Judges’ Comments

• Wujin Sim

  It is a creative work that reveals different facets depending on whether you focus on black or white. This typeface is so meticulously adjusted in legibility that even type designers find it perplexing; only those familiar with Hangeul can decipher it, but only after considerable effort. It gives a cold impression at first sight, but the more one looks at it, the more amusing it is. There are many typefaces with very few graphic elements used to create characters, but I have never seen a typeface with such endearing tenacity. I was especially excited to see a typeface with a creative interpretation of moa-sseugi (a syllabic method of grouping Hangeul characters). It offers a fun experience to find the designer’s ingenuity, as if you are solving a riddle by looking at the characters.

• Sulki Choi

  This work is a clear representation of the unique characteristics of the base letters (jamo) combination. When creating geometric typefaces using modules, one usually begins by following established rules, but the development of various glyphs results in inevitable exceptions to those initial rules. This work successfully solves the problem while maintaining consistency in that regard. The result is wonderful in that it achieves both of these two goals: the text is easy to read while the texture of the paragraphs changes to a multidimensional form.

• Bon Min

  Among the prize-winning works with characters engraved in white on a black background in the other categories, this work is particularly intriguing in that, as you continue reading, the characters can be read from both white and black like an optical illusion. One can identify the Hangeul characters from the white areas, and the sans serif from the black areas. With the diagonal lines giving a sense of depth to the characters, the typeface offers three different dimensional perspectives: white = line, black = surface, and the diagonal lines = three dimensional.