Yi Whan-woo is a Korea Times journalist primarily covering finance. He writes in-depth articles on macroeconomy and financial markets and previously covered sports, politics, diplomacy and inter-Korean affairs, among others. Feel free to contact him at yistory@koreatimes.co.kr.
Master of banknote lithography blends technical mastery with artistic flair
Ka Sung-hyeon, a master in banknote lithography, is the perfect example of someone who has dedicated decades to his work while fulfilling his journey as an artist, constantly perfecting his craft.
Ka, 55, is in charge of a project by the Korea Minting, Security Printing & ID Card Operating Corp. (KOMSCO) to recreate images of iconic paintings and masterpieces using banknote lithography.
Ka Sung-hyeon, design manager at the Korea Minting, Security Printing & ID Card Operating Corp. (KOMSCO), poses with a lithographic image of "Inwangjesaekdo" at KOMSCO headquarters in Daejeon in this undated photo. Courtesy of KOMSCO
By Yi Whan-woo
The most recent piece was “Inwangjesaekdo,” also known as “Scene of Mount Inwang After Rain,” an iconic landscape painting by Jeong Seon (1676-1759) from the Joseon Dynasty.
The art project was initiated as KOMSCO, the country's sole producer of banknotes and coins, aims to promote its cultural content business and diversify its revenue streams, especially as Korea transitions to a cashless society.
The project would not have been possible without KOMSCO’s counterfeit deterrent technologies, which Ka worked hard on after entering the state-run company in 1996.
“I learned extensive know-how and expertise from my senior colleagues regarding money-printing technology, and I am glad to be where I am now,” Ka told The Korea Times in a written interview.
Working as the design manager at KOMSCO, Ka described his position as "an artist-like engineer or vice versa."
An art major in college, Ka initially considered pursuing a full-time career as an artist after graduation but later changed his mind and joined KOMSCO.
His case illustrates a dilemma many artists face: the ongoing struggle between creative passion and the financial realities of life, as the art industry generally offers fewer opportunities for stable income compared to other sectors.
“Nevertheless, I was eventually able to unleash my artistic passion into my profession by building expertise in engraving,” Ka said, referring to an advanced lithographic printing technique used to print a copy of “Inwangjesaekdo.”
With intricate lines and dots, lithographic printing provides a tactile experience when touched, which is also a key feature in anti-counterfeiting technologies.
Since this level of detail can only be achieved by minting institutions, it enhances the piece's rarity and value.
Among other recreated pieces are “Landscape from Saint-Remy” by Vincent van Gogh (1853-1890) and “White Ox” by Lee Jung-seob (1910-56).
The pieces for reproduction are carefully determined in collaboration with the National Museum Foundation of Korea, the National Museum of Modern and Contemporary Art and other stakeholders.
“These pieces were reproduced with efficiency in time and labor, which I witnessed through the advancement of banknote lithography, such as transitioning from sole handmade work to digital technology-assisted work, for nearly 30 years,” Ka said.
For Ka, "Portrait of a Beauty" by Shin Yun-bok (1758-1814) from the Joseon Dynasty is a piece he hopes to reproduce in the future.
Ka, in addition, advised aspiring artists to cross boundaries between business and art, saying that leads to new career opportunities for those specializing in printmaking.