Design inherently involves control — the rhythm of reading is part of that control. Through the arrangement of text, images, and white space, a designer shapes how readers move through content, much like how music aligns with a heartbeat to evoke comfort, tension, or release. White space becomes the reader’s breathing room, balancing density and openness to create a sense of flow.

A well-designed publication considers how form and pacing affect the reader’s experience: dense pages may feel like a marathon, continuous illustrations like a breeze, and generous white space like a walk. The goal is to maintain an appropriate rhythm — allowing the book to breathe naturally, guiding the reader without abrupt shifts.A well-structured publication communicates even without being read. Its hierarchy — titles, subtitles, captions, and page numbers — should be intuitively recognizable. One of the best ways to understand reading rhythm is to look at a book in a foreign language; when meaning is blocked, you begin to sense how space, scale, and pacing create movement and atmosphere. Typography, then, becomes architectural — organizing not only content but also the emotional and temporal experience of reading.

When you like something or think something is good, you should be able to clearly explain why when communicating with a client.That’s why it’s important to analyze the reasons behind it — not because a famous designer said it’s good, not because your creative director said it’s good, and not because the public thinks it’s good.It’s good because you think it’s good — not just because someone else said so (although sometimes that can also be part of the reason).So you need to dig deeper into why this thing feels good or right to you.

I see art and design as two distinct yet interconnected disciplines. Art is rooted in subjectivity and emotion, while design is driven by objectivity and functionality. For instance, using the color red to represent the sun serves a functional purpose—helping the audience feel the presence of the sun. But deciding which shade of red, whether warm or cool, is a subjective choice that involves aesthetic judgment and contextual harmony. I view graphic design as a form of translation—transforming intangible emotions into visual language with artistic sensitivity. A designer’s role is to translate these feelings into effective communication.