Jioong Kang has worked on altering the physicality of photographs by utilizing various materials and environments, layering temporality onto images to detach the subject from its narrative. Based on a series of images and texts surrounding his works, designer Daebong Jung created a kind of dummy book, which, by undergoing the same process of distortion as Kang’s works, not only functions as a catalog for the two exhibitions but also acquires the status of a work of art in its own right.

The package design system for Cheil Health Science’s oriental medicine line establishes a visual language that is intuitive and rooted in oriental aesthetics. Based on yin and yang, a two-part layout organizes information and category cues into distinct sections. Vertical typography, a medium-saturation color system, and refined line-based iconography form a cohesive identity. This system allows consumers to recognize product functions while maintaining a balanced visual tone.

’29CM SEONGSU’ offers an intuitive experience of curated brands, embodying 29CM’s evolving identity. CFC translated its philosophy into a physical space reflecting Seongsu, Seoul. The identity is built on the coexistence of the ‘unchanging’ and the ‘changing’: a fixed line system, inspired by centimeters, forms the stable core, while flexible content expands within it. This structured yet adaptable graphic language captures 29CM’s essence—kind yet whimsical.

’29CM SEONGSU’ offers an intuitive experience of curated brands, embodying 29CM’s evolving identity. CFC translated its philosophy into a physical space reflecting Seongsu, Seoul. The identity is built on the coexistence of the ‘unchanging’ and the ‘changing’: a fixed line system, inspired by centimeters, forms the stable core, while flexible content expands within it. This structured yet adaptable graphic language captures 29CM’s essence—kind yet whimsical.

’29CM SEONGSU’ offers an intuitive experience of curated brands, embodying 29CM’s evolving identity. CFC translated its philosophy into a physical space reflecting Seongsu, Seoul. The identity is built on the coexistence of the ‘unchanging’ and the ‘changing’: a fixed line system, inspired by centimeters, forms the stable core, while flexible content expands within it. This structured yet adaptable graphic language captures 29CM’s essence—kind yet whimsical.

The brand identity for Heirei, a premium paint brand developed with Samhwa Paints, translates the act of painting into a visual language. Based on the interplay between liquid paint and the flat edge of a brush, the identity captures a balance of curved fluidity and linear precision. This contrast, along with the repetition of “ei” and the flexible form of “hr”, creates a tone that feels playful yet refined. Extending from the sculptural logotype, the system reflects a free-spirited lifestyle.

The brand identity for Heirei, a premium paint brand developed with Samhwa Paints, translates the act of painting into a visual language. Based on the interplay between liquid paint and the flat edge of a brush, the identity captures a balance of curved fluidity and linear precision. This contrast, along with the repetition of “ei” and the flexible form of “hr”, creates a tone that feels playful yet refined. Extending from the sculptural logotype, the system reflects a free-spirited lifestyle.

The brand identity for the Seoul Illustration Fair (SIF) is based on the act of drawing and the canvas that contains it. Dynamic lines express drawing, while the ‘I’ between S and F functions as a canvas within a grid. In the key visual, this system expands through the theme of ‘the joy of collaboration’, translating the fair’s categories—drawing, story, graphic, motion, and metaverse—into visual elements that interact within the grid.

The integrated identity system for ‘Apartmentary’ expresses ‘standardized beauty’ through modular construction while visualizing the brand name, combining ‘Apartment’ and ‘Documentary’. From the ideas of space and narrative, stacked lines and symbols—such as square meters, periods, and quotation marks—form a visual language. Interpreting the modular system as a grid, the identity delivers trust and wit within a consistent framework.

This poster, for the 2025 Daarvak International Competition, visually interprets a quote from Goethe’s The Sorrows of Young Werther: “Our passions are true phoenixes; as the old burn out, the new straight rise up from the ashes.” The design focuses on emotional rebirth. By using the phoenix metaphor, it illustrates how the end of one intense passion inevitably fuels the next, transforming the point of extinction into a catalyst for a new beginning.

CONTRAST AND COMPARISON is a zine that explores the title itself with interview from designer and various poster examples mage by myself.

ENERGY ENGAGEMENT visualizes the moment a particle field intervenes in the flow of energy. The circular motif repeats consistently throughout the piece — appearing in type, texture, and form — as a visual constant that holds the turbulent surface together.

CURING (Original ver.) is a commissioned poster for Gu Nahye’s solo exhibition. The artist works with illuminated hoses, so I pushed the poster’s exposure high — letting the surface wash out and glow, mimicking the way light bleeds from the material itself.

CURING (Meta ver.) is a meta-version poster repurposed from a client work. The original meaning of “curing” referred to hardening — a material process — but I reinterpreted it as healing. The poster sits between those two readings: something solidifying and something recovering, never fully one or the other.

DIGIWEB is a piece driven by my nostalgia for the Windows 95 era. I used visual elements from that operating system — system warnings, cursor icons, start buttons — but the real focus is less on the interface itself and more on the childhood memories tied to that time. Sometimes memories flashback.

EARTHLAND (Flat ver.) is about the things that surround us — everyday objects, nature, people — flattened onto a single plane as if everything exists at the same distance. Nothing is background; nothing is foreground. It all just coexists, layered and overlapping, the way life actually feels when you stop sorting it.

Cute Narcissism is a piece about the small, harmless vanity of selfhood — the kind where you genuinely believe you might be sunshine. It explores the cute narcissistic streak we all carry but rarely admit to, like wanting to be called something other than your name. Sometimes I want to be an object. Sometimes a fruit. Mostly a tomato. “Dear. I am like sunshine. Medically proved.”

APOCRYPHAL started with the title first. I sat with the word and asked what would fit it best — and landed on collecting photos from absurd, unbelievable news stories, redrawing them by hand. The title became a kind of wish: that these stories might be false, that they could be apocryphal after all.

FUTURE OF SILENCE is a poster that addresses the disappearance of minority languages. By obscuring an already-made poster beneath layers of noise, I tried to express language fading away — and the small, floating title fragments scattered across the surface act as residues of those languages, still drifting but barely holding on.