I’m Minhee Kim, a multifaceted designer and problem solver from Northern Virginia. Learn more ▸
Below I share some of my favorite projects.
New identity for Kingstowne Korean Baptist Church (site launching soon!). Deliverables include website, t-shirts, service program, business cards, and letterhead. There was no previous logo or identity, and previous website was a makeshift Blogger site. New website was built as a single page, while maintaining all content, organized in a clearer way.
As a final project in Lettering & Type with Bruce Willen and Nolen Strals during undergrad at MICA, I taught myself FontLab Studio and designed the lowercase letters for a typeface I called Extraclear, combining my knowledge, research on legibility, and common sense. The idea was there but it being my first foray into type design, several of the character forms were pretty wonky.
Minee Sans is a revived attempt at a typeface focused on legibility. This time around, I started with a fine appreciation for refined bezier curves, used FontForge, and developed the entire character set.
An acceptance mailer was created for students who have decided to attend the GW Law JD program. The book was updated and partially redesigned for the 2016 entering class. Details such as the pull-out ribbon, gold foil, letterhead, and embossed outer box were also carefully decided upon and designed.
Illustrations are woven throughout the Capital Emmy Award and Gold ADDY (AAA–DC) Award-winning video campaign series of 18 video stories of unique #OnlyAtGW moments, told by students, faculty and staff of the GW community. I suggested and implemented the idea of using each featured person’s own handwriting to write out their name and title at the start, as well as ‘#OnlyAtGW’ at the end of each video to tie the series together in a way that was personal for each.
Chalk-illustrated cover surrounding basketball star, Grand Bahama Island native, and GW student Jonquel Jones for the Winter 2016 issue of GW Magazine. Integrating both lettering and illustration, the cover narrates the charming, quirky and phenomenal details of Jones’ character and life story. (AD: Dominic Abbate and John McGlasson)
Featured on coverjunkie.com
A new rotator graphic was created weekly for the GW homepage to promote or bring attention to different stories, campaigns, and messages from all over campus. Each incoporates a text lock-up typeset in GW branding. These were especially quick turnaround (same day), but—work load and concept permitting—I was able to animate some of the graphics.
Marketing materials were designed for an annual kid-friendly festival event for the George Washington University Textile Museum.
Traditional/digital collage of criminal defense attorney Jonathan Rapping, founder and president of Gideon’s Promise (an NPO named after the Supreme Court case Gideon v. Wainwright that ruled state courts are required to provide counsel to defendants in criminal cases), recipient of the MacArthur “Genius Grant,” and a GW Law alumnus, was created as the main artwork for a feature story in the Summer 2015 issue of GW Magazine. (AD: Dominic Abbate and John McGlasson)
Event/initiative posters for various clients within the George Washington University.
As a follow-up to last year’s ribbon-lettered solution, shown is a hands-on approach to the artwork for GW Magazine’s 2015 gift guide—with the theme of gift-wrapping—in which each letter or element is hand-lettered, knitted, wrapped, glued, cut out, sculpted, scored or otherwise hand-crafted. (AD: Dominic Abbate and John McGlasson)
Quirky, digitally colored sumi ink illustrations serve as the artwork for a parenthood feature in the Spring 2015 issue of GW Magazine. (AD: Dominic Abbate and John McGlasson)
Informational and marketing materials were designed for the exhibition “What Not to Wear” at the Luther W. Brady Art Gallery on GW’s Foggy Bottom campus.
A design for the first annual season t-shirt was created by each member of the GW MCS design team. The final design was chosen by students’ vote on the GW Athletics website.
Mug design features illustrations of major GW buildings, landmarks, and identifiers. Illustrations were hand-drawn, converted to digital, and colored with vector fills. Mugs are being sold at GW Campus Store locations (as of summer 2016).
Inspired by the idea of a bakery/café that would be a place of both work and play, the bakery café brand identity (menu, business cards, cup sleeve, pastry bag, parchment wrapper and website design) incorporates a logo and design elements that refer to this idea and the name of the establishment. The colors, motifs and materials used are meant to feel natural, homemade and local, while maintaining a current look.
On Writing is the unique idea of a design of a hybrid journal/book for the writer looking for an inspirational and useful notebook. From the foreword of the journal/book:
“As a journal, it is practical for use as it is printed on acid-free, ink- and pencil-friendly Rives BFK Lightweight paper in Buff, set at the appropriate size of 8.5" × 6.5", and bound to be durable. As a book, it is full of essays on writing, quotes about writing, and resources such as lists and tips. It also borrows design and organization cues from traditional books.”
All of the content was culled, curated and organized to best fit my vision for the journal/book. A couple of the features worth noting are the popular idioms placed near the outside border and running through the book on all non-divider pages in alphabetical order and the endpapers, which were handwritten and scanned; the front endpaper is an excerpt from Hamlet’s famous “To be, or not to be” soliloquy, and the back endpaper is an excerpt from Dr. Seuss’ Cat in the Hat.
The assignment of creating at least 10 letters of the alphabet (must include H, K, M, O, R and S) using a technique, media, or method that involves neither drawing or other standard letter-making techniques, nor any analog or digital drawing/art tools was given in Lettering & Typography, a class taught by Bruce Willen and Nolen Strals of Post Typography at MICA during the Spring 2013 semester. The other requirement was to create/present all of our letters to spell a word or phrase. To make things interesting, the one additional rule I set for the project on my own was that the outcome must be unpredictable, meaning the process could not reveal what the final letterforms would look like. After finding that working with my hands would not easily allow me to relinquish enough control, I decided to use my feet instead. (The phrase refers to it being 28 degrees outside when I performed this experiment.)
This booklet folds out into a poster on the reverse side, to represent the growing nature of Olinda. It was aimed at exploring various ways to manipulate typography to depict the city of Olinda, as described below in an excerpt from Italo Calvino’s novel Invisible Cities:
"In Olinda, if you go out with a magnifying glass and hunt carefully, you may find somewhere a point no bigger than the head of a pin which, if you look at it slightly enlarged, reveals within itself the roofs, the antennas, the skylights, the gardens, the pools, the streamers across the streets, the kiosks in the squeares, the horse-racing track. That point does not remain there: a year later you will find it the size of half a lemon, then as large as a mushroom, then a soup plate. And then it becomes a full-size city, enclosed within the earlier city: a new city that forces its way ahead in the earlier city and presses its way toward the outside.
Olinda is certainly not the only city that grows in concentric circles, like tree trunks which each year add one more ring. But in other cities there remains, in the center, the old narrow girdle of the walls from which the withered spires rise, the towers, the tiled roofs, the domes, while the new quarters sprawl around them like a loosened belt. Not Olinda: the old walls expand bearing the old quarters with them, enlarged but maintaining their proportions an a broader horizon at the edges of the city; they surround the slightly newer quarters, which also grew up on the margins and became thinner to make room for still more recent ones pressing from inside; and so, on and on, to the heart of the city, a totally new Olinda which, in its reduced dimensions retains the features and the flow of lymph of the first Olinda and of all the Olindas that have blossomed one from the other; and within this innermost circle there are always blossoming—though it is hard to discern them—the next Olinda and those that will grow after it."
The invite references the subject matter of the painter Nick Patten’s work: light, silence, intimate interior spaces and nostalgia, while not overpowering or using the work itself. It emulates the feelings that well up when I view the artist’s work, in the simplest and most authentic way. Due to the sparse nature of the design, I made sure to insure that every element/decision, from printing on canvas paper to the quiet, non-disruptive type, was deliberate and intentional. (This was a project given by designer Tim Goodman in a Flex Design workshop at MICA.)