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.

What is the charm of words that truly resonates with the heart?
Words go beyond simply conveying information—they have the power to evoke unseen emotions and memories. Even a short sentence can touch someone’s time and inner world, lingering long after it is spoken. Sometimes they arrive as an unexplainable aftertaste, sometimes as a quiet form of comfort.
The charm of words does not lie in being perfectly understood, but in how they are reinterpreted within the listener’s own experiences and

This song, with the theme of Dongdaemun(major east gate) and Namdaemun(major south gate), is a design for a poster group exhibition that reinterprets the songs that were submitted to the largest music festival in Seoul from the designer’s perspective. It contains memories and longing for childhood friends. It was abstractly depicted as a landscape painting, depicting a setting sunset with the shining sun and neighborhood houses, trees, and grass.

“Pinball” is a typographic work that translates the dynamic motion of the game’s ball into expressive linear forms of the Korean word “핀볼”. The interplay between the extending lines and the contrasting texture of the ball evokes both a retro sensibility and a sense of immersion, ultimately creating a visual rhythm.

〈Mergees〉 Exhibition Identity and Book design
195×275mm/90p/PUR

Graphic motif poster for Pyungchang Winter Olympics

In Social Design 2, each student focuses on the appeal of a chosen subject, observing the character and impressions it holds, and then reconstructing them into the form of an experience.

The arrow does not point straight toward a single outcome; rather, it represents a process of continuously updating direction through repeated interpretation and reflection, expressing a design attitude that moves back and forth between brand and society.

This work explores time as something intangible and ungraspable. It visualizes memories as traces that dissolve, scatter, and drift beyond control. Composed of intersecting hourglass axes, printed and melted photographic footprints, and fragments from A Psalm of Life, the poster layers multiple temporalities onto a single surface. It reflects on moments embedded in space—accumulated yet unsellable, resisting fixation or ownership.