This poster was created for an exhibition.
It is based on a respect for diverse dumpling cultures. By researching regional differences in form, cooking methods, and cultural contexts, I distilled their key characteristics into a unified graphic composition.
Printed using risograph, it embraces ink bleed and slight misregistration to create depth and rhythm through layered colors.

《The Island That Was Called an Island》 explores Sorokdo, an island once used to isolate people with Hansen’s disease since 1916. Stemming from the residents’ habit of calling their home simply “the island” due to social stigma, the exhibition presents two projects created during a two-week stay with local elders and members of Haerok Art Society, Sorokdo’s first self-organized art group.

This is the ‘Masterplan The Architectural Robot.’ It was created by focusing on our signature geometry, mechanical components, wit, and architectural beauty. By reinterpreting existing robot toys, it transforms from architecture when folded to a robot when unfolded. This is the rear view of the folded state.

Poster design for the exhibition, Spectral Plateaus.

Memories of past travels are often hazy and fragmented, yet they become more vivid as we revisit them. This ZINE captures that transformation, where fleeting moments turn into lasting recollections. By layering tracing paper, I expressed the obscured layers of memory. As pages unfold in the order of Year > City > Date, memories gradually come into focus. At the end, a custom ‘Travel Declaration Form’ records the journey, completing a once-fragmented memory as a meaningful keepsake.

This is the ‘Pentagon Pizza Index: Publication, Editorial Series’ by Masterplan Studio. We planned, produced, and designed this editorial, which features interviews on the pizza preferences of the Pentagon members.

P.S. 1 is a publication based on a poem by Kim Nuiyeon, developed through an exchange between graphic designer Jooah Yi and risograph printer, graphic designer Yourah Kang. Beginning with a single poem, the work unfolds as a sequence of responses, where each contribution is added as a reply to the previous one. Moving between language, graphic interpretation, and print, the publication traces how a text is gradually transformed through collaborative accumulation.

Poster design for the exhibition, Ruach Hocket. Ruach Hocket is a solo exhibition of Seungjae Shin.

Baroque garden design based on Antoine-Joseph Dezallier d’Argenville is explored. Inspired by his 1709 treatise, garden layout is reinterpreted as a system for expressing emotion. Shape palettes for six basic emotions are created using perception psychology and arranged within Baroque grids as visual patterns. The carpet, made with a latch hook technique, mirrors gardening as each strand is woven like planting a garden, evoking focus, balance, and calm.

Seeing the artist’s works, which are based on olfactory and synesthetic elements, I felt that the typeface Saengmyeong Norae — “Song of Life” — suited them especially well.

Baby Reindeer begins with an act of kindness that leads to stalking, yet it goes beyond the simple frame of a villain and a victim, exploring human lack and self-loathing. Donny is consumed by deep self-hatred. As I empathized with him, I felt his inner world as something festering, like mold spreading within. The main poster visualizes this emotion through mold-like textures and forms. Using shoe polish stamping and scanning, I created organic, decayed patterns reflecting his state.

Poster design for the film, More than you can imagine, as a part of «100 Films 100 Posters» at Jeonju International Film Festival.

Make with Fabric. Supporting your flexible life. KIM00 (Kim Youngyoung) stitches forward. The Seoul-based designer and artist has long cut and collaged discarded paper into K-pop fan art. For the 4th in an ongoing February series, that practice expands into textile—embroidered fabric patches layered onto the recycled poster of the previous exhibition. #2022FF is the moment crumpled things learned to bend without breaking.

Graphic design for the radio program 〈The New Woman Art Club〉.
The lettering combines bold, linear elements with sharp, curvilinear forms to express the confidence, freedom, individuality, and independence embodied by the New Woman. The piercing vertical strokes create fissures, symbolizing a break in long-held social conventions and reflecting the New Women’s bold and incisive efforts to carve out their own worlds.

The poster for A Week Before the Wedding captures a precarious compromise. It centers on six mismatched cups arranged to form a fragile flower—a metaphor for a relationship so unstable that removing a single piece would cause a total collapse.

At the heart of the design, a wedding glove is stained red rather than white. This visual subtly hints at the characters’ anxiety and the extreme, tragic choice they ultimately make.

A playful postcard concept capturing Seoul’s vibrant energy through bold neon tones and layered typography, inspired by how the city makes you want to be there with friends and loved ones, sharing meals and simple moments.

The poster for Subject B in the Lab visualizes a spectrum of conflict: human versus robot, reality versus replica, and ideal versus shadow. Drawing from the Allegory of the Cave, the design places the “idea” in the upper right and its “projection” in the lower left.

The rest of the composition features geometric shapes and a vibrant palette against a white backdrop, establishing a sleek, futuristic laboratory aesthetic.

In the age of AI, what cannot be replaced is the taste and experience shaped by one’s life, and the creativity built upon them. I see AI as a skilled chef, while my experiences are the unique ingredients that complete the dish. Welcome to our special place. We have no fixed menu—only your stories. Share your experiences, and we will create something one of a kind, beyond imagination. Your story is a precious ingredient. Now, tell us yours.

EunpyeongSagadokDogseo Type is the official typeface used by Eunpyeong-gu and consists of two font families: Title and Text. The Title style preserves the letterforms of the Hunminjeongeum Manuscript as faithfully as possible, while the Text style modernizes them for practical contemporary use. The text on the poster is taken from the Preface by Jeong Inji included in the Hunminjeongeum Manuscript.

Line 2 of the Seoul subway is a circular route. In this sense, taking Line 2 is like having a picnic in Seoul. If you visit Seoul, try riding only Line 2.

AG Ahnsangsoo is a combinatory Hangeul typeface deviating from the squared syllable block structure, first designed by Ahn SangSoo in 1985. It generates 11,172 syllables from 19 initials, 21 vowels, and 27 finals, built from simple geometric shapes. The A-Project invites designers from Korea and abroad to create new Hangeul typefaces based on this structure. As a result of A-Project 2024, 11 typefaces were released in 2025, and the project continues annually, adding about 10 new typefaces.

This poster for a chapter of Almost, Maine captures a relational winter. It depicts the terminal point of a bond fractured by boredom and distrust. Dominated by a vast blue expanse, the design utilizes negative space to evoke an intuitive sense of isolation and chilling finality.

At the center sits a bench, overlayed by doodle. This central image serves as a focal point for the characters’ instability, illustrating a connection that is frozen, brittle, and nearing its end.

This work connects Hangul and the Latin alphabet through the shared basis of pronunciation, visually combining and organizing their relationships.

“Extra Body” is a work that assigns new contexts to images by collaging visuals collected from the internet and connecting the gaps between them with drawings. Through this process of filling the void, the original fragments are woven into a continuous, singular narrative.