This poster draws on the Korean concept of “Bom” (spring), symbolizing renewal, growth, and quiet resilience. A delicate sprout emerges through layered typography and concentric forms, suggesting the cyclical energy of the season. The visual tension between organic life and bold graphic structures reflects spring as a moment of both harmony and resistance, where new beginnings take shape within complex cultural and environmental contexts.

Captured in the streets of Euljiro in Seoul, this 3D-scanned portion of the city was digitally processed and altered, then rendered as an image.
This piece was made with a deformed perspective camera in 3D software, rendering the physical into a surreal, almost cubist view.
This series is focused on the ordinary, forgotten or invisible areas and objects scattered in Seoul from an international artist’s viewpoint.

This poster explores K-Design Culture through a dynamic interplay of geometric fragmentation and layered typography. Bold color intersections reflect cultural convergence, while rotated letterforms disrupt conventional reading, echoing the fluid exchange between tradition and contemporary design. The composition conveys movement, diversity, and the evolving identity of Korean visual culture within a global context.

Captured near the Naksan temple on the east coast of South Korea, this 3D-scanned machinery was digitally processed and altered, then rendered as an image.
Experimentation is at the core of Brice Afonso’s process, glitch being one of the tools to distort and expose the digital domain’s weaknesses.
This series is focused on the ordinary, forgotten or invisible areas and objects scattered in Seoul and other places in South Korea from an international artist’s viewpoint.

Captured in the streets of Dongdaemun in Seoul, this 3D-scanned portion of the city was digitally processed and altered then rendered as an image. Experimentation is at the core of Brice Afonso’s process and this piece is no exception. Bringing the physical into the digital, distorted and mangled through post-processing, another point of view is revealed. This series is focused on the ordinary, forgotten or invisible areas and objects scattered in Seoul from an international artist’s viewpoint.

This poster was created to mark the 80th anniversary of Gwangbok, which means “the restoration of light” (光復). Inspired by the idea that Korea regained its light after years of darkness under Japanese colonial rule, the Taegeuk symbol is reimagined as a glowing lantern, illuminating its surroundings and symbolising the value of the light that was reclaimed. Through this work, I hope to honour those who fought for Korea’s independence and to encourage a deeper appreciation of that hard-won freedo

We made a blue snake by weaving wish papers.
The handcrafted snake and stop-motion movements are cute
I was going to show you a bright view of the new year.
The snake’s flexible movements and turning wishes
Visualize the time of 2025 when it will be easy to pass.

The key visual is a hyphen that connects creators and citizens with space It gives new features to seek citizens and creators and attract them to the exhibition.
Using a stick magnet with a shape similar to a hyphen as a graphic motif At the same time as a hyphen, it’s a magnet for citizens and creators I visualized the way I pulled it into space and connected it.

KeyVisual design emphasizes the importance of environment and computation acting on the work, not the outcome.
The area where you can appreciate art through interaction is not the work itself,
but the environment is expressed through the graphic of the eyes and surrounding poetry.
Visualize the eyes looking at the unclear results with the intervention of the writer and audience as the noise of the unsent screen.

The pattern frame of traditional window paper was used to
announce the new beginning and meeting of traditional culture and art.
The material of the frame is expressed in metal material to express a new traditional culture
and art starting in modern times.
Mudeungsan’s key visuals ringing in the frame mean “modern interpretation of traditional culture and art that keeps the name and starts anew,” emphasizing the artistic significance of the festival.

The key visual design compared invisible and out of reach to a transparent and fluid form (water).
The four objects that became the motif of the work were transparent and impossible to grasp.
It expresses the appearance of being barely visible and caught in the falling raindrops
It is designed so that you can feel the feelings of artists who conceive and embody their works.

Hong Hyunjo’s solo exhibition, The process of exploring the subject is expressed by comparing it to falling into the sea.
According to the needles and titles obtained, the artist’s hobbies, childhood graffiti, and photos are reconstructed
We designed it so that you can feel Hong Hyun-jo’s view of art while looking at the graphics.

The poster design implies the existence of a narrative through the flow of the title.
The graphics that cover the title cause the inconvenience of reading, allowing you to perceive the sense of sight.
Graphic recognizes your senses, and at the same time, your senses and your narrative
It is a passage for appreciation as a work of art and symbolizes multi-layered interpretation with overlapping transparent layers.

The fifth year of illness is the year when many changes begin for me.
Like a fast-paced red horse, I’m going to tighten my shoelaces and get ready to run as hard as I can.
The horse’s face is made of red shoelaces to express the commitment of preparation and active activity for galloping.
The poster pursues a sporty image and captures the heart of the new year.

“NEXT HI-LIGHT” is an opportunity for the new designers
You can expect to meet up-and-coming designers with an exhibition that illuminates the moments of brilliant ideas and creation.
The key visual design visualized the encounter with up-and-coming designers as ‘injuries and appearances’.
It is faithful to the meaning of the exhibition title and intuitively conveys that it is an exhibition that illuminates emerging designers.

Studio Woong is a graphic design studio based in South Korea, specializing in key visuals, posters, and brand identity.
The studio engages in a wide range of projects while continuously expanding its practice through Hangul lettering and personal work.

Studio Woong is a graphic design studio based in South Korea, specializing in key visuals, posters, and brand identity.
The studio engages in a wide range of projects while continuously expanding its practice through Hangul lettering and personal work.

시각디자인을 전공한 크리에이터들이 ‘아이 같은
태도’를 기반으로 만든 디자인 아이덴티티입니다.
대학교 시절 동기들과의 그룹에서 출발했으며,
사소한 것에서도 즐거움을 발견하고 놀이처럼 과정을
즐기는 경험을 바탕으로 합니다.
단단한 형태의 Moai와 자유로운 시선의 대비를 통해,
순수한 즐거움을 창의적인 디자인 언어로 확장하는
방식을 제안합니다.

The Merch Edition of TWS’s 5th mini album ‘NO TRAGEDY’ is an album package that includes the TWS cat character plush produced as ‘Romeo Cat.’ The black-and-white package was designed with a die-cut window, adding a touch of playful romanticism to the early Wacky Wobbler style.

TWS 5th Mini Album ‘NO TRAGEDY’ is a work that unfolded the two-sided narrative of success and failure in love into a guide/manual format. Based on the imagination of a ‘guidebook about love’ proposed by the label, the process of a relationship’s beginning, achievement, and loss was substituted with step-by-step diagrams and the visual language of a dry manual. Technical diagrams, warning phrases, and functional layouts were utilized.

TWS 5th Mini Album ‘NO TRAGEDY’ is a work that unfolded the two-sided narrative of success and failure in love into a guide/manual format. Based on the imagination of a ‘guidebook about love’ proposed by the label, the process of a relationship’s beginning, achievement, and loss was substituted with step-by-step diagrams and the visual language of a dry manual. Technical diagrams, warning phrases, and functional layouts were utilized.

The Digital Book of Hours for Visual Creators reimagines medieval manuscripts as motion posters for “digital rituals.” Following the Canonical Hours, the artist blends Gi-bok-shin-ang with the contemporary phenomenon of seeking meaning through digital screens. Inspired by Flemish Black Books of Hours, the somber palette reflects a post-individualist future. Each piece centers on a saint, using 3D elements and complex icons to invite meditative gazing, turning ancient prayer cycles into a modern

The Digital Book of Hours for Visual Creators reimagines medieval manuscripts as motion posters for “digital rituals.” Following the Canonical Hours, the artist blends Gi-bok-shin-ang with the contemporary phenomenon of seeking meaning through digital screens. Inspired by Flemish Black Books of Hours, the somber palette reflects a post-individualist future. Each piece centers on a saint, using 3D elements and complex icons to invite meditative gazing, turning ancient prayer cycles into a modern

The Digital Book of Hours for Visual Creators reimagines medieval manuscripts as motion posters for “digital rituals.” Following the Canonical Hours, the artist blends Gi-bok-shin-ang with the contemporary phenomenon of seeking meaning through digital screens. Inspired by Flemish Black Books of Hours, the somber palette reflects a post-individualist future. Each piece centers on a saint, using 3D elements and complex icons to invite meditative gazing, turning ancient prayer cycles into a modern