Poster for guest speaker Saul Kim at the 15th OS Seminar. The OS Seminar is a lecture series by AABB exploring diverse discourses in visual arts and culture.

The infinite plurality of folded paper — a graphic expression of the fold itself.

The letters, scattered like fragments across the perforated paper, no longer feel whole.

A calendar designed for the Year of the Snake (Eulsa, 乙巳). The coiled serpent motif visualizes the cyclical nature of time and new beginnings.

Woongcheol Lee Solo Exhibition: The Black Stone and the Iron, Poster

A game that satirizes contemporary Korean society, inspired by Dante’s Divine Comedy. Players take on the role of ‘Wooyeon,’ an unemployed woman who finds herself in a position to judge souls—specifically including her ex-boyfriend. This interactive experience requires players to navigate the harsh realities of survival, managing performance metrics while balancing practical burdens like monthly rent and social reputation.

《ONCE UPON A TIME…》 brings together phrases from different countries and cultures used to begin old stories—various ways of saying “a long time ago.” Like the Korean phrase “a long time ago, when tigers used to smoke,” they show how each culture imagines a past that never truly existed, and how such ideas have been shared and repeated over generations. This zine explores the stories and images behind these phrases, along with short notes that trace where they might have come from.

This project started with a book about David Bowie’s music. In this book, I explain how to change sounds into shapes and colors step-by-step. I studied ‘synaesthesia,’ which is when people feel one sense through another—like ‘seeing’ a sound. After that, I planned an art show. I recorded everyday noises at home, like washing dishes or the sound of a clock. I turned these sounds into moving pictures (animations) so people can ‘see’ the noises in a room.

A series of tangled graphics born from an accidental return to wired earphones

“The destructive character sees nothing permanent. But for this very reason he sees ways everywhere. […] Because he sees ways everywhere, he always stands at a crossroads. No moment can know what the next will bring. What exists he reduces to rubble — not for the sake of rubble, but for that of the way leading through it.”
— Walter Benjamin, “The Destructive Character” (1931), trans. Edmund Jephcott

The Life-Safety Forum series at Seogyo Institute addresses safety issues and human-made disasters in Korean society. Sequential social disasters, including the 4/16 Sewol Ferry Disaster and the 10/29 Itaewon Crowd Crush, left many people shocked and sad. This lecture series aims to review and reflect on how we can interpret and rethink responsibility in the face of these tragedies. The poster series depicts structures once believed to be safe, collapsing and being reconstructed in a new order.

Artificial Plants: A Botanic Garden is a promotional poster for the solo exhibition of Daeki Shim, held by invitation from Sikmulgwan PH Gallery.

This exhibition explored graphic experiments on artificial plants and nature, and was presented through a combination of graphic works, installations, and augmented reality (AR) formats.

This poster was created for Palimpsest, a solo exhibition by artist Sungjin Jung. The term “palimpsest” refers to traces left behind when earlier writing is erased from parchment for reuse. Through sculpture, the artist explored moments in which works are continuously redefined across past and future. Reflecting this idea, the designer layered typefaces from different historical periods across the poster to visualize the accumulation of time, memory, and shifting surfaces.

The key visual for this project focused on presenting both [Traditional] and [Creation] stages on a single page.
[Tradition] was represented using the original form of the “hansam”—a garment worn in Korean mask dance and traditional dance— while [Creation] was expressed by transforming the hansam into a digital style, creating a fantastical atmosphere suited to the experimental stage.

The key visual for this project focused on presenting both [Traditional] and [Creation] stages on a single page.
[Tradition] was represented using the original form of the “hansam”—a garment worn in Korean mask dance and traditional dance— while [Creation] was expressed by transforming the hansam into a digital style, creating a fantastical atmosphere suited to the experimental stage.

Dokdo Soju, a Korean soju brand, launched the Donghae(East Sea) soju package on Dokdo Day in collaboration with designer Youngha Park. Using the spelling of ‘East Sea’, the Korean and English title, it’s the image of WAVE. It’s the flow of the sea and the wind
The flexible movement, which could be the tailbone pattern of fish
The new wind of creativity blowing in the East Sea.

Using the spelling of ‘East Sea EAST SEA’, the Korean and English title,
It’s the image of WAVE. It’s the flow of the sea and the wind.
The flexible movement, which could be the tailbone pattern of fish
The new wind of creativity blowing in the East Sea, which marks the first biennial. It symbolizes the new flow of birth, and the buoy on one side is a fixed perspective and represents all the stereotypes that have been around.

Created to commemorate the 30th anniversary of the Hangeul typography research group Hangulggol, this poster features the initial consonants of the Korean word for “congratulations” repeated thirty times.

Created for director Shin Seok-ho’s film “In the Clouds,” this poster reflects the idea that, to some, a cloud can be as solid as a rock. The piece was featured in the “100 Films, 100 Posters” exhibition at the 2024 Jeonju International Film Festival.

Hangeul Grotesque
“Hangeul Grotesque” is a large-scale installation that visualizes the formal evolution of the Korean alphabet. It illustrates how the intensely geometric shapes of early Hangeul characters gradually adapted to reflect the fluid, natural movements of the human hand and brush. The work debuted at the 2025 “Senses of Writing” exhibition at the National Hangeul Museum.

This work is part of “The Bright Side of the Moon,” a graphic series designed to celebrate the 10th anniversary of Graphic magazine. The complete series is featured in the magazine’s 40th issue.

‘A’ design for DINGBAT FONT WORKSHOP in Exhibition NikeLab Seoul 2025: Recorded Future.
The stone tower, which is covered, collapses, and infinitely transforms, is constantly reconstructed while containing the aspirations and memories of those who build it. Using the stone tower as a metaphor, the shoe incorporates the keywords TRIBUTE, CROSSOVER, and LOCAL, and utilizes ASCII code to reveal records and evolution toward the future.

The first kimchi pop-up, the key to the Kimchi Blast Seoul is to break down the kimchi and reinterpret. Kimchi consists of about 23 ingredients, including raw cabbage, chives, radish, red pepper powder, plum juice, apple, pear, garlic, ginger, anchovy sauce, salted shrimp, sea salt, raw shrimp, green onions, etc. The poster is a concept that decomposes the raw materials called kimchi and takes pictures of it with the ingredients it receives, creating a graphic image.

For the exhibition 〈Interrogative AI〉, mysterious rifts and expansions were expressed through graphics visualizing artificial intelligence and ecosystems.