We are developing a monospace typeface called FWB MONO. It originated from lettering we created in 2025 for Club Prisma in Berlin.

We are developing a monospace typeface called FWB MONO. It originated from lettering we created in 2025 for Club Prisma in Berlin.

We are developing a monospace typeface called FWB MONO. It originated from lettering we created in 2025 for Club Prisma in Berlin.

We are developing a monospace typeface called FWB MONO. It originated from lettering we created in 2025 for Club Prisma in Berlin.

We are developing a monospace typeface called FWB MONO. It originated from lettering we created in 2025 for Club Prisma in Berlin.

We designed a movie poster for 3670, participating in the exhibition 100 Films 100 Posters, The 26th JEONJU International Film Festival. We highlighted how society makes us lonely, but we keep looking for relationships that are for relationships so close, yet so far.

We are developing a monospace typeface called FWB MONO. It originated from lettering we created in 2025 for Club Prisma in Berlin.

We are developing a monospace typeface called FWB MONO. It originated from lettering we created in 2025 for Club Prisma in Berlin.

We designed an artist stamp for Yujin Lee, an artist fascinated by and exploring objects that have survived for a long time. Illustration by Yujin Lee

We designed an artist stamp for Yu-jin Lee, an artist who is fascinated by and explores objects that have survived a long time. Illustration by Yujin Lee

We designed a artist stamp for Yu-jin Lee, an artist who is fascinated by and explores objects that have survived a long time. illustration by Yujin Lee

In contemporary design, designers have practiced variable and transformative typographies exploring interconnected and hybrid systems. Such phenomena have also created type-driven landscapes where graphic designers have reflected on their multicultural, multi/ translingual, and liquid identities. Typo-Heterochronia: Seoul-Atlanta is designed to imagine a space-time where writing systems and typographic identities, Hangul (Korean) and English, intersect to respond to those design practices.

We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to track commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to track commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to track commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to track commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

This project is the 2024 visual identity for Culture Station Seoul 284 RTO365. The graphic system reinterprets spatial experiences—light, shadow, and openness—into expandable modules. Based on three symbolic elements (circle, oval, and line), it visualizes the encounters and narratives formed within the cultural space, creating a flexible system that reflects the dynamic nature of the programs.

This project is the visual identity for the 30th anniversary of the Korea Sexual Violence Relief Center. The identity frames the anniversary as “water,” a force symbolizing energy and surface tension that enables solidarity. This concept is translated into a visual system that embodies the slogan: “Courage that creates cracks, change that permeates everyday life,” reflecting a mission for structural change.

This typographic experiment explores formal changes when Hangeul letterforms reach extreme weights. By removing structural elements for legibility and leaving only minimal clues—color and position—it examines the boundary between letters and flat masses. Each chapter operates under a distinct system, with each page representing one character. The 450-page book serves as both a manual of the process and a complete visual work.

We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to track commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

Expanding on structural experiments, this project constructs masses that remove function and meaning. While earlier works used utility as a constraint, this piece adopts “non-functionality” as its premise. The structures offer no support and shift in appearance based on the viewer’s perspective. The resulting forms remain open to interpretation as sculptures or assemblies, concluding a series that evolves form from abstract clues.

We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to track commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

This is a dingbats font inspired by traditional Korean ornaments. It is based on the Hangeul writing system, in which initial consonants, vowels, and final consonants combine to form characters. These elements are used to create basic graphic units, which are then combined to produce a variety of visual forms. This poster features a selection of individual characters that carry positive meanings.

This work questions the completeness of perceived forms. By removing conventional forms and retaining only functional clues, it tests whether an object remains recognizable. Treating the chair as a sculptural structure, the project explores the minimum conditions for “sitting.” Using modules derived from drawings of specific viewpoints, it constructs intersecting planes, highlighting the gap between perception and the object’s essence.