• Archives of design research
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• v.19 no.6 s.68
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• pp.27-32
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• 2006

TYME is an interactive typography program based on the ephemeral nature of time. It is a text based poetic tool, built with Processing. This project is presented as a performance that utilizes a computer with a display screen, a projector, and speakers. As the user types, white characters appear, flow on the score on the screen and trigger jazz sounds, then characters disappear into black space in several seconds on the screen like smoke. Typography from this invented instrument is evocative and wistful, and allows the user to associate with ephemeral time. While typing the characters as though playing an instrument at intervals of time, the user can freeze the motion and print out or save otherwise fleeting moment with a button. I intend to contain both characteristics: the amorphous shape of smoke and the elusive attribute of smoke for the expression of intangible and ephemeral time. Every alphabetic shape is derived from the video dips that I shot of smoke. The resulting alphabetic images are then programmed using the Processing scripting language and which can then be typed on the screen with a keyboard. TYME could be a model as a project that reflects the unfixed quality of digital typography, and as a design approach for interactive expressive typography by scripting code. This project also represents the characteristics of typographic play, which can be realized in an computational environment like this model.

• Archives of design research
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• v.14 no.1
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• pp.167-176
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• 2001

In 21st century as a digital era, visual communication design becomes more important than any other period. Recently, traditional typographic design for the communication with emphasis on the readability and experimental typographic design with emphasis on the expressionism contrary to the traditional concept coexists. There have been experiments on the typography with the establishment of modem art concept in the past: this trend is more obvious since the 1980s with the technological development of desktop computer. In this study, experimental typography works by David Carson who is one of the most representative graphic designers of the 1990s are analyzed in detail, and problems and prospects of this experimental typography in a digital era contrary to the traditional viewpoint we discussed.

• 프린팅코리아
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• v.12 no.10
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• pp.104-105
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• 2013

'타이포잔치 2013: 서울 국제 타이포그래피 비엔날레'가 8월 30일 개막식을 시작으로 10월 11일까지 문화역서울284(구 서울역사)에서 열린다. 이 행사는 문화체육관광부(장관 유진룡)가 주최하고 (재)한국공예디자인문화진흥원과 한국타이포그라피학회 공동 주관으로 진행된다. 특히 10월 8일에는 '한글날 전야제'가 문화역서울 284, RTO 공연장에서 열린다.

• Journal of The Korean Association of Information Education
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• v.6 no.3
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• pp.328-337
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• 2002

Looking at multimedia education contents from a design point of view, the instructor's design model may differ from the child's understanding model due to gap of the instructor's and child's knowledge. This fact implies it impacts the effectiveness of the education contents. The learning efficiency of Korean typography in WBI for children depends on the font-family, line space, font-size, the age of user, the output device such as the monitor, and other various factors. In this paper, we measured and analyzed on readability of Korean typography in WBI for children by reading speed method. The results of experiments show that readability depends on the font-family of typography, age(grade), and sex of children. In detail, "Goolymche" has the shortest time to be read, and girl and the highest grade students of elementary school have shorter time than boy and the lower grade students. Moreover, we consider the elegance of typography in WBI for holding children's interests because they prefer "Yopseoche". We provide some CSSs in WBI for children based on the experimental results, to used in school fields.

• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.267-272
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• 2006

The motion-graphic have been a more important factor in image illustration and typography since the development of visual culture was advanced. Therefore the visualized case of intented content with the creative typography is easily seen in television CF, movies and web pages. They suggest that variable factors such as language, time, shape, motion, color and sound should be applied and produced to motion typogaraphy. But the physiologic features as sex, age, health status, illness and physical size have an important effect in the communication process. So, the more effective result were gained than the fast-developing other mass media if these features were applied to the motion typography with semi-language speciality.

• Archives of design research
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• v.15 no.4
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• pp.347-358
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• 2002

Architectural drawing has been changing from the general notion, in which it is to predict what it may be like for purely practical purpose. Particularly amongst the Deconstructivists' work, graphic elements make a great contribution to the realization of their self expressive style. Whereas these are often chosen for solely aesthetic reasons, there are some cases in which the act of drawing itself is a crucial, investigative process. This is true of Daniel Libeskind's architectural drawing. For him, Typography seems to be characteristic of his drawing. He Harness typographic elements as metaphors for hid abstract symbolism through his architectural drawings, which retain the possibility to relate to the more radical typographic approaches. Within this context, this thesis will argue how the typographic elements in Daniel Libeskind's architectural drawings can be interpreted. What interconnection can be made between the two practices\ulcorner How can these elements be incorporated into architecture\ulcorner Can they be involved in it as a main constituent\ulcorner This thesis explores diverse possibilities of interpretation of his architectural drawing through typological approaches to the cases where type itself meets the different media and signific ation is given to the other typographic elements.

• The Journal of the Korea Contents Association
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• v.8 no.3
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• pp.86-96
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• 2008

General development basis of letter system is recognized by formative value in terms of its function and structure. principle of clustered writing is the most significant feature of Hangeul typography as considered that it is based on function and formativeness. Thus, not only by changes with its form but also by its characteristic syllable combination, space structure is made as consonants and vowels are combined in single letter, then the combination develop into word, sentence, paragraph to make second, third space structure character. This character has significant impact on readability that is core function of typography. With this property, space structure character is regarded as very important component of Hangeul typography. First, space structure character of Hangeul typography is reviewed by relating it to visual perception of gestalt psychology and compared square-framed letter and framed latter By applying square-framed letter and framed latter in same sentence, legibility and readability were studied. Researcher has found that space structure character of Hangeul typography has significant impact on its function, and in terms of future design, it is very critical not only for design but also for communication environment as space structure formativeness of Hangeul typography interact with communication that is basic concept.

• Archives of design research
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• v.12 no.3
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• pp.117-126
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• 1999

The purpose of this thesis is to research the applicatuion of moving typography whcih was analyzed and introduced in Opening Credit of Movies. There are four proposals to apply this plan which was derived from the movement of image transmission and enlargement of the main part. First; By providing a motion to a keyword from a text-based screen, it can enhance the importance of the main part. Second; Use a differentiated CUI (Character User Interface) as a button in order to form the flow data in data sort. Third; The meaining of unknown letters can be conveyed by adding a motion to letter. Fourth; The conveyance of meaning and the visual image transmission method can be used.

• Archives of design research
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• v.12 no.2
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• pp.185-196
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• 1999

It has been known that deconstruction has affected various fields as literature, architecture, an, film, industrial design, and so on. Especially, deconstruction has applied into a wide scope of the design related fields through diverse ways and the results also show that there is a great potentiality in the ways of it's expression with different styles. Deconstruction design has been approached in connection with post-modernism, deconstruction theory of J. Derrida and pluralistic post industrial society. In particular, it is obvious that deconstruction philosophy has deeply affected the fields of visual design and typography which are mostly communicated with symbols and texts. This study intends to examine how the deconstruction theory has been practically applied into the typography by analyzing the change of deconstruction typographic styles and exploring the distinctiveness of the change.

• Proceedings of the Korea Information Processing Society Conference
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• 2013.11a
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• pp.1470-1473
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• 2013

본 논문에서는 안드로이드 플랫폼에서 3D 타이포그래피를 쉽게 표현할 수 있도록 지원하는 라이브러리를 설계 구현하였다. 현재까지 모바일 플랫폼에서 3D 타이포그래피를 지원하기 위한 라이브러리는 iOS에서 사용가능한 FTGL ES만이 공개되었고 이를 직접 안드로이드 플랫폼에서 사용할 수 없으며 제공되는 3D 표현 기능 또한 제한적이었다. 본 연구에서는 iOS용 FTGL ES를 안드로이드 플랫폼에서 사용할 수 있도록 변환하고 OpenGL ES기능을 활용하여 다양한 3D 폰트 표현을 지원할 수 있는 3D 폰트 라이브러리를 개발하였다. Freetype 라이브러리를 통해 폰트의 Glyph 정보들을 얻고 이를 이용해 테두리, 양각, 음각 등 다양한 3D 문자 표현 기능을 구현하였고, 공간상에서 문자들의 배치를 수학적으로 모델링하여 다양한 3D 문자 배치 기능을 구현하였다. 개발된 3D 폰트 라이브러리를 이용하여 다양하게 문자들을 3D 공간에 표현할 수 있으면서, 기존 3D 타이포그래피 표현 방법들에 비해 더 쉽고 빠르게 3D 타이포그래피를 표현할 수 있도록 지원한다.