Different

One who might expect artfully composed calligraphic strokes, scattered black ink, and representations of Yin and Yang philosophy might be disappointed when confronted with contemporary Korean graphic design. Although there are those who still produce such work, like any other country’s design scene, the contemporary design landscape in Korea is composed of a multitude of rich contexts, from the traditional to fresh, local to international, kitsch to high-end, and commercial to cultural. In addition to one of the youngest alphabets in the world—‘Hangul’, designed about 550 years ago—young Korean designers are very eager to explore and employ the symbols and Latin alphabet of western cultures. These contrasting influences make it difficult to define Korean graphic design, as it is very much a mixture of a diverse set of cultural influences, languages, and symbols.

Within this very unique situation, Korean graphic design is charting a course toward the future through pioneering designers’ experimental approaches to projects. These approaches include research into visual expression through exploration of alternative production processes, experimentation of diverse forms and expressions of Hangul letters, imaginative and unconventional composition, and intellectual exploration through deconstruction and reconstruction of context. Just as the design language of previous decades differs from the language of today, so too will it be with the design language a decade from now. While some might attribute this merely to changes in trend and taste, I believe that the fuel of this change lies in contemporary designers’ vigorous challenge of the conventional grammar originating from both Western and Asian visual culture. 

One can argue that the poster is considered to be an old-fashioned medium, similar to the portfolio or business card. However, because posters, particularly for cultural events, still command a strong public identity, several contemporary designers have begun to adopt the format as a playground for their adventurous visual experiments. Compelling examples of this approach can be found in the work of three highly active Korean designer/teams: Park Kum-jun, Sulki & Min, and Park Woo-hyuk with Jin Dalle. Through their inquisitive approach they have begun to blur the boundaries between design and contemporary art. 

Park Kum-jun is the director of studio 601 Bisang, recipient of the Red Dot Award for ‘The Agency of The Year’ (2013). His work encompasses a playful approach utilizing a variety of objects from garbage to tools. Park Woo-hyuk and Jin Dalle produce under the name of TypePage. Woo-hyuk has studied in both Seoul and Basel, while Dalle studied fine art and graphic design in Seoul. By playing with a variety of techniques from constructional composition to free hand drawing, they are able to extend and expand the expressive qualities of Hangul typography. Sulki & Min is another design duo consisting of Choi Sung-min and Choi Sulki, both graduates of Yale University. Their work is based on a strong conceptual and intellectual approach, always imbued with a sense of dark humor. 

The juxtaposition of ambiguity and uniqueness seem to be the focus of the journey for many of these projects. However, the unifying element flowing throughout each of these, whether conscious or unconscious, is the search for a unique Korean design identity. So long as young designers are willing to question, reject, or embrace the influences around them, Korean graphic design will be continually redefined through the curiosity, adventurousness, and experimentation of young pioneering designers.