From the beginning, three central questions shaped the project:
How could myths be made accessible?
How could audiences be engaged with mythological stories?
What kind of visual aesthetic could accurately represent global myths?

To address accessibility, the project moved toward the creation of a central “hub,” or library, where myths could be gathered and explored. This hub required a clear identity, one that was instantly recognizable and engaging to a general audience. Various naming possibilities were explored, leading to the final name, Lemy, derived from the first syllables of Legends and Myths.

A clear system for organizing myths into categories became essential, both to guide users and to reduce the sense of complexity that often surrounds mythology. Visual hooks such as large icons, images, or illustrations, were considered as a way to draw attention, raising the question of where that attention should be captured. Social media emerged first, followed by a website, and finally physical spaces that people frequently transit. Public transportation hubs such as subway stations and bus stops appeared especially suitable for promoting myths. This connected directly to a central idea: myths take place in real locations. Posters narrating specific myths could be placed in physical spaces that correlate with their origins. For instance, if a myth involved a ghost from a haunted hotel, the poster could be displayed in the vicinity of that hotel.

Addressing the visual challenges began with researching existing projects that tackled similar problems. Many relied on structured grid systems and iconography to organize complex information. Because mythology spans countless cultures and visual traditions, Lemy was designed to remain culturally neutral. Instead of adopting a specific aesthetic language, the project uses a minimalist approach that creates space for all myths to coexist and be presented on equal terms.