Group Show. Ink Village, Archive Bomm, 25 Jan ~ 24 Feb 2019, Seoul, KR

Ink Village Talk, Corners office, 23 Feb 2019, Seoul, KR



Hezin O is a graphic designer based in Seoul, South Korea. She has been running a graphic design studio OYE since 2014, working primarily in the cultural field on graphic design, illustration and publishing projects. 



***Contact***
ohezin@gmail.com
+82 (0)10 2012 1702
Instagram, Facebook, Twitter

***Education***
Studying MFA at University of Seoul, 2018~
BFA, Hongik University, 2005~2010

***Selected Press*** 
étapes: 243
fanfare inc. Tools 
It’s Nice That (2018.9)
It’s Nice That (2017.12)
It’s Nice That (2017.5)  
Printed Pages A/W 2017
Form magazine Nº 270
Gratuitous Type Issue 4.5
Graphic Magazine #28, #34, #36, #38, #39

Full CV available on the Link



Bookmark

2019

Bookmark

Graphic for Bookmark. Riso printed by Corners. 180 × 40 mm

Seoul Citizen Curator 2018

2019

Book

Book design for Seoul Citizen Curator 2018. Commissioned by Seoul Museum of Art. Offset print. 180 × 250 mm, 160 pages. (Design Assistance: Suzin Kwon)

O'pen Drama Collection

2019

Book

Book design for O’pen Drama Collection. Commissioned by O’pen. Offset print. 150 × 220 mm, 512, 596 pages. (Design Assistance: Suzin Kwon)

Untitled Cat

2019

Poster

Illustration for Untitled Cat. Contributed for Ink Village, an exhibition presented by Corners. Riso printed by Corners. 420 × 594 mm

NAVER Webtoon / Web Novel Portfolio 2018 Winter

2018

Catalog


Catalog design for NAVER Webtoon / Web Novel Portfolio 2018 Winter. Commissioned by NAVER. Offset print. 160 × 230 mm, 48 pages. (Design Assistance: Suzin Kwon)

Image as a tool

2018

Publication

Self generated publication for Image as a tool. Riso printed by Corners. Offset printed by Top Process. 200 × 285 mm, 60 pages. (Contributors: Jonathan Castro, Myung Sang Yu, Nejc Prah, Rudy Guedj, Shun Sasaki, Tadashi Ueda) $$$ Buy $$$

This publication started with a curiosity in the sensibility one's of approach to graphic design via the creation of an image in the form of an illustration, drawing, object, and so on. It is interesting to observe that when someone fundamentally defines oneself as a graphic designer and produces necessary images for an output, such images sometimes go beyond their primary function of being the composition of a page, and become the tool, method, and identity of the graphic designer.
(...) I chose the format of an interview as a way to look into these various approaches. This way, there exist the interviewee (the creator of the image) and the interviewer (the viewer of the image) for each interview that readers can appreciate the image (together) as an audience. The images of workflow requested along with the interview are also included at the middle of this book. The workflow images could be a software capture file, a picture of the tool used to create a shape, or a screen capture of folders containing image tools. Any images not exposed to their final output were accepted. There was no limitation upon the interview and image requests so that my focus was to maximize the responses the interviewers sent. Indeed, what are these images for and where are they going?