〈Roadkill in the Theater〉 is a theatrical performance in which the perspectives of perpetrator, victim, and bystander intersect. By reenacting an incident symbolized by roadkill on stage, the work draws the audience into an additional layer—as bystanders. The poster presents a meticulously staged, third-person reenactment of a roadkill scene in miniature, along with the gazes that surround it.

〈Sound of Yeok (易): Sinawi Orchestra〉 is a Korean traditional orchestral performance that conveys the vitality of Korean music. Using the gwe as a graphic motif, geometric letterforms were developed to express the principles of yin and yang. Expanding boundaries further articulate the notions of resonance and pulse.

〈Pallae: Womanhood Story〉 is a contemporary dance performance that elevates the everyday labor of laundry into a ritualistic, almost religious act. Drawing from the visual language of traditional religious paintings, the imagery was reworked, and the layout and typography were developed accordingly. Clouds and halos—elements that simultaneously suggest the transcendental and the mundane—are employed to foreground the central theme.

〈El Mar La Mar〉 is a documentary film set in the Sonoran Desert along the U.S.–Mexico border, where the relentless sun pushes all life to its limits and migrants must traverse the landscape. Within this harsh environment, survival becomes possible only through the refuge of darkness. To evoke this condition, an ambiguous and precarious image was constructed—oscillating between desert and sea—with a small human figure placed beneath it.

The “Design a Chair!” poster series was created by DAEKI and JUN to promote a design workshop organized by Center2Center (C2C). The workshop included site visits, lectures, and a hands-on “Chair Design” session where participants produced sketches and paper models, led by Jeonghwa Seo.

The series maintains Center2Center’s graphic identity while focusing on images that clearly present Seo’s chair designs, emphasizing the visual communication of his design philosophy.

The “Design a Chair!” poster series was created by DAEKI and JUN to promote a design workshop organized by Center2Center (C2C). The workshop included site visits, lectures, and a hands-on “Chair Design” session where participants produced sketches and paper models, led by Jeonghwa Seo.

The series maintains Center2Center’s graphic identity while focusing on images that clearly present Seo’s chair designs, emphasizing the visual communication of his design philosophy.

The “Design a Chair!” poster series was created by DAEKI and JUN to promote a design workshop organized by Center2Center (C2C). The workshop included site visits, lectures, and a hands-on “Chair Design” session where participants produced sketches and paper models, led by Jeonghwa Seo.

The series maintains Center2Center’s graphic identity while focusing on images that clearly present Seo’s chair designs, emphasizing the visual communication of his design philosophy.

The Korean Lettering Workshop was designed by DAEKI and JUN to promote a design workshop organized by Center2Center (C2C). The poster features “Defamiliarizing Hangeul: Type Res Family,” created by the Daeki & Jun Design Studio, as its main graphic. This typeface is an experimental typographic system that reinterprets Hangul within a digital environment, applying a conceptual approach to contemporary typographic expression.

The client’s vision for a 200sqm dermatology clinic was resolute: neither a hyper-private boutique nor a mass-production factory. “I aim for a 3D printer approach – maximum customization within practical limits,” he stated. To this data-driven client, we proposed ‘ambiguity.’ We envisioned a space defying conventional aesthetics, creating a gap between their sharp branding and operations. In a market with textbook designs, we had to prove this novel concept would function flawlessly.

A human landscape connected by nature and bridges.
Set upon a series of pebbles, a continuous line evokes the Han River flowing through Seoul, connecting people across generations. Thirty-one lines represent Seoul’s bridges, symbols of human connection and collective vision. Abstracted Hangul characters spelling Seoul and colors inspired by the city’s flag express mountains, water, and sun, envisioning a modern urban vitality shaped by nature, humanity, and constructive movements through time.

Observing Seoul’s bustling streets, the artist felt disconnected from the city’s authentic voice beneath layers of overwhelming noise. This project uncovers the forgotten stories and cultural heritage preserved in the sounds of Gwanghwamun, Noryangjin Fish Market, and traditional craft districts. Through visual interpretation of urban acoustics, it raises the question: can we rediscover Seoul’s true identity through the voices we’ve learned to ignore?

A bookmark was designed to celebrate the second anniversary of the reopening of the Korean Film Council (KOFIC) Archive Library.
By browsing books within the archive, sentences that offered clues to questions long held about film were collected. In addition, fragments from texts loosely connected to cinema were gathered, tracing unexpected relationships between film and other fields. This process of searching, selecting, and connecting was translated into the form of a bookmark.

The bookmark “Bookshelf” begins with writing on moving books and how their rearrangement reshapes the shelf. Letters carve inward to form walls and a space; spines extend and blur boundaries. Through a hole, the reverse shows reworked diagrams from Charles Lyell’s Principles of Geology, suggesting strata ready to meet new text.

This bookmark begins with the word “between.” The designer collected twelve words that include “between” in their dictionary definitions. The selection process combined words they suspected might contain “between” with those they already knew did. Together, these words form the shape of a clock. The reverse side contains the corresponding dictionary definitions, allowing it to function as a small reference that can be read by following the numbered entries.

This is a poster for an experiential exhibition, which invites participants to walk through a forest and record their smallest sounds and discoveries. Two overlapping layers map out the exploratory territory, overlaying selected text with traces and flows. Symbols adapted from geological cross-section patterns represent footprints or fragments of sound.

This archive book marks the 20th anniversary of Lee K-Dance. The publication adopts the exact format of the choreographer’s Moleskine notebooks, scanning their pages to form the structure of the book. New texts are overlaid, allowing earlier handwritten traces to intrude upon and reshape the present narrative.

SAN Memory is a decorative bold font that is soon-to-be variable. The type lies somewhere between slab serif and typewriter, while adding the flavour of romance and the western nostalgia.

SAN Divine Comedy is a variable serif type that was inspired by merged ends distorting the type’s strokes due to ink smudge. For example, lowercase two story a’s terminal touches the shoulder, or x’s serif are more and more merging as type’s weight grows.

SAN Sunday Sans is a variable sans serif type. The variable weight grows in and outward, resulting in a smaller negative space for bolder weights. SAN Sunday Sans has fun open type features for you to try out, and covers wide spectrum of Latin languages.

MOSP is derived from the Korean word “mosup,” meaning appearance or form. The identity explores how form is perceived and continuously reshaped by perspective.
The logo evolves from flat surfaces into dimensional structures,
visualizing a form that is not fixed but fluid.
Rather than a static mark, MOSP exists as a flexible identity,
moving between surface and depth.

We developed logo for Okdal, a Korean singer-songwriter duo.
The symbol is inspired by a comma and a wink—a gentle gesture that reflects the warmth and intimacy of their music. It represents a quiet pause, offering comfort within everyday life.

The logotype translates the name “okdal” into a musical structure.
By deconstructing the letters into points and lines, we recompose them into forms that resemble musical notes, creating a rhythmic that gently connects emotions and everyday moments.

LE SSERAFIM’s Antifragile visualizes strength that emerges through imperfection. The concept of becoming stronger by embracing one’s flaws is expressed through Kintsugi—a technique that repairs broken ceramics with gold.

Rather than concealing cracks, the design highlights and transforms them into visual elements, developing an artwork that celebrates resilience.

This concept extends across the logo, album artwork, and overall design system, forming a unified visual language.

This book explores the role and possibilities of typography in the entertainment industry. It examines how typography works as a visual language shaping emotion and perception through form, rhythm, and mood. Through cases from entertainment companies and design studios, it shows how entertainment design balances function and emotion, becoming a tool for storytelling and immersive experiences beyond decoration.

RM’s Indigo visualizes youth not as a fixed image, but as a fluid and ever-changing state.
Inspired by the way ink spreads and leaves traces, the project captures subtle emotions and layered moments from his twenties
through the logo, album artwork, and overall design.

This concept extends into the cyanotype artwork, where sunlight creates soft, organic images, resulting in a diverse set of visuals for each track—forming an album that feels like a visual archive.