During 3 Days of Design, I created the exhibition graphics for the EKKO Chair, presented by Henning Larsen Architects and Brdr. Krüger. Inspired by the chair’s rhythmic repetition and its name—ekko (“echo”)—the graphics employed hand-drawn lettering multiplied across the showroom’s glass façade. By layering architectural structure with graphic language, the project brought furniture, space, and visual identity into a single continuous experience. More details can be found here.

Developed the logotype for a documentary film company based in Korea. The design features a bold, lowercase structure with clean lines and subtle curves, emphasizing clarity and a contemporary, minimal character.

Horizon is a display typeface currently in development, characterized by its wide proportions and short ascenders and descenders. Designed with thin, consistent stroke widths and geometric construction, it is available in two stylistic variants: a standard version and one featuring rounded inner corners at stroke junctions. Certain letters such as A, M, V and W are designed with diagonally tilted alternates, adding a dynamic element to the overall system.

Research project integrating AI into poster design using a 72,000-poster dataset, generating contextual image layers and suggesting typography through composition analysis. This project presented at ATypI 2025 in Copenhagen.

Student-run quarterly magazine showcasing overlooked projects, combining experimental print design with AR to bridge physical and digital media.

Custom typeface designed to refine classic sans-serifs, offering a distinctive yet neutral voice for branding and digital use.

An interactive p5.js experiment combining gradient-based text effects with drifting line animations to create a dynamic typographic display.

A T-shirt themed ‘From Seoul to Basel,’ visually expressing the movement and connection between the two cities. The design utilizes silkscreen techniques, with three overlapping layers creating a unique texture and depth.

This rebranding for Fondation Beyeler begins with a dual-layer calendar poster system presenting the full annual program while balancing design and artwork. Modular grids, symbolic marks (*, +, ×), and a five-color palette unify the identity across print, environmental, and digital media—including a redesigned website and animated social content—adapting the calendar logic to each format.

This is a playful, visually dynamic app built using Hydra and p5.js, designed for simple and spontaneous fun. When you tap or click on the screen, random emojis are generated and float around, each with a complementary-colored shadow to enhance the visual effect. The animation and movement are powered by p5.js, allowing the emojis to drift, bounce, or fade naturally over time, creating a lively and ever-changing display.

Research publication examining how cultural and historical contexts shape the perceived gender of typefaces, challenging the idea of typographic neutrality.

Poster series for a virtual exhibition themed ‘More is More.’ Both posters interpret Maximalism through oversized, layered typography and intense color gradients that push the composition toward visual excess. Built on a strict grid, the layouts amplify contrast between order and overload.

AI Generated Typefaces began in September 2023, at a time when generative AI tools were still primarily image-based and struggled to produce coherent letterforms. Using Stable Diffusion with Automatic1111, combined with custom LoRAs, the project explored how AI could be directed to generate type. The process involved creating a single letter, then iteratively producing additional glyphs with similar visual traits—attempting to build a set from A to B to C, and so on. While the experiments revealed clear limitations—such as the inability to generate consistent alphabets, less common letters, or lowercase forms—they also highlighted AI’s potential as a tool for inspiration. The resulting outputs offered unfamiliar shapes and distortions that could serve as a foundation for research or as sparks for type designers seeking new ideas. As of 2025, generative AI models have advanced considerably, now capable of producing recognizable and more structurally coherent typeforms. This shift opens up new possibilities for using AI as a supportive tool in type design.

Glitch Studies is an experimental project exploring the aesthetics of error through file manipulation. Using Hex Fiend to alter HEIC image data, hidden grid structures within the format became visible, producing square and rectangular glitch patterns across the gradients. Further experiments involved compositing multiple glitched gradients with ImageMagick, generating layered outcomes with unexpected visual complexity. The project demonstrates how graphic results can emerge from process-based manipulation beyond conventional design software.

This project uses basil.js in Adobe InDesign to connect plant data with generative print design. A dataset of 210 plants—including information about their origin, temperature range, and care requirements—was integrated into the system. By answering a few simple questions about one’s living environment, the program recommends suitable plants and automatically generates a postcard. The front of each postcard features the plant’s photograph, common name, and classification, while the back presents structured data such as cultivar, origin, and an ideal temperature range visualized through a gradient bar. The significance of the project lies in demonstrating how generative coding can bridge structured data and graphic design, enabling automated yet personalized outcomes.

A documentary film closely observes an artist’s creative process, following the step-by-step development of his work alongside his reflections on art and philosophy. Through this intimate lens, it offers a nuanced portrait of his practice. Embracing a deliberately low-resolution aesthetic, the film mirrors the artist’s own visual language. Its rough textures and unrefined imagery invite viewers into his world with immediacy and authenticity.