We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to track commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

This is a dingbats font inspired by traditional Korean ornaments. It is based on the Hangeul writing system, in which initial consonants, vowels, and final consonants combine to form characters. These elements are used to create basic graphic units, which are then combined to produce a variety of visual forms. This poster features a selection of individual characters that carry positive meanings.

This work questions the completeness of perceived forms. By removing conventional forms and retaining only functional clues, it tests whether an object remains recognizable. Treating the chair as a sculptural structure, the project explores the minimum conditions for “sitting.” Using modules derived from drawings of specific viewpoints, it constructs intersecting planes, highlighting the gap between perception and the object’s essence.

This project modularizes formal clues from previous experiments into a systematic framework. Physical actions—reprinting, cutting, and folding—generate fragments reconstructed into block modules. These modules traverse Korean, Latin, and digital environments, questioning typeface and resolution. It captures forms in the “intermediate zone” between letters and graphics, testing the variability of visual signs and human perception.

Rounded Paper Letters is part of the “Material / Act / Language” series, translating physical properties into visual systems. The project constructs typefaces and modules by transferring paper’s traits into digital environments. By cutting and rolling paper, it creates structures that retain material textures after conversion. Rather than generating forms, it develops a graphic language grounded in the logic of organizing structures.

Taste Museum is an experiential brand campaign by WATCHA, a Korean streaming platform, that transforms users’ personal taste data into a museum-like experience within the service. Borrowing the imagined red house from a childhood vision test as a metaphor for the museum, the project translates digital recommendation culture into a participatory visual system—where each user list becomes an exhibition, every thumbnail an artwork through non-repeating color variation.

This publication includes an insert featuring easy-to-read commentary to enhance accessibility. Like the two artists’ works intersecting in the exhibition, the insert both obscures pages and aids understanding.

With the opening of the new grds hapjeong store, interior and exterior signage were developed alongside a renewal of printed materials for both the retail space and office. While maintaining the brand’s existing image, selected items boldly incorporate the curves of the BI as graphic elements.

A tear-off calendar designed for daily use as a notepad or diary. It includes lunar dates and seasonal divisions, while each day features small, three-hour activities to discover throughout. The memo section is divided into three parts, with a different layout applied each month.

The logo for the coffeeware brand Bunnar was inspired by red coffee cherries and designed with a typographic interpretation. The product packaging artwork incorporates the logo’s red oval—symbolizing the coffee cherry—adding an irregular, graphic reinterpretation.

The 3D-modeled Boy with a Thorn was once again placed on a flat, rectangular red pedestal to complete the poster.

Medieval and mythological imagery found its way into the language of graphic design—somewhat reinterpreted, somewhat reassembled—by two hands working from a pair of slightly hunched shoulders.

umipodo is an intimate photo book by photographer Solji Jeon. It documents her 12-year friendship with actress Shioli Kutsuna—known for her roles in Deadpool 2 & 3, and Death Stranding 2. Spanning from their first meeting as university students in 2011 to 2023, the book captures shared moments between Tokyo and Seoul. Through Solji’s affectionate lens, Umipodo serves as a quiet, personal record of time and growth, evocative of a cinematic coming-of-age story.

COOL is a magazine on clothing and style, published irregularly by Bulldozer Press since 2015. It explores clothing as contemporary visual culture. The sixth issue focuses on BEAUTY, examining perspectives from the beauty industry to abstract ideas of beauty. It features ten texts by contemporary writers, each set in “ugly” typefaces that challenge typographic norms. The publication also includes Beauty Not Beauty, a collaborative work by Yang Minyoung and photographer An Chorong.

She is a graphic designer working under the name “Sulsul Life.” Specializing in graphic design based on Korean lettering, they create visual work rooted in typography.
* Push past your limits. Win. Celebrate.
The blazing expression symbolizes the Olympic flame, representing the passion and achievements of people around the world. Inspired by the circular motif of the Olympic rings, the work expresses the global spirit of challenge—pushing beyond limits.

“Graphic Optical Object (Exhibit B)” is an exhibition that examines the role of graphic design within surveillance tech and the military. The first part of the show reconstructs artifacts from the “War Courses” at the New Bauhaus in Chicago, Illinois. The second presents works related to surveillance technologies, including machine vision algorithms and camera calibration patterns used by the U.S. military. The show was held at shhh gallery in Incheon, South Korea.

Unrealized Archive 7: Text to Image showcases works that use text as material. Inspired by discussions about authorship in the age of AI, “Text to Image” explores how graphic designers use conceptual approaches in their work, collecting and exhibiting works that exist in a grey area of “proposal” and “outcome”. Unrealized Archive is an ongoing project that uncovers “unrealized” graphic design projects that consumed many hours—sometimes years—of work, but were never produced.

“Magic Hour” displays 24/7 livestreams culled from Youtube capturing morning and afternoon golden hours around the globe at that moment. The work aims to evoke a sense of geography through the quiet and mundane livestreams, like birds’ nests or ocean views. In contrast to today’s algorithm-driven, often sensational streaming culture, the work recalls an earlier moment when sharing everyday scenes emphasized a slower and more connective experience.

Introducing TOSI RHYTHM, the debut zine from LASTzCOPY. Through her lens, photographer Sol-ji Jeon explores the city’s hidden fissures—those mysterious “cracks” we often overlook. From eerie, suspicious moments to fleeting, rhythmic scenes, the pages capture the elusive shadow of “TOSI.” Inexplicable yet undeniably real, TOSI is everywhere. It will appear anytime, anywhere.

『biT』 captures twelve years of the Han River through the lens of Seoul-based photographer Pyo Kisik. Published by LASTzCOPY (Studio Gomin), this collection features 80 “pieces” of shimmering light recorded from 2013 to 2025.

These works transcend the nature of water, transforming the river into painterly textures, metallic luster, or sculpted solids. The unique grains of light and time, captured over a decade, are layered onto the pages like a new water surface.

Gyeche is a three-dimensional Korean type design that treats each consonant and vowel as an independent unit. These elements are reassembled in space, forming a modular structure that expands beyond flat typography. Inspired by the combinatory logic of Hangul, the work explores internal relationships, movement, and spatial perception within letterforms. The title merges “Gye” from the artist’s name with “Che,” reflecting a personal interpretation of language.

Hyeon Typography is a personal typographic project based on the final character of the artist’s name, “Hyeon.” Chosen as a meaningful and favored Hangul character, it represents a “string” that connects relationships. The design visualizes this concept through flowing, ribbon-like forms, creating a sense of rhythm and continuity within the letterform.

This flag was designed to promote the SSCC: Cultural Code Exhibition at 019 Ghent. The exhibition presents the outcomes of an international collaborative workshop between students from Seoul National University (SNU) and California College of the Arts (CCA).

The workshop was led by Daeki Shim and Prof. Chris Hamamoto, with Prof. Sara Raffo participating as a guest critic. It explores the cultural codes of Seoul and San Francisco, visualizing them through the symbolic format of the “flag.”

Suntree House is a 15-person shared office in Itaewon, Seoul, where creatives in design, film, sculpture, and architecture work side by side and collaborate naturally. Built on the idea of becoming sun and trees for one another, the space uses vivid green, yellow, blue, and red to create a lively atmosphere in many different ways in the space. GBT Graphic Studio joined four visual, interior, and architectural designers in shaping its branding, spatial styling, and operation.