Marvin de Jong is a Dutch graphic designer working across traditional, interactive, and emerging media, currently based in San Francisco.
Working across print, motion, and built environments he has developed identities, exhibitions, campaigns, keynotes, merch, and challenge coins for clients including IonQ, Verizon, Herman Miller, and MoMA. His work spans nationwide roll-outs and for-your-eyes-only proposals for design systems, retail innovation, and breakthrough executions.
Currently he is exploring how real-time engines can help form stay open to change through inputs like movement tracking, MIDI keyboards, sound, and other data. In his work he often engages with the materiality of form and how motion can tell a story.
Across these projects, the recurring question is how to make legible, the stories, data, and information that resist easy depiction — history, quantum systems, network infrastructure, AI processes.
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Below is a snapshot of an exploration into career documentation using vector search. The working version runs locally.
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| where | when | what | how | tags |
|---|---|---|---|---|
Roles7 ▼ | ||||
| m-a-r-v-i-n studio | June 2015 – Present | Creative Director / Owner | Role scope — Independent design practice. Client work in print, motion, and digital. Exploring real-time letterforms in Unreal Engine 5 and TouchDesigner, presented at TU Delft and the Korean Typography Society Biennale. | |
| IonQ | May 2023 – May 2025 | Creative Director (Remote) | Role scope — 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 | Role scope — 5G campaign retail lead at 140, Verizon's internal agency, 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 | Role scope — 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 | Role scope — Designer on the five-person business development team under Jhaelen Hernandez-Eli, working directly with Liz Diller. Responsible for all design output leaving the team — competition materials, portfolio books, RFQ and RFP submissions. | |
| Pratt Institute | 2015 – 2016 | Freelance Designer | Role scope — Freelance designer in Pratt's in-house design team under Mats Hakansson. | |
| MoMA | 2015 – 2016 | Freelance Designer | Role scope — Freelance designer within MoMA's in-house design studio under Ingrid Chou. | |
Projects78 ▼ | ||||
| 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 at the Korean Typography Society Biennale, Seoul (2025). | unreal-engine-5touchdesignermediapipeoscmidi-controllersreal-time-designparameter-driven-designresponsive-installationsinteractive-typographyembodied-interactioncontrolled-instabilitynot-too-closedesign-frameworkanalog-inputcreative-researchcreative-directionprototypingreal-time-systemscross-disciplinary-researchinteractive-designcreative-leadershipexperimental-designtechnical-art-directiondesign-research |
| 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" and presented at TU Delft's Vision & Depiction Conference (February 2026). | unreal-engine-5touchdesignermediapipeoscmidi-controllersreal-time-designparameter-driven-designresponsive-installationsinteractive-typographyembodied-interactioncontrolled-instabilitynot-too-closedesign-frameworkanalog-inputcreative-researchcreative-directionprototypingreal-time-systemscross-disciplinary-researchinteractive-designcreative-leadershipexperimental-designtechnical-art-directiondesign-research |
| m-a-r-v-i-n studio | June 2015 – Present | Real-Time Prototypes — Unreal Engine 5 + TouchDesigner | Exhibited "Not Too Close" — interactive 3D letterforms responding to music in real-time — at the Korean Typography Society Biennale, Seoul (October 2025). | unreal-engine-5touchdesignermediapipeoscmidi-controllersreal-time-designparameter-driven-designresponsive-installationsinteractive-typographyembodied-interactioncontrolled-instabilitynot-too-closedesign-frameworkanalog-inputcreative-researchcreative-directionprototypingreal-time-systemscross-disciplinary-researchinteractive-designcreative-leadershipexperimental-designtechnical-art-directiondesign-research |
| m-a-r-v-i-n studio | June 2015 – Present | Real-Time Prototypes — Unreal Engine 5 + TouchDesigner | An ongoing research practice into real-time, parameter-driven design — prototyping responsive installations where typographic form reacts to human presence, gesture, and analog input. The toolkit spans Unreal Engine 5, TouchDesigner, MediaPipe hand tracking, OSC, and MIDI controllers (knobs, buttons, sliders) that modulate the range within which visual events occur. The interest is in analog input as a design material: what happens when the parameters of a typographic system are controlled by physical interaction rather than predetermined values. This work was formalized as "Controlled Instability: Graphic Design as Embodied Interaction in Real-Time Systems," presented at TU Delft's Vision & Depiction Conference in February 2026. The framework proposes that design systems can be structured with enough constraint to hold and enough openness to stay alive — that the instability is not a failure mode but a design decision. The practice has produced exhibited work: "Not Too Close," an interactive piece where handwritten 3D letters and the camera respond in real-time to music, shown at the Korean Typography Society Biennale in Seoul, October 2025. | unreal-engine-5touchdesignermediapipeoscmidi-controllersreal-time-designparameter-driven-designresponsive-installationsinteractive-typographyembodied-interactioncontrolled-instabilitynot-too-closedesign-frameworkanalog-inputcreative-researchcreative-directionprototypingreal-time-systemscross-disciplinary-researchinteractive-designcreative-leadershipexperimental-designtechnical-art-directiondesign-research |
| m-a-r-v-i-n studio | June 2015 – Present | Taal — Conversation-Driven Korean Language Tutor | Building Taal, a conversation-driven Korean language tutor using local LLMs, designed for personal and contextual dialogue rather than scripted exercises. | korean-language-tutorlocally-run-llmsollamaqwen25fastapireactsqlitefsrsconversation-driven-aieducational-softwareai-integrationfull-stack-developmentconversational-aiedtech-developmentproduct-leadershipprototypingcreative-direction |
| m-a-r-v-i-n studio | June 2015 – Present | Taal — Conversation-Driven Korean Language Tutor | Building a conversation-driven Korean language tutor on locally-run LLMs (Ollama/qwen2.5, FastAPI, React, SQLite with FSRS) — creating a conversation partner that draws from personal input rather than predefined dialogues, enabling discussion of arts, culture, and current topics rather than generic phrasebook scenarios. | korean-language-tutorlocally-run-llmsollamaqwen25fastapireactsqlitefsrsconversation-driven-aieducational-softwareai-integrationfull-stack-developmentconversational-aiedtech-developmentproduct-leadershipprototypingcreative-direction |
| m-a-r-v-i-n studio | June 2015 – Present | Semantic Career Engine | Built a local-first, CLI-driven career engine that stores accomplishments as vector embeddings and generates tailored application documents on demand — powered by Ollama. | ollamalocally-run-llmscli-toolsvector-embeddingscareer-enginedocument-automationai-integrationtool-developmentautomationpersonal-productivity |
| 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 marking a new partnership, using two types of foil printing to create a reflective dotted pattern that shifted with ambient light. | print-designbrand-integrationannouncement-cardfoil-printinglight-responsive-printpartnership-announcementcreative-directionart-directiontechnical-art-directionstakeholder-collaborationbrand-campaignscreative-leadership |
| m-a-r-v-i-n studio | June 2015 – Present | OPPO Mobile World Congress 2023 — Keynote | Creative Director for OPPO's 2023 Mobile World Congress keynote presentation. | |
| 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 keynote — owning the deck, designing presentation moments, and producing motion graphics in Keynote and After Effects. | |
| 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 keynote in Barcelona, where OPPO presented under the theme "Inspire to Believe." I was the keeper of the deck — designing all the moments, with some visuals drawn from existing product campaigns. I handled motion graphics in both Keynote and After Effects. The presentation covered flagship devices including the Find N2 Flip, connectivity and IoT technology, and R&D breakthroughs in chip technology, AR, and fast charging, presented by Billy Zhang, Associate Vice President and President of Overseas Sales and Service. | |
| 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 | Hagahi — Korean Fashion Brand (2015–2020) | Multi-year creative direction for Korean fashion brand Hagahi — identity, catalogues, photoshoots, and a trend-forward e-commerce site. | |
| m-a-r-v-i-n studio | June 2015 – Present | Hagahi — Korean Fashion Brand (2015–2020) | Sustained creative engagement for Korean fashion brand Hagahi: art directed photoshoots, designed catalogues, created a sub-brand logo, led the rebrand from Hagahi to Gahi, designed a trend-forward 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 (10K+ live, 4.6M+ YouTube views). | |
| 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 (10K+ live, 4.6M+ YouTube views) through Article Group. | |
| m-a-r-v-i-n studio | June 2015 – Present | AWS re:Invent 2025 Keynote — Swami Sivasubramanian | Through Article Group, I contributed to the keynote presentation for AWS re:Invent's Swami Sivasubramanian session — AWS's marquee developer event. I worked across the full deck, with a concentration on data visualization and technical diagram work: architecture diagrams, illustrative looping and Venn diagrams showing system overlaps, and visual explanations of AWS's AI and ML stack. The keynote reached a live audience of 10,000+ and has been viewed over 4.6 million times on YouTube. | |
| IonQ | May 2023 – May 2025 | Data Visualization — Quantum Metrics, Roadmap, Benchmarks | Developed IonQ's data visualization language for quantum benchmarks, roadmaps, and technical narratives. | design-frameworkdesign-system-rolloutbrand-integrationquantum-computingtechnical-communicationinvestor-decksscientific-visualizationcreative-leadershiptechnical-art-directioncross-disciplinary-researchstakeholder-collaborationcontent-productioncross-channel-marketingdesign-system-rollout |
| IonQ | May 2023 – May 2025 | Data Visualization — Quantum Metrics, Roadmap, Benchmarks | Developed IonQ's visual vocabulary for technical content — #AQ benchmarks, roadmap timelines, error correction overheads, quantum network architectures — across investor presentations, partner marketing, and scientific narratives. | design-frameworkdesign-system-rolloutbrand-integrationquantum-computingtechnical-communicationinvestor-decksscientific-visualizationcreative-leadershiptechnical-art-directioncross-disciplinary-researchstakeholder-collaborationcontent-productioncross-channel-marketingdesign-system-rollout |
| IonQ | May 2023 – May 2025 | Events — SuperCompute 2023, Quantum Korea 2024 & 2025, Quantum World Congress | Led end-to-end creative for IonQ across SuperCompute, Quantum Korea, and Quantum World Congress — booth, stage, keynotes, microsites, and post-event engagement. | |
| IonQ | May 2023 – May 2025 | Events — SuperCompute 2023, Quantum Korea 2024 & 2025, Quantum World Congress | Led end-to-end creative for IonQ's major events — SuperCompute 2023, Quantum Korea 2024 & 2025, and Quantum World Congress — spanning microsites, booth and stage design, keynote presentations, product reveal collateral, 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 major annual moments: SuperCompute, Quantum Korea, and Quantum World Congress. I led end-to-end creative across all three — microsites, booth design and demos, stage design, keynote storytelling, and post-event engagement. Quantum World Congress was the most significant. In a live-streamed keynote, IonQ released details of Forte Enterprise — a rack-mounted, data-center-ready quantum system — and revealed new details of Tempo, their anticipated commercial-advantage system. The stage, the slides, the product renders, the event collateral: all of it had to communicate both the technical milestones and the commercial positioning in a single coherent visual language. Quantum Korea grew in scope across two years. In 2024, IonQ showcased Forte Enterprise and highlighted collaborations with Hyundai Motors, Seoul National University, and Sungkyunkwan University. In 2025, IonQ collaborated with Sungkyunkwan University on a quantum hackathon for the next generation of Korean quantum talent. | |
| IonQ | May 2023 – May 2025 | C-Suite / Board Keynotes | Art directed IonQ's C-suite and board keynotes, translating quantum computing into business-facing visual narratives. | |
| IonQ | May 2023 – May 2025 | C-Suite / Board Keynotes | Art directed C-suite, board, and investor keynote presentations for IonQ, translating quantum computing terminology into business-facing narratives and directing product renders with a 3D designer. | |
| IonQ | May 2023 – May 2025 | C-Suite / Board Keynotes | IonQ's highest-stakes communication — board presentations, investor decks, C-suite keynotes — required translating quantum computing terminology into narratives that made business sense. The technology is genuinely difficult to explain: the value propositions are abstract, the metrics are unfamiliar, and the competitive landscape is defined by technical benchmarks that don't map cleanly onto business outcomes. I kept asking one question: why does this matter for a business? It's not enough to say you don't want to be left behind — that's not building value, it's selling fear. I art directed all C-suite and board keynote presentations, including product renders that I directed with a 3D designer. The visual language had to carry the translation: making the abstract legible without dumbing it down, and keeping the investor audience in a mode of understanding rather than intimidation. | |
| IonQ | May 2023 – May 2025 | Competitive Positioning vs. IBM | Led competitive brand positioning against IBM Quantum during 95% YoY revenue growth ($22M → $43M). | |
| IonQ | May 2023 – May 2025 | Competitive Positioning vs. IBM | Led competitive brand positioning against IBM Quantum — establishing a distinct visual identity during a period of 95% YoY revenue growth ($22M → $43M, 2023–2024). | |
| IonQ | May 2023 – May 2025 | IonQ Merch | Managed IonQ's merchandise program — evergreen, event-specific, and one-off items including challenge coins — from vendor selection through QC. | |
| 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 — cutting the palette to orange to differentiate from IBM Quantum, simplifying to one typeface and one weight, and documenting decisions incrementally as design work demanded them. | |
| 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. | |
| IonQ | May 2023 – May 2025 | IonQ Brand Rebuild | When I joined IonQ, the brand existed as a single-page logo sheet. No usage guidelines, no color rationale, no type system, no photography standards. The team was still using blue as a primary color — the same blue as IBM Quantum, their main competitor. There was no foundation to build from and no documentation of the decisions being made. The system was built on the fly, in parallel with the work it was meant to govern. Each round of design work generated decisions that got documented immediately — the toolkit grew incrementally, never ahead of what the work actually required. We cut the palette to orange — a different, more deliberate orange than the one they had been using — to create immediate distance from IBM. We simplified the type expression to a single typeface, one weight, across everything. The goal at every step was to strip back so there was a foundation solid enough to build from. The scope of what that foundation had to support was broad: ID cards, logo lockups with partner companies and universities and cities, wallpapers for press events, background videos for press moments, office exterior paint recommendations, illustration style definitions (working with an illustrator to clean up and systematize the existing illustration language), and product imaging — including heavy Photoshop retouching of IonQ's main chip image to the point where it became a primary asset across events. Towards the end we were building a simple design system for the website, again trying to keep it as minimal as possible. The marketing team was onboarded to Figma to use templates for self-serve output — online banners, social posts, one-pager PDFs — reducing the design team's involvement in routine production. The system lived in Figma but was distributed as a PDF. What started as a single page showing a logo and a typeface became a comprehensive brand toolkit. | |
| Verizon | June 2019 – June 2022 | Verizon Internal Design System (Digital 3.0 for Retail) | Co-led Verizon's internal retail design system across digital and physical touchpoints. | retail-design-systemlarge-format-displayswayfindingtypography-systemsdesign-system-rolloutresponsive-installationscreative-leadershipstakeholder-collaborationcross-channel-marketingtechnical-art-directionbrand-integrationcreative-direction |
| Verizon | June 2019 – June 2022 | Verizon Internal Design System (Digital 3.0 for Retail) | Co-led Verizon's internal retail design system with CD Jacqueline DiMaria Kaye under SCD Derek Love — spanning screen sizes from tablets to large-format displays, and extending to physical retail elements including type sizing and wayfinding. | retail-design-systemlarge-format-displayswayfindingtypography-systemsdesign-system-rolloutresponsive-installationscreative-leadershipstakeholder-collaborationcross-channel-marketingtechnical-art-directionbrand-integrationcreative-direction |
| Verizon | June 2019 – June 2022 | Modular Asset Kits — 6,800+ Locations | Designed modular campaign kits deployed across 6,800+ Verizon retail locations, adapted by market and store format. | retail-design-systemprint-designmodular-designdesign-system-rolloutbrand-integrationlocalized-marketingbrand-campaignscreative-directioncreative-leadershipcross-channel-marketingstakeholder-collaboration |
| Verizon | June 2019 – June 2022 | Modular Asset Kits — 6,800+ Locations | Designed and rolled out modular vinyl and print campaigns across Verizon's 6,800+ retail locations, with kits scaled to different window sizes and custom versions for high-traffic stores — messaging adapted by market (UWB, local launches, events). | retail-design-systemprint-designmodular-designdesign-system-rolloutbrand-integrationlocalized-marketingbrand-campaignscreative-directioncreative-leadershipcross-channel-marketingstakeholder-collaboration |
| Verizon | June 2019 – June 2022 | Retail UI Systems — On-Device / Kiosk | Designed on-device UI systems — tablet interfaces, 5G experiences, speed-test app, and kiosk flows — across Verizon's retail fleet. | in-store-tablet-interfacesandroid-device-experiences5g-speed-test-appmotion-detected-installationcustomer-service-kiosk-flowretail-design-systeminteractive-designcreative-directionproduct-leadershipdesign-researchcreative-leadershipcross-channel-marketing |
| Verizon | June 2019 – June 2022 | Retail UI Systems — On-Device / Kiosk | Designed in-store tablet interfaces, Android device experiences, a 5G speed-test app, a motion-detected experience for Chicago, and reworked the customer service kiosk flow across Verizon's direct and indirect retail fleet. | in-store-tablet-interfacesandroid-device-experiences5g-speed-test-appmotion-detected-installationcustomer-service-kiosk-flowretail-design-systeminteractive-designcreative-directionproduct-leadershipdesign-researchcreative-leadershipcross-channel-marketing |
| Verizon | June 2019 – June 2022 | Store of the Future / Digital 3.0 | Co-led Verizon's Store of the Future from open brief to C-suite proposal, partnering with Pentagram on architecture — experience principles later adopted across the fleet. | retail-design-systeminvestor-decksflagship-storedesign-frameworkart-directioncreative-directioncreative-leadershipproduct-leadershipstakeholder-collaborationdesign-system-rolloutprototypinginteractive-design |
| Verizon | June 2019 – June 2022 | Store of the Future / Digital 3.0 | Co-led art direction, service design, and digital product experience for Verizon's Store of the Future alongside Pentagram (Daniel Weil, architecture), developing the concept from open brief to C-suite proposal including a test-store plan. | retail-design-systeminvestor-decksflagship-storedesign-frameworkart-directioncreative-directioncreative-leadershipproduct-leadershipstakeholder-collaborationdesign-system-rolloutprototypinginteractive-design |
| Verizon | June 2019 – June 2022 | Store of the Future / Digital 3.0 | Though the buildout was not funded, the concept's experience principles and interface patterns were adopted across the fleet and influenced the push to consolidate digital vendors. | retail-design-systeminvestor-decksflagship-storedesign-frameworkart-directioncreative-directioncreative-leadershipproduct-leadershipstakeholder-collaborationdesign-system-rolloutprototypinginteractive-design |
| Verizon | June 2019 – June 2022 | Store of the Future / Digital 3.0 | Diego Scotti, Verizon's CMO, wanted to reimagine the retail experience. The brief was essentially open: make 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, which we called Digital 3.0. The work involved defining what a Verizon store should feel like, from the spatial flow to the interface moments on every screen size and touchpoint. We built the proposal into a series of image-heavy decks and tightly argued text pages designed for C-level discussion, with each round condensing as it moved up the chain. The final pitch proposed building a test store to validate the concept. The COO of Verizon Consumer ultimately declined to fund the buildout. But the concept was thorough enough that elements of the proposal — service design patterns, interface principles, and the push to consolidate digital vendors so the retail digital layer could evolve coherently — were adopted across the fleet. Diego Scotti left Verizon shortly after; Hans Vestberg's departure followed. The agency of record switched from McCann to Ogilvy, and the whole approach was reshuffled. | retail-design-systeminvestor-decksflagship-storedesign-frameworkart-directioncreative-directioncreative-leadershipproduct-leadershipstakeholder-collaborationdesign-system-rolloutprototypinginteractive-design |
| Verizon | June 2019 – June 2022 | Discovery | Designed Verizon's Discovery store format proposal — precursor to Store of the Future. | |
| Verizon | June 2019 – June 2022 | Discovery | Designed Verizon's Discovery store format proposal — a new retail concept that was ultimately discontinued but built institutional trust in the team's format-level thinking, directly enabling the later Store of the Future proposal. | |
| Verizon | June 2019 – June 2022 | Discovery | Discovery was a proposed new retail format — a store concept built around a different relationship between customer, product, and space than Verizon's existing retail. The proposal didn't land. But the work built trust in our team's ability to think at the format level, and it's what made the Store of the Future proposal possible a year later. Discovery was the precursor. | |
| Verizon | June 2019 – June 2022 | 5G Flagship Store — Chicago | Led end-to-end experience design for Verizon's Chicago 5G flagship store, drawing 33K opening-week visitors. | |
| Verizon | June 2019 – June 2022 | 5G Flagship Store — Chicago | Led end-to-end experience design for Verizon's Chicago 5G flagship — journey mapping, on-device UI, motion graphics, environmental graphics, and spatial narrative — drawing 33K opening-week visitors. | |
| Verizon | June 2019 – June 2022 | 5G Flagship Store — Chicago | Brought the project internal via a proposal with copywriter Michael Dougherty, partnering with Zelig (sound) and Sparks (fabrication). | |
| Verizon | June 2019 – June 2022 | 5G Flagship Store — Chicago | The Chicago 5G flagship was Verizon's most tech-forward retail experience to date — a ground-up build where every digital and spatial moment needed to be conceived, designed, and produced. Based on a proposal Michael Dougherty (copy) and I put together, the project was taken wholly internal. Michael and I led the 2D, motion, experience design, directed Zelig on sound design; voice actors; Sparks on physical interaction and tech fabrication. End-to-end design including: journey mapping, on-device UI, motion graphics, video content, print panels, floor vinyl, environmental graphics, and the narrative connecting all of it. The front of store was structured around discrete "moments" — each one a 5G use case with its own interaction, content, and spatial logic. The back of store was deliberately narrative-less: slow-motion footage, no text, no call to action — an approach that was later adopted across the fleet. The store drew 33K visitors in its opening week. | |
| Verizon | June 2019 – June 2022 | In-Store Voice Interface & OTT Content — 5G Home to Disney+ | Created Verizon's in-store voice interface for 5G Home and art directed its evolution to carry OTT content (Disney+, YouTube TV, Stadia). Elevate Award for Best Retail ICX. | |
| Verizon | June 2019 – June 2022 | In-Store Voice Interface & OTT Content — 5G Home to Disney+ | Created the original voice user interface for Verizon's 5G Home in-store experience — a four-category system triggered by voice command — then art directed its evolution into a broader OTT platform carrying Disney+, YouTube TV, and Stadia content. Deployed nationwide by Reflect Systems. Elevate Award for Best Retail ICX. | |
| Verizon | June 2019 – June 2022 | In-Store Voice Interface & OTT Content — 5G Home to Disney+ | The voice user interface was originally designed for a specific launch moment: 5G Home. The product was simple enough to hold in four buckets — what is it, what's included, what does it cost, how to install it — so the UI could present all four cleanly, with a voice command ("Say Hey Verizon") as the interaction trigger. Version one used an attract loop intended to be broken by physical approach, leading to a grid layout of the four categories. When the offer expanded to include OTT products — Disney+, YouTube TV, Stadia — the four-bucket structure no longer held. In non-5G Home areas, the screen couldn't loop a 5G Home attract and expect engagement. The interface needed to become more of a billboard. Version two evolved the attract loop into the menu itself, cycling through the offer at a high level while still showing users how to interact with the voice interface. I created the original VUI and art directed the second version. Alongside the VUI, I edited and art directed the motion content for each OTT product across multiple years and changing offers — storyboarding, animating, and shepherding each piece through Verizon's legal approval process. The system was deployed by Reflect Systems across Verizon stores nationwide and won the Elevate Award for Best Retail ICX. | |
| Herman Miller | May 2017 – June 2019 | Holiday Cards & Illustrated Collateral | Art directed Herman Miller holiday cards and illustrated collateral with independent artists including Edward Ubiera. | holiday-cardcharity-campaignphoto-shootsocial-mediaevent-promotionflagship-storebrand-integrationprint-designcreative-directioncreative-leadershipcross-channel-marketingbrand-campaignsart-directioncontent-productionstakeholder-collaboration |
| Herman Miller | May 2017 – June 2019 | Holiday Cards & Illustrated Collateral | Art directed a holiday card for Herman Miller's Childhood Literacy initiative with artist Edward Ubiera, including an accompanying photoshoot by Daniel Dorsa with Herman Miller furniture brought in for the set. The photos were used on social to promote an illustration workshop led by Edward Ubiera at the Herman Miller flagship store. | holiday-cardcharity-campaignphoto-shootsocial-mediaevent-promotionflagship-storebrand-integrationprint-designcreative-directioncreative-leadershipcross-channel-marketingbrand-campaignsart-directioncontent-productionstakeholder-collaboration |
| Herman Miller | May 2017 – June 2019 | Employee Merchandise | Designed Herman Miller employee merchandise — sweaters, hats, water bottles — balancing the robustness needed for a manufacturing workforce with the company's design legacy. | employee-merchandiseapparel-and-accessoriesmanufacturing-specificationsdesign-frameworkbrand-integrationprint-designbrand-integrationstakeholder-collaborationdesign-researchproduct-leadershipcreative-directiontechnical-art-direction |
| Herman Miller | May 2017 – June 2019 | Product Marking | Developed product marking guidelines for Herman Miller and Geiger rooted in material craft, and created the full brand collateral for a special-edition Eames Eucalyptus table carrying both Vitra and Herman Miller branding. | |
| 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, developing brand mark guidelines rooted in materiality — embossed, engraved, or molded. | |
| Herman Miller | May 2017 – June 2019 | Product Marking | Created the complete brand collateral for a special-edition Eames Eucalyptus table: product marking, certificate of authenticity, archival photography art direction, and in-package storytelling — one of the few pieces carrying both Vitra and Herman Miller branding. | |
| Herman Miller | May 2017 – June 2019 | Product Marking | Herman Miller had spent years focused on B2B sales, and somewhere in that shift the physical products had lost attention to their own design legacy. The question of how a Herman Miller product identifies itself — the mark on the object — had gone unexamined. The research started with factory visits, interviews, and scoping conversations with vendors. The immediate focus was Geiger, a Herman Miller subsidiary producing high-end executive office furniture with a history of excellent woodworking and craft. We studied pieces like Ward Bennett's I-beam table to understand how the mark could honor the material rather than just sit on top of it. The output was a brand mark guideline rooted in materiality: embossed, engraved, or molded — marks that belonged to the surface they were on. The work found its clearest expression in a special edition Eames table. The Eames House in Pacific Palisades had Eucalyptus trees on its grounds that needed to be cleared for safety reasons, and a limited-edition table was produced from their wood. I created the product marking — a small metal plaque — along with the certificate of authenticity, the in-package collateral telling the story, and the brand elements tying it together. I picked a photograph from the archive and art directed the retouching. The table is one of the few pieces, possibly the only one, that carries both Vitra and Herman Miller branding — since most Eames pieces sold by Vitra are produced under their own rights. | |
| 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 acrylic — a material treatment the studio requested for their own office. | |
| Herman Miller | May 2017 – June 2019 | Global Showrooms & Exhibitions | Herman Miller's global presence required a steady output of exhibition and showroom work — spaces where the furniture met the public and the brand had to hold up at full scale. Working with the 3D team and under Emily C.M. Anderson, the Senior Manager of Brand Design, I handled the 2D and graphic design layer across venues including the Park Avenue flagship, Salone del Mobile in Milan, and the Tokyo showroom. Milan Salone was a recurring commitment. I worked on two shows: *All Together Now*, which brought all Herman Miller subsidiaries together under one roof for the first time, and *For You Everyone*, the launch of the Cosm chair. For *For You Everyone*, the illustration was provided by Santtu Mustonen — his 3D brush stroke work evoking the smoothness of the design and the comfort it promised. My contributions were the merch, the flyer and poster design, and a tote bag. One exhibition that sits clearly in memory: a show on Industrial Facility, coinciding with the launch of their monograph designed by Graphic Thought Facility. We commissioned illustrations of Herman Miller products from the same illustrator who had worked on the book — possibly Paul Neale. The illustrations were cut in matte vinyl and applied to shiny acrylic panels, so the thick black outlines gained a new dimensionality through the material contrast. Industrial Facility liked the execution enough to request the panels for their own office. The work also extended to accessibility: braille wayfinding and glass safety decals that became part of the broader documentation framework. | |
| Herman Miller | May 2017 – June 2019 | Hot Prospect — WHY Magazine | Set art direction for a WHY magazine article on workplace research by Richard Holbrook, selecting and reaching out to illustrator Tanawat Sakdawisarak for his whimsical and surreal illustration style. | |
| 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. When I worked on it, the challenge wasn't the data itself — it was how the data was being read. A sudden drop in a metric might signal a contractor failing to meet obligations, or it might reflect expansion into new markets. A rise might come from a new production method. The numbers moved, but the story behind the movement was invisible. The redesign addressed three layers. First, aligning the y-axis logic so that visual direction was consistent — up means good, down means bad — regardless of the metric. Second, matching each dataset to the right visualization. Third, adding narrative context so that inflection points had explanations, not just coordinates. The result was a report where the reader understood not just what happened but why. | |
| Herman Miller | May 2017 – June 2019 | Picnic — the Herman Miller Design System (brand pillar) | Co-owned the brand pillar of Picnic, Herman Miller's design system, consolidating fragmented guidelines and standardizing asset production across the Herman Miller Group. | |
| Herman Miller | May 2017 – June 2019 | Picnic — the Herman Miller Design System (brand pillar) | Co-owned the brand pillar of Picnic, Herman Miller's design system, with Senior Manager of Brand Design Emily C.M. Anderson — consolidating fragmented PDF guidelines into a unified system organized across three pillars: front-end, product design, and brand. | |
| Herman Miller | May 2017 – June 2019 | Picnic — the Herman Miller Design System (brand pillar) | Clarified and standardized asset production across the Herman Miller Group — from RFPs and website planners to icons and planning drawings — and proposed shared file organization and naming conventions to enable cross-brand collaboration. | |
| Herman Miller | May 2017 – June 2019 | Picnic — the Herman Miller Design System (brand pillar) | When we started, the Herman Miller brand lived in guidelines scattered across multiple PDFs — static documents that had accumulated over years without a unifying structure. The effort to consolidate them into a single design system, Picnic, was organized into three pillars: front-end, product design, and brand. Emily C.M. Anderson and I owned the brand pillar. The first task was an audit. Across the Herman Miller Group — Herman Miller, Geiger, Nemschoff, and others — each subsidiary produced its own assets with its own conventions. RFPs, website planners, icons, line drawings, isometric planning drawings — the outputs overlapped but the standards didn't. We clarified what each brand was actually producing, where processes diverged, and where they could be consolidated without losing what made each subsidiary distinct. Beyond consolidation, we proposed a new file organization system: naming conventions, folder structures, and workflows that could function across the disparate organizations. The goal wasn't just better guidelines — it was to make collaboration between brands structurally possible in a way that the old PDF archive never allowed. The brand pillar also included building accessibility and design documentation frameworks for international teams, including wayfinding standards with braille integration and glass safety decals — work that extended Picnic's reach from the screen to the 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. Projects landed include the Susan Wakil Health Building (Sydney). | competition-materialsportfolio-booksprint-designarchitecture-commissionsinternational-expansionart-directioncontent-productionstakeholder-collaborationdesign-research |
| Diller Scofidio + Renfro | 2016 – 2017 | Designer | Designed competition materials and portfolio books for DS+R's international architecture commissions — including custom covers and layouts featuring work photographed by Iwan Baan — working under Jhaelen Hernandez-Eli and directly with Liz Diller. | competition-materialsportfolio-booksprint-designarchitecture-commissionsinternational-expansionart-directioncontent-productionstakeholder-collaborationdesign-research |
| Diller Scofidio + Renfro | 2016 – 2017 | Designer | Projects landed during tenure include the Susan Wakil Health Building (University of Sydney), DS+R's first foray into Australia. | competition-materialsportfolio-booksprint-designarchitecture-commissionsinternational-expansionart-directioncontent-productionstakeholder-collaborationdesign-research |
| Pratt Institute | 2015 – 2016 | Freelance Designer | Designed lecture posters, thesis show graphics, and campus flags for Pratt Institute, applying their new design system across print and environmental executions. | design-system-rolloutprint-designacademic-brandingthesis-show-graphicscampus-identitybrand-integrationart-directionbrand-campaignscontent-productioncross-channel-marketing |
| Pratt Institute | 2015 – 2016 | Freelance Designer | Brought Pratt Institute's new design system to life across a range of executions: lecture posters (Jiri Pelcl, Green Week series), thesis show graphics (BFA Photography, *Babylone — U.S.A.*), postcards, program brochures, and campus flags for the Manhattan location. | design-system-rolloutprint-designacademic-brandingthesis-show-graphicscampus-identitybrand-integrationart-directionbrand-campaignscontent-productioncross-channel-marketing |
| 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). | print-designdocument-automationdesign-frameworkacademic-brandingcross-disciplinary-researchcontent-productionstakeholder-collaborationtool-developmentart-directiondesign-system-rollout |
| 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. | print-designdocument-automationdesign-frameworkacademic-brandingcross-disciplinary-researchcontent-productionstakeholder-collaborationtool-developmentart-directiondesign-system-rollout |
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 Typography Society Biennale, Seoul | October 2025 | "Not Too Close" | Interactive work where handwritten 3D letters and the camera respond in real-time to music. | |
| October 2025 | PreCog Magazine, Ouroboros Issue | 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 ▼ | ||||
| Yale School of Art | 2015 | MFA, Graphic Design | ||
| Royal Academy of Art (KABK), The Hague | 2013 | BFA, Graphic Design | ||
| Leiden University | Spring 2011 | Non-degree coursework, Korean Language Studies | ||
| Seoul National University | 2011–2012 | Exchange, Visual Communication Design | ||
| Design Academy Eindhoven (DAE) | 2007–2009 | Coursework in Industrial/Product Design | ||
| Grafisch Lyceum Rotterdam | MBO Diploma, Animation & Games | |||
Awards1 ▼ | ||||
| Elevate Award for Best Retail ICX | Voice User Interface for Verizon 5G in-store experience (Reflect Systems deployment) | |||
Skills4 ▼ | ||||
| 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 | |||