Why Not Smile is an independent graphic design workshop based in New York City. Hoon Kim (Jeong-Hoon Kim) established the workshop in 2009 after completing an MFA in Graphic Design at the Rhode Island School of Design (RISD) in the States. Why Not Smile focuses on design for art, architecture and cultural clients across various media: printed matter, branding, exhibition design, motion graphics, and websites. We were awarded for AIGA Best 50 Books, Brno International Graphic Design Biennial, Chaumont International Poster and Graphic Design, and TDC Typographic Exellence. We also participated in diverse exhibitions dealing with space and sound in New York, London, Lausanne, and Seoul. Our current research attempts to visualize soundscapes in the public sphere to the printed space, in order to bridge the gap between the personal space and the public space.

Prior to forming Why Not Smile, Hoon has worked for the Museum of Modern Art (MoMA), Practise, Samsung Design Membership, Crosspoint, and Imagedrome, spanning New York City, London, and Seoul since 2000. He holds an MFA from Rhode Island School of Design, a teaching certificate from Brown University, and a BFA from Seoul National University, Korea. Hoon has taught at Pratt Institute and RISD, USA, and he was a recipient of The Next Generation Design Leader award supported by the Korean Institute of Design Promotion and Ministry of Knowledge Economy.

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This interview was for Layout Look Book II. We hope this answers your frequent questions.

Which work of yours are you especially happy with and why?
Walk on red is the one that delights me most. It was a research project intended to create regional images through sound data rather than simply a book design. The entire process required critical thinking about phenomenon, awareness, and inducement. Since I was involved in the project not merely as a designer, but also a researcher, the book could be designed in a much more engaging and experiencing way. In addition, in order to use many different technologies to get the specified data, collaboration with spatial information architects, as well as an exhibition, resulted in a great progress line-up to direct the project.

What do you consider quality in print design?
I see printed matter as a space to linger and interact. Sometimes I tell my clients that I ‘build’ design in books for readers to travel. ‘To build’ means to form physical structures as well as to arrange great graphic elements such as typography and images. The space built by a graphic designer guides readers to follow, understand, and acquire contents. As the great Georges Perec would say, ‘Space as inventory, Space as invention.’

On a more practical level, what can be found on your desktop?
There is a Pantone 186c chip, a fountain pen, a letter opener, a retro numbering stamp, and a message from a fortune cookie. It says if you continually give, you will continually have. Lucky numbers: 38, 1, 14, 20, 21, 41.

What does your working environment look like?
There are two basic desks and chairs, lots of books on the shelf and in the fireplace, and a black and white collection of print design on the wall. Plus, beautiful and touchable trees and sun shine out from the huge windows of my studio. It is quite a spectacular sight.

Do you have a motto for work? If so, what is it?
Keep calm and carry on. It is a famous British poster from World War II. When I first saw this poster, I strongly felt this should be my life slogan as a graphic designer. I am always debating what the more important quality is between the time of finishing a project versus the quality of the design. I think to find the intersection and balance are very important, and to do that, I just need to ‘Keep calm and carry on.’

What inspires you?
Books, arts, and architecture are always inspiring. To read books about space, sound and poem give me both subtle, as well as overwhelming ideas continuously. I also go to galleries and museums frequently in New York. Although they may show the same art throughout many visits, I get different understandings and translations each time. Additionally, everyday architecture on the streets encourage me to consider forms and interaction between space and people, which are exactly the same aspects one needs to think of in design.

What guidelines and advice would you give students of graphic design?
Many students have asked me from my classes or through my website on how I get so many ideas, as well as recommendations for good design books to read to get good ideas. Read books–critical or historical writings on graphic design are good, but books in other fields are great as well. Nothing pops up from nothing.

What is your workout for creativity?
Taking photographs of everyday life keeps me creative. I used to bring around a huge SLR camera, but now I just carry my iPhone. The important thing, however, is not the quality of the image, but what I am focusing on and how I crop, as well as capture the subject matter. Usually subjects are space arranged, old signage, and broken found objects on the street.

Tell us the story of the name of your studio.
Why not smile was originally from the same named song by R.E.M. I used to listen to this song about ten years ago, and registered Why Not Smile as a business name and an Internet domain, dot com. It is a philosophical question about creativity satisfaction rather than a negative normal one. I recommend enjoying the song as well. Why not smile?

Your top 5
Raster Noton
Tinture patterns
Georges Perec
Red balloon
Airplane mobiles