How does a graphic designer at the advertising studio "STUDIOK110," known for its unique perspective, work?
Designer Minwoo Song doesn't think of himself as an exceptionally aesthetic designer. Instead, he persuades by presenting evidence.
We met with Minwoo Song, a graphic designer at "STUDIOK110," who prefers to find objective, conceptual sources rather than subjective ones,
and asked about the working methods of graphic designers in the advertising industry, their font usage, and design methodologies.

―Please introduce yourself, Minwoo.

Hello, I'm Minwoo Song, a graphic designer at the advertising agency "STUDIOK110." I work on various designs needed by brands, such as graphic assets for advertising videos, campaign posters, packaging, merchandise, outdoor ads, SNS content, and fonts, without distinguishing between fields. My main focus is on title lettering and typography.

―How did you start working as a graphic designer at STUDIOK110?

Actually, I graduated without having decided on a specific field to work in. I was interested in various design fields, particularly lettering, but I didn't know where I could work on lettering. When I heard that STUDIOK110 was hiring graphic designers who could work on lettering, I thought that this place would allow me to try various design fields, including lettering, so I joined.

―As a graphic designer in an advertising studio, what part of the industry do you find most attractive?

I feel that STUDIOK110's clients really enjoy new challenges. This makes it easier for me to propose new areas I've wanted to try, and sometimes I end up working on projects I hadn't even thought of. Also, the fast pace of the advertising industry allows me to experience various projects in a short period, which I find attractive.

―I think STUDIOK110 is one of the boldest studios in the advertising industry when it comes to using fonts. Is there a particular reason for that?

One of our co-directors, Director Jaewon Song, majored in design and graduated with a focus on font design. He has a deep affection for the font and lettering field. I believe he hired me to strengthen the company's capabilities in this area. I think his preferences naturally manifest in our projects.

―What role do you think fonts play in advertising?

I believe the catchphrase that sticks in people's minds is crucial in advertising. Depending on the font used for this catchphrase, the tone can change. So, I think of fonts as representing the brand's voice.

―I found it refreshing that an advertising studio planned its own fonts. I'm curious about how the "Miwon" project unfolded.

The campaign "Baram, Baram, MatBaram" for "Miwon" focused on featuring various food names in the video. Since the "Miwon" brand has consistently maintained the same form of both Chinese characters and Hangul from its early days, we saw this as a valuable part of the brand's heritage. So, we created a font based on the logotype and actively used it in the campaign.

―What role did the "Miwon Font" play in the Miwon project?

Initially, we intended to use it in our videos, but we decided to distribute the font because we wanted to convey the campaign message—"Miwon adds a savory flavor that complements any dish"—not just through the video but also through the medium of fonts.

―You won the iF Design Award 2023 in the Communication category with the "Miwon Font", not through an advertising project. Was there a special reason for submitting "Miwon Font" to the awards?

The reason is the same as why we created "Miwon Font" in the first place. It was also a way to publicly highlight that STUDIOK110 has strengths in design.

―As a graphic designer, creating a font for the first time couldn't have been easy.

I created the initial draft and around 200 seed characters for "Miwon Font," and then a collaborator generated the remaining characters. Before this, I had only worked on 10 to 20 characters at most, so creating 200 characters was a big challenge for me. Since I lacked a sense of schedule management, I spent days and nights creating fonts non-stop when delivering the seed characters to the collaborator.

• 
  STUDIOK110, Leedotype, Daesang

  MIWON FONT

  1 style·Serif

―I've always found STUDIOK110's approach to building the "Binggraeus" universe fun. Could you tell us how the follow-up campaign, "For BINGGRAE MAKER," was developed?

The "For BINGGRAE MAKER" project expanded on the existing "Binggraeus" IP by strengthening the narrative and extending the universe. I worked on the title lettering and design assets to visually solidify the universe. Although viewers might not catch every detail, I enjoyed embedding the brand and story into even the smallest elements.

―I noticed that "Sandoll Gawain" was used throughout the "For BINGGRAE MAKER" video. What was the process of selecting this as the project's main font?

"Sandoll Gawain" suited the fantasy mood of the Binggraeus universe due to its serif form. Its solid structure and wide range of family styles made it the most suitable font for the project. We used "Gawain" for all parts of the video that included text, such as subtitles, song titles, and character introductions.

―At the time, "Gawain" was a newly released font. STUDIOK110 seems to actively use unfamiliar fonts. Is there a background or reason for this usage?

We focus on whether a font's appearance fits the brand and content. So, we don't avoid using fonts simply because they're unfamiliar. STUDIOK110 also has a deep affection for fonts and lettering. Moreover, convincing clients isn't difficult, as most of them are open to new ideas and have an open mindset regarding fonts.

• 
  Sandoll

  Gawain

  5 styles·Display

―You worked on Hangul lettering that matches the style of the global brand font "Flame" for Burger King. Could you tell us more about that?

While working on the "Truffle Mushroom Whopper" campaign for Burger King, I was asked to create the best-fitting title design, regardless of the designated font. I had been impressed with Burger King's global brand renewal and its brand font "Flame," so I wanted to incorporate the style of "Flame" into the title work.

―Were there any particular concerns when working on Hangul lettering that matched Latin characters?

I thought "Flame" emphasized a shape that stimulates taste, so I paid close attention to creating thick strokes that conveyed a sense of fullness during the Hangul localization process. Specifically, I considered how to incorporate "Flame's" unique characteristics, which lie between serif and sans-serif, into Hangul.

―Let's move on to the "Saero" Soju project. I found the diverse ways you incorporated Korean elements, such as characters, New Year goods, and traditional hanbok, very interesting.

"Saero" is a brand that has been working with STUDIOK110 since its launch. The client wanted to use many Korean elements in the image of "Saero" Soju. I was responsible for title lettering, graphic assets for the video, posters, and merchandise design.

―What key points did you emphasize when working on the title lettering for "Saero" Soju?

The title of "Saero" started with the concept of Munjado (a type of decorative script). That was decided early in the planning process. If you look at Munjado, it uses a surprisingly diverse range of Chinese characters. I chose curved Munjado characters that best matched the "Saerogumi" character, the brand ambassador for "Saero." I focused on how to convey the appearance of the 'Saerogumi' character’s tail full of moisture when writing the letters.

―I noticed that you used "Sandoll Weolin" and "Sandoll LateSpring" as sub-fonts.

"Sandoll Weolin" was chosen because its structure is similar to "Saero" Soju’s logotype, and it gives off a traditional Korean vibe. "Sandoll LateSpring" was selected as a sub-font because its appearance conveys a sense of moisture, which aligns with the fresh and soft impression of "Saero" Soju.

• 
  Sandoll

  Weolin

  1 style·Script
• 
  Sandoll

  LateSpring

  4 styles·Serif

―Before deciding on your career path, you mentioned that you were most interested in lettering design. Was there a particular reason for this interest?

During high school, I was in a band and came across a lot of work by Kijo Kim. Although I hadvertising terrible handwriting, I found the process of spending countless efforts and time on creating a single letter during a typography class in my second year of college fascinating. That experience made me continue working on lettering.

―What do you consider most important in lettering work?

I believe readability is the most important factor. While intentionally reducing readability can be effective, if the goal is to convey a "message," there’s nothing more crucial than readability. Additionally, I think it's important to ensure that the lettering fits the brand and content and that it doesn’t simply mimic existing forms.

―What is your process for working?

I usually start by digging into fonts that can serve as references. If I have a particular impression in mind, I select fonts with the appropriate structure and thickness. I also select fonts that match the intended decorative elements or standout points. If the impression created by combining these two aspects is similar to my intention, I use it as a reference.

―Do you have your own design methodology?

I don't consider myself a designer with exceptional aesthetic sense. So, I try to have a reason for every design decision. Instead of providing multiple options for the client to choose from, I believe it's better for both me and the client to produce work that’s convincing and that they can accept.

―How do you ensure that your work is convincing?

I study the assets that the brand of the project has. Since visual judgments are subjective, I try to gather objective conceptual sources rather than subjective ones. After analyzing the asset, I define the most appropriate design direction.

―How do you gather conceptual sources?

I mostly collect materials through desk research. First, I review the project's resources and the brand's official materials. I also examine how the brand has historically created advertisements in terms of messaging and visuals. Through communities and blogs, I can gauge consumer evaluations and the brand's image. For the "Saero" project, while working on lettering or design assets, I even looked into various museum catalogs, artifacts, and related papers to ensure formal beauty and historical accuracy.

―Is there a reason why you started using this methodology?

At STUDIOK110, even the smallest, seemingly insignificant details are imbued with the brand's characteristics or given a message. I've also found that clients are more satisfied when I provide one or two thoroughly explained concepts, rather than sending multiple drafts without clear intent behind them.

―Are there any points to be mindful of when applying your methodology?

It's essential to regularly check if using the same methodology across various projects is causing you to become stuck in a rut. When a particular approach works effectively once, it’s easy to view it as a "right answer" and apply it to other projects. While this may be a quick and easy method in the short term, in the long run, it can limit your opportunity to develop diverse skills as a designer. Especially as a designer in an advertising studio working on various client projects, it's important to explore different methodologies, as each brand may require unique solutions.

―What kind of designer do you aspire to be, or what path do you wish to take as 'Designer Minwoo Song'?

Rather than having a specific direction in mind, I hope not to lose the interest and enjoyment I currently find in my work.

―Lastly, could you recommend some fonts that are good for use in advertising project titles?

I recommend "Sandoll Tapi," "SD Greta Sans," "Hahmlet," "Sandoll GodeunBuri," and "SD Petra." These fonts have high visibility and quality, making them suitable for a wide range of advertising titles across different genres.

• 
  Sandoll

  Tapi

  3 styles·Display
• 
  Sandoll

  Greta Sans

  20 styles·Sans
• 
  Minjoo Ham

  Hahmlet

  10 styles·Serif
• 
  Sandoll

  Petra

  2 styles·Display