• Archives of design research
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• v.14
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• pp.33-41
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• 1996

Typography has two aspects, form and meaning. It is a collaboration of elements both to be read and to be seen. Typographer has to consider that typography has a meaning from only visual form as well as various meanings from every receiver. Because meaning could be differently translated through their cultures, experiences and so on. New visual communication style, typography as discourse, is not one-way communication, but dialogue communication.

• Applied Biological Chemistry
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• v.50 no.4
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• pp.358-361
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• 2007

The heartwoods of Rhus verniciflua was extracted with $H_2O$ and the concentrated extract was partitioned with $CHCl_3$, EtOAc, n-BuOH and $H_2O$, successively. From the EtOAc and n-BuOH fractions, four compounds were isolated through the repeated silica gel, ODS and Sephadex LH-20 column chromatographies. They were determined as sinapyl aldehyde (1), 2,4-dihydroxybenzaldehyde (2), 2,4-dihydroxybenzoic acid (3) and 2,4-dihydroxyphenylglyoxylic acid (4) on the basis of spectroscopic data, respectively. Among the isolated compounds, sinapyl aldehyde $(34.7{\pm}0.6%)$ and 2,4-dihydroxyphenylglyoxylic acid $(43.8{\pm}0.9%)$ showed the strong antioxidative activity than artificial antioxidant BHT $(14.4{\pm}0.3%)$ in DPPH radical scavenging activity.

• The Journal of the Korea Contents Association
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• v.11 no.7
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• pp.168-178
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• 2011

Experiencing the vortex of postmodernism, modern graphic design has evolved radically from simple aesthetically-motivated style following modernism. Concurrently, Typography has transmuted into International Typography Style from Grid Standard, which was an outcome of modernism. Edward Fella is one of the most internationally prestigious figures practicing the contemporary graphic design style. He is currently pursuing his career as an educator by teaching graphic design and typography at Cal Arts. For a long time, Fella has devoted himself to yielding products of de-constructive presentations and constructing design identity based on aesthetics. This paper looks into aesthetic criteria which has affected modern graphic design, referring to graphism of Fella, an international graphic design and typography educator whose theoretical origins lie in French modern philosophy and aesthetics. Fella has created graphic works by making use of graphic motives residing in the unconscious and the subconscious. Therefore, his graphic style is viewed and investigated as de-constructive aesthetics in the paper. Drifting around toward the end of postmodernism, the present day defines itself as the age free of formality approaching uncertain future; however, Fella's typography graphically guides us to understand comprehensively not only how international graphic design flows from the present to the future, but its realizations in design works.