EARTHLAND (Flat ver.) is about the things that surround us — everyday objects, nature, people — flattened onto a single plane as if everything exists at the same distance. Nothing is background; nothing is foreground. It all just coexists, layered and overlapping, the way life actually feels when you stop sorting it.

Cute Narcissism is a piece about the small, harmless vanity of selfhood — the kind where you genuinely believe you might be sunshine. It explores the cute narcissistic streak we all carry but rarely admit to, like wanting to be called something other than your name. Sometimes I want to be an object. Sometimes a fruit. Mostly a tomato. “Dear. I am like sunshine. Medically proved.”

APOCRYPHAL started with the title first. I sat with the word and asked what would fit it best — and landed on collecting photos from absurd, unbelievable news stories, redrawing them by hand. The title became a kind of wish: that these stories might be false, that they could be apocryphal after all.

FUTURE OF SILENCE is a poster that addresses the disappearance of minority languages. By obscuring an already-made poster beneath layers of noise, I tried to express language fading away — and the small, floating title fragments scattered across the surface act as residues of those languages, still drifting but barely holding on.

LOVE&HATE is a piece about the mixed sense of self — the way self-love and self-loathing don’t take turns but exist simultaneously, tangled into one feeling.

MIRI PATCH is an ongoing work that takes source material from Miricanvas — Korea’s own Canva, a modern vernacular design factory — and reweaves it by hand. Templates, stock phrases, and promotional fragments are stitched together through a craft-based process, stripped from their original context and patched into new compositions. The interesting moments emerge when sentences that once meant something entirely different begin to generate unexpected meaning through recontextualization.

In this ongoing project, I use organic, taut lines as the grid itself — not drawn on a grid, but becoming one. The lines pull and release across the surface, creating zones of visual tension, condensation, and expansion. Text settles where gravity allows it; type drifts where the structure loosens. Every curve holds weight like a tendon under skin.

Youth Lab is a poster for a startup open call. To express the outward energy and dynamism of young entrepreneurs, I visualized radiating waves through colorful, layered lines — each syllable pulses outward like a signal. At the bottom, running figures built from the same rippling lines carry that momentum forward, turning the whole poster into a single expanding gesture.

Soo Yoo Sangwhal is a poster for an apartment residents’ welcome party. I found the joints of mechanical parts visually interesting and used them as a graphic symbol — the way pieces connect, hinge, and hold together felt like a fitting metaphor for people forming a new community. The shapes scatter across the poster like neighbors finding their place, linked by shared structure but each one distinct.

OCHAESHINBO is an imaginary branding for a traditional Korean medicine brand, reimagined for a younger audience. The identity system — packaging, stationery, cards — layers vernacular Korean typography with lo-fi textures and halftone patterns, treating herbal medicine aesthetics not as heritage to preserve but as raw material to pull apart and reassemble. The goal was to broaden the visual experiment: what happens when tradition stops looking traditional?

DOTSTORM is made of four separate textures, each built from different glitch particles — scanning artifacts, pixel bleeds, signal noise. Every fragment transmits its own feel, but when combined into a single poster, they create a sense of movement within a still image. The surface shifts depending on where you look; nothing stays fixed. It breathes between signal and void.

SHAPE OF LOVE is an artifact engraved in stone, built from various symbols. I wanted to create something that carries an ancient feel — like a relic dug out of somewhere, not designed but found. The symbols are inspired by African motifs, layered and carved into the surface as if they’ve always been there. “Emotion leaves a trace even when its shape is gone.”

The Shape of Letters in Sign Languages is an exhibition about a multilingual experiment involving Korean, English, and sign language.
Selected for the Seoul Design Foundation’s DDP Open Curating program and hosted by Gallery MUN at DDP, the exhibition presented research into sign language as a new typographic element, based on typography methods that use layout, color, proportion, and movement within a set system. I created the visual identity, translating manual gestures into graphic motifs.

2025 ARKO Day, organized for the third time this year by the ARKO Art Museum, is being held under the name ‘The Long Tail.’ The name ‘The Long Tail’ is said to be inspired by the ‘Long Tail Law,’ which states that the majority of the non-mainstream, comprising 80%, create greater value than the minority of the top 20%. Accordingly, this poster was designed using a system where 20% of the page is left blank for characters, and content is filled starting from the bottom, with the long tail.

This work aims to raise questions about whether uniqueness is a tangible reality. AI, which generates text, images through learning, closely resembles the way humans create. However, I believe this can be distinguished from humans in that humans selectively choose from these learned images with an editorial intent. Accordingly, I input this narrative into Gemini to generate text, and based on this text and title, I designed a poster where I am influenced when designing.

This is a poster created to commemorate the 5th anniversary of Studio Bbareunson. Through risograph printing, five stars symbolizing the five years were used to express the accumulation of time.

I am a Korean designer based in Germany, working between two writing systems that were never meant to align. My graduation project, The Gravity of Typography, explores typography as a way of thinking between languages. The publication brings together essays and conversations set in pairings of Korean and Latin typefaces, where meaning shifts through translation and visual form. Rather than seeking clarity, it embraces ambiguity as part of design process, where meaning is renegotiated.

Using the two most intelligent and symbolic mythical beasts in the Classic of Mountains and Seas – Baize and Xuangui – as the core carriers, breaking the dimensional barrier between ancient mythology and modern aesthetics. Extracting the cultural symbol gene from the mythical animal prototype, combined with contemporary minimalism, China-Chic aesthetics and digital art techniques, it not only retains the mysterious atmosphere of “the world is dark and yellow, the universe is wild” in the origina