The 2025 Hangul International Pre-Biennale was an exhibition built around the connected themes of “creation” and “coexistence.” It spatially interpreted the historical and contemporary aspects of Hangul while exploring the interaction between region and art. To express this concept, the poster transformed distinctive architectural elements of the exhibition venue into pixels, visually linking the spaces together.

APT Panorama Typeface recreates the uneven silhouette of Korean apartment skylines. Why turn an apartment panorama into a typeface? Taking interest in unexpected and intriguing images that appear in everyday places was my way of learning to love the things I encounter in life. The rhythm created by the varying heights of apartment buildings was also an appealing element.

Design shapes our daily lives and reality — even when we don’t notice it. This is especially true for the mundane objects that often go unquestioned, such as banknotes, supermarket brochures, or subway tickets. Through our 3-piece series, we aim to highlight and bring attention to those “invisible” designs that people in Korea interact with on a daily basis.

This project, developed within “ReRelevant,” reinterprets out-of-print content by transforming orally shared family recipes into a digital archive. Created during the COVID-19 pandemic, it uses the web as a space for sharing at a distance. Focusing on a Korean mother’s dish and a German aunt’s recipe, it explores how food carries memory and emotion, preserving personal histories and making them accessible.

“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.

This is a poster for a university theater club’s workshop performance. The design explores the possibilities of paper and tape—common, basic materials with limitless potential—which reflects the essence of a workshop production. The performance titles are styled as typography on masking tape, layered over rich paper textures to emphasize a handcrafted aesthetic.

Design shapes our daily lives and reality — even when we don’t notice it. This is especially true for the mundane objects that often go unquestioned, such as banknotes, supermarket brochures, or subway tickets. Through our 3-piece series, we aim to highlight and bring attention to those “invisible” designs that people in Korea interact with on a daily basis.

Make with paper. Life sometimes crumpled. KIM00 (Kim Youngyoung) builds from this belief. The Seoul-based designer and artist cuts and collages discarded paper into K-pop fan art—proof that crumpled, thrown-away things hold beauty worth making. #2020TF marks the third in an ongoing series of February exhibitions, where waste is not a limitation but the material itself.

Looking back on 2025 while preparing for 2026, I recognized it as a year filled with constant anxiety. Despite this, many small but meaningful moments of happiness helped me endure and reach the end. This project reflects that experience, expressing a desire to hold onto those joyful moments even amid uncertainty. It conveys a hope that, despite ongoing anxieties in 2026, we will continue to seek happiness, sustain it, and eventually arrive at a sense of peace.

Corners is a risograph poster series created for an independent film exhibition, designed for the film ‘Moseori'(meaning corners, in Korean) written and produced by Korean film director Seohyun Lee (@kalmeng). The design was inspired by a key motif from the film; the protagonist’s habit of writing memos on the corners of books, symbolizing moments of reflection and the beginning of a personal journey.

The series was exhibited at Bincan in Seoul and featured in metro station billboards.

Reulreul is a Hangul cursive typeface designed based on the handwritten script found in Historical Records of King Danjong the Great(Danjong Daewang Sajeok). Its defining feature is the slanted horizontal strokes that connect like flowing water. The Hangul syllable “를(Reul)” best demonstrates this characteristic, which inspired the name Reulreul(를를).

Memories of past travels often feel hazy and fragmented, yet they become clearer the more we revisit them. This ZINE captures the transformation of fleeting impressions into meaningful recollections. By layering tracing paper, it visualizes the opaque nature of memory. As pages unfold in the order of Year, City, and Date, the journey gradually comes into focus. At the end, a custom Travel Declaration Form records the experience, turning a fading memory into a lasting keepsake.

There is an aesthetic quality in the human hand that cannot be fully replicated by digital work. Even a single stroke contains subtle tremors, and repeated lines naturally vary in angle and rhythm. The organic qualities of the hand differ from digital drawing. This work is a mandala intended to remind designers accustomed to computer-based work of the sensibility of the hand.

This work is a graphic reinterpretation of Irworobongdo, a traditional Korean painting symbolizing the palace and the king, featuring five mountain peaks, the sun, the moon, and pine trees.

‘The Light of Silence’ is an experimental film that captures forest landscapes through multiple exposure, seeking to convey the breathing rhythm of the woods. The film reveals the forest’s natural vitality through shimmering light, intersecting leaves and branches, colors blending day and night, rustling sounds, and flowing water. This poster was designed based on the poetic impressions evoked by a film composed of experimental imagery and natural white noise, without dialogue or characters.

The film features a photographer, a model, and a photography student. Each holds a different set of values about photography. Their three distinct perspectives on photography and life are expressed through the film title, while the credits are presented in three different viewpoints and styles. In this way, three approaches to information design are linked to the perspectives of the three characters.

This work is inspired by Dongmyo, an old neighborhood in Seoul known for its vintage markets. I was intrigued by how the fashion of elderly residents is now perceived as “hip” by younger generations. I portrayed an elderly figure with a face filter–like effect and framed the image like a character card, blending contemporary digital aesthetics with traditional elements.

Inspired by a neighborhood tire shop sign.
No margin, no design—open for business. Contact me!

This work is an editorial illustration created for Allure Korea. The article explores how K-pop boy groups are moving beyond traditional expectations of masculinity, embracing genderless stage outfits, props, and concepts.

Looking back on 2025 while preparing for 2026, I recognized it as a year filled with constant anxiety. Despite this, many small but meaningful moments of happiness helped me endure and reach the end. This project reflects that experience, expressing a desire to hold onto those joyful moments even amid uncertainty. It conveys a hope that, despite ongoing anxieties in 2026, we will continue to seek happiness, sustain it, and eventually arrive at a sense of peace.

In a subway flooded with countless people every day, individuals hunch their bodies and squeeze in just enough space to fit. This scene may be a portrait of all who live in this era. The pressure and suffocation felt as space expands and contracts are likened to the browser window, using the overcrowded subway as a symbol of the everyday stress experienced by modern life.

Reconstructed from 1980s photographs in Yangwoodang’s Children’s Encyclopedia (1990), the images capture a strong desire for change and a drive toward a new world that still resonates today. The era’s complex and contradictory traces remain a source of inspiration. By incorporating the visual qualities of analog TV, the work overlays past and present into a single temporal frame.

This project explores obscure subway stations, reinterpreting them through a fresh lens. We first visited Beotigogae, Line 6’s least-used station. It is a site of contrasts: Seoul’s deepest yet highest in elevation. The cover’s station-name pattern evokes the perpetual movement of transit. Inspired by iconic stairs, the layout guides readers from bottom to top to reflect the space’s verticality. Fully unfolded, the work reveals a poster-sized lettering piece themed around Beotigogae.

Poster for the Dardak Market project, set in the Nammun Market of Suwon.