《Donghaeng (同行): Art Seen Together with a Child》, presented by the Ulsan Art Museum, explores family life and historical contexts through key paintings and sculptures of modern and contemporary Korean art. Adults and children experience the works together, with caregivers acting as interpreters who share the stories behind them. It visualizes a shared moment where curiosity and imagination coexist, and different perspectives meet before the artwork.

This project was started from “Noisy Spaghetti,” a compound phrase generated from two random words. This term brought back a fond memory of cooking pasta to thank the crew of my university graduation short film. Recalling those loud and joyous times we spent creating the film together, our dynamic felt just like the spaghetti itself. Stiff and easily broken at the very first time, but once fully boiled, we became a tangled, tender mass—softly intertwining and melting into one another.

In South Korea, parties exploit the “guarantee of political freedom” under the Political Parties Act to bypass advertising laws, hollowing out propaganda’s function and monopolizing public space as visual pollution. Banners flood streets, largely unread—reduced to provocative litter. This project imagines a world where such limits are lifted entirely, letting banners overrun cities. Through web and poster, its design overlays everyday refuse, making visible a climate adrift from propaganda.

In Korea, we have a tradition of designing new years cards for each year inspired by the animals of the lunar calender. The year of 2025 was the year of blue snakes, which meant it was a time of revelation of new identities. While working in Germany, I had shared this with my friends and colleagues for good luck of the new year.

Floral Patterns Spread Like a Virus explores the popularity of floral decoration on Korean home appliances. In the 1970s and the consumer-driven 2000s following Korea’s 1997 financial crisis, floral motifs became widespread symbols of their times. Jaehee Jeong interprets this trend as a “virus,” analyzing changes in color, shape, size, area, and density through microbiological experiments. The project visualizes how floral patterns evolved across different eras.

In Korea’s rapid industrialization, objects became symbols of the era’s desires and contradictions rather than mere items. Jaehee Jeong collected 100 objects that reveal hidden social deficiencies and political intentions in daily life. She reinterprets them as spectacles that dazzled the public and as tools that concealed the era’s shortcomings, arranging them on the page with numbered labels. This numbered arrangement invites viewers to reconsider overlooked fragments of history.

In Korea’s rapid industrialization, objects became more than everyday items—they symbolized the desires and contradictions of their time. Jaehee Jeong collected 100 objects that reveal hidden social deficiencies and political intentions embedded in daily life. She reinterprets them as spectacles that dazzled the public eye and as tools that concealed the era’s shortcomings. Presented as a toolbox, the book invites viewers to uncover hidden truths and gaps within history.

Designed by Ha Min Song and Seungmin Chung, this poster for Kaywon University’s 2024 Intermedia Arts graduation exhibition ≪For the Silence That Will Someday Become a Wave≫ leans into negative space as its primary visual language. Song directed the overall composition and layout, while Chung contributed the hand drawings. Together, they let the emptiness do the talking — a sparse surface that quietly echoes the exhibition’s own question of stillness waiting to become a wave.

Starting from Phētes’ meaning—“a prophet who delivers the message of the gods”—I translated the brand identity into a visual language. Under the concept “Blind Prophet—prophecies carried through music and everyday life,” I directed and designed visuals using objects such as Braille, fortune cookies, tea bags, and sheet music. The brand’s main textile patterns were likened to musical scores to express its overall mood.

In South Korea, parties exploit the “guarantee of political freedom” under the Political Parties Act to bypass advertising laws, hollowing out propaganda’s function and monopolizing public space as visual pollution. Banners flood streets, largely unread—reduced to provocative litter. This project imagines a world where such limits are lifted entirely, letting banners overrun cities. Through web and poster, its design overlays everyday refuse, making visible a climate adrift from propaganda.

I used Airport Black and Futura Extra Bold. Airport Black, the heaviest weight in Baltotype’s unofficial Futura, functions as a consumer-oriented American variant. Just as natural imagery in Hyun’s work(Photograph) is consumed as simulated nature rather than an actual landscape, these typefaces also operate within a relationship of originals and reproductions. Both Image and type share a mechanism of replication that replaces reality, reinforcing the artist’s concept of fake nostalgia.

Reflecting the nature of a Korean event held in Japan, I designed the title by adapting the Japanese character “つ” to resemble the Korean consonant “ㄷ.” The brown background and black text on white fabric evoke the atmosphere of a traditional market, while dancheong colors were used as the key palette to express a distinctly Korean sensibility. In line with the curator’s intent to present a polyphonic Korean landscape, I incorporated a variety of typefaces.

I worked on a project that treated a media wall as an analog photo frame, reinterpreting its content as portrait images. Using video-editing grids and blue screen as motifs, I built a structured frame system. iPhone camera UI and selection markers informed a repetitive motion that evokes capturing a portrait, while video test pattern colors reflect the media wall’s display qualities.

ONKNOWN: INTRO is the debut exhibition of six glass artists in Seoul. Jaeyeon Kim designed the collective’s identity and exhibition graphics. The title’s three O’s each frame a spherical object embodying an artist’s practice — six voices folded into the letterforms. To translate glass’s transparency onto paper, he cut a hole through the poster’s center, turning absence into material. Each artist received personalized black and white editions with their texture, also used as Instagram assets.

I worked on a project that treated a media wall as an analog photo frame, reinterpreting its content as portrait images. Using video-editing grids and blue screen as motifs, I built a structured frame system. The iPhone camera UI and selection markers suggest a repetitive motion that evokes portrait capture, while the video test pattern colors reflect the media wall’s display qualities.

This lettering responds to the 2024 martial law crisis in South Korea. The Hangul strokes morph into dynamic, ascending flames, capturing the kinetic energy of collective resistance. Beyond aesthetics, this work reflects a designer’s responsibility: How can visual language amplify social truth? By visualizing the raw power of fire, it transforms a political outcry into a symbolic beacon, proving that design must actively participate in defending democracy.

I worked on a project that treated a media wall as an analog photo frame, reinterpreting its content as portrait images. Using video-editing grids and blue screen as motifs, I built a structured frame system. The iPhone camera UI and selection markers suggest a repetitive motion that evokes portrait capture, while the video test pattern colors reflect the media wall’s display qualities.

This Korean lettering literally means had it been easy, I wouldn’t be resting. It implies a play on words centered on the linguistic nuance of the Korean language. The terms for ‘it was easy’ (She-wot-eum) and ‘I rested’ (She-eot-eum) sound almost indistinguishable, yet their realities are worlds apart. This lettering challenges the social tendency to label unemployment as a choice to ‘rest,’ delivering a sharp retort: employment would never have been ‘rested’ if it had only been ‘easy’ enough.

The project translates traditional Korean window lattices into a modular Latin typeface. Rooted in the designer’s experience of growing up outside of Korea, the project visualizes a hybridized identity. Challenging Seoul’s isolating concrete apartments, the historical Chang Ho (window+door of traditional Korean architecture) acts as a translucent filter. By deconstructing the Wanjasal pattern, an ancient architectural philosophy becomes a modern communication tool for the cross-cultural mind.

The System 2022 series is a graphic experimentation work by designer Daeki Shim.

The System 2022 series is a graphic experimentation work by designer Daeki Shim.

The System 2022 series is a graphic experimentation work by designer Daeki Shim.

The System 2022 series is a graphic experimentation work by designer Daeki Shim.

The System 2022 series is a graphic experimentation work by designer Daeki Shim.