Korea Design Heritage Project: 

30 Years of Korean Graphic Design “Before Computer (BC)”

Coordinating Dreams & Reality 

In the 1970s, many Korean companies prioritized rapid growth and development amid the strong wave of industrialization and modernization. In 1974, while the concept of both design and brand was still unfamiliar, Dr. Cho Young Jae, a professor of Design at Seoul National University, established the brand design company CDR. The OB Beer’s brand project was the first case of identity design in Korea that led to the establishment of CDR. Its BI project became a turning point in Korean design, as most designs were based on simple symbols. However, OB Beer was the first case to create a “Design System” that enables consumers to experience various brands and introduce a “Design Manual” to maintain the consistency of brands while integrating images. Since then, design has become the interest to the public with a higher understanding, amplifying the role of design in industries. 

From the instruments of civilization to the medium of culture 

Being the first-generation design studio running to this day, CDR is now at a point to contemplate the roles and responsibilities in the Korean design industry, aside from the roles as a brand design company. Currently, most designs are discarded after it has fulfilled its use and is forgotten over the years. However, previous designs need to become sources of creative inspiration for all creators. The future generation needs to provide a new perspective by utilizing these historical design resources. To do this, it is necessary to change the idea of design from “a Tool of Industrialization, a Tool of Civilization” to “a Medium of culture”. The digital native generation - now emerging as a major consumer group consisting of Generation Z and Generation Alpha, those who were born around 2000 and after 2010 respectively - has already reached a population of 4 billion worldwide. They live online and offline without distinction between physical and digital spaces. Philip Kotler defined the characteristics of Generation Z and Alpha as “Physical Native” based on a mixture of physical and digital phenomena “Phygital” in his book “Marketing 6.0”. To communicate with this group, the digitalization of design data based on facts, establishing a connection to design, and the context of the times is necessary. 

30 Years of Korean Graphic Design “Before Computer (BC)” 

In Korea, modern design kicked off in the mid-1960s and developed around visual design. Throughout the 1970s and 1980s, around the 1988 Seoul Olympics, “K-Graphism” has matured. Though “K-Graphism” from the 1980s was incomplete, it was a new seed from all the precious successes and failures. Just as Korea has gone through rapid growth in a short period as a country, Korean design has also focused on creating a “form factor” to follow the rapid changes. With the introduction of computers and IT technologies since the early 1990s, Korean design is now growing this new seed. To share and create relationships with the new generation, CDR is giving spotlight to Korean graphic design from the 1960s to 1980s by recording, digitizing, and archiving the era. Future design should no longer be forgotten but rather needs to be reset as a design resource and a creative drive that grows together with the future generation. 

Case: K-logo Chronicles 

The “K-logo Chronicle” examines the footsteps of Korea from 1945 to 1999 through 3,000 logo designs from Korea in the 20th century. A “logo” is a symbol that abstracts the past and the present including the vision and the desire of the creator. Unlike the abstraction of fine arts, the role and purpose as the medium of communication – based on the shared experiences and social context among members of society – should be premised in the abstraction of logos. The “K-logo Chronicle” is a new “route” to look back on Korean history from the perspective of revisiting the experiences and social contexts from the period through numerous logos from the 20th century. 

- Pofile 

He was born in 1963 and majored in visual design at Seoul National University and Kookmin University Graduate School of Technology Design. In 1989, he began desigining brands in the lab of Professor Yang Seung-Chun of Seoul National University, starting with the Baekwha Brewery CI and BI project. He entered CDR, Korea’s first brand design company, in 1990 and has been running the company since 1995 as creative director. He has lectured as adjunct professor at several universities including Seoul National University and Yonsei University, and he is currently an adjunct professor at Ewha Womans University Graduate School of Design. He served as vice president of the Visual Information Design Association of Korea, president of the Korean Federation of Design Industry Associations, outside director of the Korea Institute of Design Promotion, senoir vice president of the Korean Federation of Design Associations and contributed to the development of the Korean design field. 

Since 1989, he has been working on more than 1,000 identity design and branding projects for 35 years and he has consistently awarded domestic and international design awards. And he has been archiving Korean design, focusing on visual culture from 2017 to the 1960s to 1990s.

Japanese-ness and package design trends

Japanese people have not only made use of the gifts of nature in our daily lives, but have also expressed our respect for nature in packaging culture. In this seminar, we will look at Japanese-ness that is being lost with time and consider package design trends required in a sustainable and inclusive society.

《The Future of Cosmetic Packaging in China as Seen by Proya》

Proya, a brand that occupies an important position in the Chinese cosmetics market, has won the favor of consumers with its unique market strategy and design innovation. The brand’s success not only lies in its precise market positioning, but also in how it responds to changes in consumer needs through packaging design. The Ruby Series from Proya is a good example of this, as it not only showcases the luxury of the product in its packaging, but also strengthens emotional connections with consumers through social media interactions. 

Proya’s success offers profound insights into the Chinese cosmetics market. It reflects the growing trust in domestic brands among consumers, as well as their pursuit of personalization and innovative design. Proya has achieved this by deeply understanding the psychological needs of consumers and translating these needs into design language, setting a new benchmark for the entire market. At the same time, Proya’s success also shows the trend of domestic brands rising in the Chinese market, as well as the importance placed on personalization, quality, and brand value by consumers. 

When discussing the rapid changes in the Chinese cosmetics market, we can see the high demands placed on packaging design. Additionally, countries such as China, South Korea, and Japan have both similarities and differences in packaging design, providing ample space for exchange and cooperation among designers. Looking to the future, packaging design will play an increasingly important role in a constantly changing market, and we look forward to seeing more collaboration between designers to drive the development of cosmetic packaging design.

Varna Sudasna

With over 35 years of experience in the Printing and Packaging Industry, I specialize in driving business growth through design and innovation. My expertise lies in creating new business models and acting as a change agent within organizations, fostering a culture that embraces innovation. 

My contributions extend beyond local markets; I have actively participated as a speaker, consultant, and judging committee member in various design contests, both in Thailand and internationally.

Chodnarin Vipada

In 2024, Thailand’s packaging design landscape is heavily influenced by sustainability and cultural identity. Designers are increasingly focusing on sustainable packaging design and processes to align with global trends towards environmental consciousness. This shift not only addresses sustainability but also enhances the distinct Thai identity in packaging, promoting soft power. 

The Thai government supports these initiatives as part of a broader strategy to attract t ourists by showcasing Thailand’s rich cultural heritage through innovative design. The collaboration between the Thai Package Design Association, government, and private sectors aims to elevate the packaging of SME products, adding value and making them more appealing to both local and international markets.

Green Tech Fusion: Survival Notes on Design from Formosa Taiwan

The COVID-19 pandemic has significantly affected the global economy and various industries, including Taiwan’s packaging design sector. In the post-pandemic era, major shifts in global industries, changes in consumer behavior, increased adoption of digital technologies, and a heightened focus on sustainability have pushed the packaging design industry to quickly adjust to market demands. Changes in Taiwan’s packaging design industry are apparent in the innovation of brand marketing strategies, digital transformation, material selection, and the emphasis on sustainability. Notably, the practice of upcycling agricultural waste into packaging materials is gaining popularity. By transforming agricultural by-products such as coffee grounds, shell powder, and water caltrop shells into eco-friendly packaging materials, the industry is not only meeting environmental requirements but also promoting resource recycling. This reduces reliance on petrochemical materials and discovers new uses and value for agricultural waste. These changes are rapidly reshaping the future of the packaging design industry, significantly impacting brand emotional connections, the development of digital and smart packaging, and the eco-friendliness and functionality of packaging materials. They are also influencing marketing strategies and design styles. Most importantly, there is a growing emphasis on sustainable design. This year’s APD focuses on showcasing Taiwan’s exceptional works, concepts, and innovative technologies. It aims to share insights into the development and future trends of Taiwan’s packaging design industry in the post-COVID era.

“Crafting a Closer Brand Experience That Fosters Empathy in Brand Communication.”

In today’s fast-paced world, where markets rapidly evolve and the demand for innovation and differentiation continues to grow, packaging stands out as a vital medium for conveying a brand’s core values and message.

HEAZ’s special packaging solutions embody both the brand’s perspective and the consumer’s needs, creating an experience that resonates on a deeper, more meaningful level. This approach helps consumers recognize, understand, and build positive associations with the brand. The session introduces our unique lens, which fuses fresh creativity with deep insights to foster genuine connections with consumers.

ADGI - Indonesian Visual Identity

Cita has over 13 years of experience in branding consultancy and is currently the Creative Director at Milestone Branding Consultant. She has led branding projects for clients such as Toraja Destination Branding and Sampoerna SRC. From 2011 to 2013, she taught at Binus International University and from 2013 to 2018, she was involved in advocating for the revision of the Indonesian Child Protection Act. Since 2023, Cita has been serving as Vice Chairman/Treasurer at the Indonesian Graphic Designers Association (ADGI). In her free time, she enjoys reading, music, and board games. 

Presentation Summary: 

ADGI has been working with many government and institutions since the beginning, on its development ADGI has a big impact in representing national agenda by developing strong and remarkable visual identity which has become a benchmark in Indonesian graphic design today.

Indonesian Package Design Today

Presenter Profile: Ingga has led DEIO, an independent branding and design consultant based in Jakarta which she co-founded on 2011. As an experienced creative director for more than 12 years, she handled various clients such as Pupuk Indonesia Holding Company, The Japan Foundation Jakarta, MURI, and Hadiprana. 

She served as Program Manager for the 2014-2016 period in Indonesian Graphic Designers Association (ADGI) and also the Coordinator of ASPaC (Asia Student Package Design Competition) Indonesia in 2016, an international student packaging design competition in collaboration with ADGI, The Japan Foundation, and JPDA (Japan Package Design Association). 

She currently serves as the Chairperson of the Packaging Design Committee of the Indonesian Graphic Designers Association (ADGI). She loves to cook and travel around to find unique dishes and remarkable recipes. 

Presentation Summary: 

In a post-pandemic era, consumer behavior in Indonesia started to shifting not only influenced by the rush of digital media but also the rise of many Indonesian local brands. While having big percentage of young generation, the product and package design today in Indonesia being more niche while staying true to each brand vision and developing more sustainable approach both in design and communication.