Living Things approaches perception as a dispersed field of attention, assembling fleeting encounters into a loose, non-hierarchical archive. Language is not fixed but positioned, scattered, and reconfigured across pages. Moving between photography, drawing, and typography, it explores how meaning emerges through placement rather than sequence. Words and images drift, overlap, and remain in flux—attuned to subtle shifts and the ephemeral nature of everyday life.

A Circle’s Travel stages an exhibition within the format of a book. Conceived specifically for the printed form, the work constructs its own spatial logic through the visual grammar of comics. Images remain unresolved, tracing a non-linear movement—returning, repeating, and dispersing across pages. Reading becomes navigation, where the book operates as a site of display, translating painterly sensibilities into a tactile, temporal, unfolding space.

“BALANCE” is a poster work that proposes a balanced life for contemporary designers, often constrained by black-and-white thinking.

It encourages moving beyond the binary choices shaped by past doctrines, conventions, and present-day culture, and instead drifting within the gray space in between to create one’s own sense of design balance.

This work was exhibited at .

As generative tools and technologies continue to evolve, images are created and expanded more easily than ever before. “Generate & Choose” explores the role of the designer as a conductor—one who navigates countless possibilities to discover and select the most appropriate outcome.

This work was exhibited at , a poster exhibition that reflects on human uniqueness in the age of AI.

Bold Extended designed the visual identity for Fault Lines, a KABK Research Forum from the Deep Futures Research Group exploring design and climate justice. Drawing on the side view of a geological fault line, text and imagery are treated as layers that shift and fracture when they surface. Typography is pushed out of alignment across static and motion work, leaving the system deliberately unresolved, mirroring research as something in progress.

Paul Coenen is a designer who bends, folds, and coils single sheets of stainless steel into furniture. We designed the identity to run on the same logic. At the center of it is PC Grotesk, a custom variable typeface where each letter tilts independently, up to 20 degrees, the way a flat sheet gets bent into something three-dimensional. Where the furniture finds its form in the resistance of steel, the typography finds its character in the tilt of each letter. Same rules, different material.

Collected incidents, metal, bodily fluids, and contrast—these keywords define a poster converging fragmented images and records onto a single plane. Through the collision of condensed fragments and fluid metallic typography, it transcends individual tragedies to reveal the layers of structural violence.

“Talk of Dreams” is a design project that interprets the song of the same name by Lee Beom-yong and Han Myung-hoon, which won the grand prize at the 4th MBC College Music Festival in 1980. Talk of Dreams is an album that sings of dreams amid the dark and desolate atmosphere shaped by the non-democratic military regime of the 1980s. This work reinterprets songs from past Korean music festivals through contemporary graphic design, and it won the Gold Prize at the <3rd Big-rever Poster Festival>.

Beater Studio designed a drip bag package for Jang Wooyoung’s 3rd mini album “I’m into,” translating the album concept into a coffee format. Inspired by commercial drip bag packaging, the design reinterprets the tracklist and album identity as a consumable product.

Beater Studio designed photo slides as part of the souvenir series for Paul Kim’s 10th anniversary album, featuring photographs taken by the artist. Inspired by the format of film slide mounts, the graphics frame each image as a preserved memory, reinforcing the concept of collecting moments from his 10year journey.

17717 is a cultural planning space based in Seongbuk-dong, Seoul, where over 100 exhibitions and programs have been presented since 2014. It is a site of accumulated creative experiments and ongoing exchange between local and international artists.

The poster organizes each exhibition as a “chapter,” maintaining a consistent format while allowing different works to unfold over time. Varying materials and sensibilities accumulate into a layered narrative.

17717 is a cultural planning space based in Seongbuk-dong, Seoul, where over 100 exhibitions and programs have been presented since 2014. It is a site of accumulated creative experiments and ongoing exchange between local and international artists.

The poster stacks copies of the 1970s Korean cultural magazine Deep-Rooted Tree, exposing their edges to emphasize the compressed material traces of time. The reading session revisits past texts through a contemporary lens.

Beater Studio designed Paul Kim’s 10th anniversary album as a parcel sent to fans. Based on an actual shipping box structure, recipient information and postal elements were translated into graphics to create the experience of the album being delivered like a letter.

17717 is a cultural planning space based in Seongbuk-dong, Seoul, where over 100 exhibitions and programs have been presented since 2014. It is a site of accumulated creative experiments and ongoing exchange between local and international artists.

The poster fragments and disperses images of trees into irregular shapes, recomposing different perspectives within a single frame. The works reveal distinct sensibilities through processes of observation and accumulation.

17717 is a cultural planning space based in Seongbuk-dong, Seoul, where over 100 exhibitions and programs have been presented since 2014. It is a site of accumulated creative experiments and ongoing exchange between local and international artists.

The poster overlays grids in different directions with layers of RGB colors, forming a structure where space, object, and gaze intersect. The works explore visual perception through distinct approaches.

17717 is a cultural planning space based in Seongbuk-dong, Seoul, where over 100 exhibitions and programs have been presented since 2014. It is a site of accumulated creative experiments and ongoing exchange between local and international artists.

The poster foregrounds text as the primary visual element, constructing relational structures through language. The transition from “house” to “home” evokes layers of memory and relationships embedded in space.

17717 is a cultural planning space based in Seongbuk-dong, Seoul, where over 100 exhibitions and programs have been presented since 2014. It is a site of accumulated creative experiments and ongoing exchange between local and international artists.

The poster divides organic shapes into compartments, each containing different scenes, assembling fragmented images into a single composition. The works intersect and overlap, forming a continuous visual flow.

17717 is a cultural planning space based in Seongbuk-dong, Seoul, where over 100 exhibitions and programs have been presented since 2014. It is a site of accumulated creative experiments and ongoing exchange between local and international artists.

This exhibition explores the theme of “tangible absence,” investigating the sensations of presence and contact. The poster visualizes the boundary between appearance and disappearance by manipulating focus and blur in typography.

17717 is a cultural planning space based in Seongbuk-dong, Seoul, where over 100 exhibitions and programs have been presented since 2014. It is a site of accumulated creative experiments and ongoing exchange between local and international artists.

The poster slices and rearranges images vertically, layering different scenes within a single frame. Collected images of plants extend beyond fragmentary impressions, unfolding into new scenes and narratives.

17717 is a cultural planning space based in Seongbuk-dong, Seoul, where over 100 exhibitions and programs have been presented since 2014. It is a site of accumulated creative experiments and ongoing exchange between local and international artists.
The poster visualizes the process of stitching through dotted and continuous lines, connecting disparate elements into a single structure. Works made from recycled PET bottles invite a reconsideration of everyday objects and patterns of consumption.

Inspired by vintage stationery collected from long-standing shops, Jiae Kim captures the lingering memories of the late 1990s and early 2000s. Through the use of CRT TV frames and retro cartoon styles, her poster design mimics the experience of flipping through old television channels. By integrating fictional programs with nostalgic elements such as vintage advertisements and DVD warnings, She reconstructs a specific cultural era into a vibrant, contemporary visual language.

This poster promotes the graduation exhibition “Still a Jjang-dol, for now.” Stones roll, collide, and wear down, eventually becoming sand. This work captures that very metaphor. We compare graduating students—soon to enter society—to these “Jjang-dol” (stones). Each unique stone represents an individual student, while the dominant blue hues symbolize the inevitable yet profound journey toward the vast ocean of society.

Dingbat fonts often place images in letters irregularly. Smile Dingbat is a dingbat font structured according to the compositional rules of Hangul. It uses consonants as shapes and vowels as inclinations, thereby expressing the syllable-initial consonant, medial vowel, and syllable-final consonant of each character.

This is a relaunch of the quarterly magazine *Archive Prism*. Notably, the first issue also serves as a book that selects the 100 best Korean films every 10 years. The cover features the titles of the selected films written in text. This element represents the “archive” in *Archive Prism*, while the background color symbolizes the “prism.” The background color changes with each issue.