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.

This publication, presents the outcomes of the course Graphic Design 1: AI Lab for Graphic Identity Design, conducted in the first semester of the 2025 academic year by the Design Innovation major, Department of Creative Studies, College of AI Convergence at Sejong University.

Under the guidance of Professor Daeki Shim, 23 students participated in the course as authors. Four students—Sinji Joung, Sunwoo Kim, Bitna Tak, and Sumin Lee—were responsible for the editorial work and book design.

This publication, presents the outcomes of the course Graphic Design 1: AI Lab for Graphic Identity Design, conducted in the first semester of the 2025 academic year by the Design Innovation major, Department of Creative Studies, College of AI Convergence at Sejong University.

Under the guidance of Professor Daeki Shim, 23 students participated in the course as authors. Four students—Sinji Joung, Sunwoo Kim, Bitna Tak, and Sumin Lee—were responsible for the editorial work and book design.

This publication, presents the outcomes of the course Graphic Design 1: AI Lab for Graphic Identity Design, conducted in the first semester of the 2025 academic year by the Design Innovation major, Department of Creative Studies, College of AI Convergence at Sejong University.

Under the guidance of Professor Daeki Shim, 23 students participated in the course as authors. Four students—Sinji Joung, Sunwoo Kim, Bitna Tak, and Sumin Lee—were responsible for the editorial work and book design.

This publication, presents the outcomes of the course Graphic Design 1: AI Lab for Graphic Identity Design, conducted in the first semester of the 2025 academic year by the Design Innovation major, Department of Creative Studies, College of AI Convergence at Sejong University.

Under the guidance of Professor Daeki Shim, 23 students participated in the course as authors. Four students—Sinji Joung, Sunwoo Kim, Bitna Tak, and Sumin Lee—were responsible for the editorial work and book design.

This publication, presents the outcomes of the course Graphic Design 1: AI Lab for Graphic Identity Design, conducted in the first semester of the 2025 academic year by the Design Innovation major, Department of Creative Studies, College of AI Convergence at Sejong University.

Under the guidance of Professor Daeki Shim, 23 students participated in the course as authors. Four students—Sinji Joung, Sunwoo Kim, Bitna Tak, and Sumin Lee—were responsible for the editorial work and book design.

The daily subway rides, the office space.
We often joke around, saying things like, “I wish I could get rid of my boss” or “I want to wipe out all these people on the subway.” But we all know it’s just a joke (Just Kidding), so we laugh it off. Just Kidding takes these extreme everyday jokes from the subway and the workplace, and transforms the idea of “getting rid of people” into a graphic design project that is frightening, yet playful at the same time.

The Light Uprising is a visual archive documenting the citizen response to the attempted martial law in South Korea on December 3, 2024. The zine captures moments of solidarity on the streets — K-pop lightsticks carried by women protesters, individually crafted flags, labor union pickets, and pre-paid beverages left by absent citizens — alongside images of parliament members casting their votes for impeachment. Published by BeHyunsil, 2025. Risograph printed.

The 1986 Asian Games in Seoul were a national movement aimed at declaring Korea’s global presence. The resulting archival fragments reveal the multifaceted outlines of the path Korea was destined to follow.

This publication, presents the outcomes of the course Graphic Design 1: AI Lab for Graphic Identity Design, conducted in the first semester of the 2025 academic year by the Design Innovation major, Department of Creative Studies, College of AI Convergence at Sejong University.

Under the guidance of Professor Daeki Shim, 23 students participated in the course as authors. Four students—Sinji Joung, Sunwoo Kim, Bitna Tak, and Sumin Lee—were responsible for the editorial work and book design.

The Light Uprising is a visual archive documenting the citizen response to the attempted martial law in South Korea on December 3, 2024. The zine captures moments of solidarity on the streets — K-pop lightsticks carried by women protesters, individually crafted flags, labor union pickets, and pre-paid beverages left by absent citizens — alongside images of parliament members casting their votes for impeachment. Published by BeHyunsil, 2025. Risograph printed.

The poster for MMCA Goyang Residency Open Studio 21 uses typography to reveal how artists’ works and relationships are formed within the residency. Black, rough-textured letterforms show individual works overlapping on a single surface. Undulating lines suggest twenty-one layers from the superimposition of artists’ names, alluding to both the 21st edition and the stratified relationships within the space. The composition encapsulates a collective state—temporarily coalescing, then dispersing.