Linda van Deursen and Karel Martens. Using an experimental panoramic photographic method, the poster collages the workshop space with key information into one composition. By merging environment and content, it captures the site’s atmosphere and sense of presence, proposing a new visual language between documentation and graphic design.

Lettering for “손오공 Super,” the hidden title track from SEVENTEEN’s 10th mini album “FML”.
ⓒ PLEDIS Entertainment. All Rights Reserved.

It designed for an exhibition entitled ‘The 2nd Hakka Impression International Poster Invitation Exhibition’ in Shenzhen, China in 2019.

The poster visualizes Hakka, a minority art group in China, not only preserving their own culture but also coexisting in beautiful harmony with Chinese culture.

The poster was exhibited at the Red Cube Public Art and Planning Museum in China.

One may have encountered the question: “What kind of mindset must a designer have to avoid remaining merely an operator?” Today, this question feels sharper than ever. How will the role of designers shift alongside AI? The moment AI-generated data is accepted as the answer, the designer becomes an operator. Rather than absorbing it uncritically, a resistant, even contrarian attitude may be needed.

This poster was created for an artist event organized by Frisketch, featuring Chungha Lim. It is based on The Mystical Well That Shows the Future from Lim’s ‘Coonga Studio’ universe. Once believed to reveal the future, the well ran dry after people recklessly sought its water. The design centers on the secret gathering of the ‘Wolgyeondan’(Moon-Gazing Society), who met under each full moon to pray for the well’s return, transforming the event poster into a portal to the artist’s fictional world.

A curious creature that slips free even when bound, and regenerates when cut. Stars embroidered across the vast ocean.

This work was exhibited in the 18th exhibition, “The Typesetter’s Bridge,” organized by the Korea Typography Society.

The bridge depicted in “The Typesetter’s Bridge” by Yuni Haam is carefully deconstructed and reassembled. The resulting form, reminiscent of Cubist painting, brings together multiple perspectives into a single, composite structure. The bridge departs from traditional engineering, becoming a site where two designers’ ideas intersect.

Seol Ji-hyeon’s “Jakjeon-Time(Time-out)” swept the 1999 MBC University Song Festival with its bold, playful energy. Although born in the same year and discovering it 25 years later, the designer found falling for it inevitable—as if drawn into her move.

Drawing on the visual language of vintage Korean magazine and newspaper advertisements, it reveals the song through a socially recognizable body gesture.



This work was exhibited at the 3rd BigRiver Poster Festival in 2024.

A poster created for International Mountain Day.

Beginning with a conventional celebration of mountains, it shifts to depict their suffering under environmental destruction, emphasizing conservation and sustainability. The moving mountain is linguistically categorized (dynamic, animate, passive), deconstructed through shifting perspectives, and reassembled into distinct states, then connected through their peaks to suggest movement.

A poster created for International Mountain Day.

Beginning with a conventional celebration of mountains, it shifts to depict their suffering under environmental destruction, emphasizing conservation and sustainability. The moving mountain is linguistically categorized (dynamic, animate, passive), deconstructed through shifting perspectives, and reassembled into distinct states, then connected through their peaks to suggest movement.

A poster created for International Mountain Day.

Beginning with a conventional celebration of mountains, it shifts to depict their suffering under environmental destruction, emphasizing conservation and sustainability. The moving mountain is linguistically categorized (dynamic, animate, passive), deconstructed through shifting perspectives, and reassembled into distinct states, then connected through their peaks to suggest movement.

Poster for the film Mistletoe, directed by Hyeonjee Hwang, designed as part of the JEONJU IFF 100 Films 100 Posters.

*Awarded Best Book Design in Korea 2024*
Ashes tells story of ashy volcanic area. I felt like being in the strange planet walking the weird volcanic field. There, I collected things from the ashes. In this ashy planet, what did I tried to find so desperately? I put them in this book, made of ashy paper, shining like ashes.

*Awarded Best Book Design in Korea 2026* Glass Eye is a photo book that captures the fragile, easily broken presence of nameless beings—through the unblinking gaze of a glass eye. Metallic gold ink glimmers throughout the pages, echoing the afterimage of hollow eyes—eyes like glass—that quietly seep through the book.

Mugg: Just Draw Anything! is the first exhibition of the drawing collective Mugg and presents their initial approach to drawing. Since the earliest human drawings, other media inevitably followed, yet among all images, drawing remains the most vital. The motto “Just Draw Anything” emphasizes a steady and persistent practice of this fundamental act.

Book design for Dream of Being You(네가 되는 꿈), a picture book by Yoojin Seo, published by BoisForêt.

Book design for I Am Kicking(나는 발차기 중), a picture book by Hyewon Lee, published by BoisForêt.

Eoseoonira is a quiet record of a woman’s twenties, shaped by a sensitivity often spoken of as that of a shaman-to-be. Moving between intuition, ritual, and reality, she struggles to understand what it means to carry something she did not choose.

Book design for Passing Scenes Become Pictures of the Heart(스쳐간 풍경들은 마음속 그림으로), a picture book by Jung-in Choi, published by BoisForêt.

Reading has long maintained a relatively one-directional structure. Authors compose texts within a fixed framework of reading, and readers follow them in a consistent, habitual way. 〈읽기 reading 讀〉 is a book that experiments with breaking away from this rigid structure by visualizing the content of text as the “form of reading” itself. Through short passages that remain comfortably readable, it seeks to reawaken an awareness of the act of reading itself.

Poster for the “100 Films 100 Posters” exhibition at the Jeonju International Film Festival.

Resembling a snake in both form and rhythm, “르르” suggests a movement that is continuous, fragile, and unceasing—slow yet persistent.

Directed by KIM Seojin, KIM Jihee

Hosted by
Jeonju International Film Festival

Organized by
April Snow Press

Curated by
Eunji Kim

Poster design based on the phrase “Yes, and No,” conceived as a response to questions around peace.

The background incorporates a patterned photograph of the Mongolian steppe and sky.

Influenced by a recent interview with Jared Diamond*.

Published by Urban Books

Key visual design for the Kids Triennale.

The lively rhythm of the title typography reflects the energetic movement of children.

Hosted and organized by
Gangwon Province, Gangwon Cultural Foundation, Pyeongchang County

Graphic design for an exhibition.

Curators
Ahreum Woo, Kyounghee Lee

Coordinator
Chaeri Kim

Artists
Suso, Asako Shiroki, Seongyeon Jo, Haeri Choi, Jeongeun Heo

Factory2