Selected roles, projects, teaching, exhibitions, publications, and education. Filter by company, category, or search across all bullets.
table
102 bullets
| where | when | what | how |
|---|---|---|---|
Roles7 ▼ | |||
| m-a-r-v-i-n studio | June 2015 – Present | Creative Director / Owner | Independent design practice. Client work in print, motion, and digital. Exploring real-time distortion and manipulation of letterforms and pictorial space in Unreal Engine 5 and TouchDesigner, presented at TU Delft and represented in the Korean Society of Typography’s Exhibition 19, Gridshift. |
| IonQ | May 2023 – May 2025 | Creative Director (Remote) | Sole creative director, working closely with Director of Product Marketing Trevor Chaloux and project manager Britt Tayrien. No other designer on staff. Owned the brand end-to-end, from strategy and guidelines through execution across every touchpoint. |
| Verizon | June 2019 – June 2022 | Senior Designer → Associate Creative Director, 2D Retail and Experiential | 5G campaign retail lead at 140, Verizon’s internal agency, one of three creative leads under Senior Creative Director Derek Love. Led a small team across creative for 5G campaigns, new store concepts, and retail innovation in Verizon’s 6,800+ retail locations, from concept through executive review, with final proposals prototyped in a mock-up store at HQ. |
| Herman Miller | May 2017 – June 2019 | Global Brand Designer | Global Brand Designer on the Global Brand Team under Emily C.M. Anderson, working across the Herman Miller Group portfolio, primarily Herman Miller and Geiger, with some group-level projects. The team was responsible for brand standards, exhibitions, and design documentation across all touchpoints: digital, print, and environments. |
| Diller Scofidio + Renfro | 2016 – 2017 | Designer | Designer on the five-person business development team under Jhaelen Hernandez-Eli, working directly with Liz Diller. Responsible for the design of competition materials, one-off portfolio books, RFQ and RFP submissions. |
| MoMA | 2015 – 2016 | Freelance Designer | Freelance designer within MoMA’s in-house design studio under Ingrid Chou. |
| Pratt Institute | 2015 – 2016 | Freelance Designer | Freelance designer in Pratt’s in-house design team under Mats Hakansson. |
Projects72 ▼ | |||
| m-a-r-v-i-n studio | June 2015 – Present | DFFPM — Architecture Studio Rebrand | Rebranded architecture studio Differential Permanence as DFFPM: proposed the new name, designed the logo, set typographic guidelines, and produced initial brand executions. |
| m-a-r-v-i-n studio | June 2015 – Present | DFFPM — Architecture Studio Rebrand | A new architecture studio in Seoul was looking to improve their brand positioning. Rebranded the studio as DFFPM: proposed the new name, designed the logo, set typographic guidelines, and produced initial brand executions. |
| m-a-r-v-i-n studio | June 2015 – Present | Real-Time Prototypes — Unreal Engine 5 + TouchDesigner | Prototyping real-time typographic installations in Unreal Engine 5 and TouchDesigner. Presented Controlled Instability at TU Delft (2026); exhibited in the Korean Society of Typography’s Gridshift (Exhibition 19), Seoul (2025). |
| m-a-r-v-i-n studio | June 2015 – Present | Real-Time Prototypes — Unreal Engine 5 + TouchDesigner | Prototyping responsive installations in Unreal Engine 5 and TouchDesigner where typographic form reacts to human presence, gesture, and MIDI input. Formalized as Controlled Instability, presented at TU Delft’s Vision & Depiction Conference (February 2026). |
| m-a-r-v-i-n studio | June 2015 – Present | Real-Time Prototypes — Unreal Engine 5 + TouchDesigner | Exhibited in the Korean Society of Typography’s Exhibition 19, Gridshift, Seoul (October 2025). |
| m-a-r-v-i-n studio | June 2015 – Present | Real-Time Prototypes — Unreal Engine 5 + TouchDesigner | A research practice in real-time, parameter-driven design: letterforms and pictorial space react to presence, gesture, and analog input. The toolkit spans Unreal Engine 5, TouchDesigner, MediaPipe hand tracking, OSC, and MIDI controllers. The premise is analog input as design material: a typographic system’s parameters driven by physical interaction, not fixed values. Presented as Controlled Instability: Graphic Design as Embodied Interaction in Real-Time Systems, at TU Delft’s Vision & Depiction Conference, February 2026. Instability as a design decision, not a failure mode. Current prototypes: handwritten 3D letterforms and a camera responding in real time to music by Joyul. |
| m-a-r-v-i-n studio | June 2015 – Present | Tools | Career and task history treated as an accumulating process I can read back and re-project, not static output to maintain. Kept local-first and legible in markdown files across m-a-r-v-i-n.com, Jullie, and Until. |
| m-a-r-v-i-n studio | June 2015 – Present | Tools | Career and task history is a process, not a pile of files: data that accumulates, gets acted on, and read back to understand the work, and myself, over time. One canonical source, re-projected on demand, so resumes, the portfolio, and the schedule are readouts rather than separate things to maintain. Kept local-first and legible, each layer doing one traceable job: m-a-r-v-i-n.com, a portfolio catalogue where a vision model sorts images into a taxonomy I filter; Jullie, which builds tailored resumes from a single plain-text source; Until, a tracker for deadlines and open threads. |
| m-a-r-v-i-n studio | June 2015 – Present | Tillotson Design Associates — Announcement Card | Designed a boutique announcement card for lighting firm Tillotson Design Associates, using two types of foil printing to create a reflective dotted pattern that showed two fields interacting based on the angle of the card. |
| m-a-r-v-i-n studio | June 2015 – Present | OPPO Mobile World Congress 2023 — Keynote | Presentation design and motion for OPPO’s 2023 Mobile World Congress keynote. |
| m-a-r-v-i-n studio | June 2015 – Present | OPPO Mobile World Congress 2023 — Keynote | Presentation moments and motion graphics (Keynote, After Effects) for OPPO’s 2023 Mobile World Congress keynote. |
| m-a-r-v-i-n studio | June 2015 – Present | OPPO Mobile World Congress 2023 — Keynote | Freelance Creative Director for OPPO’s 2023 Mobile World Congress Inspire to Believe keynote in Barcelona. Designed every presentation moment and the motion graphics in Keynote and After Effects; some visuals drawn from existing product campaigns. The keynote covered the Find N2 Flip, connectivity and IoT, and R&D in chip technology, AR, and fast charging. Delivered by Billy Zhang, VP and President of Overseas Sales and Service. |
| m-a-r-v-i-n studio | June 2015 – Present | Hagahi — Korean Fashion Brand (2015–2020) | Multi-year creative collaboration with Korean fashion designer Gahee Ha: identities, catalogues, photoshoots, and an unconventional e-commerce site. |
| m-a-r-v-i-n studio | June 2015 – Present | Hagahi — Korean Fashion Brand (2015–2020) | Sustained creative collaboration with Korean fashion designer Gahee Ha and her boutique Hagahi: art directed photoshoots, designed catalogues, created a sub-brand logo, proposed rebranding Hagahi to Gahi, designed a website using conversation bubbles and emoji as interface elements, and produced physical collateral including flags and tags. |
| m-a-r-v-i-n studio | June 2015 – Present | AWS re:Invent 2025 Keynote — Swami Sivasubramanian | Contributed data visualizations and technical diagrams to the AWS re:Invent keynote. |
| m-a-r-v-i-n studio | June 2015 – Present | AWS re:Invent 2025 Keynote — Swami Sivasubramanian | Contributed data visualizations, technical diagrams, and illustrative system diagrams to the AWS re:Invent keynote with Swami Sivasubramanian, through Article Group. |
| m-a-r-v-i-n studio | June 2015 – Present | AWS re:Invent 2025 Keynote — Swami Sivasubramanian | Through Article Group, contributed to the AWS re:Invent keynote for Swami Sivasubramanian. Worked across the full deck, concentrated on data visualization and technical diagrams: tech simplifications, flows, and abstract philosophies. Live audience over 10,000; 4.6M+ YouTube views. |
| IonQ | May 2023 – May 2025 | Brand & Marketing Asset Design and Production | IonQ’s sole designer, producing the company’s full brand output across events, web, decks, social, print, partner lockups, and merchandise, while extending the brand system to keep pace. |
| IonQ | May 2023 – May 2025 | Brand & Marketing Asset Design and Production | IonQ’s sole designer, producing the company’s full brand output across every surface: event banners and signage, social, sales and webinar decks, partner and co-brand lockups, international one-pagers and business cards (Japan, Korea), email templates, certificates, merchandise, print panels, and an ongoing run of web pages (Forte, Technology, homepage, event and webinar pages). |
| IonQ | May 2023 – May 2025 | Brand & Marketing Asset Design and Production | Directed illustrators on new editorial and technology assets, ran heavy product and editorial image retouching, and continually extended the brand guidelines, logo modules, backdrops, and templates, so each round of production moved faster. |
| IonQ | May 2023 – May 2025 | Brand & Marketing Asset Design and Production | As IonQ’s only brand creative, the day-to-day was the entire brand output of a public quantum company, made by one person. Work arrived across every surface at once: event banners and signage, social posts, sales and webinar decks, partner and co-brand logo lockups, one-pagers and business cards for international markets (Japan, Korea), email templates, certificates, merchandise, print panels, and a steady run of web pages (the Forte and Technology pages, the homepage, webinar and event pages, mobile-responsive builds). Each touchpoint building the brand and expanding toolkits while the company moved fast. Heavy image work ran throughout, retouching product and team imagery and setting editorial image direction. Illustrators were directed on new assets. And the brand guidelines kept getting extended as new needs appeared, with logo modules, backdrops, templates, and guideline updates feeding back into the system so the next round moved faster. Underneath sat the operational glue, file handoffs, print and business-card processes, vendor coordination, that keeps a one-person function shippable at a public company’s volume. |
| IonQ | May 2023 – May 2025 | IonQ Merch | Creative for IonQ’s merchandise program (evergreen, event-specific, and one-off items including challenge coins). |
| IonQ | May 2023 – May 2025 | Events — SuperCompute 2023, Quantum Korea 2024 & 2025, Quantum World Congress | Designed booths across IonQ’s major events (SuperCompute, Quantum Korea, Quantum World Congress), leading full creative from stage to microsite for the flagship moments. |
| IonQ | May 2023 – May 2025 | Events — SuperCompute 2023, Quantum Korea 2024 & 2025, Quantum World Congress | Designed the booths and demos for IonQ’s major events (SuperCompute, Quantum Korea, Quantum World Congress), applying the brand’s core moves so the product spoke for itself on the show floor; for the flagship moments led the full creative: keynote design, product-reveal collateral, microsites, and post-event engagement. |
| IonQ | May 2023 – May 2025 | Events — SuperCompute 2023, Quantum Korea 2024 & 2025, Quantum World Congress | IonQ’s event presence spanned three annual moments: SuperCompute, Quantum Korea, and Quantum World Congress. The booths ran on the brand’s core moves, strong imagery, one typeface, one color, a strong brand statement that let the product speak on a crowded show floor. I designed the booths and demos for all three, and for the flagship moments led the full creative: microsites, stage and keynote design, product-reveal collateral, and post-event engagement. Quantum World Congress was the largest. I led the 2023 edition end to end: in a live-streamed keynote, IonQ released Forte Enterprise (a rack-mounted, data-center-ready quantum system) and new details of Tempo, its commercial-advantage system, with stage, slides, product renders, and collateral carrying both the technical milestones and the commercial positioning in one coherent visual language. Quantum Korea grew across two years. In 2024, IonQ showcased Forte Enterprise and collaborations with Hyundai Motors, Seoul National University, and Sungkyunkwan University. In 2025, it ran a quantum hackathon with Sungkyunkwan University. |
| IonQ | May 2023 – May 2025 | Making Quantum Legible | Art directed IonQ’s C-suite and board keynotes, translating quantum computing into business-facing visual narratives. |
| IonQ | May 2023 – May 2025 | Making Quantum Legible | Made IonQ’s technology legible to its highest-stakes audiences, art directing C-suite, board, and investor keynote presentations and translating quantum-computing terminology into business narratives, with product renders directed with a 3D designer. |
| IonQ | May 2023 – May 2025 | Making Quantum Legible | Built the data-visualization language underneath: #AQ benchmarks, roadmaps, error-correction overheads, and network architectures, communicated clearly so the product story stayed legible across investor presentations, partner marketing, and scientific narratives. |
| IonQ | May 2023 – May 2025 | Making Quantum Legible | IonQ’s highest-stakes communication (board presentations, investor decks, C-suite keynotes) meant translating quantum-computing terminology into business narratives. The technology resists explanation: abstract value propositions, unfamiliar metrics, a competitive landscape defined by benchmarks that don’t map onto business outcomes. The operative question was why it matters for a business, not that you don’t want to be left behind, which sells fear rather than value. Underneath the narratives ran a data-visualization language for technical content: #AQ benchmarks, roadmap timelines, error-correction overheads, quantum network architectures. Clear communication of the data, so the product story stayed legible across investor presentations, partner marketing, and scientific narratives. I art directed C-suite and board keynote presentations, including product renders directed with a 3D designer. The visual language carried the translation: making the abstract legible without dumbing it down, keeping the audience in understanding rather than intimidation. |
| IonQ | May 2023 – May 2025 | IonQ Brand Rebuild | Built IonQ’s brand from a logo-and-typeface sheet into a comprehensive toolkit: differentiating from IBM Quantum, simplifying the visual language, and enabling team self-service through Figma templates. |
| IonQ | May 2023 – May 2025 | IonQ Brand Rebuild | Built IonQ’s brand from a single page showing the logo and typeface into a comprehensive brand toolkit with a clear idea: let the tech speak for itself. To turn the brand into a canvas, the moves were: lead with imagery, cut the palette to orange, simplify the typography, make the grid scalable. |
| IonQ | May 2023 – May 2025 | IonQ Brand Rebuild | Scope ranged from logo lockups and event wallpapers to product chip retouching, illustration style definitions, and onboarding the marketing team to Figma for self-serve output. Decisions were documented incrementally as design work demanded them. |
| IonQ | May 2023 – May 2025 | IonQ Brand Rebuild | The brand was a single logo-and-typeface page: no usage guidelines, no color rationale, no type system, no photography standards, and a primary blue identical to IBM Quantum’s, the category leader. I built the system in parallel with the work it governed, documenting each decision as the work demanded it, so the toolkit grew from use. The principle was to let the technology speak for itself and have the brand function as a canvas for the technology story. Three moves carried it: strong images, one typeface and one weight, and a single brand color (orange, the brand’s original), and make the grid scalable. This made the brand instantly recognizable at events and on non-owned channels. From there it scaled to a wide surface: ID cards, partner, university, and city logo lockups, press-event wallpapers and background videos, office exterior paint, an illustration style systematized with an illustrator, product imaging including the retouch of IonQ’s chip into a primary event asset, and, later, a minimal design system for the website. |
| Verizon | June 2019 – June 2022 | New Store Concepts & 5G Flagship | A set of efforts to reimagine Verizon retail: the built Chicago 5G flagship and speculative store-format proposals (Discovery, Store of the Future). |
| Verizon | June 2019 – June 2022 | New Store Concepts & 5G Flagship | Verizon Retail 3.0, the art direction, service design, and digital product experience (Digital 3.0) for an open-brief reimagining of Verizon retail, alongside Pentagram (Daniel Weil, architecture): a complete walkthrough of the store’s digital experience, merchandising strategy, and art direction built out to VR, from brief to C-suite proposal. |
| Verizon | June 2019 – June 2022 | New Store Concepts & 5G Flagship | Verizon Retail 3.0 experience principles and interface patterns were adopted across the fleet and drove the consolidation of digital vendors. |
| Verizon | June 2019 – June 2022 | New Store Concepts & 5G Flagship | The Chicago 5G flagship, Verizon’s most tech-forward store, taken ground-up and wholly internal: journey mapping, on-device UI, motion graphics, environmental graphics, and the spatial narrative. Narrative with copywriter Michael Dougherty, music and sound design with Zelig and physical/digital infrastructure with Sparks. |
| Verizon | June 2019 – June 2022 | New Store Concepts & 5G Flagship | A multi-year effort to reimagine Verizon’s retail, from speculative store formats to a built flagship, each step building the credibility for the next. Discovery proposed a new retail format, a store built on a different relationship between customer, product, and space than Verizon’s existing retail. It didn’t land, but it established the team’s credibility at the format level and made the Store of the Future proposal possible a year later. Verizon CMO Diego Scotti wanted to reimagine retail; the brief was open: the best shopping experience. He brought in Daniel Weil at Pentagram for architecture. Our team, co-led with CD Jacqueline DiMaria Kaye under SCD Derek Love, owned the art direction and digital product experience, Digital 3.0. The work defined how a Verizon store should feel, from spatial flow to interface moments across every screen and touchpoint, built into image-heavy decks and tight text pages for C-level review, each round condensing up the chain. The final pitch proposed a test store to validate the concept. Verizon Consumer’s COO declined to fund the buildout. But the proposal’s elements, service design patterns, interface principles, and consolidating digital vendors so the retail digital layer could evolve coherently, were adopted across the fleet. Leadership turned over soon after and the approach was reshuffled. The Chicago 5G flagship was Verizon’s most tech-forward store to date, a ground-up build where every digital and spatial moment was conceived, designed, and produced in-house. A proposal Michael Dougherty (copy) and I wrote took the project wholly internal. We led 2D, motion, and experience design, and directed Zelig on sound, voice actors, and Sparks on physical interaction and fabrication. The scope: journey mapping, on-device UI, motion graphics, video, print panels, floor vinyl, environmental graphics, and the connecting narrative. The front of store ran as discrete “moments,” each a 5G use case with its own interaction, content, and spatial logic. The back was deliberately narrative-less: slow-motion footage, no text, no call to action, an approach later adopted across the fleet. It drew 33K visitors in its opening week. |
| Verizon | June 2019 – June 2022 | Video & Motion Content | Art directed and produced Verizon retail video and motion content, from OTT product spots (Disney+, YouTube TV, Stadia) to the recurring video needs of campaigns. |
| Verizon | June 2019 – June 2022 | Video & Motion Content | Art direction, editing, and motion design for Verizon’s in-store video and motion content: medium form content for campaign and experiential moments, OTT product spots for the in-store platform (Disney+, YouTube TV, Stadia) across years of changing offers, storyboarded, animated, and cleared through Verizon legal, plus the recurring video and asset needs of campaigns. |
| Verizon | June 2019 – June 2022 | Retail UI Systems — On-Device / Kiosk | Verizon’s retail UI, VUI, and design system, from template-based screens across every fixture to campaign-specific on-device and kiosk experiences across the fleet. |
| Verizon | June 2019 – June 2022 | Retail UI Systems — On-Device / Kiosk | One system so the retail digital layer could evolve coherently across a fragmented fleet: Verizon’s retail design system (Digital 3.0), template-based and campaign-specific UI spanning every screen size from tablets to large-format displays, extending to physical retail elements like type sizing and wayfinding, maintained and updated across the direct and indirect fleet. |
| Verizon | June 2019 – June 2022 | Retail UI Systems — On-Device / Kiosk | The on-device and kiosk experiences within it: in-store tablet interfaces, Android device experiences, a 5G speed-test app, a motion-detected experience for Chicago, and a reworked customer-service kiosk flow. |
| Verizon | June 2019 – June 2022 | Retail UI Systems — On-Device / Kiosk | The in-store voice interface for 5G Home, voice-triggered, its attract loop evolving into the menu itself, deployed nationwide by Reflect Systems. Elevate Award for Best Retail ICX. |
| Verizon | June 2019 – June 2022 | 5G Retail Campaigns — Concept to Fleet | Creative lead for 5G retail campaigns, adapting each across Verizon’s fleet and every format and directing the photo, video, motion, and 3D production behind it, to elevate the in-store experience. |
| Verizon | June 2019 – June 2022 | 5G Retail Campaigns — Concept to Fleet | Creative lead for 5G retail campaigns, adapting each into the fleet across every fixture and format (front-of-house and in-store frames in every size, banners, motion playlists on LG displays, a custom showcase app on flagship Android devices), print and digital, static and motion. Directed photographers, videographers, editors, motion designers, and 3D artists to make new assets, a design-led practice the team hadn’t had, with the bigger ideas pitched as proposals and the craft, from photography and typography to print quality and fixture materiality, aimed at elevating the customer experience. |
| Verizon | June 2019 – June 2022 | 5G Retail Campaigns — Concept to Fleet | Nationwide vinyl program, which started as a proposal and became a recurring campaign feature: window and fixture vinyl across the fleet, one-offs for high-traffic and high-visibility stores, sized variants for direct and indirect locations, messaging adapted by market. |
| Verizon | June 2019 – June 2022 | 5G Retail Campaigns — Concept to Fleet | The day-to-day was translating 5G campaigns into the retail fleet, in step with the other channels running the same campaign. A key visual had to be built with different lenses for a one month OOH and a 6 month retail placement, same campaign different set of constraints. Each store was a mix of fixtures: front-of-house poster frames, in-store frames in square, landscape, portrait, and odd custom sizes, banners, LG displays running motion playlists, and flagship Android devices with a custom showcase app. As the creative lead, much of the day-to-day was directing the making of new work, not just deploying what already existed: art directing photographers, videographers, editors, and motion designers, and briefing 3D artists for new product renders. Original, design-led production hadn’t been a strong part of the team’s workflow before; my background helped kick it off and raise the craft bar. The bigger ideas started as proposals rather than prompts. Underneath all of it ran the craft: photography, typography, print quality, materiality of fixtures, troubleshooting new technologies, design user flows and customer experiences. All to elevate the customer experience and tell complicated stories in compelling ways. |
| Herman Miller | May 2017 – June 2019 | Product Marking | Developed product marking guidelines for Herman Miller and Geiger rooted in material craft, tying each mark to its manufacturing process: embossed, engraved, or molded. |
| Herman Miller | May 2017 – June 2019 | Product Marking | Researched product marking and branding processes through factory visits, vendor discussions, and study of legacy pieces like Ward Bennett’s I-beam table and old Eames products, developing brand mark guidelines rooted in materiality: embossed, engraved, or molded. |
| Herman Miller | May 2017 – June 2019 | Product Marking | After years focused on B2B sales, Herman Miller had drifted from its design legacy. Clients bought on the relationship, and product marking became overhead a publicly-traded company could cut, so contemporary pieces from Geiger and Herman Miller went into offices and buildings without a single mark. Sometimes just a single white PO sticker that would peel off over time. How a product identifies itself, where the maker meets the object, had stopped being a question. Research ran through factory visits, interviews, and vendor scoping, centered on Geiger, the subsidiary making high-end executive furniture. The principle that came out of it: the mark belongs to how the object is made, not applied on top of it. The guideline tied each mark to its manufacturing process, embossed, engraved, or molded, so the right method met the right surface in the right place. |
| Herman Miller | May 2017 – June 2019 | Cross-Brand Asset Framework | Standardized asset production and file organization across the Herman Miller Group so subsidiary and consumer-arm products could sit together coherently. |
| Herman Miller | May 2017 – June 2019 | Cross-Brand Asset Framework | Audited what each Herman Miller Group brand produced and where standards diverged, then built a shared asset and file-organization framework, naming conventions, folder structures, and workflows, so different brands could sit together coherently without extra work. Defined product photography standards with Herman Miller photographer Mykah Stuk. |
| Herman Miller | May 2017 – June 2019 | Cross-Brand Asset Framework | An audit across the Group (Herman Miller, Geiger, Nemschoff, DWR, and others) mapped what each brand produced, where processes diverged, and where they could consolidate without flattening what made each distinct. The output was a shared asset and file-organization standard, naming conventions, folder structures, and workflows, so products from different brands could sit together coherently without any one team doing extra work to keep up. The framework extended to product photography standards, defined with Herman Miller photographer Mykah Stuk. |
| Herman Miller | May 2017 – June 2019 | Brand Moments | Art directed Herman Miller’s seasonal illustration and photography, commissioning illustrators and photographers (Edward Ubiera, Tanawat Sakdawisarak, Charlotte Trounce, Daniel Dorsa, Nicholas Calcott) for stylistic, of-the-moment expression. |
| Herman Miller | May 2017 – June 2019 | Brand Moments | Art directed seasonal brand moments, commissioning illustrators and photographers across cards, editorial, and exhibitions: a holiday card by Edward Ubiera; photography of Ubiera by Daniel Dorsa for a workshop; a WHY magazine article illustrated by Tanawat Sakdawisarak; exhibition photography with Nicholas Calcott; illustrations by Charlotte Trounce. Stylistic, of-the-moment expression, not evergreen assets. |
| Herman Miller | May 2017 – June 2019 | Employee Merchandise | Designed Herman Miller employee merchandise using color-on-color prints, premium vendors, and bold prints. |
| Herman Miller | May 2017 – June 2019 | Global Showrooms & Exhibitions | Designed graphics for Herman Miller showrooms and exhibitions across Park Avenue, Salone del Mobile (Milan), and Tokyo, collaborating with the 3D team on spatial and wayfinding elements. |
| Herman Miller | May 2017 – June 2019 | Global Showrooms & Exhibitions | Designed graphic and environmental elements for Herman Miller showrooms and exhibitions across the Park Avenue flagship, Salone del Mobile (Milan), and Tokyo, including merch, posters, and illustrated collateral for the Cosm chair launch For You Everyone. |
| Herman Miller | May 2017 – June 2019 | Global Showrooms & Exhibitions | Developed exhibition graphics for an Industrial Facility show using matte vinyl on glossy acrylic. |
| Herman Miller | May 2017 – June 2019 | Global Showrooms & Exhibitions | Showrooms and exhibitions are where the brand meets the furniture at full scale, and materiality set the graphics apart from the expected. Under Emily C.M. Anderson, Senior Manager of Brand Design, with the 3D team, I handled the 2D and graphic expression across Park Avenue flagship exhibitions, Salone del Mobile in Milan, and the Tokyo showroom. For Milan’s Salone del Mobile, two shows: All Together Now, the first time all Herman Miller subsidiaries shared one roof, and For You Everyone, the Cosm chair launch. For a small Industrial Facility show, timed to the launch of their Graphic Thought Facility–designed monograph, illustrations were cut from matte vinyl on glossy acrylic, the contrast giving the thick illustration lines a physical edge. The work also covered accessibility: braille wayfinding and glass safety decals that fed the documentation framework. |
| Herman Miller | May 2017 – June 2019 | Better World Report | Redesigned Herman Miller’s Better World Report, restructuring sustainability data visualizations for narrative clarity. |
| Herman Miller | May 2017 – June 2019 | Better World Report | Redesigned Herman Miller’s Better World Report, restructuring data visualizations to align y-axis logic, match chart types to narrative intent, and add contextual explanations for metric inflection points. |
| Herman Miller | May 2017 – June 2019 | Better World Report | The Better World Report is Herman Miller’s annual sustainability publication. Sustainability data is hard to read: a line moving up or down isn’t self-evidently good or bad, and the numbers were presented context-less. A drop might mean a contractor missing obligations or expansion into new markets; a rise might be a new production method. The numbers moved; the reason was invisible. The redesign worked in three layers. First, a consistent y-axis logic so visual direction held regardless of metric (up good, down bad). Second, the right visualization for each dataset. Third, narrative context so inflection points had explanations, not just coordinates. The result: a report that showed not just what happened but why. |
| Herman Miller | May 2017 – June 2019 | Picnic — the Herman Miller Design System (brand pillar) | Picnic, Herman Miller’s design-system kickoff: a feasibility study that shipped, consolidating 250+ pages of scattered brand guidance into a three-pillar system; owned the brand pillar. |
| Herman Miller | May 2017 – June 2019 | Picnic — the Herman Miller Design System (brand pillar) | Picnic, the kickoff for a single Herman Miller design system across three pillars (front-end, product design, and brand). A feasibility study that shipped; Emily C.M. Anderson and I owned the brand pillar, consolidating 250+ pages of scattered guidance by finding overlaps and removing redundancies, including its accessibility and wayfinding documentation. |
| Herman Miller | May 2017 – June 2019 | Picnic — the Herman Miller Design System (brand pillar) | The Herman Miller brand lived in 250+ pages of guidelines scattered across PDFs accumulated over years without structure. Picnic was the kickoff for a single design system across three pillars: front-end, product design, and brand. A feasibility study that shipped: Emily C.M. Anderson and I owned the brand pillar, taking it from proposal to a working system, consolidating the scattered guidance and removing redundancies by finding the overlaps between guidelines. The brand pillar also built accessibility and documentation frameworks for international teams: wayfinding with braille and glass safety decals, extending the system from screen to physical environment. |
| Diller Scofidio + Renfro | 2016 – 2017 | Designer | Designed competition materials and portfolio books for DS+R’s international architecture commissions, working directly with Liz Diller. |
| Diller Scofidio + Renfro | 2016 – 2017 | Designer | Designed competition materials and portfolio books for DS+R’s international architecture commissions, working under Jhaelen Hernandez-Eli and directly with Liz Diller. |
| MoMA | 2015 – 2016 | Freelance Designer | Designed exhibition graphics and publication templates at MoMA’s in-house design studio, including the Marron Research Committee Dossier framework (MoMA + Yale, Princeton, Columbia, IFA, NYU). |
| MoMA | 2015 – 2016 | Freelance Designer | Designed the 2015 MoMA Teens brochure, set wall text for exhibitions including Picasso Sculpture, and developed a templating framework for the Marron Research Committee Dossiers, scholarly publications produced in collaboration between MoMA and five member universities including Yale, Princeton, and Columbia. |
| Pratt Institute | 2015 – 2016 | Freelance Designer | Designed lecture posters (Jiri Pelcl, Green Week series), thesis show graphics (BFA Photography, Babylone — U.S.A.), postcards, program brochures, and campus flags for Pratt Institute’s Manhattan campus, applying the school’s new design system. |
Teaching3 ▼ | |||
| Parsons School of Design | Spring 2018 | Part-Time Faculty, Core Studio Interaction | Developed and taught a course on digital storytelling through narrative websites and motion design, introducing and challenging concepts of web-based interaction. |
| New York University | Fall 2016 | Substitute Instructor, Typography | Taught undergraduate typography. |
| Yale University | Fall 2014 | Teaching Assistant (to Laurel Schwulst) | Art 005a, Interactive Concrete Poetry (Undergraduate). |
Exhibitions & Publications9 ▼ | |||
| Vision & Depiction Conference, TU Delft | February 2026 | Controlled Instability: Graphic Design as Embodied Interaction in Real-Time Systems | Presented original research on real-time interaction and experiential design methodology. |
| Architecture and Fantasy | 2026 | Essay on China Miéville’s Perdido Street Station | An essay on non-human bodies, the way they sense, and the architectures they create. In progress. |
| Korean Society of Typography Exhibition 19, Seoul | October 2025 | Gridshift | |
| Ouroboros Issue | October 2025 | PreCog Magazine | Designed an article on artist Stephanie Hanes, written by Kelsey Sucena, morphing the flat 2D surface into 3D folds to represent the transmutational nature of her work. |
| Yale MFA Thesis Exhibition, New Haven | 2015 | PLOT | |
| Korea Society of Color Studies, Seoul | 2013 | Color in Color | |
| poster exhibition, Seoul Forest Community Center | 2012 | Future, Dream and Hope | |
| poster exhibition, Samwon Paper Gallery, Seoul | 2012 | Post Text | |
| poster exhibition + masterclass with Chaz Maviyane-Davies, The Hague | 2010 | Tolerance: Artistic & Creative Freedom | |
Education6 ▼ | |||
| Design Academy Eindhoven (DAE) | Coursework in Industrial/Product Design, 2007–2009 | ||
| Grafisch Lyceum Rotterdam | MBO Diploma, Animation & Games | ||
| Leiden University | Non-degree coursework, Korean Language Studies, Spring 2011 | ||
| Royal Academy of Art (KABK), The Hague | BFA, Graphic Design, 2013 | ||
| Seoul National University | Exchange, Visual Communication Design, 2011–2012 | ||
| Yale School of Art | MFA, Graphic Design, 2015 | ||
Skills5 ▼ | |||
| Core Design | Figma, Adobe Creative Suite, After Effects, Keynote | ||
| Creative Code | Claude Code, Gemini CLI, Ollama, FastAPI, SQLite | ||
| Languages | English (native), Dutch (native), Korean (intermediate) | ||
| Real-Time & Spatial | Unreal Engine 5, TouchDesigner, Blender, MediaPipe, OSC, Feather App | ||
| Tools are instruments for thinking through making. Move across craft, code, and real-time systems following a need, an idea or an interest. | |||