space graphics for the fashion show for Manoush in Seoul

100 Films 100 Posters has been a unique side event of the JEONJU International Film Festival since 2015. This exhibition selects 100 films from the festival, then showcases them as posters by 100 graphic designers.
For this exhibition, I designed the movie poster for Japanese director Tsukasa Shinichiro’s .
It is structured to allow the viewer to imagine the changing emotions and pandemonium in the worst-case scenario solely through the silhouettes of masks.

The barcode was conceived in 1948 by Bernard Silver, a graduate student at Drexel Institute of Technology, after learning of the retail industry’s need for automated product identification. Developed with Norman Woodland and patented in 1952, it is based on a binary system. In this version, a baseline and three fixed-position lines encode “1” or “0,” enabling the representation of calendar data such as year, month, and day.

“A-Manual” responds to an exhibition framed as ‘against the manual.’ The poster is constructed through layered imagery, placing blurred and degraded references to conventional manuals at its base. By obscuring these standardized visual systems, the design suggests an act of erasure and redefinition—removing the authority of prescribed formats to create new meaning. Information is then overlaid using mechanical, system-like typography, emphasizing a tension between structure and its disruption.

This work abstracts the formal language of Okchundang, a traditional Korean candy, into a generative system. By codifying its circular structure into radial fragments, the artist employs algorithms to control rotation and stacking intervals based on Perlin noise. Prioritizing the computational process over the static outcome, the work allows systematic rules and organic variations to dictate a shifting rhythm. It is a digital reconstruction of heritage through code.

A city sells space by the square meter. Within that calculus, where does a body belong?
One wanders through Seoul looking for a place to live — listing conditions, crossing them out. Is it near a subway station? Does sunlight come in? How much is the deposit? The gap between what one can afford and what one wants is wider than expected.
In the poster, a white room floats between mountain peaks and skyscrapers, touching neither. The body is still looking for its place.

TANK accumulates curated images. Images that remain as data, easily consumed and disappear, are printed. The images, in various formats and textures, are reorganized according to the subjectivity of those who open and close the tank’s bookshelves. These reorganized images take the form of another tank, another book. The new tank is variable, with a structure that can be disrupted and reassembled by the subject of selection and organization.

This poster was made for The Mode of Making 2, a 4-weeks workshop on making. The workshop looked at making through the working conditions of spatial designers, where design is shaped through direct contact with materials, space, and constant adjustment. During the workshop, designers’ thoughts and conversations were printed on A4 sheets and attached to the wall, giving visibility to the thinking itself.
The poster follows the same format, translating that method into graphic form.

As a participant in Jamais-Vu vol.2, the designer authored a text titled 32 Angry Pages and designed the inner pages accordingly. All visual information from 12 Angry Men by Sidney Lumet is removed, reconstructing the film within a book using only its subtitles. Termed “Text Cinema,” the work translates cinematic direction into the space of the printed page.

This project involves the artwork design for the album Shrug Off, created for three DJ series releases by DJ HYEJI

Co-hosted by Weltformat and Sticheftli in Lucerne, Switzerland, this project is a staggered exhibition in which 48 preliminary matches were commissioned from designers in 18 countries, and Weltformat Korea then took over to request posters for the 16 matches following the World Cup opening from domestic designers.
I got the poster for the quarter-final match between Sweden and England.

This project is a renewal of the permanent exhibition space at the Memorial House Nam June Paik, operated by the Seoul Museum of Art. It involved developing a new identity system, along with designing exhibition posters and the overall spatial graphics.

The artist visits the elderly people who lived there in the past and revisits the places they left behind in the present based on the notes and photographs they left behind to remember the disappearing space. The book is the result of a collaboration between Sangha Khym and Tank Press that retraces the trajectory of the artist’s work in the language of a book.

A specimen is not something that simply
preserves objects or information as they are.
It is a device that cuts out
and fixes a state from a specific moment in time.

By being classified, recorded, and arranged,
individual meanings fade,
and as a collective,
patterns and differences begin to emerge.

This project takes the form of a web publication based on a curator’s reflections after organizing an idol exhibition, developed in two formats: an Instagram feed layout and an A1 poster. Interpreting the exhibition as existing in a transitional state, the design uses intermediate graphics in which “exhibition” and “idol exhibition” morph into uncanny hybrid forms, revealing an in-between condition.

Gaori Station’s name stems from a legend: a king, annoyed by noisy merchants, ordered them to move 5(O)-ri (2km) further. Following this, we each walked 5(O)-ri in three directions—North, East, and South. These journeys are captured in an accordion book unfolding in those directions. Opening the book along these actual paths lets readers join the exploration. Three distinct thread colors for the binding visualize each journey on the exterior, reflecting our individual paths.

This poster was created for Hoonida Kim’s A Manual for Listening in the Hyper-Technological Age. Reflecting the performance’s focus on directing the audience’s attention to their phone screens, it adopts a vertical, phone-like format. When two posters are combined, they form a horizontal composition in a video aspect ratio.

“Chusa, Revisited” is an exhibition themed around the legendary Korean calligrapher Chusa, held at the Silhak Museum in 2025. AABB directed both the exhibition’s curation and design. The poster graphic merges six guest artists’ unique renditions of the exhibition title into a single image. By blending styles from traditional calligraphy to geometric lettering, the design intuitively reveals tradition as “the past living within the present.”

No research question, no system — just every pattern, shape, and color at once. Concentric eyes stare out from cylinders and circles; isometric cubes from earlier studies resurface, now buried under zigzags, bubbles, and neon grids. Each quadrant threatens to become its own thing before the whole pulls it back into a single, relentless surface. Sometimes making something is reason enough.

“Leaning On, Held By, Hanging From, Swayed By,” is an artwork that compiles four essays on the theme of writing into a book. Bound with bolts and nuts, each copy unfolds into a massive, uniquely shaped structure, transforming into a striking exhibition piece. This work debuted at the 2025 “Senses of Writing” exhibition at the National Hangeul Museum.

This project is a zine documenting the process of creating a T-shirt graphic derived from the movement of a door. It establishes a conceptual parallel between turning a page and opening a door, linking the two gestures as related forms of transition and access.

ふれるたび、音がきえる。
ふれるたび、静けさがふえる。

This design employs a vibrant, high-energy color palette to revitalize a classic venue. The graphics reinterpret the theater’s perspective into a motif of light, seamlessly weaving it into the typography to capture the essence of the space.

Exploring the same isometric framework as the first study, this time with soft gradient washes applied across each face of the structure. Where the first study used flat color to test how depth is read, here the surfaces bleed into one another — pastel pinks, blues, and greens pooling at the edges, dissolving the hard geometry from within. The structure holds its shape, but the color refuses to follow the rules.