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

Graphic design for an exhibition.

Curated by Heeseung Choi

Artists
Keep Jiyoung, Sejin Park, Joo Yeon Park, Nakhee Sung, Kai Oh, Seung Ae Lee, Hyori Cho

DOOSAN Gallery

A typographic project based on the dual meaning of the Korean word “che,” referring both to a typeface and the notion of “pretending to be proper.”
Following the conventions of “correct” handwriting, the letterforms shift and adapt in response to a destabilized grid system, reflecting the tension between order and deviation.

Package and symbol design for a collaboration between Lawrence Weiner and PACE Gallery Korea.

The Design History Society of Korea (DHSK) prioritizes the cultural and philosophical significance of design over industrial utility. Founded six years ago, DHSK explores design’s social role within the Korean context. Its strength is diversity, uniting designers and researchers from aesthetics to architecture. Under the vision of “Expansion and Change,” the Society will broaden its academic themes and perspectives over the next two years.

Graphic design for an exhibition.

Curators
Juyeon Kwon, Yunju Chang

Hosted by
The Korea Foundation, ASEAN Culture House

Artists
Hyeeun Kwak, Small Studio SEMI, Jehyun Shin, Jinkyung Lee, Keywhowekey

Poster design for the solo exhibition of Haeeun Hong.

Leaflet design for an exhibition.

Curated by Hyejung Jang
Artists
SeaJung Kwon, Chorong An, Yi Ji Jeong, Sue Yon Hwang
WESS

〈Корейцы, Корё сарам〉 is a photographic exhibition that explores the Korean diaspora known as Корейцы—ethnic Koreans who were displaced to Central Asia during the Soviet era. Through fragmented self-portraits, the work reflects the tension of identity and the disorientation of diaspora, visualizing an internal state shaped by displacement and historical rupture.

A poster for the film The Real Man (1996), designed for the Jeonju International Film Festival event 100 Films 100 Posters. The poster incorporates credits in which the conventional role titles of the film’s participants, what they are called, are replaced with phrases drawn from the film’s dialogue.

An alternative term for Zoopraxiscope;
zoo- (ζῷον, zōion): animal, living being
-graphy (γράφειν, graphein): to write, draw, record
-scope (σκοπεῖν, skopein): to see, observe, examine

〈Dreaming Conversation〉 is a poster reinterpreting the song “Dream Conversation” by Bum-yong Lee and Myung-hoon Han, developed in collaboration with fellow designer Hyungmin Kim. As the song takes the form of a duet in dialogue, the work reflects on a world shaped by love—not only between family or lovers, but also extending to care for the marginalized. To express the process of receiving and transmitting love, a heart-shaped flag was created and staged as a relay performance.

〈Love Massacre (愛殺)〉 explores the moment in which love and killing converge and become entangled. Rather than separating good and evil, or love and violence, the film approaches this tension through an Eastern perspective that embraces their coexistence.

〈Hangeul in Another Time〉 begins from the observation that Hangeul was traditionally written vertically using brush and ink. The project poses the question: How might Hangeul have evolved if horizontal writing had developed while still using a brush? By imagining Hangeul within an alternative temporal context, it visualizes its potential forms under constraints of specific tools and writing directions, while preserving its structural principles and the material qualities of brush and ink.

〈Die Zauberflöte〉 is a staging of Wolfgang Amadeus Mozart’s opera, long celebrated for its enduring popularity. The Queen of the Night, its iconic character, is prominently positioned at the center, and the typography is structured through a symmetrical layout.

Series of lettering for Korean broadcastiing station JTBC’s 2024 commemorative campaign, part of the station’s branding efforts. The designs were used in video clips aired on special dates like New Year’s, national commemorative days, and traditional holidays. 11 letterings capture each event’s unique character while reflecting JTBC’s fresh, youthful, and diverse image.

A poster for Mira Park’s solo exhibition To Make a Door. Objects from the artist’s works overlap to form a passage, within which the exhibition title emerges. To echo the projected animations in the artworks, the physical poster was printed on reflective metallic paper.

Poets born in the 1990s and 2000s, each building their own lives in Busan, have come together for this project.

We invited poet friends—emerging and unpublished, queer and cisgender, workers and students—who study and write poetry from their own positions in life, to contribute a poem of around 21 lines. Each of them offered a piece that carries the texture of their own lived experience.

The collection brings together eleven poems and one cover postcard, for a total of twelve postcards.