From Literature to Design: Jun Lin on Research-Driven Creativity
By Cansu Peker
Jun Lin is a Los Angeles–based graphic designer and illustrator with a background in Literature. Her work spans branding, print, digital, packaging, and illustration, brought together by a methodical, research-driven, and empathetic design sensibility.
Storytelling sits at the core of her practice. Drawing from her literary background, Jun often thinks of design systems the way she approaches writing—through themes, motifs, and emotional through-lines that bring cohesion and clarity. This perspective not only guides her creative process but also helps clients connect with her work on a deeper, more intuitive level.
We asked Jun about her art, creative process, and inspirations.
You have a background in Literature — how does storytelling influence your design and illustration work?
I sometimes think about design through the lens of literary devices, and often borrow ideas from Literature or academic writing. I approach design systems the way I approach writing: What’s the thesis statement? What are the themes and motifs? Is there an emotional through-line that ties everything together? Thinking this way helps me build work that feels cohesive and intentional. On a practical level, storytelling also makes it easier for clients to understand and connect with design concepts. When I present directions, I frame them with clear narratives, distinct themes, and motifs, so the ideas feel both structured and meaningful.
Your portfolio moves fluidly between brand, print, digital, and packaging. Do you have a “happy place” among these?
I’m pretty happy when I can rotate between disciplines — each project teaches me something new and keeps my perspective fresh. That variety keeps the work exciting. That said, print will always have a special place in my heart because of the tactile quality and craft involved.
When you start a new project, what’s the very first thing you do?
I usually begin with research, then move into a word map. After gathering some initial thoughts, I put words and ideas down on a page to see how they connect. This step usually helps me brainstorm, spot patterns, and shape a direction before diving into the visual side.
How do you balance your methodical, research-driven approach with moments of creative spontaneity?
I use research as a starting point — it gives me some direction and context. But getting into the making is when I learn what actually works. I test, adjust, and let things evolve through iterations; somewhere in the process I might stumble on something promising and keep exploring in that direction. This back-and-forth between structure and experimentation is what shapes the final design.
What’s one project that challenged you in unexpected ways, and how did it change your process?
In my first week as an intern back in 2019, I worked on designing a brand system for a line of perfumes and body care products. I’d never done packaging before, so it was completely new to me. Our creative director encouraged us to think in gestures and systems, which led to a rotating label lockup that integrated the logomark into modular sculptural blocks, allowing them to be rearranged for different products. That approach was a great learning experience and is something I still use today. The client really liked the design. This was actually my first real-world project that got produced. Even now, it’s been rewarding to see the brand evolve over the years while keeping the essence of that original work — it’s exciting to see my work stand the test of time.
Los Angeles is such a melting pot of cultures and aesthetics. How does the city’s environment influence your creative decisions?
Design in LA just feels so effortless! The city has such a rich visual culture, from sign painting and storefront graphics to posters and flyers, I’m always inspired by how simply but perfectly things are executed. It’s a balance that’s actually very hard to achieve. I think about it a lot, and aspire to that same sense of effortlessness in my work. How can I do more by doing less?
What else fills your time when you’re not creating art?
When I’m not working, I usually spend my time reading or watching video essays about books, games, and other forms of literature.
