EAR ARCHIVE (Collected Echoes) is a personal art book centered on the theme of the ear. It visualizes various forms—listening, blushing, and animal ears—through diverse graphic styles. Inspired by a recycling brand based in Jeju, the project encourages environmental awareness. It features around 40 visual variations within a unified theme and was selected as a Best Art Book by REAR Plastic. Binder rings styled like earrings create a playful, eye-catching structure.

The DDP NFT & UD Exhibition identity was developed as part of Seoul’s digital design industry promotion initiative, serving as the identity for a comprehensive program integrating design education, awards, and exhibitions at Dongdaemun Design Plaza (DDP). Beyond a simple visual expression, it aims to reflect new design experiences in digital environments and the emerging NFT- and Universal Design–based creative ecosystem.

A poster exhibited at the Bigriver Poster Festa in Korea, which reinterprets songs from Korea’s Campus Song Festival. “After the Play is Over,” a 1980s song by Sharp, captures the stillness and darkness left on stage once the music and spotlight fade. The numbers on the poster mark key moments in the song: the beginning (0:00), the start of the second verse (2:15), and the ending (4:15).

This project challenges the measurement of time, redefining it through perception, memory, and relationships rather than fixed units. Moments are stretched or reconnected, resisting the expectation of seamless efficiency. It proposes a slower, more subjective rhythm that allows for hesitation and reflection. Informed by Korea’s fast-paced context, the work repositions time as something to be reclaimed—not as a system to follow, but as something personal shaped through lived experience.

“Lightning” is a personal poster project developed from an album design. Inspired by the idea that youth resembles a brief but intense flash of lightning, the work combines self-photographed images and 3D objects layered into a single composition influenced by K-pop visuals. It reflects Korean youth striving to find their moment to shine, immersing themselves to the point of exhaustion. The layered structure mirrors diverse cultures coexisting, conveying shared energy and encouragement.

This poster was created for the 27th JEONJU International Film Festival’s ‘100 Films 100 Posters.’ Inspired by the film ‘If I Go Will They Miss Me,’ it portrays a boy who watches planes overhead each day and imagines them and his family as figures from Greek mythology. Drawing on his mythic vision, the poster relocates the marginalized Black community, the boy’s fractured family bonds, and his father’s suffering from the ground, or reality, to the sky as an ideal realm of freedom.

Graphic designer Haeri Chung explores new contexts through collecting and classifying objects. She focuses on the physical qualities of books, including form, structure, color, weight, and texture, as well as readers’ experiences and the layered narratives within hypertexts. Like capturing a fleeting state, she compresses books into planes and translates them into exhibition space. This poster features a scene from one of her works.

As a playing card collector, SUPERSALADSTUFF often uses cards as bookmarks. For SMB, he created hand-drawn playing cards (bookmarks) using oil-based ink pens in Superfine, Medium, and Broad. The set, completed when owned by 60 people, combines 4 symbols, 5 letters, and 9 numbers. Each card’s back features a split image of its place of creation. Together, the edition connects its holders through a shared, imagined space.

This exhibition held in Bupyeong, takes its title from a work composed by Olivier Messiaen during his imprisonment in the Second World War. Challenging the notion of music as inherently pure, the exhibition situates it between hope and revulsion, resistance and silence. It explores sounds from the Japanese colonial period that echo like propaganda or transformed folk songs. Reflecting this perspective, the poster references the visual language of sheet music and choral scores.

This exhibition held in Bupyeong, takes its title from a work composed by Olivier Messiaen during his imprisonment in the Second World War. Challenging the notion of music as inherently pure, the exhibition situates it between hope and revulsion, resistance and silence. It explores sounds from the Japanese colonial period that echo like propaganda or transformed folk songs. Reflecting this perspective, the poster references the visual language of sheet music and choral scores.

The exhibition ‘Where gestures sing,’ featuring artists in residence at the National Museum of Modern and Contemporary Art, Changdong, Korea in early 2024, moves away from dystopian or science fiction visions of the future. Instead, it focuses on fundamental gestures that transcend time and space, challenging human- and language-centered narratives. Reflecting this approach, the poster uses overlapping frames to capture the motion of a hand writing. Designed as a double-sided print.

In Yeo-jin Yoon’s exhibition ‘Outside and Outside,’ the artist examines the inherent limitations of each work and the tension between accepting and overcoming them. Positioned in a liminal state, the works retain their distinct qualities while exploring possibilities through mutual interaction across boundaries of inside and outside. The exhibition poster is conceived as a moving poster, integrating elements from past and new works, as if continuously extending outward beyond successive layers.

Although teeth are essential for speech, they have not to reveal themselves as physical entities in the process of word formation. The exhibition ‘Dental Critic’, which sounds similar to ‘Dental Clinic’, explores the negativity inherent in criticism and critical discourse. This poster reveals the exhibition’s meaning by repeating the same information in various ways or by juxtaposing words that are similar yet distinct.

The exhibition ‘Where gestures sing,’ featuring artists in residence at the National Museum of Modern and Contemporary Art, Changdong, Korea in early 2024, moves away from dystopian or science fiction visions of the future. Instead, it focuses on fundamental gestures that transcend time and space, challenging human- and language-centered narratives. Reflecting this approach, the poster uses overlapping frames to capture the motion of a hand writing. Designed as a double-sided print.

One of the issues made by Caisou collaborated with Yang Hyemin. Here is an introduction text from her. “Hello Stranger, you’ve practiced the greeting but can’t remember what to say next? You’ve known each other for a long time and feel like you will never be close? You feel like you should say something, but your hands are sweating? You suddenly find yourself confessing your scars to someone you’ve known for about 10 minutes?”

Poster a.k.a. exhibition information for the exhibition series curated by Gihong ‘Kiki’ Park and Sijia Yang on the behalf of Exlibris Book Festival team. Just as the significance of an exhibition space arises from the seemingly trivial details of passed by daily life, the information about the exhibition is printed on sheets of paper in various colors, scattered amongst the heavy files to divide matters or giving them a short pause. This work has been collaborated with Jonas Borinski.

This is the third poster and key visual for the ‘SYNTHESIZE’ concert series by the Korean band Silica Gel, created in ongoing collaboration with SUPERSALADSTUFF. Linked to an event that gathered listener feedback, the series explores synthesis between musicians and audiences as a form of connection. This idea is visualized through radiating lines extending from the centre, ‘Silica Gel,’ forming the basis of the design.

This poster was created for the exhibition ‘SECRET LOVE’ by Woonhae Yea, an artist based between the UK and South Korea. She collects discarded aluminium cans, cleans them, and regards them with renewed affection. Published alongside a catalogue with a metallic cover, the project reflects how the book itself becomes marked through use, embodying traces of wear while retaining a sense of care and love.

Poster for the symposium series speaks about decolonization into four different historical timelines. Designing the poster as a team of all different cultural and regional backgrounds of three designers naturally leads to understand the topic as layered knowledges and the decision was made to do screenprinting by themselves to associate with the inefficiency to improvise the time and energy to listen and support each other. This work has been collaborated with Yuting Chen and Jan Vincent Dufke.

This poster was created for ‘Gather & Groove,’ a cultural exchange event for international and Korean residents in Seoul. The venue, designed by a Korean architectural firm, currently serves as temporary accommodation for international visitors. The moving poster playfully portrays a gathering in the ground-floor lounge, where people share coffee, food, and conversations about their cultures.

In Eunji Choi’s solo exhibition ‘There is an error in the output value,’ the artist translates observed landscapes into geometric abstraction shaped by memory. Unlike reality, these recollections produce distortions, where some elements remain as afterimages and others dissolve into colour. Reflecting this, the poster repeats the exhibition title and organiser’s logo across the composition, while geometric stencil forms echo recurring motifs in the artist’s work.

Poster for the exhibition curated by Anne Meerphol at ICAT, Hamburg. From the title of the group exhibition, “Lappen und Schüssel,” occurs the debate upon the symbolic place of the kitchen. Invisible time of labour created from the space transformed into the visual materiality of lettering, from peeling the ingredients for cooking to the controversial return to the table. This work has been collaborated with Ryunah Kang.

Book design for the exhibition archive of the year 2024 at Frappant Galerie, Hamburg. The idea of publishing the documentations of past exhibitions becomes a reflection on time itself which has been faded away but persist through traces. The book conceived as a ‘time machine,’ evokes presence through specified rule of digit and dissolving afterimages. Typeface Autoscape LL designed by Minjong Kim has been used for capturing the time of the archived exhibitions on the book cover as contents page.

Caisou started to approach T-shirts as wearable zine and Gihong ‘Kiki’ Park wrote the texts for this issue. Here is an introduction text that he wrote for us. “I need to design a poster to be installed for the exhibition. I presupposed the size should be 59.4 × 84.1 cm. Would that be about the right size? What do you think? Am I too old-fashioned? Perhaps 10.5 × 14.8 cm would be perfect to create intimacy to everyone.”