Beyond the screen, I have spent years working with my hands. In 2010, I built a small silkscreen printing workshop and began exploring different printing techniques. Calligraphy became a foundation for much of that work. I created large-format prints, built custom tools to shape letters by hand, and pushed typography beyond the flat surface of the page. What mattered was not only the final form, but the physical act of making.
That search gradually moved into materials and space. Over the years, I have worked with CNC machines, wood, concrete, and ceramics to turn letters into three-dimensional objects. I like the tension between precision and imperfection — between structure and gesture. Alongside these larger pieces, I also carve manually into rubber, wax, and wood, producing lettering, illustrations, and engraved forms that carry the trace of the hand.
Typography also led me toward building tools for others. I launched a platform called TypeAround to help Korean type foundries and independent designers create online stores and interactive spaces to showcase and test their typefaces. More than sixteen studios joined the platform, and it continues to grow through new features, collaborations, and contributions from independent designers.
Outside of design, I approach cooking with the same curiosity. I enjoy studying techniques from French, Italian, Korean, and Indian cuisine, understanding the principles behind flavor, texture, and balance. Much like design, cooking becomes a process of experimentation — breaking things apart to understand why they work, then rebuilding them into something clear and personal.
I have also spent many years immersed in role-playing games such as Warhammer and Dungeons & Dragons. Worldbuilding, systems, and storytelling shaped the way I think long before I worked in design professionally. That practice taught me how environments create emotion, how rules shape behavior, and how narratives give meaning to interaction. Much of my design work today still grows from those foundations.
