This is a visual series for the exhibition ‘Korean Furniture, Sensuality of Lines’ at The National Folk Museum of Korea. The promotional materials includes posters, banners, invitation cards, and exhibition graphics.

There is a tendency for 'folk art' and 'folk culture' to come across as rather old and dull to domestic spectators. By integrating contemporaneous esthetics to the promotional materials, we aim to induce the view and interest of domestic spectators regarding 'exhibits held in folk museum'. The National Folk Museum is also a must-visit place in Korea for foreigners to have cultural experiences. In order to provide an easy communication for them, the promotional should translate the exhibit theme just by the visual traits without having to read the exhibition title. This exhibit is mostly based on the collection of undisclosed wooden furniture. By displaying the patch work with similar layout and forms, the exhibition aims to newly interpret the esthetics of traditional wooden furniture. Therefore, the 'form of wooden furniture' should be perceived as closely and in details, and the 'theme of wooden furniture' should be viewed in a general perspective and also in multilateral ways.

It is difficult to identify all the wonders of the Korean traditional wooden furniture just by a quick impression. The neat and elaborate traits from the tips of the master craftsman's hand represent the image of an innocent and modest scholar. Additionally, in the functional aspect, it was made through creative abilities in which only the least materials were applied. Accordingly, the structural sense of beauty was to be portrayed instead of only expressing the beauty felt by the appearance of the furniture. Moreover, instead of applying the method of boasting about outstanding characteristics, the approach was to be taken in a serene (yet elaborate) impression.

The project first started through making a collection through filming or sketching the forms of all the furniture which were to be exhibited, the silhouettes of all the furnitures were patterned and created into graphic motif, and formational characteristic discovered in sections, corners, and decorative parts of wood applied for the furniture were utilized along with the derivation of exhibit title (Korean, English, numbers) The silhouette of furniture spread out like the Mandala(As a type of disharmony, 'Manda' is defined as 'essence' and the linking word 'la' standards for 'changes') symbolizes the traditions, transformation, and development of the wooden furniture produced through the projection of the Korean spirit as well as the traditions of the production methods passed down till the modern days, and the elaborate traits of the old master craftsman and the modesty of the scholar were displayed in forms of physical existence. Even when having to actually realize the design onto printouts or walls of the exhibition hall, colors and quality of materials, which reminds of -trees and metal- materials used to make furniture on top of a white background, were applied restrictively.

There are trite expressions which are applied in most graphics within exhibitions held in Korea, China, and Japan without exceptions such as the textures of traditional materials including calligraphy or main application of graceful myeongju (ming-style font) and serif handwriting and hanji as well as colors of low chroma which reminds one of old artifacts. We wanted to avoid these methodologies, and intentionally excluded all the elements listed above. In terms of the overall tone of the exhibit, colors and quality of materials which remind of -trees and metal- materials applied to create furniture were set to dominate, and the title(Korean, English, numbers), which had been rendered personally, were mostly used. This proved how contemporaneous (contemporary) methodology can well-express the theme of folk culture, and the exhibit was completed successfully along with the evaluation coming from the museum (client) about how strong and accommodating graphics, which embrace the mental and technological aspects contained in the exhibit theme, had been developed.