Artificial Plants: A Botanic Garden is a promotional poster for the solo exhibition of Daeki Shim, held by invitation from Sikmulgwan PH Gallery.
This exhibition explored graphic experiments on artificial plants and nature, and was presented through a combination of graphic works, installations, and augmented reality (AR) formats.
This poster was created for Palimpsest, a solo exhibition by artist Sungjin Jung. The term “palimpsest” refers to traces left behind when earlier writing is erased from parchment for reuse. Through sculpture, the artist explored moments in which works are continuously redefined across past and future. Reflecting this idea, the designer layered typefaces from different historical periods across the poster to visualize the accumulation of time, memory, and shifting surfaces.
The key visual for this project focused on presenting both [Traditional] and [Creation] stages on a single page.
[Tradition] was represented using the original form of the “hansam”—a garment worn in Korean mask dance and traditional dance— while [Creation] was expressed by transforming the hansam into a digital style, creating a fantastical atmosphere suited to the experimental stage.
The key visual for this project focused on presenting both [Traditional] and [Creation] stages on a single page.
[Tradition] was represented using the original form of the “hansam”—a garment worn in Korean mask dance and traditional dance— while [Creation] was expressed by transforming the hansam into a digital style, creating a fantastical atmosphere suited to the experimental stage.
Dokdo Soju, a Korean soju brand, launched the Donghae(East Sea) soju package on Dokdo Day in collaboration with designer Youngha Park. Using the spelling of ‘East Sea’, the Korean and English title, it’s the image of WAVE. It’s the flow of the sea and the wind
The flexible movement, which could be the tailbone pattern of fish
The new wind of creativity blowing in the East Sea.
Using the spelling of ‘East Sea EAST SEA’, the Korean and English title,
It’s the image of WAVE. It’s the flow of the sea and the wind.
The flexible movement, which could be the tailbone pattern of fish
The new wind of creativity blowing in the East Sea, which marks the first biennial. It symbolizes the new flow of birth, and the buoy on one side is a fixed perspective and represents all the stereotypes that have been around.
Created to commemorate the 30th anniversary of the Hangeul typography research group Hangulggol, this poster features the initial consonants of the Korean word for “congratulations” repeated thirty times.
Created for director Shin Seok-ho’s film “In the Clouds,” this poster reflects the idea that, to some, a cloud can be as solid as a rock. The piece was featured in the “100 Films, 100 Posters” exhibition at the 2024 Jeonju International Film Festival.
Hangeul Grotesque
“Hangeul Grotesque” is a large-scale installation that visualizes the formal evolution of the Korean alphabet. It illustrates how the intensely geometric shapes of early Hangeul characters gradually adapted to reflect the fluid, natural movements of the human hand and brush. The work debuted at the 2025 “Senses of Writing” exhibition at the National Hangeul Museum.
This work is part of “The Bright Side of the Moon,” a graphic series designed to celebrate the 10th anniversary of Graphic magazine. The complete series is featured in the magazine’s 40th issue.
‘A’ design for DINGBAT FONT WORKSHOP in Exhibition NikeLab Seoul 2025: Recorded Future.
The stone tower, which is covered, collapses, and infinitely transforms, is constantly reconstructed while containing the aspirations and memories of those who build it. Using the stone tower as a metaphor, the shoe incorporates the keywords TRIBUTE, CROSSOVER, and LOCAL, and utilizes ASCII code to reveal records and evolution toward the future.
The first kimchi pop-up, the key to the Kimchi Blast Seoul is to break down the kimchi and reinterpret. Kimchi consists of about 23 ingredients, including raw cabbage, chives, radish, red pepper powder, plum juice, apple, pear, garlic, ginger, anchovy sauce, salted shrimp, sea salt, raw shrimp, green onions, etc. The poster is a concept that decomposes the raw materials called kimchi and takes pictures of it with the ingredients it receives, creating a graphic image.
For the exhibition 〈Interrogative AI〉, mysterious rifts and expansions were expressed through graphics visualizing artificial intelligence and ecosystems.
These Hangul typographic illustrations were created in collaboration with Riitta Ikonen for the third f FESTIVAL hosted at factory2 in Seoul. Amy Kim Delahanty (Fortunato) blended elements from her Objet typeface and patterns by Riitta Ikonen to create the Hangul lettering for this bilingual project. The Objet typeface was used for the English translation in conjunction with these Hangul typographic illustrations and screenprinted on clothing to create a wearable mushroom manual.
The DMZ Peace Train Music Festival sings out the message of peace in the center of the only lasting divided nation in the world, Korea, in its demilitarized zone (DMZ) in Cheorwon, Gangwon Province.
Peace Train’s priority is to deliver how music helps us overcome differences in political views, economic disparity, and ideological conflicts, to collectively reach an ultimate state of freedom and peace.
We have been working on the overall design of the festival since 2019.
The DMZ Peace Train Music Festival sings out the message of peace in the center of the only lasting divided nation in the world, Korea, in its demilitarized zone (DMZ) in Cheorwon, Gangwon Province.
Peace Train’s priority is to deliver how music helps us overcome differences in political views, economic disparity, and ideological conflicts, to collectively reach an ultimate state of freedom and peace.
We have been working on the overall design of the festival since 2019.
Chapter 2 of Yongbieocheonga is used in modern society, especially in fashion magazines. Mainly by modifying it into the prevalent ‘ Vogue font’ and using foreign words indiscriminately. The attempt was to satirize the typical destruction of the Korean alphabet. In terms of expression Because it is a story about the kings of Joseon dynasty, it was inspired by the color of the dragon robe. If you look closely, you can see the VOGUE logo, which is a didot font.
Monorik is cosmetic brand, where the classic nostalgia meets modern sense, we talk about timeless beauty. We added an classic sensibility with a fashion motif to a modern minimalist design. The upside down ‘R’, fabric labels & fabric sewing posters represent this.
A bold and striking poster that immediately grabs attention through its intense red and black contrast. The oversized “IDC(Interaction Design Course)” typography feels dynamic and immersive, almost turning the letters into a spatial experience rather than just text. It communicates confidence and energy, while the minimal “Hello, Interaction.” adds a sense of openness—like an invitation to engage.
The goal was to design a poster that captures regional characteristics and issues. Sokcho, chosen as a tourist destination, was the site of the official launch of Pokémon Go last year. Although it was previously a region where the game was played, it will be covered in articles overseas. Although the game ran, the map was incomplete.
It was not complete due to service support, etc. The imperfection is deformed
The shape of the representative character was shaped into the letters ‘Sokcho’.
(1)by3 is the first space of the graphic design studio, Triangle-Studio. The space aims to be an aesthetic hub with creators, where visual exploration and culinary delights come together. It sells beverages and food, including coffee, as well as visual works of ours.
Graphic Zine Jamais-Vu vol.1 was developed by a team of three, with the designer involved in both planning and design. Ten designers each contributed four pages under the theme of “jamais vu,” woven into a single publication. For the contribution, the designer created a four-page project on defamiliarization, reversing Hangul consonants to visualize the unfamiliarization of the familiar.
This project brings together individual thematic texts by two designers and a curator, later woven into a single book. The cover interlaces three directional images—top to bottom, bottom to top, and left to right—printed on fabric and re-photographed. The designer initiated and planned the project, designing the inner pages and overseeing the overall editorial direction.
“Sun-Kissed” is a conceptual lettering work that evokes a sunlit warmth, translating summer light into a gentle visual form. By using sunlight as a motif, the design visually unravels a soft atmosphere, applying it like a natural imprint on the skin. While the core typography is an original design, the accompanying concept photos were generated using AI to visualize the mood.