Interview with Jiwon Jung

From a young age, I was fascinated by the aesthetics and mechanisms of objects that move—cars, bicycles, trains. What began as a personal curiosity evolved into a design philosophy centered on movement and communication. My academic journey at Hongik University deepened this vision, allowing me to explore how visual design can translate brand values into meaningful experiences. Rather than a single turning point, it was a consistent drive to express ideas visually that led me to design.

My design priorities are consistency, clarity, and concept. I begin every project by defining the core narrative and aligning all visual elements to reinforce it. I favor a structured, system-based approach rooted in typography and grid systems. I frequently use various design tools from Adobe, along with Figma, depending on the phase and nature of the project., but I sketch by hand during early ideation. Regardless of medium, I strive to ensure that every design communicates a clear and cohesive story.

Design, to me, is not a personal act of expression, but a form of visual creation intended to satisfy and serve others—particularly clients or broader audiences. I consistently approach my work from a third-person perspective, striving to understand how the message will be received. When an idea forms and resonates during the concept stage, I feel a sense of excitement, and throughout the process, I maintain a mindset of objectivity. The true fulfillment comes when the finished design communicates clearly and meaningfully to its intended audience.

My long-standing interest in mobility and transportation has heavily shaped my approach to design. I’ve always viewed cars not just as machines but as cultural artifacts filled with symbolic and functional layers. This perspective has driven me to explore how design can enhance user experience and brand communication in everyday interactions. My editorial and writing experience also taught me to structure narratives, a skill I apply to both content and visual storytelling. Furthermore, I gained practical industry experience as a design intern at Telechips, a global automotive semiconductor company. During my time there, I worked on corporate identity guidelines, internal and external brand communication, exhibition visuals, and ESG-related promotional materials. This experience deepened my understanding of how design functions in a B2B technology-driven environment, and it strengthened my ability to deliver design that balances technical clarity with brand narrative.

My vision is to become a brand marketing designer at a global automotive company. I aspire to lead branding projects that not only highlight design excellence but also connect deeply with cultural narratives and consumer values. Rather than focusing solely on design output, I want to contribute to the strategic direction of brand communication, where mobility meets meaning, and where design becomes the language of progress.

Be curious, not just about design, but about people, systems, and the world around you. Early on, I often doubted my instincts, but I learned that good design starts with trust in your perspective. Also, collaboration is essential—surround yourself with diverse thinkers. And finally, always reflect on why you’re designing. Purpose will sustain you when inspiration feels distant.

Maintain a flexible mindset. Many designers fixate on style, but true impact comes from clarity and relevance. Constantly refine your ability to listen—to users, to context, to the material. Don’t be afraid to revisit fundamentals. Also, think in systems: design is never isolated. Every visual decision affects perception and behavior.

I start my day with coffee and short design readings, often followed by English study. As someone aiming to grow as a global designer, I view language as a bridge to broader stages. Mornings are reserved for conceptual or writing tasks, while afternoons are for execution—designing, prototyping, refining. In the evenings, I typically hold meetings or collaborative sessions. When I feel mentally saturated, I sketch ideas offline. Small routines, like listening to instrumental music and organizing color swatches, help keep me in rhythm.. My mornings are dedicated to concept work or writing, while afternoons are for execution—designing, prototyping, refining. Evenings often include meetings or collaborative work. I take time to sketch ideas offline when I feel mentally saturated. Small rituals, like music and color sorting, help me stay in rhythm.

I stay updated through design publications, exhibitions, and forums. While trends offer valuable insight into cultural shifts, I don’t follow them blindly. My goal is to interpret trends through my own lens and values. I believe timeless design comes from understanding context rather than mimicking styles.

Good design balances purpose, clarity, and emotion. When form and function work in harmony to communicate a message effortlessly, that’s when it’s successful. I know a project is well-designed when users intuitively understand it without explanation. I avoid design that prioritizes novelty over meaning.

A design is ready when it solves the problem without excess. While perfection is elusive, there comes a moment when additional changes no longer add value. I rely on feedback loops—asking both peers and non-designers. Completion, to me, is when the intent is clear and consistent across all elements.

One of my most meaningful projects was the rebranding of Berklee College of Music, which earned the Red Dot Award. It allowed me to reinterpret a historic brand with a contemporary lens while respecting its legacy. The process involved deep research, visual systems thinking, and user-centric design. It reflected my ability to balance heritage with innovation—something I aspire to in all future projects.

I most admire Sungwon Jee, Executive Vice President and Head of Global Brand & Marketing at Hyundai Motor Company. He is a role model for me not only as a designer but as a visionary brand leader. His marketing approach broke the conventional, conservative mold of traditional car manufacturers, using heritage storytelling to reflect on the past and reshape the brand’s future. He has played a key role in realizing Hyundai’s brand vision of 'Progress for Humanity,' positioning the company not just as an automaker, but as a cultural and emotional leader.. His work embodies quiet depth and clarity, reminding us that design is not decoration, but communication.

I live in Seoul, a city full of contrast—fast yet rooted, modern yet layered with tradition. My lifestyle is minimal, but I’m deeply inspired by urban mobility, signage systems, and daily rituals. Music plays a vital role in my creative rhythm, especially instrumental pieces. I believe culture is not a backdrop, but a co-author of design.

I work best when there’s mutual respect, open communication, and shared vision. Whether solo or in teams, I prioritize clarity in both process and outcomes. I believe a designer must also be a strategist, researcher, and storyteller. I seek collaborators who are thoughtful, adaptive, and curious—people who view design as a means of dialogue, not just expression.

Rather than traditional design volunteering, I’ve contributed in a more extended way through Kia’s 'Youth English Mentoring' program at Autoland. For nearly a year, I taught English to elementary and middle school students from low-income families as part of Kia’s CSR initiative. This experience allowed me to expand my role beyond design and reflect on how I can serve the community more holistically. I completed over 100 hours of mentoring and was honored with a factory director’s award for excellence. I hope that through such activities, I can contribute to a positive and human-centered image of automotive companies for future generations.. I also contribute to public interest design projects that support mobility access and social inclusion. I believe design has a role in shaping equitable systems—not just products—and I hope to do more interdisciplinary, community-centered work.

Participating in the A' Design Award has helped me reach an international audience and gain validation from an esteemed jury. It provided a platform to share my design values globally and opened opportunities for collaboration. The experience reinforced my belief that thoughtful design, regardless of medium, can resonate widely and meaningfully.

I am currently studying in the Master’s Program in Visual Communication Design at Hongik University, a leading institution for design in South Korea. The program combines academic theory and practical design through research-based projects. At Hongik, I focus on branding, publication, and packaging, exploring how intangible values can be structured into visual systems that are both emotive and functional.

Design is 'My personal sketchbook'—an extension of my imagination and curiosity. It allows me to translate what I love into structured, visual forms. Especially in the field of mobility, design connects emotion with system, and movement with identity. It’s not just about making something look good; it’s about connecting people, brands, and environments in ways that are deeply human and intuitive.

I gravitate toward designs that are minimal yet conceptually rich—works that balance beauty with clarity. I especially admire brand systems that are both strategic and emotional, with elements that seem simple but carry a strong narrative. I’m drawn to designs that make the invisible—like philosophy or intent—visibly tangible.

My favorite kind of design is one that speaks clearly even to non-designers. A great design doesn’t require explanation—it intuitively communicates intent and emotion. For instance, a well-designed automotive grille or logo instantly conveys brand personality. These kinds of user-oriented, message-driven designs resonate with me the most.

As part of my graduate work, I led a local branding project for a historical neighborhood in Seoul. I developed a visual identity system inspired by cliffside housing structures, stone quarry history, and the community’s layered architecture. It became a turning point in my understanding of how place, time, and visual design intersect.

I deeply appreciate the tactile nature of printed matter—materials like transparent films, textured papers, and modular bindings. I also enjoy experimenting with analog-digital hybrid experiences, especially in packaging and editorial design. Tools like Figma and InDesign help bridge my structural planning with expressive outcomes.

I feel most creative when I’m observing urban environments or transportation systems. Noticing how people move through space, how objects interact with users, or how signage creates rhythm in a city—these moments ignite ideas. I translate these experiences into abstract visual structures in my design work.

I always ask, “Why should this be designed this way?” I focus on aligning user needs, emotional resonance, and brand intent. I aim for designs that function well while telling a story. My goal is to design systems that make users feel understood—not just impressed.

I experience a mix of excitement and tension. The early concept phase is exhilarating; it’s like solving a mystery. The development phase brings a sort of focused calm as ideas become real. It’s an emotional journey that balances logic with intuition.

Seeing my designs come to life—on a product, a package, or in a space—is deeply fulfilling. It’s even more rewarding when users engage with the design naturally, without explanation. That’s when I feel that the communication has truly succeeded.

A design is successful when it bridges users, brands, and context seamlessly. It should work functionally, communicate meaningfully, and evoke the intended emotion. When logic and feeling align in a design, it creates impact.

The first thing I assess is clarity of intent. Does it communicate what it needs to? Then I look at the structure—how the design supports usage or interaction. Aesthetic value is important, but never more than purpose and meaning.

Designers shape how people perceive the world. We must use that power responsibly by making issues visible, simplifying complex messages, and creating systems that are inclusive and sustainable. Visual communication can lead social change if done thoughtfully.

Design is no longer just visual—it’s strategic, systemic, and experiential. It is becoming increasingly integrated with business, technology, and emotion. I believe future designers will need to be both philosophers and engineers—people who craft meaning as much as they do form.

My most recent exhibition was at Hongik University, where I presented a local branding project for Changsin-dong—a neighborhood known for its cliffs and stone heritage. In the future, I hope to exhibit work that introduces Korean street food culture and mobility experiences to global audiences.

My inspiration comes from observing how people move, how cities breathe, and how everyday objects silently structure our lives. I pay close attention to visual rhythms in mobility—like the alignment of subway tiles or the pacing of street signage. Creativity, to me, is not about sudden flashes but constant sensory intake. I document what I see, sketch what I feel, and analyze how emotion and structure intersect. These layers form the foundation of my creative process.

My design style is emotionally restrained yet structurally precise. I favor systems that are readable, layered, and narratively driven. My focus is on building visual frameworks that allow brands or content to speak clearly. This style evolved from my interest in how movement and information interact—especially in mobility branding. I believe that good design should feel inevitable, like it couldn't have been done any other way.

I live in Seoul, South Korea—a city of high contrasts and layered time. The coexistence of hypermodern buildings with traditional markets, or dense signage with quiet courtyards, constantly informs my visual thinking. Korean design sensibilities—like the balance of emotional nuance and spatial clarity—deeply influence my work. I often incorporate Korean typographic rhythm, color philosophy, and modular structures into branding and packaging.

Previously, I worked as an in-house designer at Telechips, a global automotive semiconductor company. I developed CI guidelines, brand identity systems, product portfolio visuals, exhibition assets, and ESG campaigns. My role was to transform a highly technical brand into one with emotional accessibility. I collaborated across departments to ensure that the design wasn't just visual—but also strategic, cultural, and scalable.

A good designer is not only a good maker but also a good listener and translator. I would advise companies to look for designers who ask thoughtful questions before offering visual solutions. Designers should understand your purpose better than you do—and then express it better than you imagined. Look for those who treat your brand like a living system, not a logo project.

My design process begins with immersion—deep research into context, audience, and narrative. Then I extract keywords and structure them into a visual framework. After that comes exploration, prototyping, and refinement. Whether designing a poster or a brand system, I prioritize logic and flow. Each phase is an act of translation: from insight to structure, and from structure to emotion.

1. A vintage car emblem collection—each piece tells a story in curves and chrome.
2. A transparent file folder system—functional and elegant.
3. A grid-based notebook—where I sketch modular layouts.
4. A compact Korean calligraphy set—reminds me of structure within fluidity.
5. A handcrafted folding fan—its form and function reflect perfect restraint.

My day begins with quiet observation—during a walk or commute, I take note of patterns and ideas. Mornings are for writing and research; afternoons for active design work. Evenings often include critique sessions or portfolio revisions. I end the day by archiving sketches and capturing thoughts for the next cycle. Every day is an act of collecting, structuring, and reflecting.

“Don’t design to impress—design to connect.”
Your job isn’t to show how good you are. It’s to understand deeply, structure clearly, and express precisely. Learn to ask the right questions. The more you listen to the world around you, the more timeless your work becomes.

The best part is the ability to structure invisible things—like meaning, rhythm, and values—into visible outcomes. The challenge is that you never truly switch off; everything you see becomes a prompt. It can be creatively exhausting, but also incredibly rewarding to see your design become part of everyday life.

“Emotion should feel effortless; structure should be invisible.”
When people say, “That just feels right,” it’s often because the design is emotionally resonant and structurally flawless. I always aim to build designs that make sense intuitively but are underpinned by rigorous logic.

The ability to interpret context. Whether designing for a tech startup or a bakery, you must understand the emotional and functional landscape—and tailor your solutions accordingly. That sensitivity to context is more important than any software skill.

I use Adobe Creative Suite (especially Illustrator and InDesign), Figma, and Notion for organizing thoughts. I also sketch by hand constantly. My inspiration sources include archived Korean design, industrial branding, and urban signage. I collect, layer, and restructure data—visually and verbally—into story-driven frameworks.

I block my time by type of mental energy. Conceptual thinking happens in the morning. Structural work is done in the afternoon. Reviews and edits come at night. I also document progress daily to track momentum and clarity. Design is a marathon, so pace and rhythm matter.

For smaller packaging: 1–2 weeks. For branding systems: 3–5 weeks. For research-heavy, narrative-based branding: up to 2 months. Each phase—research, ideation, prototyping, refinement—is tightly integrated. I value depth and alignment over speed alone.

“Why did you design it like this?”
It’s a question I love, because it invites me to explain the logic behind every choice. If I can’t explain it simply, it means the design isn’t finished.

Working at Telechips on a brand refresh that required strategic vision, internal coordination, and emotional clarity. It taught me how to turn technical complexity into accessible visual systems—and how to lead design with empathy and structure.

I’ve worked with tech companies, cultural institutions, and small startups. My clients all share a desire to transform identity into experience. They come to me when they want branding that not only looks good but feels deeply aligned with who they are.

I love brand and packaging design—especially when they come together. Packaging is where structure meets touch; branding is where emotion meets system. Both are tactile, strategic, and storytelling-driven, which suits how I think and work.

I plan to expand my current work on Korean food culture and mobility branding into global projects. Long-term, my dream is to join a global automotive brand as an in-house brand designer, where I can shape how people emotionally experience technology and movement.

I often work independently on concept and structure. For specialized tasks—like illustration or motion—I collaborate with external creatives. But I always lead the visual logic, emotional tone, and storytelling flow. I consider myself a solo architect who welcomes thoughtful builders.

Yes, my project FOOGO, which reimagines Korean soul food as a global packaging experience.
It uses food truck forms as cultural metaphors and applies narrative branding to make K-food accessible worldwide. It’s more than packaging; it’s cultural storytelling in 3D.

I can be contacted through the A’ Design Award messaging system, or through my official online portfolio, which highlights my approach and past work. I welcome collaboration with brands that want to express their soul—not just their surface.

Design is not about making things pretty—it’s about making things feel purposeful. I want to continue creating brand systems that bridge logic and emotion, movement and meaning. One day, I hope to design for an automotive brand whose identity I help bring to life.