From the Joy of Reading to the Joy of Creating

From the bustling streets of Seoul to the quiet corners of libraries abroad, Jeong Jihyun embodies the transformative power of books and design. Her journey from a voracious young reader to a celebrated book designer is a testament to a lifelong passion. Jeong's philosophy, that 'books made with joy have an unhidden excitement,' resonates deeply within the Korean cultural landscape, where the appreciation for craftsmanship and artistic integrity is highly valued.

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Books made with joy have an unhidden excitement.

Her studio, aptly named 'Joyful Life,' is more than just a workspace; it's a reflection of her belief that design is an activity that brings happiness. This perspective is evident in her meticulous approach to each project, whether it's the controversial yet iconic sunflower cover for Kanae Minato's "Confessions" or the vibrant orange design for "Haruki Murakami's Miscellany." These choices, often sparking debate, ultimately forge strong identities for the books, demonstrating Jeong's commitment to creating impactful visual narratives.

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I think the creator working joyfully makes for a good result. Books made with joy have an unhidden excitement.

Jeong's dedication extends beyond her professional life. Her travels are not for leisure alone but are pilgrimages to bookstores, libraries, and exhibitions worldwide. This global perspective enriches her work, allowing her to bring diverse influences back to the Korean design scene. Her collection of paper print materials, viewed as historical records of contemporary graphics, and her upcoming book, 'Season of Books,' showcase a profound engagement with the tangible aspects of print culture. This dedication to the physical form of books and print is a unique lens through which she views the world, a perspective that often contrasts with the increasingly digital focus of international media.

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Paper print materials are records of the most contemporary graphics of their time. They are also limited editions that disappear after the exhibition period, and for me, they are like textbook materials.

What makes Jeong's story particularly compelling in Korea is the deep-seated cultural respect for authors and the craft of bookmaking. Her ability to translate complex literary themes into visually engaging designs, and her insistence on infusing 'joy' into the process, aligns perfectly with a readership that values both substance and aesthetic. Her work is not merely about creating covers; it's about crafting an experience, a tangible connection to the stories within, and celebrating the enduring magic of the printed word in an evolving world.

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When I was going through a period of burnout and wandering, books were the greatest comfort. Reading books had originally been a joyful hobby, but during difficult times, I carried a finished book in my bag every day. It felt like I was with a close friend, and it was very comforting. That's when I first thought, 'A book is a person.'