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.

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.

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.

Created for Frisketch’s artist event Um, this project includes a poster and promotional calendar. The design is inspired by spontaneous graphic scores drawn by the audience while listening to pianist Yeonjoon Yoon’s upright piano improvisation. These collected marks become a large visual score, then reinterpreted through live performance. Translating sound into image and image back into sound, the work visualizes circulating energy, while Um suggests the moment of new growth and emergence.

This project explores the Greek maxim “Know Thyself” through the lens of Korean typography and the tactile medium of oil paint. By weaving together the philosophical lineages of Socrates, Plato, and Aristotle—from the Athenian Academia to contemporary social engagement—the work visualizes the enduring connection between ancient Western thought and modern Eastern aesthetics. It is a material reflection on the evolution of consciousness, architecture, and the social role of the intellectual.

‘Blue Water Bottle’ is an encyclopedic book project exploring how an ordinary object can generate many interpretations. Though the phrase seems specific, each person imagines a different bottle shaped by personal experience. The book examines blue as color, water as property, and bottle as form through poems, essays, images, and archives. Its typeface was created by focusing on letterforms while drawing without looking at the paper, producing distorted shapes like objects seen through water.