Screened at the Jeonju International Film Festival(100 Films 100 Posters) _ Director Oguri Kohei’s [Sleeping Man]. A man in a coma and the fragmentary scenes surrounding him evoke the question of ‘what it means to live’ and a sense of animism.

Long live music! Living each moment for the sake of sacred art, we bless one another in this way and seize victory.
The album cover for *Hail to the Music* by Danpyunsun and The Moments Ensemble, winner of the Album of the Year award at the 22nd Korean Music Awards.

Long live music! Living each moment for the sake of sacred art, we bless one another in this way and seize victory.
The album cover for *Hail to the Music* by Danpyunsun and The Moments Ensemble, winner of the Album of the Year award at the 22nd Korean Music Awards.

The SYSTEM 2018 series is a graphic experimentation project by designer Daeki Shim. His solo exhibition was held in 2018 at Doosung In The Paper Gallery, with the support of Doosung Paper.

The poster for the 2021 Gyeonggi Design Fair, Goods Goods, extends the event title into a visual system. By repeating and connecting the phrase vertically, the design forms an expanding pattern that visualizes the cycle of production and distribution. The second line is flipped, rendering familiar Hangeul unfamiliar and prompting a reconsideration of the relationship between design and goods. Variation within repetition embodies the cyclical structure of the design ecosystem through typography.

The SYSTEM 2018 series is a graphic experimentation project by designer Daeki Shim. His solo exhibition was held in 2018 at Doosung In The Paper Gallery, with the support of Doosung Paper.

The SYSTEM 2018 series is a graphic experimentation project by designer Daeki Shim. His solo exhibition was held in 2018 at Doosung In The Paper Gallery, with the support of Doosung Paper.

The SYSTEM 2018 series is a graphic experimentation project by designer Daeki Shim. His solo exhibition was held in 2018 at Doosung In The Paper Gallery, with the support of Doosung Paper.

This project reframes small talk by highlighting its overlooked value. During the pandemic, as informal conversations disappeared, its importance became clear. It collects everyday dialogues from Korea, translating and placing them within structured formats like newspapers or business cards. By doing so, it questions communication norms and reintroduces warmth into formal systems. The image shown is the book’s cover.

The poster for The Tongue Before Words, the 9th residency final exhibition at the School of Visual Arts Creative Studio, Korea National University of Arts (K-Arts), centers on a close-up bodily fragment with dispersed text, visualizing a sensory state prior to words. Scattered text resists a fixed reading order, reflecting a state before language. Rather than adopting Concrete poetry, it functions as spatial typography, where spacing and placement evoke the primal sense of the “tongue.”

The Nam June Paik Art Center presents AI Robot Opera to mark the 20th anniversary of Nam June Paik’s death, continuing the spirit of his 1965 Robot Opera. The design foregrounds low-resolution archival imagery where past media and technologies overlap. Dispersed text forms visual rhythm as spatial typography, drawing on Concrete Poetry. Blurred video imagery and layered text evoke the liminal condition of K-456, revealing how Paik’s language is re-articulated in contemporary AI contexts.

Ambiguity expands the potential for diverse interpretations, driving the creation of new contexts. Focusing on this inherent virtue, “Unidentified Zone” is a collection of images derived from ambiguity within media. In this zone, ambiguity exists as a duality: both unpleasant and pleasant, unfamiliar and familiar, irregular and orderly.

The poster for the 2019 K’Arts Platform Festival – Artist’s Note at the Korea National University of Arts visualizes a five-performance structure through layered color and typography. Distinct colors overlap as planes, revealing how works coexist within a single platform. A large-scale typographic element unifies the performances into one festival. The same color system extends across materials, establishing a consistent identity and translating the concept of a “platform.”

The Open Studio / Prototype poster represents a WIP show that framed “making” as a way to adapt to uncertainty. Viewing prototyping as a method for exploring the unpredictable, it brought together works and manifestos from layer/ply, a human–AI interaction R&D lab, and Studio Edul. As an open studio and WIP show, it gathered people to share processes and the value of prototyping.

The poster for the Seoul Museum of Art seminar “The Place of Photography” defines the discursive point of departure for the Seoul Museum of Photography (opening 2025) through a dense typographic field. Oversized letterforms compress debates into a single plane, where text occupies the exhibition’s “place.” Filled counters in Hangul and Latin letterforms suggest photography as a structure of meaning. Tight tracking reinforces this density, reflecting converging voices within a shared discourse.

The poster for MMCA Residency Day articulates the convergence of works from the Changdong and Goyang residencies through dense typography. A red field saturates the surface as enlarged letterforms render disparate practices colliding in a single plane. The minimized hierarchy reflects simultaneous presentations, screenings, and encounters. “MMCA Residency Day,” in a bottom ellipse, acts as a central axis binding programs and artists. White type on red foregrounds this collective moment.

Letting Go in the Cycle is an experimental publication and tool that reflects on systemization and sensory dullness shaped by contemporary Korean society. Developed through prompts and dice, it introduces small disruptions into structured visual habits. Rather than rejecting systems, it creates gaps where new perceptions can emerge. The book, composed of collaged graphic experiments generated through chance, visualizes this research as a way to rediscover unpredictability within control.

Letting Go in the Cycle is an experimental publication and tool that reflects on systemization and sensory dullness shaped by contemporary Korean society. Developed through prompts and dice, it introduces small disruptions into structured visual habits. Rather than rejecting systems, it creates gaps where new perceptions can emerge. The poster, composed of collaged graphic experiments generated through chance, visualizes this research as a way to rediscover unpredictability within control.

She is currently researching visual language expression across various media and is interested in digitizing “Hyukpilhwa,” a form of traditional Korean calligraphy.

Letting Go in the Cycle is an experimental publication and tool that reflects on systemization and sensory dullness shaped by contemporary Korean society. Developed through prompts and dice, it introduces small disruptions into structured visual habits. Rather than rejecting systems, it creates gaps where new perceptions can emerge. The poster, composed of collaged graphic experiments generated through chance, visualizes this research as a way to rediscover unpredictability within control.

MTO developed the brand identity and spatial design for ‘Janghang Urban Exploration Station’, a regeneration of the former Janghang Station. Rooted in the port city’s identity, the logo and symbol visualize ships, waves, and light. The identity extends into space through dichroic film that shifts color with light and viewpoint, creating changing scenes by day and night and reimagining the station as a luminous cultural destination.

Like drifting through the vast universe in search of an unnamed planet,
the beginning of every project feels endlessly uncertain…
In pursuit of something—
a feeling, or what we choose to call inspiration.

On Sundays, I make sure to have breakfast.
Combining my favorite day, time, and menu, I put together a quick happiness combo—
savoring the slow, lingering end of the weekend.

MTO designed the exhibition booth for ‘Sewoon Made’ at the 2022 Living Design Fair. The program combines manufacturing in the Sewoon–Cheonggyecheon–Euljiro area with designers’ ideas to develop products. Under the concept of an ‘infinite production base,’ conveyor belts formed display systems, while cobalt blue and neon green expressed next-generation urban industry. Typography based on ‘collaboration,’ “tech,’ and ‘electronics’ was applied to bags, hoodies, and printed materials.

This exhibition features books by 11 friends from the D-hak design community, concluding a year of learning. The “dots” signify each individual and the traces of our studies. Up close, it is just a single mark, but accumulated, they build something greater. We visualized this by hand-stamping uniquely shaped circles, mirroring our diverse identities. A solitary dot holds little meaning, but gathered, they form a unified letterform, transforming into a vibrant, collective impression.