Jaeho Shin Graphic Design & Art Direction

hello@jho.kr / +82.10.4192.4333

Jaeho Shin is a graphic designer from Seoul, Republic of Korea. based on graphic design for clients. He collaborate with numerous clients for printed materials, brand identities, posters, packages, album covers, typeface, exhibition designs, and more. He participated in many exhibitions as a cultural and artistic activity. (Service: Graphic Design, Art Directing, Brand Identity, Poster, Package, Album Cover, Typeface, Exhibition Design)

Office:
4F, 15, Sajik-ro 8-gil, Jongno-gu, Seoul, Republic of Korea (03169)

대한민국 서울에서 활동중인 그래픽 디자이너 신재호입니다. 그래픽 디자인을 기반으로한 다양한 클라이언트 및 문화 예술 분야를 위해 작업하고 있습니다. 서비스 영역으로는 아트 디렉팅, 브랜드 아이덴티티, 패키지, 출판, 인쇄물, 앨범 커버, 서체, 전시 디자인 등 입니다.
(사업자등록번호: 537-73-00210)

주소:
서울특별시종로구 사직로 8길 15 4층 (우)03169
(서울특별시 종로구 내자동 171 4층)

Exhibitions:
“Around Seoul Independent Graphic Design from South Korea” (CCA Hubbell Street Galleries, San Francisco, USA) ━ 2020 “LATENCY” (Space413), “Future Design Workshop 2019” (RYSE Hotel), Typojanchi 2019: 6th International Typography Biennale (Culture Station Seoul 284), “Big-River Poster Festival 2019” (Ilmin Museum of Art), “100Films 100Posters” (2019 Jeonju Intl. Film Festival) ━ 2019 “Open Recent Graphic Design 2018” (Gonggansail 41, wrm), “Big-River Poster Festival 2018” (B39), “Weltformat Graphic Design Festival, WK2 Poster Show’ (Occupy The City), “100Films 100Posters” (2018 Jeonju Intl. Film Festival), “tE13:Photography & Typography” (Doosung in the Paper Gallery) ━ 2018 Project 88 (Games of the XXIVth Olympiad Seoul 1988 New Standards Manual: Graphic Identity project) ━ 2017

참여전시:
《어라운드 서울》(CCA 허밸 스트리트 갤러리, 미국 샌프란시스코) ━ 2020 《레이턴시》(공간413), 《퓨쳐디자인워크샵 2019》(라이즈 호텔), 《2019 타이포잔치: 6회 국제 타이포그래피 비엔날레》(문화역서울284),《대강포스터제 2019》(일민미술관), 《100필름 100포스터》(2019전주국제영화제) ━ 2019 《오픈 리센트 그래픽 디자인 2018》(공간41, wrm), 《대강포스터제 2018》(부천아트벙커), 《뷀트포메트 그래픽디자인 페스티벌, 뷀코2 포스터 쇼》(오큐파이더시티), 《100필름 100포스터》(2018전주국제영화제), 《tE13: 사진과 타이포그래피》(두성인더페이퍼갤러리) ━ 2018 《프로젝트88》(1988년 제24회 서울올림픽 대회 신 표준편람: 그래픽 아이덴티티 프로젝트) ━ 2017

Publication (Print / Web):
Monthly Design Vol.503, It’s Nice That: Jaeho Shin explores letters as polyhedric sculptures, then designs posters from his findings(Feb, 2020), Open Recent Graphic Design 2018, CA Magazine #237, BranD Magazine Issue 37, FIESTA: Branding and Identity of Festivals, Inspire Magazine Vol.10, CTA:Creative Talk in Aisa

출판 (인쇄 / 웹):
월간디자인 503호, 잇츠 나이스 뎃, 오픈리센트그래픽디자인 2018, CA매거진 237호, 브랜드 매거진 37, 피에스타: 축제 브랜딩아이덴티티, 인스파이어 매거진 10호, CTA: 크리에이티브 토크 인 아시아

Clients & Collaboation:
BIC Festival Organizing Committe, Big Hit Entertainment, Evenprime INC.(USA), LG Household & Health Care, Neo Record, MASKA, MACON Creative Group, Rapport Intl. Co., Ltd., Rickie Ashman(USA), Rebio INC, S.M. Entertainment, SeMA(Seoul Museum of Art), Tele2(Russia)

클라이언트 및 협업:
부산인디커넥트페스티벌 조직위원회, 빅히트엔터테인먼트, 주식회사 이븐프라임(미국), 엘지생활건강, 네오레코드, 마스카, 마콘 크리에이티브 그룹, 라포르 인터네셔널, 리키 에쉬만(미국), 주식회사 리바이오, 에스엠엔터테인먼트, 북서울시립미술관, 텔레2(러시아)

Field:
Corporate Identity, Printed Matter

Client:
NEO RECORD

Field:
Printed Matter

Client:
Monthly Design

59.4×84.1cm

Field:
Goods

Client:
Personal

Shop︎

Field:
Cover

Client:
Naver VIBE

Field:
Exhibition, AD

Client:
Tele2 (Russia)

Imagine how it feels in 2030. Does technology set us free, or become a part of us? Are we closer to nature? What it means to be human in 2030. And how it feels.

In the exhibition we try to show how people form various countries, who live different lives in different context reflect on what the future feels like. So that artists and designers from Seoul, Rotterdam, Prague, New York, Moscow and other cities could share their thoughts with a wide audience.
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In reality, 2030 is not a distant future. than think about 2030 is a transition to the future.The many technologies that we've created, the circular nature, will be fused to go into theThe concept is to express the moment of effort for a future world that can coexist with nature.

Using free natural curves and shapes, and systematic and smart technology and machine images, talk about various behaviors that take place in Korea. It expresses Korean, English, and many unknown codes.