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 project is the 2024 visual identity for Culture Station Seoul 284 RTO365. The graphic system reinterprets spatial experiences—light, shadow, and openness—into expandable modules. Based on three symbolic elements (circle, oval, and line), it visualizes the encounters and narratives formed within the cultural space, creating a flexible system that reflects the dynamic nature of the programs.

This project is the visual identity for the 30th anniversary of the Korea Sexual Violence Relief Center. The identity frames the anniversary as “water,” a force symbolizing energy and surface tension that enables solidarity. This concept is translated into a visual system that embodies the slogan: “Courage that creates cracks, change that permeates everyday life,” reflecting a mission for structural change.

This typographic experiment explores formal changes when Hangeul letterforms reach extreme weights. By removing structural elements for legibility and leaving only minimal clues—color and position—it examines the boundary between letters and flat masses. Each chapter operates under a distinct system, with each page representing one character. The 450-page book serves as both a manual of the process and a complete visual work.

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.

Expanding on structural experiments, this project constructs masses that remove function and meaning. While earlier works used utility as a constraint, this piece adopts “non-functionality” as its premise. The structures offer no support and shift in appearance based on the viewer’s perspective. The resulting forms remain open to interpretation as sculptures or assemblies, concluding a series that evolves form from abstract clues.

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.