Seoul-based graphic designer Hezin O has a portfolio chock full of different projects from identities and posters to publications and business cards. “It’s still difficult to explain my style,” says Hezin. “I try to make choices that fit with me as a designer but also try things I’ve not attempted before, however small.”
Her work has pleasing colour palettes and crisp illustrations and graphics that sit alongside an array of sans serif typography that’s set in both English and Korean. Stand-out projects include a series of Riso-printed pamphlets for exhibitions and galleries, an identity for a community arts centre and Hezin’s own business card which is scattered with emojis.
As well as personal work, the designer’s portfolio also has lots of commissioned projects, and Hezin enjoys the challenge of working with a client. “When I’m doing a commercial project, I’m interested in finding and visualising clues the client throws at me in the first meeting. I don’t feel comfortable when the client says: ‘do whatever you want’,” she says. “I love to know their ideas about the project, but I don’t take them all on board, I leave what I don’t need and then find the direction of the work. They know my work and like my style, so I just focus on how to conceptualise the project.”
Hezin’s work is considered and well-executed, and avoids over-designing her projects, simply focusing on strong composition instead. “Even if it is a small flyer, I try to always care about the small details, because such things gather to create the scenery of the project,” she explains. “I believe that it’s a good result if a work can convey that awareness of those finer attributes.”
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