• 프린팅코리아
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• s.66
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• pp.64-66
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• 2007

• 프린팅코리아
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• v.7 no.9
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• pp.101-103
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• 2008

이제는 출판계에서 거의그 자취를 찾아볼 수 없는 납 활자 인쇄 방식을 사용한 책이 다시 등장했다. 활판인쇄는 1960~1970년대까지만 해도 출판 인쇄의 주류를 이뤘으나 이후 대량고속인쇄가 가능한 오프셋 인쇄와 전산조판 등 디지털 출판 기술의 도입과 함께 점차 사라지기 시작해 지금은 거의 그 명맥이 끊긴 상태다. 그러나 활판 인쇄의 쇠퇴를 안타까워하던 시월출판사의 박한수 대표와 북디자이너 전병규 씨, 시인 박건한 씨 등이 뜻을 모아 경기 파주 출판단지 안에 인쇄공팡 '출판도시 활판공방'을 마련하면서 활판 인쇄가 되살아나게 됐다.

• Archives of design research
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• v.12 no.3
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• pp.43-52
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• 1999

For Bauhaus, the vaious typography experiments developed around the printing workshops, and it was only in the later Weimar Period that L. Moooly-Nagy, who came to be in charge of the rxinting workshops, approached it from the functional way of thinking and demanded print type reforms Using this as the basis, a new form of typograph called "typophoto" was developed by combining images and characters together using photography techniques and Bauhaus Unification Chaacter producyion. Harbert Bayer, striving at molds based on the ideologies of L. Moody-Nagy, prepared the framework for modern informational advertisements by producing a variety of advertisements based on several law of psychology and physiology. Bayer's successor, Joost Schmidt focused on lettering based on functionalism and typographic training and practice, while pioneering in the new area of display design wiwh efficient usage of space for exhibitions a1d dsplays. Thus, despite being carried doWl by the same leader in the sane era, the series of typographic experiments undertaken by the artists Bauhaus present guidelines to the direction modern visual communication must take through creativity and insight into the upcoming future that is not contained within the boundaries of traditions and customs.and customs.