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Ringo Kim

@gogo_ringo

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graphic designer⠀
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🍏 cooked 🖼️
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🍎‘s 🍎🥧 @gogo_ringo !!
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Happy (A week delayed) Chuseok at Clarine‘s
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Convo w/ Saerom Kim @gogo_ringo Q: Your work often reflects observations of cultural contexts. Is this something you consciously pay attention to, or did it start after you came to the US? A: I wouldn’t say that I deliberately focus on cultural contexts in my work. I tend to begin with things I observe and experience in my immediate surroundings. Because of that, the environment I’m part of may naturally become visible in the work. But I don’t approach a project with the intention of explicitly addressing or foregrounding cultural context as a goal. Q: Do you think regional culture influences a designer’s style? Does this influence your design methodology? A: I think all the environments and cultures we encounter inevitably shape the way we think and, to some extent, may also influence how we design whether we intend it or not. This isn’t limited to designers, it applies to anyone. I haven’t consciously tried to tie my regional culture to my identity as a designer, but I assume it operates at a level I’m not fully aware of. And I don’t see a need to resist that. Atrium Issue #1 - Conversations w/ Yale GDMFA Cohorts #yalegd #yaleatrium #graphicdesign
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Very proud to share the newest batch of typefaces out of Nina’s elective type design course at Yale. Explore the work at typedesign.yaleschoolofart.org (link in bio) Now titled Introduction to Typeface Design, the course is the successor to ‘Letterform Design’ and is framed more explicitly as an introductory course, open to undergraduates (mainly Art majors) as well as Graphic Design graduate students with no significant prior experience in Latin typeface design. Over one semester, checking in for consultations once a week, this group of dedicated students has created their own digital typefaces. Based more or less closely on historical sources and working towards specific use cases, we discussed points of standardization and divergence, and how to make a disparate set of shapes hold together and speak in a unified voice. And lots and lots of spacing. This year’s group was incredibly focused and hard working, and has created some excellent and solid work. Such a joy to work with you! Big congrats to the students: Amy Fang @az.fang Charitssa Stone Hana Jelovšek @hanajelovsek Hasti Kasraei @hastikasraei Hongting Zhu @wcingz Manni Su @_out_of_box_ Ningxin Yao @yaooooo_l Saerom Kim @gogo_ringo Xiwen Zhang Zachary Reich @zachreichdotcom A special thanks to TA extraordinaire Camille Gwise, who also ended up creating a typeface, on top of helping with everything from technical support to timekeeping. Our external critic this year: Dyana Weissman @kernsandcairns Additional guest crit & type history intro: Fred Shallcrass @fredshallcrass Thanks for source material: Tobias Frere-Jones @frerejones Shoutout @yalegraphicdesign
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Call for Submissions! Paprika! Volume 13, Issue 7: BEST BEFORE People often believe that there is a “best” time to do certain things, after which one should stop. Best Before invites you to consider how we relate to change and expiration. Some changes are abrupt, while others unfold gradually, sometimes even imperceptibly. Yet each shift—no matter how subtle—can lead to something profound. If deterioration, like the traditional understanding of time, is to be perceived as a non-reversible, linear process, how do we draw the line between the “once good” and the “now bad”? Who decides when something is no longer suitable, usable, or relevant? The idea of stamping a best-before date on every product also reflects an urge toward consumption. Should we use something simply because we fear “waste”? Or does the drive to maximize every moment and resource carry its own forms of loss? This issue calls for discourse, contemplation, and reinterpretation on expiration, consumption, and transformation through time—a can of thoughts sealed in the form of a broadsheet newspaper, which we hope will inspire before it, too, expires. Please submit your abstract by Sunday, November 2 to bestbefore.paprika@gmail.com Issue Editors Yue Zeng & Lanna Yang Graphic Designers Ron Tau & Saerom Kim
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Deafening(먹먹한) sound piece and a custom-built player, as part of <Translation Beyond The Senses(공감각적 번역)>, 2024 We were honored to participate in a group exhibition called <Translation Beyond The Senses>, in which every other sense would covert from a visual piece. We adopted two ways of rendering for a sound piece, which are the artistic/sensory and the rational/technological. @what_is_das created audio device for the exhibition. https://on.soundcloud.com/wypauYLlceourAKj6R
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2024.12.13 at @wkrm02 @kaufman_kr_ tea (Bangshaw @kaufman_kr_ ) with studio friends
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하루는 분명 길었는데 한국에 돌아온 지 어느덧 1년 3개월이다. 언제나처럼 계획은 대충 갈기고 선택은 오래 했다. 한국에 돌아와 가장 처음, 예린이와 새롬 씨가 기획한 전시에 참여했다. 시각물에서 다른 감각으로, 그리고 또다시 시각물로 번역되는 릴레이 구조의 기획이었다. 그중에서도 나는 촉각을 맡았다. 건네받은 시각물에는 작은 입자와 큰 입자 그리고 그 둘을 잇는 선이 보였다. 어디로도 가고 있지 않는 방향성의 부재에 모호함이 느껴졌다. 이에 나는 중립성, 모호함이라는 두 단어에 집중하게 됐다. 아마도 내 안에 가장 크게 자리 잡은 두 단어라 그럴지도 모르겠다. 내가 본 것이 거울에 비친 상인지 이정표 없는 그림인지 헷갈린 체, 나는 방향성이 없는 사물을 만들었다. 차가운 알루미늄 위에 핏기 있는 손으로 스카프 패턴을 긁어내며, 그 대비 속에 중간을 지켰다. 반대되는 단어들이 양립하지 못한다고 생각되지만, 사실 그들은 잘 어울린다. 오히려 어디에든 있다. 멀지만 가장 가까운 사람들이 있고 딱딱하지만 다정한 것들이 있다. 나는 이런 의외성을 중립이라 봤다. 의외성은 당연함에 저항하고, 무뎌짐에서 멀어지게 한다. 무뎌짐은 곧 무너짐이다. 이는 허물어진 마음의 벽도 되고 닳은 총기도 된다. 나는 그런 모순을 사랑한다. 표면에 속지 않고 본질을 깨달았을 때, 그리고 때론 속았음에도 결국 사랑하게 되는 그런 감정들을. 조작거림은 새삼스럽게 나에 관한 공부가 된다. 또 그렇게 작업에 표출된다. 이제 전시는 막을 내렸다. 초행길이라 많이 헤맨 것 같지만 꼭 돌아가는 길이 나쁜 길은 아닌 것 같다. 보러와준 사람들, 연락 준 사람들에게 감사할 뿐이다.
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- 감각을 전시하다 10/3 ~ 10/13 음식으로한 전시물과 직접 맛볼 수 있게 준비한 디저트등 너무 많은 분들이 방문해주시고 좋아해주셨습니다. 덕분에 바쁜 일상에 리프레시 되는 전시회를 성황리에 마쳤습니다 감사합니다:) 🤍💜🤍🖤❤️
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“공감각적 번역” 전시 마지막날 @q_archive_ 김새롬 이예린 군시 배지혜 이기석 전준형
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