The daily subway rides, the office space.
We often joke around, saying things like, “I wish I could get rid of my boss” or “I want to wipe out all these people on the subway.” But we all know it’s just a joke (Just Kidding), so we laugh it off. Just Kidding takes these extreme everyday jokes from the subway and the workplace, and transforms the idea of “getting rid of people” into a graphic design project that is frightening, yet playful at the same time.

The Light Uprising is a visual archive documenting the citizen response to the attempted martial law in South Korea on December 3, 2024. The zine captures moments of solidarity on the streets — K-pop lightsticks carried by women protesters, individually crafted flags, labor union pickets, and pre-paid beverages left by absent citizens — alongside images of parliament members casting their votes for impeachment. Published by BeHyunsil, 2025. Risograph printed.

The 1986 Asian Games in Seoul were a national movement aimed at declaring Korea’s global presence. The resulting archival fragments reveal the multifaceted outlines of the path Korea was destined to follow.

This publication, presents the outcomes of the course Graphic Design 1: AI Lab for Graphic Identity Design, conducted in the first semester of the 2025 academic year by the Design Innovation major, Department of Creative Studies, College of AI Convergence at Sejong University.

Under the guidance of Professor Daeki Shim, 23 students participated in the course as authors. Four students—Sinji Joung, Sunwoo Kim, Bitna Tak, and Sumin Lee—were responsible for the editorial work and book design.

The Light Uprising is a visual archive documenting the citizen response to the attempted martial law in South Korea on December 3, 2024. The zine captures moments of solidarity on the streets — K-pop lightsticks carried by women protesters, individually crafted flags, labor union pickets, and pre-paid beverages left by absent citizens — alongside images of parliament members casting their votes for impeachment. Published by BeHyunsil, 2025. Risograph printed.

The poster for MMCA Goyang Residency Open Studio 21 uses typography to reveal how artists’ works and relationships are formed within the residency. Black, rough-textured letterforms show individual works overlapping on a single surface. Undulating lines suggest twenty-one layers from the superimposition of artists’ names, alluding to both the 21st edition and the stratified relationships within the space. The composition encapsulates a collective state—temporarily coalescing, then dispersing.

The design for Ilmin Museum of Art’s 2025 ARKO Leap articulates “leap” through a hierarchy of scale and density. The progression from the small “2025” to “ARKO,” and finally to the enlarged “LEAP,” establishes a visual rhythm of ascent and expansion, mapping the artists’ transition to a new stage. Tightly compressed letterforms and their organic continuity suggest distinct practices converging within a single flow, while the pale green tone unifies the composition, evoking renewed possibility.

The design for From Hwaseong N District foregrounds large-scale Hangeul typography with a diffused texture, rendering institutional pressure as visual language. Oversized black letterforms operate as physical density prior to legibility, evoking institutional weight within a standardized environment. Granular surfaces and irregular edges read as fractures, translating “institutionalized everyday life” and “non-place.” Ultimately, the design presents urban tension through compressed typography.

The 1986 Asian Games in Seoul were a national movement aimed at declaring Korea’s global presence. The resulting archival fragments reveal the multifaceted outlines of the path Korea was destined to follow.

The poster for 7th Altimeets’ regular performance, Deficiency Beyond the Eyes visualizes movement and relational flow through fluid magenta lines on a black canvas. Initially read as patterns or trajectories, they reveal a dual structure legible as text, oscillating between pre-linguistic gesture and language. Their scattering and reconnecting rhythm reflects “deficiency” and “relationship” in Round and Round and Portrait, tracing sensory trajectories between self and others.

The poster for Wrinkles visualizes states of skin and layers of sensation through colors drawn from the three artists’ works. Green, orange, and grayish white indicate touch, body temperature, and surface tension, forming boundaries. A subtle wrinkled texture is applied to all letterforms, evoking skin and traces of contact. Variations in letter thickness suggest contraction and expansion. The composition condenses the concept of “expanding and contracting skin” into a single image.

Fluid Routes examines the editing and distortion inherent in information design. Noticing that Seoul Metro’s map widens station intervals in the center while compressing them toward outer terminals, Seo Hyomin disrupted and redrew the routes by layering psychogeographical perception onto the diagram. The work asks: what does everyday information reveal, and what does it conceal? Published by BeHyunsil, 2025. Risograph printed, 145×205mm, 40 pages + A4 poster set (10 pieces).

Sensory information collected through receptors undergoes a series of processing within the brain before it is delivered to us. This is a disturbingly replicated experience, a reinterpreted performance. “Sense Illusion” restores sensory data to its state before it is dramatized by the mind.

The poster for Jun Jangyeun’s solo exhibition Heavy Orchid translates the brush gestures of nanchigi into restrained graphic lines, visualizing sculptural tension and balance. Expansive negative space holds subtle sensations and time, while central typography stabilizes the composition. Thin lines evoke steel plates bent under weight, revealing force and oscillation. The design condenses “everyday form” through a balance of lightness and heaviness, stillness and movement.

Screened at the Jeonju International Film Festival(100 Films 100 Posters) _ Director Oguri Kohei’s [Sleeping Man]. A man in a coma and the fragmentary scenes surrounding him evoke the question of ‘what it means to live’ and a sense of animism.

Long live music! Living each moment for the sake of sacred art, we bless one another in this way and seize victory.
The album cover for *Hail to the Music* by Danpyunsun and The Moments Ensemble, winner of the Album of the Year award at the 22nd Korean Music Awards.

Long live music! Living each moment for the sake of sacred art, we bless one another in this way and seize victory.
The album cover for *Hail to the Music* by Danpyunsun and The Moments Ensemble, winner of the Album of the Year award at the 22nd Korean Music Awards.

The SYSTEM 2018 series is a graphic experimentation project by designer Daeki Shim. His solo exhibition was held in 2018 at Doosung In The Paper Gallery, with the support of Doosung Paper.

The poster for the 2021 Gyeonggi Design Fair, Goods Goods, extends the event title into a visual system. By repeating and connecting the phrase vertically, the design forms an expanding pattern that visualizes the cycle of production and distribution. The second line is flipped, rendering familiar Hangeul unfamiliar and prompting a reconsideration of the relationship between design and goods. Variation within repetition embodies the cyclical structure of the design ecosystem through typography.

The SYSTEM 2018 series is a graphic experimentation project by designer Daeki Shim. His solo exhibition was held in 2018 at Doosung In The Paper Gallery, with the support of Doosung Paper.

The SYSTEM 2018 series is a graphic experimentation project by designer Daeki Shim. His solo exhibition was held in 2018 at Doosung In The Paper Gallery, with the support of Doosung Paper.

The SYSTEM 2018 series is a graphic experimentation project by designer Daeki Shim. His solo exhibition was held in 2018 at Doosung In The Paper Gallery, with the support of Doosung Paper.

This project reframes small talk by highlighting its overlooked value. During the pandemic, as informal conversations disappeared, its importance became clear. It collects everyday dialogues from Korea, translating and placing them within structured formats like newspapers or business cards. By doing so, it questions communication norms and reintroduces warmth into formal systems. The image shown is the book’s cover.

The poster for The Tongue Before Words, the 9th residency final exhibition at the School of Visual Arts Creative Studio, Korea National University of Arts (K-Arts), centers on a close-up bodily fragment with dispersed text, visualizing a sensory state prior to words. Scattered text resists a fixed reading order, reflecting a state before language. Rather than adopting Concrete poetry, it functions as spatial typography, where spacing and placement evoke the primal sense of the “tongue.”