Inspired by a neighborhood tire shop sign.
No margin, no design—open for business. Contact me!

This work is an editorial illustration created for Allure Korea. The article explores how K-pop boy groups are moving beyond traditional expectations of masculinity, embracing genderless stage outfits, props, and concepts.

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.

In a subway flooded with countless people every day, individuals hunch their bodies and squeeze in just enough space to fit. This scene may be a portrait of all who live in this era. The pressure and suffocation felt as space expands and contracts are likened to the browser window, using the overcrowded subway as a symbol of the everyday stress experienced by modern life.

Reconstructed from 1980s photographs in Yangwoodang’s Children’s Encyclopedia (1990), the images capture a strong desire for change and a drive toward a new world that still resonates today. The era’s complex and contradictory traces remain a source of inspiration. By incorporating the visual qualities of analog TV, the work overlays past and present into a single temporal frame.

This project explores obscure subway stations, reinterpreting them through a fresh lens. We first visited Beotigogae, Line 6’s least-used station. It is a site of contrasts: Seoul’s deepest yet highest in elevation. The cover’s station-name pattern evokes the perpetual movement of transit. Inspired by iconic stairs, the layout guides readers from bottom to top to reflect the space’s verticality. Fully unfolded, the work reveals a poster-sized lettering piece themed around Beotigogae.

Poster for the Dardak Market project, set in the Nammun Market of Suwon.

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.

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.

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.

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.

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 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).