kind of vitality. Once you experience firsthand how the character of letters changes depending on the nuance of curves, you realize that a logotype can tell many stories. The project through which I first came to this realization was Laundrygo. Since then, I have found even greater enjoyment in drawing solid logotypes with strong and well-constructed form.
― Q4: In the Chilsung Cider rebranding, the logo expression changed from Cider to CIDER. Could you explain the reason behind this shift in letter case?
Through this renewal, we wanted Chilsung to be perceived not just as letters, but as an image. To emphasize the solid logotype formed by the combination of seven stars, we intentionally reduced the visual weight of CIDER. Instead of lowercase letters, which can create uneven upper spacing, we chose uppercase letters with more stable spatial values, and we also reduced their size.
Image Source: Chilsung Cider – Lotte Chilsung Beverage
Leader of Design Strategy Team - Hyundai Department Store, Park Irang
― Q1: It seems that confidence in design work has a significant impact on the level of completion of the outcome. When moments come where your belief in yourself wavers or you lose confidence, how do you recover and move forward again?
It now feels almost like a distant memory, but I remember that it took quite a long time for the thought—“I can always choose not to live as a designer or artist, and even if I do something else, I am still myself, and my value does not change”—to firmly settle in my mind. Of course, the concept of professional self-esteem exists and is important, but I believe that separating these two concepts—professional self-esteem and personal value—greatly increases resilience when working.
― Q2: Your journey—from working as an agency designer, to running an independent studio, and then joining an in-house team again—is very striking. At each turning point, what gains and losses did you consider, and what ultimately led you to your decision?
Not long after graduating from my undergraduate program, I began running an independent studio. While this allowed me to learn an enormous amount as a founder and business operator, it also meant that management demanded much more of my energy, leaving me with less time to focus on actual design work—which felt regrettable given my level of experience at the time. In addition, although I was able to meet clients from a wide range of fields, there were limited opportunities to collaborate with designers and artists across diverse genres. At that time, social networks were not as easily accessible on an individual level as they are now, and these factors felt like obstacles to my growth.
― Q3: The process of establishing and expanding Hyundai Department Store’s branding is very compelling, and I am looking forward to seeing the visual outcomes to come. I am curious about the purpose and history behind the development of Happiness Sans that you shared during your talk.
Happiness Sans began as a project much like other corporate typefaces, driven by the need for a font suitable for both online and offline use in line with the times. In particular, there was an urgent need for a dedicated typeface for online use, as none had previously existed.
What is distinctive is the direction of the project: for the title font, we aimed for a distinctive and differentiated form that conveys the brand’s impression, while for the body text font, we focused on practicality, such as readability. We also considered the act of creating the font itself to be an important brand event, and sought to make the first encounter with Happiness Sans—its introduction and the paths through which it is experienced—feel distinctly like Hyundai Department Store. If you watch the introduction video and see the graphics for Happiness Sans, you will likely find yourself smiling without even realizing it.
Image Source: thehyundaifont.com
― Q4: As you mentioned in your talk, Hyundai Department Store seems to have made several important decisions over time based on the legacy it has built over many years. Given the nature of a large organization, it does not seem easy to consistently persuade others from a design perspective. If there are any cases where you successfully articulated a design direction or mobilized the organization, I would like to hear about them.
As is always the case, persuasion—both large and small—is essential in every project. Above all, I believe it is important to build mutual trust within the company and among colleagues. When trust has been established, it becomes possible to engage in discussions at a much deeper level.
In the lingering afterglow of an intense on-site experience, we hope this article serves as a meaningful source of inspiration for continuing the thoughts and questions left behind by [Saisiot 2025]. We look forward to meeting you again at Saisiot 2026, with another story to share.
Insight
2025 Sandoll Saisiot: Type Conference, Our Unfinished Inquiry
On October 18, Sandoll Saiesiot: Type Conference marked its third edition. Under the theme Those Who Question, the conference provided a meaningful opportunity to share the thoughts and experiences cultivated over time in each participant’s respective field, as well as the outcomes of their ongoing inquiries. The Q&A sessions held after each session clearly reflected the attendees’ strong engagement. With more than 200 questions raised in total, the venue was filled with an intense spirit of inquiry.
There were many insightful questions that could not be fully addressed on site. Following the event, Sandoll reached out to the speakers once again to revisit these questions and listen to the ideas and reflections that could not be continued during [Saisiot 2025].
Sandoll type designer, Jang Gaseok
― Q1: You mentioned that 「SD Choyang」 is a font that has been reinterpreted in a contemporary way based on an original source. When drawing from the past, did you have any criteria for distinguishing where ‘reference’ ends and where ‘your own interpretation’ begins?
This is a very difficult question—it feels like something I would need to research more deeply and write a paper about. In fact, I am still continuously thinking about how to draw that line. In the case of 「SD Choyang」, I tried to understand, from the perspective of a font designer, the subtle boundary between the sense of burden and the sense of appeal felt in the original letterforms. After first understanding why these letters were made the way they were—the intention of the type and its structural context—I adjusted the degree of form so that it was not overly excessive, using overall design unity and balance as guiding criteria, in order to allow 「SD Choyang」’s own character to emerge. Elements from the original source that felt clearly burdensome were addressed more decisively.
There were also moments when I questioned whether it was appropriate for me to establish such criteria or processes, especially since there are many people who have studied far more extensively than I have. While this process may be somewhat subjective, I believe that, as a font designer, it is precisely these kinds of attempts that lead to the creation of new results.
― Q2: In the case of 「SD Choyang」, you mentioned that it was influenced by traditional writing methods such as yeogipyeongchul. When designing Latin alphabets or fonts for other languages, do you also often find yourself influenced by the writing traditions of those language systems?
Even within sans-serif fonts, there are many different classifications, so expressions derived directly from traditional writing methods are not always prominent. In the case of 「SD Choyang」 Latin, it shares the formal characteristics of Hangul as well as the historical background of the Early Grotesque category.
The Latin of 「SD Choyang」 was designed by Jung Taeyoung. The contrast in stroke weight in diagonal letters such as M, V, and X was designed to remain subtly present, similar to the contrast applied in Latin calligraphy and Serif styles. The rounded terminals seen in letters such as Q, r, and f also reflect writing-based characteristics more strongly than those found in contemporary neo-grotesque sans fonts.
「SD Choyang」 Latin
― Q3: As a non-native Korean speaker, were there any difficulties or interesting experiences you encountered when designing Hangul fonts?
I was able to learn Hangul writing methods to some extent while studying in Korea and learning the Korean language. In terms of expression, I was already somewhat familiar with Hangul, as it belongs to the same East Asian cultural sphere where similar tools, such as brushes, have traditionally been used. However, no matter how much Korean I learned, it remained difficult to grasp the impressions that emerge from certain structures when designing Hangul fonts. Since I did not grow up in Korea, there seem to be cultural and generational differences.
For example, when I first saw the Ahn Sang-soo font, the geometric tal-nemoteul (탈네모틀) structure felt extremely fresh and modern to me. However, after listening to other Koreans, I learned that the Ahn Sang-soo font is considered a radical font from the 1990s, and rather than feeling contemporary, it carries a retro sensibility that evokes that period. Because I lacked this cultural and historical background, I initially found it somewhat difficult to grasp the impressions produced by certain structures when designing Hangul. That is why I wanted to explore projects with a strong historical context, such as 「SD Choyang」, and I believe there is still much for me to learn.
On the other hand, there were also many interesting experiences from my perspective as a foreigner. For example, the ssang-gieok in the Gaseok font originates from the draft “꼬” character. The short vertical stroke of “ㅗ” collided with the left gieok stroke of the ssang-gieok, so it was drawn as a fully curved line to yield space, while the right gieok, for the same reason but in the opposite direction, was drawn as a completely straight line. Other Koreans found this very strange, but I thought it worked well. If explained logically, it could be persuasive, and I felt that what we perceive as ‘strange’ often comes from visual unfamiliarity rather than something being definitively right or wrong. Using the excuse that I am a foreigner who does not fully know, I leaned toward a slightly more distinctive form.
The ssang-gieok(ㄲ) form in the Gaseok font
― Q4: Lately, I have been strongly feeling the importance of type design. When starting to study it for the first time, what kind of direction or approach would be advisable? What do you think is the most effective way to develop a sense for fonts?
If we are talking about developing a sense for drawing fonts, I would first say: look a lot and draw a lot. However, while drawing, you need to think about why you are drawing it the way you are. I always do that myself, from my undergraduate years up until now.
Simply saying that you drew something because it looks pretty feels insufficient to me. Of course, that approach may make sense for conceptual fonts or for graphic designers. In my case, I think of fonts as tools that people use. At the very least, I think it is important to have your own criteria or logic—something you believe is right. By drawing a lot and trying to find answers, and by reading books and looking up materials such as academic papers, I feel that my sense for fonts naturally developed over time.
Minumsa book designer, Hwang Ilseon
― Q1: I remember how you described the impression of 「SD Choyang」 through metaphors such as yeot-gawi(Taffy Scissor) and window lattice bars. While using 「SD Choyang」, were there any other images that came to mind?
Images of clothing and street scenes from the late Joseon period came to mind. Perhaps it could be called a kind of genetic memory. Rather than the classic appearance of newly imported modern culture from that time, more everyday and modest images surfaced.
― Q2: Since book design is a field that is particularly closely related to fonts, what do you think is the most effective way to develop a sense for fonts?
By repeatedly looking at, feeling, and analyzing cases that appear well made, you can gradually develop your own understanding and build your own system of classification. Of course, for such analysis, prior learning of basic font terminology and typographic principles is necessary.
― Q3: When you look at books or printed materials in everyday life, are there things you naturally pay attention to as a book designer? I am curious about any kind of occupational habit. Also, what do you consider to be the conditions of ‘well-made book design’?
I try to seek out a new sensibility. There is a kind of occupational habit of feeling the need to find a new approach different from yesterday. As for well-made book design, I would say it involves refined typography, carefully crafted binding, dramatic ideas that convey the content, and a sense of novelty.
Seoul Women's University Professor, Minbon
― Q1: Hwaljjak Myeongjo appears to have a broad scope and a very large volume of work. Could you share how much time and resources were required for its development? Also, where did the name ‘Hwaljjak Myeongjo’ come from?
Timeframe: I began conceiving the initial draft during my master’s program at the University of Reading in the UK, which was about 13 years ago. However, due to making a living, the actual hands-on working time would amount to only a few years. Over that period, there were continuous discoveries, research, and trial and error. Diverse experiences across Europe, the United States, and Asia were added, along with changes in the technological environment, and many other factors intertwined, leading the original plan to be continuously revised and expanded.
Resources: In the early stages, I was driven by a rather abstract motivation to organize the history of modern and contemporary Hangul text fonts. Rather than fixating on the specific forms of particular types, I first tried to grasp their historical ‘lineages’ and ‘structures.’ I found that libraries around the world hold a surprisingly large number of modern and contemporary Hangul printed materials, which became valuable references. I also continue to exchange materials based on historical sources with several domestic research groups and companies.
On the name: ‘Hwaljjak Myeongjo’ carries a double meaning. First, as an adverb, hwaljjak means ‘wide open,’ ‘open and clear,’ or ‘in full bloom.’ At the same time, it is also an abbreviation referring to a ‘type case.’ By attaching this word to Myeongjo, I wanted to draw out multiple layers of meaning.
More specifically, it brings together the following ideas:
An intention to once again ‘open wide’ and reveal the history of Hangul text fonts that are gradually being forgotten.
A desire to reinterpret, with an open attitude, the somewhat old-fashioned and even gloomy impression evoked by the term ‘Myeongjo,’ which recalls the difficult modern and contemporary past.
An ambition to sort out and organize a large ‘case’ filled with jumbled types.
And above all, a wish to propose the kind of open and receptive attitude that I believe our society needs today.
― Q2: You mentioned that this font carries on the spirit of the three figures who established the foundations of modern Hangul type. As a designer, I find it difficult to set criteria for how far to reference the past and how to internalize it as my own. I would appreciate your thoughts on this.
I believe the fundamental question should come first: ‘What are I—or we—trying to propose to the people around us in this contemporary moment, and what kind of contribution do we want to make?’ Depending on how you answer that question, criteria will naturally emerge for how far to reference the past, or whether it even needs to be referenced at all.
In the Hwaljjak Myeongjo project, the goal itself is to survey and organize the history of Hangul type, so it was inevitable to actively reference many elements from the past. Through that process, I discovered that the overall flow of Hangul text Myeongjo fonts in fact branched out from a single origin, can be organized into roughly three major streams, and that all of them could potentially be threaded back onto a single axis through the perspective of ‘type size (optical sizing).’
This kind of organization is both an idea and a realization that I would like to propose to the field of Hangul typography today. In this context, the past functioned as a ‘tool’ for my objective, rather than as something to be reproduced or restored.
If my ‘proposal’ did not particularly require referencing the past—if such a thing even exists—for example, if it were about a Hangul signage system for aliens with a completely different visual perception, or for artificial intelligence devices, then the amount of past material to be absorbed might indeed be smaller…
― Q3: The background pattern you consistently use in your lecture materials and font look images was very striking. Was there a particular reason you chose it?
I often cite 20th-century Dutch type design as one of the best examples that demonstrate the essence of modern type design. These works have had a significant influence on my own practice as well. (This was also mentioned in my Saisiot lecture.)
I scanned a marbling pattern that was actually used on the cover of a Dutch book published during that period, then adjusted its proportions and colors to use it as a background, with the intention of visually infusing the cultural atmosphere of that time and place.
When you look closely at marbling patterns, the way organic forms gather and disperse is beautiful. To me, that movement often feels like a visual metaphor for the historical flow of human cultures blooming and fading across different parts of the world.
In short, you could think of it as a kind of ‘background narrative’ that connects the theme of the lecture with my type design.
The marbling pattern used in the Hwaljjak Myeongjo font look
― Q4: I am curious how you integrate intuitive sensibilities about beauty with an analytical approach in a balanced way during your work.
In my case, the two do not seem to occur at the same time. Sometimes intuition comes first and analysis follows; at other times, intuitive sensibility emerges as the result of analytical thinking. (Either way, the pleasure provided by dopamine is ‘delicious.’) Because the two always arise in a chain, they are already attached like two sides of the same coin, leaving little need to balance them separately.
CEO of Seaside City, Jeon Wooseong
― Q1: We are living in an era where ‘fast branding’—brands that briefly gain attention by riding trends and then disappear—is widespread. In such an environment, what strategies and attitudes do you think brands need in order to secure sustainability?
Above all, brands should not think about riding trends. Trends are a form of fashion. Fashion keeps changing, and there are already more than enough brands trying to follow the current trend. This makes it difficult to express something distinctly our own within that space. What matters, therefore, is strengthening our own identity and uniqueness more solidly. Rather than chasing trends, that should be considered first. Our own image and character can never be created by following trends.
― Q2: You have differentiated brands through what you call ‘a subtle edge of newness.’ In a time when similar visuals and tone and manner are oversaturated, what does differentiation mean to you?
Ultimately, it means creating values that clearly distinguish us from our competitors. This aligns closely with how I define branding itself. If similar visuals and tone and manner are oversaturated, I think it is strategically better to go in a completely different direction. Differentiation makes people look at us one more time and take interest, even amid fierce competition. There is a quote by Coco Chanel that I like: “To be irreplaceable, one must always be different.” In other words, I believe differentiation is the way to make our brand an irreplaceable presence in the market.
― Q3: Do you have any routines or habits in your daily life that help you build insight into branding, such as brand development and strategy?
I do not have any particular routines or habits. Rather, I try to experience a wide range of things. I try to see a lot, feel a lot, and if there is a place—online or offline—that offers visual stimulation or diverse inspiration, I go there to see, hear, and experience it. These everyday inspirations and stimuli often help when implementing branding strategies, especially brand communication strategies. What is important for this is attitude: constantly thinking about how what I am experiencing at the moment can be applied to the brand I am currently considering. If that counts as a routine or habit, then I suppose that would be it.
― Q4: As a director, what kind of team members do you want to work with? For example, do you prefer generalists with broad experience across many areas, or specialists with deep expertise in a specific field?
I have never really divided people into generalists and specialists. What matters more is the determination to make the project one is responsible for a success. To achieve success, conventional ways of thinking and ordinary attitudes are rarely enough. Instead, sharp sensibility and passion are required. To develop sharp sensibility, curiosity about phenomena, creativity, and imagination are important. Passion, in turn, is accompanied by perseverance, effort, and attitude. For that reason, I think these are capabilities or dispositions that cannot simply be categorized as generalist or specialist. As for whatever they may lack, that is something I can fill in.
CEO of Horizon Union, Song Hoseong
― Q1: When researching user responses after a project launches, which metrics or types of feedback do you consider most important? There are cases where qualitative reactions are positive but quantitative numbers do not follow—how do you interpret and respond to that?
I look at metrics in three stages. Right after launch, I track immediate reactions such as app reviews and CS inquiries. Between weeks 4 and 8, I look at adaptation metrics like conversion rate and time spent. After three months, I track long-term performance indicators such as MAU and average order value.
When qualitative feedback is positive but the numbers do not follow, there are two possibilities. First, the measurement point may be too early—people may say something is “good,” but it takes time for habits to change. Second, there may be a real issue—the product looks good but is inconvenient to use. In those cases, I closely examine the actual usage logs of people who said it was “good,” and review them again by segment through cohort analysis.
One interesting case from my time at Musinsa was that users in their 20s adapted immediately, while users in their 30s complained for over a month. But from around week six, the conversion rate among users in their 30s actually became higher. That is why you need to wait at least three months. And if qualitative feedback is good, it means the direction is right—you just need to find out “what is blocking it.”
― Q2: Your career path seems to have had many turning points. I am curious about what led you to decide on job changes and independence. At what point do you feel the need for change, when you experience a sense of stagnation?
Honestly, it was not planned. Each time, I moved when I felt, “This won’t work if I keep going like this.” After spending 12 years at Naver, things became routine, and I wanted to have different experiences rather than continue learning only within that environment. It is not that moving to places like Laundrygo or Musinsa led to dramatically greater growth; wanting a variety of experiences felt more important.
There are four common signs. When the learning curve flattens, when the limits of impact become visible, when imagining “Will I still be doing this in 10 years?” feels stifling, and when you do not want to get up on Monday morning. Your body does not lie.
That said, you should not move based on thirst alone. I spent at least six months thinking it through each time. I asked myself questions like, “Is this thirst caused by the environment, or is it my own issue?”, “Have I learned everything I can here?”, and “Is the value I can offer in a new place clear?” Only after answering those did I move. Looking back, I have never regretted it.
― Q3: As years of experience accumulate, persuading C-level executives as a designer feels increasingly difficult. Have you experienced similar challenges, and if so, could you share specific examples or persuasion techniques?
It actually becomes more difficult as your experience increases, because expectations rise. Early on, I learned through repeated failures and trial and error. At Musinsa, even when I carefully prepared design strategy documents, a single question—“How much will this increase sales?”—made me realize that working this way would not be effective. I was speaking in designer language such as “consistent experience” and “brand identity,” but at the executive level, they think in terms of “sales,” “conversion rate,” and “LTV.”
So I completely changed my approach. I started the first slide of the PPT with numbers—“stagnation in non-fashion category growth,” provided context through competitor analysis, and presented impact with concrete figures—“if we separate the beauty store, conversion increases 2.5x, target 200 billion won within one year”—before proposing design execution plans.
The key points are these: speak their language; follow the sequence of problem → opportunity → solution; attach a story to numbers; surface risks first; and present a phased approach. And if you start with “CEO OO, may I ask you about one concern?” it becomes a “consultation” rather than a “proposal.” Persuading C-level executives is not about design skill—it is a battle of business understanding.
― Q4: When a brand’s image is already fixed, it can be difficult to identify new strengths. How do you approach defining strengths or emotional points in such cases?
In my experience, there is no such thing as a fixed image. There are only fixed perspectives.
I use a few methods. First, asking the reverse question: “What do you use when you do not use our brand?” When we asked this at Laundrygo, the answer was, “I spend the entire weekend doing laundry,” which revealed that what customers really wanted was not laundry itself, but “time 확보.” Second, uncovering hidden DNA. Musinsa originally started as a community, so we rediscovered that and strengthened features like Snap—“browsing other people’s fashion styles,” and “finding where to buy the item worn in a style I like.” Third, identifying what competitors cannot do. At Buffs, Weverse focused only on HYBE and YG Select only on YG, so we differentiated ourselves as a multi-label platform. Fourth, reinterpreting past assets—framing a “30-year-old café” not as “outdated,” but as “a space that connects generations.”
In practice, we dismantle the brand to find gaps between perception and reality, persistently ask “why?” from the customer’s perspective, run frame-shift workshops like “What if we were a fashion brand?”, and validate through A/B testing. The question I always ask is, “If we go out of business tomorrow, what would customers say?” The answer to that blank is the true strength.
CEO of CFC, Jeon Chaerry
― Q1: I am curious about your junior and senior years as a designer. What kinds of concerns and realizations did you experience during that time? If there is something designers in this phase should not miss, what would it be?
Good concepts come from intense consideration and interpretation, and good form comes from a meticulous eye and hand, and from sitting with the work for a long time. Good design cannot be achieved in a single leap. It is important to treat each project as a practice, to faithfully walk the long journey of being a designer, and to cultivate a sense of gradual improvement along the way.
― Q2: I am aiming to grow from a brand designer into a branding director. It seems that this requires abilities beyond those of a designer alone. Could you share experiences or advice that were most helpful to you in the process of growing into a director?
A director needs the ability to see the big picture and strong metacognition. While it is important to diligently carry out the tasks at each stage of a project, it is equally important not to lose the ability to step back and view the overall picture. I also believe that one of the key roles of a director is being able to read and understand the perspectives of all stakeholders surrounding a project—not only the director’s point of view, but also that of designers, clients, and others.
― Q3: You mentioned that through understanding lettering and typography, along with a quote by Paula Scher, a new design world opened up for you. Could you tell us more about that experience? I am curious how it influenced your working method or design philosophy.
When you work with logotypes over a long period of time, you begin to feel that the letters themselves possess a kind of vitality. Once you experience firsthand how the character of letters changes depending on the nuance of curves, you realize that a logotype can tell many stories. The project through which I first came to this realization was Laundrygo. Since then, I have found even greater enjoyment in drawing solid logotypes with strong and well-constructed form.
― Q4: In the Chilsung Cider rebranding, the logo expression changed from Cider to CIDER. Could you explain the reason behind this shift in letter case?
Through this renewal, we wanted Chilsung to be perceived not just as letters, but as an image. To emphasize the solid logotype formed by the combination of seven stars, we intentionally reduced the visual weight of CIDER. Instead of lowercase letters, which can create uneven upper spacing, we chose uppercase letters with more stable spatial values, and we also reduced their size.
Image Source: Chilsung Cider – Lotte Chilsung Beverage
Leader of Design Strategy Team - Hyundai Department Store, Park Irang
― Q1: It seems that confidence in design work has a significant impact on the level of completion of the outcome. When moments come where your belief in yourself wavers or you lose confidence, how do you recover and move forward again?
It now feels almost like a distant memory, but I remember that it took quite a long time for the thought—“I can always choose not to live as a designer or artist, and even if I do something else, I am still myself, and my value does not change”—to firmly settle in my mind. Of course, the concept of professional self-esteem exists and is important, but I believe that separating these two concepts—professional self-esteem and personal value—greatly increases resilience when working.
― Q2: Your journey—from working as an agency designer, to running an independent studio, and then joining an in-house team again—is very striking. At each turning point, what gains and losses did you consider, and what ultimately led you to your decision?
Not long after graduating from my undergraduate program, I began running an independent studio. While this allowed me to learn an enormous amount as a founder and business operator, it also meant that management demanded much more of my energy, leaving me with less time to focus on actual design work—which felt regrettable given my level of experience at the time. In addition, although I was able to meet clients from a wide range of fields, there were limited opportunities to collaborate with designers and artists across diverse genres. At that time, social networks were not as easily accessible on an individual level as they are now, and these factors felt like obstacles to my growth.
― Q3: The process of establishing and expanding Hyundai Department Store’s branding is very compelling, and I am looking forward to seeing the visual outcomes to come. I am curious about the purpose and history behind the development of Happiness Sans that you shared during your talk.
Happiness Sans began as a project much like other corporate typefaces, driven by the need for a font suitable for both online and offline use in line with the times. In particular, there was an urgent need for a dedicated typeface for online use, as none had previously existed.
What is distinctive is the direction of the project: for the title font, we aimed for a distinctive and differentiated form that conveys the brand’s impression, while for the body text font, we focused on practicality, such as readability. We also considered the act of creating the font itself to be an important brand event, and sought to make the first encounter with Happiness Sans—its introduction and the paths through which it is experienced—feel distinctly like Hyundai Department Store. If you watch the introduction video and see the graphics for Happiness Sans, you will likely find yourself smiling without even realizing it.
Image Source: thehyundaifont.com
― Q4: As you mentioned in your talk, Hyundai Department Store seems to have made several important decisions over time based on the legacy it has built over many years. Given the nature of a large organization, it does not seem easy to consistently persuade others from a design perspective. If there are any cases where you successfully articulated a design direction or mobilized the organization, I would like to hear about them.
As is always the case, persuasion—both large and small—is essential in every project. Above all, I believe it is important to build mutual trust within the company and among colleagues. When trust has been established, it becomes possible to engage in discussions at a much deeper level.
In the lingering afterglow of an intense on-site experience, we hope this article serves as a meaningful source of inspiration for continuing the thoughts and questions left behind by [Saisiot 2025]. We look forward to meeting you again at Saisiot 2026, with another story to share.