2026

Seojeong Park

I am Seojeong (Chloe) Park, a strategic graphic designer.

Specialising in Brand Identity and Digital Experience, I design with a careful balance of essence and efficiency. Instead of relying on intuition, I visualise ideas grounded in data and logic, bridging strategic insights with visuals to transform complex brand stories into cohesive design systems and seamless UX/UI.

ZeroByte, Intercepting your AI Usage.

Do we truly understand the weight of a single AI prompt?

Created for UAL LCC Earth Week, this project turns its attention to our unchecked digital habits and the carbon emissions quietly accumulating behind them. Data analysis revealed that while the majority of students are aware of the environmental impact of digital activity, 78% of them expressed cynicism rather than a call to action. To bridge the gap between knowing and doing, the project adopts the format of a rhythm game. Your taps translate into real-time carbon emissions data: the better you play and the more data you generate, the more the system overheats, mirroring the damage done to the planet. When the game ends, a Digital Receipt is issued, calculating the carbon cost of every tap. Your record – equivalent to multiple cups of Americano.

Now share your receipt and come face to face with your digital debt.

Go to linked website

Scan the QR code on the poster to jump right into the game!

The core message of the video is to showcase the working prototype of the carbon emission game and to encourage users to share their ‘Digital Receipt’ issued upon game completion.

Students taking part in the ZeroByte game in person and receiving their own carbon emissions receipt.

For the ZeroByte sustainability – Lighten your AI Byte-weight. Real-time data such as ‘The carbon saved this week by UAL students through AI prompt dieting equals OO trees’ could be shown on screens across the UAL campus and on the main page of the student portal.

Claim your receipt!

Void Swatches

Your pace defines your time.

These swatches visualise the gap between measured time and perceived time, drawing on insights captured within the digital platform Spotify.

The still ink patterns recorded in the guidebook stand in for data, symbolising time that has been fixed as measured time. The moment an audience places a swatch into the moiré case and moves it themselves, the static pattern comes alive with energy, generating the non-linear flow of perceived time.

Through the physical experience of touching and activating the patterns, the audience may discover their own rhythm beyond measured time: their perceived time. I wish that this also becomes an opportunity to look again at the moments of everyday life quietly passed over without a second thought, the skipped time, The Void.

I want the audience to handle and activate the swatches, feeling that gap for themselves; it is only through their physical movement that the data truly becomes complete.

My Void Swatches became an important aesthetic device for revealing the imperfection of human time, something the precision of the digital tends to overlook.

I hope this serves as an opportunity to reflect on the realisation that absolute time does not exist, and to look again at the moments skipped over within our own timelines: The Void.

This is the reverse side of the Void Swatches. The code for each ink spread and observations recorded during the experiment are noted here.

+ How to use the Void Swatches

How to Listen to London – City Soundscape

“The city doesn’t exist only through light – it is structured through sound, too.”

This project is an exploration of London through the deliberate act of listening. By shifting the focus away from visually-centred urban mediums like maps or photographs, tuning into the city’s auditory layer reveals an entirely different perspective – one that captures the transient temporality, rhythm, and raw emotion of urban spaces. The collection features soundscapes captured across seven distinct London locations: the mechanical hum of underground doors closing, the aggressive drilling of construction near Westminster Abbey, and the resonant guitar of a street performer outside the Tate Modern.

Each curated card is a two-sided sound archive. On the front, there is a photograph of the location. The back features a three-tiered data visualisation that includes objective measurements (decibel), subjective reflections (personal emotional responses), and sound mapping.

Together, these seven cards manifest patterns invisible on conventional maps – unseen boundaries where pedestrians detour around harsh acoustic construction, the temporal rhythms of mechanical rush-hour swells, and the emotional geographies carved out by written reflections.

This project invites you to curate your own sonic journey through London, seeking tranquillity, vibrant energy, or hidden auditory landscapes. It challenges you to experience sound not as passive noise, but as an active force shaping your emotions and relationship with the city.

Collecting Sound Data

Seojeong Park

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