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Calligrapher highlights King Sejong's 'think different' spirit behind Hangeul
Participants pose during a CQ Forum at the New Zealand ambassador’s residence in Seoul, Tuesday, where calligrapher Kang Byung-in, back row second from left, delivered a lecture on the philosophy behind the creation of Hangeul. Courtesy of the Corea Image Communication Institute
By Pyo Kyung-min
CICI hosts card news contest
The creation of Hangeul, the Korean alphabet, reflects Joseon-era King Sejong's willingness to "think different," calligrapher Kang Byung-in said, describing the Korean script as a writing system whose beauty lies in its structure and creative design.
Kang said this as he delivered a lecture Tuesday evening at the CQ Forum held at the residence of the New Zealand ambassador in Seoul. The event was organized by the Corea Image Communication Institute (CICI), a nonprofit cultural organization that promotes Korea's global image and cultural exchange.
Launched in 2006, the CQ Forum invites diplomats, cultural figures and scholars to explore various aspects of Korean culture through lectures and discussions.
In a talk titled "In the Spirit of the Creation of Hunminjeongeum and the Think Different of Sejong and the Beauty of Hangeul," Kang reflected on the philosophical background behind the Korean writing system and the creative mindset that shaped it.
"The beauty of Hangeul does not mean it is the most beautiful script in the world," Kang said. "It refers to the originality of the system, in which the way the letters were designed, structured and expressed."
Kang is one of Korea's most prominent Hangeul calligraphers, known for pioneering modern calligraphy that blends traditional brush strokes with contemporary graphic design. Since the late 1990s, he has played a key role in popularizing Hangeul calligraphy in everyday visual culture.
His work appears in a wide range of commercial and cultural projects, including brand lettering for products such as Jinro's Chamisul soju, Hwayo liquor and Yeol Ramen, as well as title lettering for cartoon-turned-dramas "Misaeng" and "Awl." Kang has also exhibited internationally in cities such as Moscow, Madrid and Jakarta.
Calligrapher Kang Byung-in demonstrates Hangeul calligraphy during the CQ Forum at the New Zealand ambassador’s residence in Seoul, Tuesday, writing the Korean word for “spring day.” Courtesy of CICI
During the lecture, Kang argued that the defining trait of King Sejong's leadership was his intellectual curiosity and openness to new ideas.
"We often revere Sejong as a great teacher of the nation," he said. "But what runs through his life is the idea of thinking differently."
According to Kang, Sejong's passion for learning and his habit of engaging scholars in discussion and debate influenced the development of Hangeul. The writing system was designed using familiar shapes drawn from nature — symbolic forms representing the sky, earth and human beings — while consonants and vowels combine systematically to form syllable blocks.
Sejong completed the creation of Hunminjeongeum, the original name for Hangeul, in 1443. Three years later, scholars compiled the "Hunminjeongeum Haerye Preface," a detailed explanation of the script's design and usage.
"Hangeul is unique in that it has its own explanatory manual describing how the writing system works," Kang said.
Kang concluded the forum with a live calligraphy demonstration, writing the characters for simple but meaningful Korean words including "flower," "spring day" and "wind," presenting the works as gift to participants.
New Zealand Ambassador to Korea Dawn Bennet, left, and calligrapher Kang Byung-in pose during the CQ Forum at the ambassador’s residence in Seoul, Tuesday, where Kang delivered a lecture on the philosophy behind the creation of Hangeul. Courtesy of CICI
Contest opportunity
Meanwhile, CICI announced that it will hold a card news competition from March 10 to May 10 ahead of the 17th Cultural Communication Forum (CCF), scheduled to take place May 21 at the residence of the Italian ambassador in Seoul.
The competition will explore two themes: the future of Korean culture spanning both traditional heritage and contemporary culture, and the distinctive competitiveness of K-content in the age of artificial intelligence.
The contest is open to anyone aged 18 or older residing in Korea, regardless of nationality. Participants may submit vertical card news images in a 4:5 format consisting of three to 10 slides.
Entries will be evaluated based on thematic relevance, creativity, clarity of message and overall quality. The first-round results will be announced May 14 on the CICI website, while the final winners will be selected through on-site voting during the CCF 2026 forum.
During the event, diplomats and members of the CICI Supporters program will also participate in a "Hidden Talent" segment showcasing creative performances.
CICI Chairperson Choi Jung-wha said the competition aims to encourage new ideas for Korean cultural content.
"Traditional and contemporary Korean culture are not in opposition but two pillars that expand together toward the future," Choi said. "We hope this competition will uncover new ideas for K-content that can communicate with the world."