Poster who participated in the 16th exhibition of the Korean Association of Typography. From Kim Cho-yeop’s new work, The Jindong Bird and Handwritten Letter, the sentence, “But we couldn’t really appreciate Earth’s civilization.”

The 6th poster of the Seoul Independent Women’s Film Festival(SIWOLF), which shows only women-produced independent films from 2019

Poster for conducted by Yeongdeungpo Cultural Foundation.

Participation in the Big River Poster Festival hosted in Korea. Poster based on the song “Fun World” by Lee Jae-hyuk released in 1994.

A publication examining text–image relations through the collection of habits. Selected words are replaced with their dictionary definitions and recomposed, transforming ordinary language into directional traces. Arrows—redrawn from scientific diagrams—appear as records of these habits, and the poster compiles these arrows from the publication. The title applies the same substitution method.

The designer created a poster functioning as a lyric sheet for an event where foreign residents come together to sing songs from their home countries. The title forms an intersection, marking cultural overlap within the gathering. The poster is designed to function as a songbook, with typography that supports shared reading and interaction, thereby transforming it into a participatory script.

This is an archival graphic work based on fragments of memory: my father’s cigarettes, the first piano given by my grandmother, and objects I once hid inside it. These childhood traces are reconstructed as visual residues, where memory exists as fragmented, sensory imprints.

Albert Che runs the silkscreen studio Miniprint in Seoul, Korea. His work is based on 3D-printed toys set against screen-printed backgrounds, with plastic casings produced in-studio using molds and vacuum forming.
He seeks to carry the sense of joy he experienced while playing with toys as a child into adulthood—creating objects that resemble toys, yet are not toys in the usual sense.
These works are “toys for adults,” but ones that cannot be played with—objects that embody a deliberate contra

Project by The Reference
Organized by The Reference & Seoul Museum of Art

* For clarification only—please do not publish.
In the “Credit Display in the Magazine” section above, I have entered the name of the design studio (ao). In this section, I have included the organizing institution for this project. For the magazine, I would appreciate it if you could ensure that the institution’s name is included without omission. Thank you!

The artist applies tube paint directly to the canvas, creating unique textures through overlapping colors. Inspired by this materiality, the visual identity extracts specific colors to form a distinct new image. A black background maximizes the vividness. This concept extends to the catalog: artworks are displayed on solid black pages, while text is bound in a separate accent-colored booklet, physically separating the visual appreciation and informational reading experiences.

This university project unites automotive engineering students and artists to explore mechanical structures through drawing, culminating in an annual exhibition. The main identity, “The Drawing,” features custom lettering inspired by mechanical blueprints. This core typographic system remains consistent every year, with only the primary color changing. This design strategy ensures project continuity while delivering a fresh visual mood for each new edition.

As an installation artist and engineer, the artist meticulously documents the entire process, from drawings and blueprints to fabrication and installation. This project dedicates 16 pages per artwork to densely capture every stage of the process. This documentation method will continue as an ongoing series, with the ultimate goal of compiling the accumulated archives into a single, comprehensive volume.

Gyeonggi Artist Highlights 2024 focuses on two artists. The identity uses their names as core elements, deconstructing letters and integrating symbolic motifs to achieve visual balance. The catalog features a symmetrical, two-way structure, ensuring equal weight for both artists and an immersive reading experience from either side.
July 11 – Sept 22, 2024
Gallery 3·4, Gyeonggi Museum of Modern Art
Host/Org: Gyeonggi Cultural Foundation, Gyeonggi Museum of Modern Art
Curator: Cho Eunsol

The Spark of Evolution by Kim Jin-woo commemorates Korea’s last match factory. The artist symbolically colored the factory space yellow and installed “match trees” growing within it. This yellow serves as the core of the exhibition’s identity. The catalog sequentially documents the artist’s process, capturing the passion and philosophical depth of the project.
The Spark of Evolution
Uiseong Match Factory: Jinwoo Kim Solo Exhibition
Nov 18 – Jan 10, 2025-26
Organizer & Host: Uiseong County

Kim Sunwoo explores the concept of a journey through the dodo bird, symbolizing human dreams in diverse environments. This book transcends a typical catalog, functioning as a physical world where the dodo roams freely. Reflecting a journey’s structure of departure and return, the design makes turning pages a joyful voyage in itself.

Credits
Author: Kim Sunwoo
Design: Studio mot
Support: ILJIN CULTURE FOUNDATION, ARTS COUNCIL KOREA

Poster for “Park Kwang Jin: Whispers of Nature”
Organized by Seoul Museum of Art
2024
* For clarification only—please do not publish. In the “Credit Display in the Magazine” section above, I have entered the name of the design studio. In this section, I have included the organizing institution for the exhibition. For the magazine, I would appreciate it if you could ensure that the institution’s name is included without omission. I will follow this format for all materials I submit. Thank you!

Poster and catalogue for “Erwin Wurm: Sculpture is Everywhere”
Organized by Suwon Museum Of Art
2022 / 2023

Poster and catalogue for “If You Come at Four, I Will Be Happy by Three”
Organized by Suwon Museum Of Art
2025

Poster for “Park Kwang Jin: Whispers of Nature”
Organized by Seoul Museum of Art
2024

* For clarification only—please do not publish.
In the “Credit Display in the Magazine” section above, I have entered the name of the design studio. In this section, I have included the organizing institution for the exhibition. For the magazine, I would appreciate it if you could ensure that the institution’s name is included without omission. Thank you!

The Neue Trans-Aesthetics Manifesto proposes a new aesthetic in response to AI-driven visual culture. As boundaries between reality and simulation blur, it calls for human-centred creation grounded in self-reflection, empathy, and personal expression. Embracing unpredictability and technology, it redefines the role of visual creators and affirms the unique value of human perception.

디자인 스튜디오 파이카(paika)의 이수향, 하지훈의 10주년을 기념하는 이번 전시는 지난 10년간 한국에서의 디자인 스튜디오를 이끄는 두 디자이너의 작업을 아카이빙하고 선보이는 자리입니다. 이번 우리들의 ‘letter paika’ 전시는 10년 동안의 예술과 디자인이 구축되고 변화하는 과정을 통해서 우리를 보여주는 시간입니다. 동시대 예술가로서, 창작자로서, 작업자로서, 디자이너로서 시각 커뮤니케이션을 하는 우리의 이야기가 될 것 입니다. 이 전시는 단순한 아카이브 전시가 아닙니다. 또한 10년의 거창한 성취와 결론에 대한 이야기가 아닙니다. 파이카 이수향, 하지훈의 발전 과정과 창작적 실험, 그리고 디자인과 작업들이 사회와 어떻게 연결되는지를 탐구하는 다양한 시각적 기회가 될 것 입니다. 또한 한국 그래픽디자인의 일부 흐름과 앞으로의 나아갈 방향성에 대해 고찰해볼 수 있는 자리가 되기를 기대합니다.

디자인 스튜디오 파이카(paika)의 이수향, 하지훈의 10주년을 기념하는 이번 전시는 지난 10년간 한국에서의 디자인 스튜디오를 이끄는 두 디자이너의 작업을 아카이빙하고 선보이는 자리입니다. 이번 우리들의 ‘Paika Library: Book Collection’ 전시는 10년 동안의 예술과 디자인이 구축되고 변화하는 과정을 통해서 우리를 보여주는 시간입니다. 동시대 예술가로서, 창작자로서, 작업자로서, 디자이너로서 시각 커뮤니케이션을 하는 우리의 이야기가 될 것 입니다. 이 전시는 단순한 아카이브 전시가 아닙니다. 또한 10년의 거창한 성취와 결론에 대한 이야기가 아닙니다. 파이카 이수향, 하지훈의 발전 과정과 창작적 실험, 그리고 디자인과 작업들이 사회와 어떻게 연결되는지를 탐구하는 다양한 시각적 기회가 될 것 입니다. 또한 한국 그래픽디자인의 일부 흐름과 앞으로의 나아갈 방향성에 대해 고찰해볼 수 있는 자리가 되기를 기대합니다.

디자인 스튜디오 파이카(paika)의 이수향, 하지훈의 10주년을 기념하는 이번 전시는 지난 10년간 한국에서의 디자인 스튜디오를 이끄는 두 디자이너의 작업을 아카이빙하고 선보이는 자리입니다. 이번 우리들의 ‘20’ 전시는 10년 동안의 예술과 디자인이 구축되고 변화하는 과정을 통해서 우리를 보여주는 시간입니다. 동시대 예술가로서, 창작자로서, 작업자로서, 디자이너로서 시각 커뮤니케이션을 하는 우리의 이야기가 될 것 입니다. 이 전시는 단순한 아카이브 전시가 아닙니다. 또한 10년의 거창한 성취와 결론에 대한 이야기가 아닙니다. 파이카 이수향, 하지훈의 발전 과정과 창작적 실험, 그리고 디자인과 작업들이 사회와 어떻게 연결되는지를 탐구하는 다양한 시각적 기회가 될 것 입니다. 또한 한국 그래픽디자인의 일부 흐름과 앞으로의 나아갈 방향성에 대해 고찰해볼 수 있는 자리가 되기를 기대합니다.