• Journal of Digital Convergence
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• v.14 no.9
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• pp.447-452
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• 2016

Designers need to manage their copyrights. Designers be placed in both situations. The two situations is sometimes the case that infringes their copyrights and infringes the copyrights of others. But most designers do not know what to do to deal with this situation. Designers have to judge a lot of things for themselves. Designers should inform the user that you have infringed my copyright. And they will have to think about the legal proceedings. This paper was written based on the legal process, conducted from 2012 to 2014. Copyright infringement countermeasures for designers through this case were investigated. And to organize a correspondence course was organized personal correspondence, legal action, ruling process. The study of the processes for copyright holders themselves to respond to the piracy situation is needed.

• Archives of design research
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• v.17 no.3
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• pp.363-372
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• 2004

Lannon(1994) asserted, 'Today consumer market has reached its maturity, and products gets more and more similar. So brands should be distinguished from competitors by emotional values.' Parody ads, one of advertisements appealing to emotion, would distort some original work well known to the public with its blemish or seriousness on target by imitating or exaggerating it regardless of expression styles, and announce the results to criticize the work itself or social situations or excite laughter. Such parody ads are stimulating consumers' emotion in particular and diverse methods. But This study on parody and especially parody in advertising, deals with the basic concepts of parody in advertising, as well as copyright infringement issues highlighting the different legal interpretations in American and Korean law when dealing with indiscreet cases of parody in advertising. some suggestions are made on desirable and forword-looking solutions. Different to the acceptance of parody in the American culture, Korean law was limiting in allowing parody to be used and applied.

• The Science & Technology
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• s.543
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• pp.73-77
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• 2014

지식재산권의 전문가를 들자면 단연 변리사다. 지식재산권의 두 축 가운데 하나인 산업재산권법 전반을 변리사가 다루기 때문이다. 변리사는 특허청 또는 법원에 대해 특허, 실용신안, 디자인 또는 상표에 관한 사항을 대리하고 그 사항에 관한 감정과 그 밖의 사무를 수행하는 전문가다. 나머지 한 축인 저작권 업무는 변호사들이 하지만, 변리사들의 적지 않은 수가 저작권을 선택하여 합격한 이들이다

• 프린팅코리아
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• v.14 no.9
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• pp.108-109
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• 2015

개방성과 접근성올 특징으로 하는 '오픈 디자인'에 관한 책이 나왔다. 안그라픽스가 최근 내놓은 '오픈 디자인'은 저작권이 없는, 누구도 독점하지 않는 디자인, 누구나 할 수 있는 디자인에 대해 다루고 있다. 본문체는 바른바탕을 사용했는데, 이 서체는 대한인쇄문화협회가 문화체육관광부의 지원을 받아 제작한 서체로, 누구나 무료로 다운받아 사용할 수 있다. 바른바탕외에도 아리따돋움, 아리따부리, 노토산스, 나눔바른고딕 등 공개된 서체를 사용해 제작했다.

• The Journal of the Convergence on Culture Technology
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• v.9 no.1
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• pp.777-786
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• 2023

Generative AI systems are expected to be more widely utilized. However, relatively little attention has been paid to understanding how users perceive and accept generative AI results. To identify strategies for increasing the future use of generative AI and prepare for potential issues, we organized design workshop for the general user group and the designer group. They created artwork utilizing Novel AI and semi-structured interview was followed to evaluate their attitudes toward generative AI and its copyright. Results indicate that the general public views generative AI positively, while the design-related group views it quite negatively. The participants expressed concerns as to the misuse the system, specifically related to copyright issues. People who are likely to utilize generative AI outcomes have insisted more strongly that copyrights should be their own. Those working in the design field highly evaluated the possibility of using generative AI in their work. Copyright perceptions were not significantly influenced by users' satisfaction or their level of involvement in the creation process. We discuss design implications for interfaces using generative AI based on the findings.

• The Research Journal of the Costume Culture
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• v.32 no.2
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• pp.287-298
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• 2024

Clothing is intimately intertwined with daily lives as every individual relies on it. The pervasive issue of plagiarism in the fashion industry has led to an increased demand to protect intellectual property rights. Currently, studies on the protection of fashion design intellectual property rights in China remain in the exploratory stage and warrant further investigation. This paper addresses the issue in two parts. The first part contains an analysis of the theoretical foundation for the protection of fashion design copyrights. It is further divided into three subsections. The first subsection primarily examines the concept of copyrights and laws. The second subsection focuses on the concept of fashion design copyrights and laws. The third subsection analyzes copyright laws concerning fashion designs in China. The second section offers an analysis of infringement cases involving fashion designs published during the Baiyi Cup Intellectual Property Case Summary Writing Competition held in China in 2023. It outlines the shortcomings of the current Chinese copyright laws regarding the protection of fashion designs, and proposes measures for improvement. This study argues that the institutional framework for intellectual property rights in the Chinese fashion industry should align with practical considerations and explores suitable legal regulations and how they relate to specific circumstances in China. Besides refining the legal framework, fashion designers and enterprises must take measures to entablish the intellectual property rights of their clothing brands.

• Archives of design research
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• v.16 no.3
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• pp.133-142
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• 2003

This study on parody and especially parody in advertising, deals with the basic concepts of parody in advertising, as well as copyright infringement issues highlighting the different legal interpretations in American and Korean law when dealing with indiscreet cases of parody in advertising. some suggestions are made on desirable and forword-looking solutions. Different to the acceptance of parody in the American culture, Korean law was limiting in allowing parody to be used and applied. In order to solve copyright issues concerning parody, the following points need to be addressed and analyzed; ·First, plagiarism, imitation, and the dear outline of deliberation standards about parody. ·Second, the expansion of the deliberation body aid explicit application of deliberation standards. ·Third, the trying for self-improvement of the advertising industry itself. ·Fourth, the development and advancement of consumer monitoring. ·Firth, the review of judicial precedents along with tile vocalization of the advertising industry's ideas and concepts on the matter.

• Proceedings of the Korean Society of Computer Information Conference
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• 2019.07a
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• pp.255-256
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• 2019

한글 폰트를 만드는 데는 자음+모음 조합으로 약 11,500자 정도의 글자가 필요하다. 디자이너가 글자 하나씩 전부 디자인 하는 것도 굉장한 부담요소이고, 한글폰트를 제작하는데 있어 3개월 이상의 소요 기간과 3000만 원 이상의 비용부담 또한 무시 못 할 요소이다. 게다가 카피라이트 폰트에 대한 저작권 문제 또한 골칫거리다. 그래서 이를 최소한으로 하고자 딥 러닝의 방식중 하나인 GAN(생성적 적대 신경망)을 통해서 디자이너가 399자만 작성하고 나머지는 컴퓨터가 디자이너의 폰트 디자인을 인식하고 자동으로 만들어 주는 프로그램을 고안하였다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2016.01a
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• pp.213-214
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• 2016

디자인경영과 서비스디자인 등은 전 산업분야에 걸쳐 이슈가 되고 있으며, 기업의 경쟁력으로서 중요한 요소가 되고 있다. 산업디자인 분야는 제품디자인, 시각디자인, 포장디자인 등으로 분류될 수 있다. 각 분야의 공통점은 제품의 생산부터 유통까지 연계되어 관리되어 지며, 최근에는 저작권, 사회적책임, 시장영향력에 대한 부가적인 업무가 요구되고 있다는 점이다. 본 논문에서는 산업디자인과 관련한 이미지와 오피니언에 기반한 빅데이터를 이용하여 디자인 공급자와 수요자 간의 컨설팅, 디자인제작, 유통, 후속조치 등이 통합적으로 관리될 수 있는 시스템을 제안한다.

• Korea Science and Art Forum
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• v.23
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• pp.111-122
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• 2016

The purpose of this multi-disciplinary convergent study is to establish Image Copyright Archive Model for Museums to protect image copyright and vitalize the use of images out of necessity of research and development on copyright services over the life cycle of art contents created by the museums and out of the necessity to vitalize distribution market of image copyright contents in creative industry and to formulate management system of copyright services. This study made various suggestions for enhancement of transparency and efficiency of art contents ecosystem through vitalization of use and recycling of image copyright materials by proposing standard system for calculation, distribution, settlement and monitoring of copyright royalty of 1,000 domestic museums, galleries and exhibit halls. First, this study proposed contents and structure design of image copyright archive model and, by proposing art contents distribution service platform for prototype simulation, execution simulation and model operation simulation, established art contents copyright royalty process model. As billing system and technological development for image contents are still in incipient stage, this study used the existing contents billing framework as basic model for the development of billing technology for distribution of museum collections and artworks and automatic division and calculation engine for copyright royalty. Ultimately, study suggested image copyright archive model which can be used by artists, curators and distributors. In business strategy, study suggested niche market penetration of museum image copyright archive model. In sales expansion strategy, study established a business model in which effective process of image transaction can be conducted in the form of B2B, B2G, B2C and C2B through flexible connection of museum archive system and controllable management of image copyright materials can be possible. This study is expected to minimize disputes between copyright holder of artwork images and their owners and enhance manageability of copyrighted artworks through prevention of such disputes and provision of information on distribution and utilization of art contents (of collections and new creations) owned by the museums. In addition, by providing a guideline for archives of collections of museums and new creations, this study is expected to increase registration of image copyright and to make various convergent businesses possible such as billing, division and settlement of copyright royalty for image copyright distribution service.