The poster design implies the existence of a narrative through the flow of the title.
The graphics that cover the title cause the inconvenience of reading, allowing you to perceive the sense of sight.
Graphic recognizes your senses, and at the same time, your senses and your narrative
It is a passage for appreciation as a work of art and symbolizes multi-layered interpretation with overlapping transparent layers.

The fifth year of illness is the year when many changes begin for me.
Like a fast-paced red horse, I’m going to tighten my shoelaces and get ready to run as hard as I can.
The horse’s face is made of red shoelaces to express the commitment of preparation and active activity for galloping.
The poster pursues a sporty image and captures the heart of the new year.

“NEXT HI-LIGHT” is an opportunity for the new designers
You can expect to meet up-and-coming designers with an exhibition that illuminates the moments of brilliant ideas and creation.
The key visual design visualized the encounter with up-and-coming designers as ‘injuries and appearances’.
It is faithful to the meaning of the exhibition title and intuitively conveys that it is an exhibition that illuminates emerging designers.

Studio Woong is a graphic design studio based in South Korea, specializing in key visuals, posters, and brand identity.
The studio engages in a wide range of projects while continuously expanding its practice through Hangul lettering and personal work.

Studio Woong is a graphic design studio based in South Korea, specializing in key visuals, posters, and brand identity.
The studio engages in a wide range of projects while continuously expanding its practice through Hangul lettering and personal work.

시각디자인을 전공한 크리에이터들이 ‘아이 같은
태도’를 기반으로 만든 디자인 아이덴티티입니다.
대학교 시절 동기들과의 그룹에서 출발했으며,
사소한 것에서도 즐거움을 발견하고 놀이처럼 과정을
즐기는 경험을 바탕으로 합니다.
단단한 형태의 Moai와 자유로운 시선의 대비를 통해,
순수한 즐거움을 창의적인 디자인 언어로 확장하는
방식을 제안합니다.

The Merch Edition of TWS’s 5th mini album ‘NO TRAGEDY’ is an album package that includes the TWS cat character plush produced as ‘Romeo Cat.’ The black-and-white package was designed with a die-cut window, adding a touch of playful romanticism to the early Wacky Wobbler style.

TWS 5th Mini Album ‘NO TRAGEDY’ is a work that unfolded the two-sided narrative of success and failure in love into a guide/manual format. Based on the imagination of a ‘guidebook about love’ proposed by the label, the process of a relationship’s beginning, achievement, and loss was substituted with step-by-step diagrams and the visual language of a dry manual. Technical diagrams, warning phrases, and functional layouts were utilized.

TWS 5th Mini Album ‘NO TRAGEDY’ is a work that unfolded the two-sided narrative of success and failure in love into a guide/manual format. Based on the imagination of a ‘guidebook about love’ proposed by the label, the process of a relationship’s beginning, achievement, and loss was substituted with step-by-step diagrams and the visual language of a dry manual. Technical diagrams, warning phrases, and functional layouts were utilized.

The Digital Book of Hours for Visual Creators reimagines medieval manuscripts as motion posters for “digital rituals.” Following the Canonical Hours, the artist blends Gi-bok-shin-ang with the contemporary phenomenon of seeking meaning through digital screens. Inspired by Flemish Black Books of Hours, the somber palette reflects a post-individualist future. Each piece centers on a saint, using 3D elements and complex icons to invite meditative gazing, turning ancient prayer cycles into a modern

The Digital Book of Hours for Visual Creators reimagines medieval manuscripts as motion posters for “digital rituals.” Following the Canonical Hours, the artist blends Gi-bok-shin-ang with the contemporary phenomenon of seeking meaning through digital screens. Inspired by Flemish Black Books of Hours, the somber palette reflects a post-individualist future. Each piece centers on a saint, using 3D elements and complex icons to invite meditative gazing, turning ancient prayer cycles into a modern

The Digital Book of Hours for Visual Creators reimagines medieval manuscripts as motion posters for “digital rituals.” Following the Canonical Hours, the artist blends Gi-bok-shin-ang with the contemporary phenomenon of seeking meaning through digital screens. Inspired by Flemish Black Books of Hours, the somber palette reflects a post-individualist future. Each piece centers on a saint, using 3D elements and complex icons to invite meditative gazing, turning ancient prayer cycles into a modern

Captured in Dongdaemun in Seoul, this 3D-scanned portion of the city was digitally processed and altered, then rendered as an image and further experimented on as video.
Experimentation is a fundamental part of Brice Afonso’s work, the digital media often stretched and broken to show its limits but also its beauty.
This series is focused on the ordinary, forgotten or invisible areas and objects scattered in Seoul from an international artist’s viewpoint.

Studio Woong is a graphic design studio based in South Korea, specializing in key visuals, posters, and brand identity.
The studio engages in a wide range of projects while continuously expanding its practice through Hangul lettering and personal work.

Studio Woong is a graphic design studio based in South Korea, specializing in key visuals, posters, and brand identity.
The studio engages in a wide range of projects while continuously expanding its practice through Hangul lettering and personal work.

I visualized my personal mindset as graphic poster.

Studio Woong is a graphic design studio based in South Korea, specializing in key visuals, posters, and brand identity.
The studio engages in a wide range of projects while continuously expanding its practice through Hangul lettering and personal work.

Book design for Hwang Barom’s solo exhibition 《사이의 아이》

Promotional design for Hwang Barom’s solo exhibition 《사이의 아이》

Participation of the 12th 100 films 100 posters to be screened at the Jeonju International Film Festival. Directed by Kim Min-ji

Poster who participated in the 16th exhibition of the Korean Association of Typography. From Kim Cho-yeop’s new work, The Jindong Bird and Handwritten Letter, the sentence, “But we couldn’t really appreciate Earth’s civilization.”

The 6th poster of the Seoul Independent Women’s Film Festival(SIWOLF), which shows only women-produced independent films from 2019

Poster for conducted by Yeongdeungpo Cultural Foundation.