Poster was created for the group exhibition curated by Anne Meerphol at ICAT, Hamburg. A group exhibition features about the conflicting expectations of time that determine our everyday lives and also artistic practices. Themes upon labour and time, especially for young artists, were translated into a poster as a status of being warped into deep dark space of the emotional pressure to survive upon the structure of wage labour. This work has been collaborated with Yuting Chen.

Poster for the group exhibition curated by Nurgül Dursun at Frise Künstler*innenhaus Hamburg. The inspiration of the group exhibition begins with the line of a poem by Ariane Reines dedicated to questions on the ecological crisis and coexistence. Likewise, masses of information flowing in fibres and wires, the symbol of the snake transformed and reborn into the graphic language as uneven and mysterious but connected fluidly upon the surface.

Poster for the group exhibition curated by Nurgül Dursun at Frise Künstler*innenhaus Hamburg. The inspiration of the group exhibition begins with the line of a poem by Ariane Reines dedicated to questions on the ecological crisis and coexistence. Likewise, masses of information flowing in fibres and wires, the symbol of the snake transformed and reborn into the graphic language as uneven and mysterious but connected fluidly upon the surface.

This project operates as both a game and an archive that revisits Korean misogynistic internet meme, customizing them into new forms. It consists of three parts: a meme archive examining biased texts, a game site reconstructing them through Hangul’s typographic concept of ‘modules,’ and a social media account where game results are uploaded and shared, mirroring how memes originally spread. The work suggests that the language of prejudice can be reshaped at any moment by the viewer.

A few years ago, I ate tteokbokki so spicy it made me dizzy. The next day, I felt a burning sensation while pooping and wondered, “Can shit be spicy too?” That question sparked my fascination with poop. Oh, Shit! is a book of poop photographs inspired by discovering one that resembled Matisse’s Blue Nude. It turns something dirty into art through forms resembling masterpieces, emojis, animals, and other familiar figures. The project continues until the ultimate masterpiece appears.

At every important moment in Korean people life, a bountiful table is set — from a baby’s first birthday to weddings, sixtieth birthdays, and ancestral rites. Each table marks both a celebration and a quiet encouragement to move forward. Though life isn’t always as splendid as a feast, we still gather around tables, receiving warmth and blessings. This photo book brings together images of these vibrant Korean tables — capturing the culture of celebrating life’s most meaningful moments.

FLEA is a survival guide book compiled from ten years of Jihee’s experiences visiting flea markets every Sunday. In these chaotic yet vibrant spaces filled with the rough and the unexpected, she observed and documented the unwritten rules of survival — how to bargain with vendors, their unique personalities, and their distinct ways of displaying goods. The book is a guide for navigating and thriving in the world of flea markets.

Exhibition Design for 《Together, Differently》, Goam House, 2026

Together, Differently is an exhibition that explores and reinterprets the works of Lee Ungno from diverse perspectives. Using simple geometric lines and colors, it seeks to reveal the relationship between “togetherness” and “difference.”

e-book cover design for 《Incomplete Collaboration》 by Sunyoung Oh, publishr: SCAP Press, 2026

This book explores the meaning of collaboration within the gaps between self and other, art and non-art, and institution and non-institution. The Korean word “협업(collaboration)”, with its unstable, hybrid, and misaligned letterforms, exists between legibility and illegibility, revealing the concept of “incomplete collaboration.”

This illustration was exhibited at OOP 2024 in Seongsu-dong, Seoul, as part of a project creating landmarks within a fictional space. Inspired by the Korean folk painting Hojakdo (Tiger and Magpie), it reinterprets traditional imagery through a contemporary lens. Within a broken white porcelain form, Irworobongdo—a symbolic Joseon-era royal painting—appears alongside dolphins and a sunset, forming a surreal island. The work blends Korean tradition, modern elements, and imagination.

This graphic artwork was created by graphic designer Minji Kim in collaboration with Adidas, inspired by Seoul, Korea. Launched in October 2025 at Adidas MFY stores, it depicts a cat playing on a turntable shaped like an Adidas shoebox. The design features a traditional Korean “cloud arabesque” motif, reinterpreted with a modern touch. Musical elements and expressive typography capture the vibrant spirit of Seoul and its K-pop culture.

This lettering artwork was inspired by the lyrics of “I burn” by K-pop girl group I-dle. The phrase “Taolla,” meaning to ignite and burn intensely, is visually expressed through dynamic flame-like forms. The typography captures the moment of ignition, translating sound and emotion into a bold, rising visual rhythm.

This interactive website showcases diverse typographic posters inspired by K-pop songs. The website offers a unique real-time listening experience, immersing users in the captivating world of K-pop. Users can embark on a journey of discovery, appreciation, and celebration of the vibrant K-pop culture through this platform.

jun.playlist®—K-Pop Music Poster Series is a self-initiated project by Jun. K-Pop serves as a constant source of inspiration for his design practice, and this series translates that influence into a collection of typographic posters. Each piece responds to a specific song, drawing from elements such as the title, lyrics, and rhythm. This website functions as an archive, designed to offer an engaging experience for listeners.

For a lettering design created for a 2022 Red Bull Korea campaign, the message “Everyone has wings” is visualized through strokes that spread like wings, combined with dynamic shifts from thick to thin forms to enhance a sense of visual playfulness.

For a lettering design created for a Converse Korea campaign, the concept centers on not fighting. It intentionally introduces tension between simple, bold lines and more decorative strokes with strong contrast, while carefully balancing the two styles so they coexist in harmony.

The Preview enters its fifth edition in 2025, relocating to a new venue and welcoming a wave of first-time galleries. This shift sets the stage for a broader range of voices and perspectives to emerge.

The identity reflects this moment of transition and bold reinvention, capturing the move into unfamiliar territory while reinforcing the fair’s growing presence. Bold typography and directional motion drive the system forward, creating a sense of momentum and progression.

This hand-carved limestone is a part of a series, Asemia, which revolves around the daily practice of digital asemic(without meaning) Hangeul lettering. Selected letterforms devoid of phonetic representation that resemble Hangeul brush calligraphy are carved using a chisel on a block of limestone.

This poster visualizes the impact of rising sea temperatures on marine ecosystems. Centered on Gongsehang-gil, Uljin-gun, the project integrates ocean warming research with an interview with the designer’s grandfather, a veteran fisherman. The composition depicts a maritime mosaic being fractured by invading tropical species, illustrating the ecological imbalance and environmental shifts facing coastal communities.

(When) — I think about you, my sadness disappears. kim00 (Kim Youngyoung) stitches this conviction into form. The Seoul-based designer and artist began with K-pop fan art cut and collaged from discarded paper. This practice has since evolved into textiles—upcycled scraps sewn into plush typographic figures. Photographed into a poster for the 5th solo exhibition, these discarded materials become the alphabet of longing.

18×24-inch posters are bound to make a specimen for the display typeface, Factus. While trying to retain the formal spirit of bigger-size cuts of Caslon Oldface, Factus is constantly conscious of the act of modern type design as inherently a digital one. This awareness of the infrastructure(or the tool) echoes the concept of the different cover designs of the specimen—silkscreened image of a bird, with swapped colors between the CMYK screens, foregrounding the constructedness of modern images.

As an adaptation of the original work by Emma rice company, the 2026 play Wise Children is a collaboration between the K’Arts theater platform and the Nowon Foundation for Arts and Culture. For this production, the designer created the key visual and main poster to reflect the life journey of the twin protagonists. Through collage techniques, key symbolic elements—including butterflies and the theatrical stage—are merged into a large, symmetrical butterfly.

As the Yale School of Art starts its academic year, a convocation event takes place for the community to form a shared creative mindset. The printed and moving announcement posters were informed by the themes of 2025’s selected book, Directed by Desire: The Collected Poems of June Jordan. The visual takes hints from the idea of points in texts: how it expresses the act of poetry, how it’s reminiscent of how Jordan breaks the conventional rhythm, and more.

Super yiayia is a new street food project within the yiayia and friends family, launching in Seoul with two stores. It shares the brand’s Greek roots and visual spirit, while adding new characters and fresh energy. Its hero is yiayia, reimagined as a magical granny-superheroine. Together with her loyal animal friends, she expresses tradition, care, flavor, nourishment and playfulness.