Graphic design for the radio program 〈The New Woman Art Club〉.
The lettering combines bold, linear elements with sharp, curvilinear forms to express the confidence, freedom, individuality, and independence embodied by the New Woman. The piercing vertical strokes create fissures, symbolizing a break in long-held social conventions and reflecting the New Women’s bold and incisive efforts to carve out their own worlds.

The poster for A Week Before the Wedding captures a precarious compromise. It centers on six mismatched cups arranged to form a fragile flower—a metaphor for a relationship so unstable that removing a single piece would cause a total collapse.

At the heart of the design, a wedding glove is stained red rather than white. This visual subtly hints at the characters’ anxiety and the extreme, tragic choice they ultimately make.

A playful postcard concept capturing Seoul’s vibrant energy through bold neon tones and layered typography, inspired by how the city makes you want to be there with friends and loved ones, sharing meals and simple moments.

The poster for Subject B in the Lab visualizes a spectrum of conflict: human versus robot, reality versus replica, and ideal versus shadow. Drawing from the Allegory of the Cave, the design places the “idea” in the upper right and its “projection” in the lower left.

The rest of the composition features geometric shapes and a vibrant palette against a white backdrop, establishing a sleek, futuristic laboratory aesthetic.

In the age of AI, what cannot be replaced is the taste and experience shaped by one’s life, and the creativity built upon them. I see AI as a skilled chef, while my experiences are the unique ingredients that complete the dish. Welcome to our special place. We have no fixed menu—only your stories. Share your experiences, and we will create something one of a kind, beyond imagination. Your story is a precious ingredient. Now, tell us yours.

EunpyeongSagadokDogseo Type is the official typeface used by Eunpyeong-gu and consists of two font families: Title and Text. The Title style preserves the letterforms of the Hunminjeongeum Manuscript as faithfully as possible, while the Text style modernizes them for practical contemporary use. The text on the poster is taken from the Preface by Jeong Inji included in the Hunminjeongeum Manuscript.

Line 2 of the Seoul subway is a circular route. In this sense, taking Line 2 is like having a picnic in Seoul. If you visit Seoul, try riding only Line 2.

AG Ahnsangsoo is a combinatory Hangeul typeface deviating from the squared syllable block structure, first designed by Ahn SangSoo in 1985. It generates 11,172 syllables from 19 initials, 21 vowels, and 27 finals, built from simple geometric shapes. The A-Project invites designers from Korea and abroad to create new Hangeul typefaces based on this structure. As a result of A-Project 2024, 11 typefaces were released in 2025, and the project continues annually, adding about 10 new typefaces.

This poster for a chapter of Almost, Maine captures a relational winter. It depicts the terminal point of a bond fractured by boredom and distrust. Dominated by a vast blue expanse, the design utilizes negative space to evoke an intuitive sense of isolation and chilling finality.

At the center sits a bench, overlayed by doodle. This central image serves as a focal point for the characters’ instability, illustrating a connection that is frozen, brittle, and nearing its end.

This work connects Hangul and the Latin alphabet through the shared basis of pronunciation, visually combining and organizing their relationships.

“Extra Body” is a work that assigns new contexts to images by collaging visuals collected from the internet and connecting the gaps between them with drawings. Through this process of filling the void, the original fragments are woven into a continuous, singular narrative.

The poster for the play The Proposal. The titular “proposal” is sidelined by non-communicative dialogue. Petty trifles, inflated by ego and greed, blind the characters to what truly matters. The stage overflows with noise and movement, yet remains fundamentally hollow. At the center, a hollow line-art flower symbolizes a courtship stripped of substance. A striking red and black palette evokes intensity, while the typography bridges classical and modern styles.

Design shapes our daily lives and reality — even when we don’t notice it. This is especially true for the mundane objects that often go unquestioned, such as banknotes, supermarket brochures, or subway tickets. Through our 3-piece series, we aim to highlight and bring attention to those “invisible” designs that people in Korea interact with on a daily basis.

The 2025 Hangul International Pre-Biennale was an exhibition built around the connected themes of “creation” and “coexistence.” It spatially interpreted the historical and contemporary aspects of Hangul while exploring the interaction between region and art. To express this concept, the poster transformed distinctive architectural elements of the exhibition venue into pixels, visually linking the spaces together.

APT Panorama Typeface recreates the uneven silhouette of Korean apartment skylines. Why turn an apartment panorama into a typeface? Taking interest in unexpected and intriguing images that appear in everyday places was my way of learning to love the things I encounter in life. The rhythm created by the varying heights of apartment buildings was also an appealing element.

Design shapes our daily lives and reality — even when we don’t notice it. This is especially true for the mundane objects that often go unquestioned, such as banknotes, supermarket brochures, or subway tickets. Through our 3-piece series, we aim to highlight and bring attention to those “invisible” designs that people in Korea interact with on a daily basis.

This project, developed within “ReRelevant,” reinterprets out-of-print content by transforming orally shared family recipes into a digital archive. Created during the COVID-19 pandemic, it uses the web as a space for sharing at a distance. Focusing on a Korean mother’s dish and a German aunt’s recipe, it explores how food carries memory and emotion, preserving personal histories and making them accessible.

“Extra Body” is a work that assigns new contexts to images by collaging visuals collected from the internet and connecting the gaps between them with drawings. Through this process of filling the void, the original fragments are woven into a continuous, singular narrative.

This is a poster for a university theater club’s workshop performance. The design explores the possibilities of paper and tape—common, basic materials with limitless potential—which reflects the essence of a workshop production. The performance titles are styled as typography on masking tape, layered over rich paper textures to emphasize a handcrafted aesthetic.

Design shapes our daily lives and reality — even when we don’t notice it. This is especially true for the mundane objects that often go unquestioned, such as banknotes, supermarket brochures, or subway tickets. Through our 3-piece series, we aim to highlight and bring attention to those “invisible” designs that people in Korea interact with on a daily basis.

Make with paper. Life sometimes crumpled. KIM00 (Kim Youngyoung) builds from this belief. The Seoul-based designer and artist cuts and collages discarded paper into K-pop fan art—proof that crumpled, thrown-away things hold beauty worth making. #2020TF marks the third in an ongoing series of February exhibitions, where waste is not a limitation but the material itself.

Looking back on 2025 while preparing for 2026, I recognized it as a year filled with constant anxiety. Despite this, many small but meaningful moments of happiness helped me endure and reach the end. This project reflects that experience, expressing a desire to hold onto those joyful moments even amid uncertainty. It conveys a hope that, despite ongoing anxieties in 2026, we will continue to seek happiness, sustain it, and eventually arrive at a sense of peace.

Corners is a risograph poster series created for an independent film exhibition, designed for the film ‘Moseori'(meaning corners, in Korean) written and produced by Korean film director Seohyun Lee (@kalmeng). The design was inspired by a key motif from the film; the protagonist’s habit of writing memos on the corners of books, symbolizing moments of reflection and the beginning of a personal journey.

The series was exhibited at Bincan in Seoul and featured in metro station billboards.

Reulreul is a Hangul cursive typeface designed based on the handwritten script found in Historical Records of King Danjong the Great(Danjong Daewang Sajeok). Its defining feature is the slanted horizontal strokes that connect like flowing water. The Hangul syllable “를(Reul)” best demonstrates this characteristic, which inspired the name Reulreul(를를).