Jiwon Jung

Specialized in Packaging Design.

Jiwon Jung

About Jiwon Jung

Jiwon Jung is a visual communication designer based in Seoul and currently studying at Hongik University, known for its strength in art and design education. He is particularly interested in brand design and brand marketing, with a focus on visualizing the intangible values and identity of brands through coherent and structured brand narratives. His design philosophy emphasizes clarity, consistency, and communication. He is also deeply inspired by his lifelong interest in automobiles and mobility, which has become a creative source beyond simple curiosity. He integrates this passion into diverse visual outcomes, connecting branding with cultural, emotional, and experiential dimensions to create meaningful visual communication.

  • Winner of 2 A' Design Awards.
  • Specialized in Packaging Design.
  • Original Design.
  • Creative, Diligent and Innovative.
  • All Designs
  • Packaging
Pass Train Wish Gift Package

Pass Train Wish Gift Package

Packaging Design

Foogo Packaging Design

Foogo Packaging Design

Packaging Design

Good Design Deserves Great Recognition

Nominate Your Work for the A' Design Award.

Sign-Up

Interview with Jiwon Jung

Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
For over 20 years, I have held a deep fascination with cars and mobility—not just as machines, but as carriers of emotion, movement, and stories. This lifelong interest led me to discover design as the most natural language to express what I love. I became a designer to visually articulate the rhythm of motion, urban density, and brand identity. Ultimately, I aspire to become an in-house brand designer for a global automotive company, where I can translate the essence of mobility into a compelling visual language.
Can you tell us more about your company / design studio?
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.
What is "design" for you?
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.
What kinds of works do you like designing most?
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.
What is your most favorite design, could you please tell more about it?
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.
What was the first thing you designed for a company?
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.
What is your favorite material / platform / technology?
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.
When do you feel the most creative?
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.
Which aspects of a design do you focus more during designing?
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.
What kind of emotions do you feel when you design?
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.
What kind of emotions do you feel when your designs are realized?
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.
What makes a design successful?
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.
When judging a design as good or bad, which aspects do you consider first?
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.
From your point of view, what are the responsibilities of a designer for society and environment?
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.
How do you think the "design field" is evolving? What is the future of design?
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.
When was your last exhibition and where was it? And when do you want to hold your next exhibition?
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.
Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
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.
How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
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.
Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
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.
How do you work with companies?
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.
What are your suggestions to companies for working with a designer? How can companies select a good designer?
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.
Can you talk a little about your design process?
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.
What are 5 of your favorite design items at home?
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.
Can you describe a day in your life?
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.
Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
“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.
From your perspective, what would you say are some positives and negatives of being a designer?
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.
What is your "golden rule" in design?
“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.
What skills are most important for a designer?
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.
Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
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.
Designing can sometimes be a really time consuming task, how do you manage your time?
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.
How long does it take to design an object from beginning to end?
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.
What is the most frequently asked question to you, as a designer?
“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.
What was your most important job experience?
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.
Who are some of your clients?
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.
What type of design work do you enjoy the most and why?
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.
What are your future plans? What is next for you?
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.
Do you work as a team, or do you develop your designs yourself?
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.
Do you have any works-in-progress being designed that you would like to talk about?
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.
How can people contact you?
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.
Any other things you would like to cover that have not been covered in these questions?
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.

Stay Updated with Latest Design News

By clicking Sign-Up, you are opting to receive promotional emails from A' Design Awards, World Design Rankings, World Design Consortium and Designers.Org You can update your preferences or unsubscribe any time.

You are now at the right step

Join Designers.org & Start Promoting Your Design Worldwide.

Create an Account