The newly unveiled symbol of REPXIMUM embodies the core philosophy of the brand. Designed as a circulating form of the letter ‘R,’ it also incorporates the infinity symbol, representing limitless potential. This symbol of circulation and infinity reflects REPXIMUM’s spirit: the relentless pursuit of higher goals, the determination to overcome challenges, and the journey to continuously expand one’s potential.

specific
poster, printed matter,1,100*1,700mm
client
centro cultural coreano en argentina
2025. 04
This poster was created for an exhibition at the Korean Cultural Center in Argentina, introducing Chaekgado, a traditional Korean painting style.
To express the intriguing combination of presenting Korean culture in Argentina, I incorporated mate—a symbolic Argentine element—into the composition of the Chaekgado.

Naughty Pobi is a brand inspired by an imperfect but happy family. The guardian carefully chooses ingredients for their dog, while Pobi playfully teases them. The logo captures both personalities, the calm and thoughtful caregiver and Pobi’s lively spirit, through cozy dog motifs, shampoo bubbles, and expressive typography. Rather than showing the character directly, the design relies on subtle metaphors so it can blend naturally into everyday home spaces.

Naughty Pobi is a brand inspired by an imperfect but happy family. The guardian carefully chooses ingredients for their dog, while Pobi playfully teases them. The logo captures both personalities, the calm and thoughtful caregiver and Pobi’s lively spirit, through cozy dog motifs, shampoo bubbles, and expressive typography. Rather than showing the character directly, the design relies on subtle metaphors so it can blend naturally into everyday home spaces.

Don’t Worry Baby designed the JEONJU IFF × Hungarian Korean Film Festival Collaboration the posters, leaflets, and banners. This overseas special collaboration was held at the 18th Hungarian Korean Film Festival, hosted by the Korean Cultural Center in Hungary. This collaboration, the JEONJU IFF introduces Korean independent cinema and emerging directors to Hungarian audiences. We highlighted the event name in Hangul on the poster and designed graphics reminiscent of a camera lens and spotlight.

Don’t Worry Baby designed a promotional leaflet for the 26th JEONJU International Film Festival “Looking for the Main Character to Shine Korean Film.” The leaflet is made of a narrow, open and folded structure for increased portability and readability. And with the design that visualizes various light forms along with the colors of the JEONJU International Film Festival and emphasizes the title, the focus was on conveying clear meaning and communication to readers.

Don’t Worry Baby designed web posters, web banners, card news, and book for the ‘Gyeonggi Story Writer’s Studio Goyang’ 5th Business Meeting. The ‘Gyeonggi Story Writer’s Studio Goyang’ event identity uses ‘Goyang’ to express the rhythm of space and time through typography using poetic expressions of movement between letters.

Don’t Worry Baby designed web posters, web banners, card news, and book for the ‘Gyeonggi Story Writer Creation Studio Paju’ 6th and 7th Business Meetings. The ‘Gyeonggi Story Writer Creation Studio Paju’ event identity metaphorically expressed the appearance of the Paju Creation Studio and various stories in the book by thinking of the script as a conversational space and overlapping the open pages of the book.

Don’t Worry Baby designed the event identity, posters, banners, booklets, postcards, and SNS for , the autumn event of .
They hoped that through this event, which opens autumn in Jeonju, audiences and the public would feel the season on the streets of Jeonju and remember the 24th JEONJU International Film Festival. It expresses the movement of people gathering at the festival and enjoying various programs through typography.

MaTEriDeLIA poster adopts the format of LSD blotter paper as a tearable structure. The exhibition explores a redefinition of psychedelic substances. Referencing its divisible structure and the standard 1/4×1/4 inch tab, the poster is composed by magnifying it threefold. Reflecting the inversion of established senses and norms, it functions as a variable, non-standard poster, allowing recombination and three-dimensional rearrangement. Gradient patterns draw from psychedelic visual language.

A poster for the K-Arts Department of Fine Arts 2025 MFA Degree Show.

It visually expresses a painterly impression alongside a sense of fragmented, transient aggregation.

A work about ambivalence. The burger stands in for everything I want but won’t let myself have — pleasure filtered through the logic of health, diet, and self-management. Desire and denial are pressed into the same woven surface, where craving doesn’t disappear so much as get patterned over.

This poster draws on the Korean concept of “Bom” (spring), symbolizing renewal, growth, and quiet resilience. A delicate sprout emerges through layered typography and concentric forms, suggesting the cyclical energy of the season. The visual tension between organic life and bold graphic structures reflects spring as a moment of both harmony and resistance, where new beginnings take shape within complex cultural and environmental contexts.

Captured in the streets of Euljiro in Seoul, this 3D-scanned portion of the city was digitally processed and altered, then rendered as an image.
This piece was made with a deformed perspective camera in 3D software, rendering the physical into a surreal, almost cubist view.
This series is focused on the ordinary, forgotten or invisible areas and objects scattered in Seoul from an international artist’s viewpoint.

This poster explores K-Design Culture through a dynamic interplay of geometric fragmentation and layered typography. Bold color intersections reflect cultural convergence, while rotated letterforms disrupt conventional reading, echoing the fluid exchange between tradition and contemporary design. The composition conveys movement, diversity, and the evolving identity of Korean visual culture within a global context.

Captured near the Naksan temple on the east coast of South Korea, this 3D-scanned machinery was digitally processed and altered, then rendered as an image.
Experimentation is at the core of Brice Afonso’s process, glitch being one of the tools to distort and expose the digital domain’s weaknesses.
This series is focused on the ordinary, forgotten or invisible areas and objects scattered in Seoul and other places in South Korea from an international artist’s viewpoint.

Captured in the streets of Dongdaemun in Seoul, this 3D-scanned portion of the city was digitally processed and altered then rendered as an image. Experimentation is at the core of Brice Afonso’s process and this piece is no exception. Bringing the physical into the digital, distorted and mangled through post-processing, another point of view is revealed. This series is focused on the ordinary, forgotten or invisible areas and objects scattered in Seoul from an international artist’s viewpoint.

This poster was created to mark the 80th anniversary of Gwangbok, which means “the restoration of light” (光復). Inspired by the idea that Korea regained its light after years of darkness under Japanese colonial rule, the Taegeuk symbol is reimagined as a glowing lantern, illuminating its surroundings and symbolising the value of the light that was reclaimed. Through this work, I hope to honour those who fought for Korea’s independence and to encourage a deeper appreciation of that hard-won freedo

We made a blue snake by weaving wish papers.
The handcrafted snake and stop-motion movements are cute
I was going to show you a bright view of the new year.
The snake’s flexible movements and turning wishes
Visualize the time of 2025 when it will be easy to pass.

The key visual is a hyphen that connects creators and citizens with space It gives new features to seek citizens and creators and attract them to the exhibition.
Using a stick magnet with a shape similar to a hyphen as a graphic motif At the same time as a hyphen, it’s a magnet for citizens and creators I visualized the way I pulled it into space and connected it.

KeyVisual design emphasizes the importance of environment and computation acting on the work, not the outcome.
The area where you can appreciate art through interaction is not the work itself,
but the environment is expressed through the graphic of the eyes and surrounding poetry.
Visualize the eyes looking at the unclear results with the intervention of the writer and audience as the noise of the unsent screen.

The pattern frame of traditional window paper was used to
announce the new beginning and meeting of traditional culture and art.
The material of the frame is expressed in metal material to express a new traditional culture
and art starting in modern times.
Mudeungsan’s key visuals ringing in the frame mean “modern interpretation of traditional culture and art that keeps the name and starts anew,” emphasizing the artistic significance of the festival.

The key visual design compared invisible and out of reach to a transparent and fluid form (water).
The four objects that became the motif of the work were transparent and impossible to grasp.
It expresses the appearance of being barely visible and caught in the falling raindrops
It is designed so that you can feel the feelings of artists who conceive and embody their works.

Hong Hyunjo’s solo exhibition, The process of exploring the subject is expressed by comparing it to falling into the sea.
According to the needles and titles obtained, the artist’s hobbies, childhood graffiti, and photos are reconstructed
We designed it so that you can feel Hong Hyun-jo’s view of art while looking at the graphics.