• Archives of design research
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• v.9
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• pp.601-616
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• 1994

avant garde poet Yi Sang wrote his poetry with architectural and artistic inspirations. his artistic creativity was exploded by typographic expression. he lirerated the !iterated word into visible language also. he played with his-own-created-signs. fighted against the reality, traditions and cliches. his typographic characteristic poetry is an evidence for the lengthening the history of korean modern typography as a pioneer. because his experimental works is the great evident. so we evaluated the worth of it.

• Archives of design research
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• v.17 no.4
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• pp.269-278
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• 2004

Modern high technology has developed from a printing type-oriented culture to sight and hearing-oriented one. Such changes helped raise users' interests and desires on being seen and heard, encouraging research for various usages and types. In particular, with the common use of high speed Internet and firmer standing of Internet as advertising media, Internet banner advertisement has been growing twice as much as the previous year, every year. With this accelerated development of multimedia Kinetic Typography has been used for a variety of forms. During this series of process, the most important one is the expression of the movement of Kinetic Typography. Information able to obtain from the existing way of reading became transferred to the process of multi-dimensional process of obtaining such as seeing and hearing. Accordingly, more effective expression with interesting factors considered together with more activeness for users' obtaining information through Internet, can expect more positive effects. Towards this goal, more various new tries should be made for Internet banner advertisement. In particular, with the larger role in Kinetic Typography to play the role of users' reading for information obtainment, the principles & factors of expression for Internet banner advertisement would be studied, and expression types and structure would be considered, and data from them would be collected and analyzed, to suggest the direction of development.

• 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.

• Archives of design research
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• v.14
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• pp.321-333
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• 1996

The typeface of the Shhnch 'ongjon woodblocks is unsophisticated and old-fashioned while at the same time having a tidiness and strength that give it its special appeal. This is the typeface used in publishing novPls for sale to the common people during the latter half of the Choson Dynasty_ Their demands could not be satisfied with most currently available literature. which was intended to suit the tastes of the official class. As a result of a development to overcome the unbalanced use of space characteristic of letterforms that followed the geometric principles of early Hangul. the typeface followed the refined. feminine "hrushstroke" style of kungch 'e. establishing itself as a "rough" face displaying the characteristics of carved. woodblock printing in answer to the needs of the common p-eople who had the greatest need of Hangul during the time of its f1owering. The Shhnch 'ongjon face is characterized by thin horizontal strokes. thick vertical strokes. and the appearance of being condensed left to right. They possess simple yet varied form. With these characteristics the Shimch' ongjon typeface. if revived and compared to other typefaces. has a beauty of structure and composition and a unique. modern lmage with excellent readability. giving it great significance for modern r langul typography.r langul typography.

• Fashion & Textile Research Journal
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• v.24 no.5
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• pp.530-544
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• 2022

Based on a follow-up study on critical fashion's strategies for object appropriation, this study aims to understand the appropriation of art as a social or cultural phenomenon influencing modern fashion, as well as to analyze and comprehend how to specifically approach the appropriation of critical fashion's letters through the appropriated interpretation. To explain the theoretical background of critical fashion's appropriated interpretation, it examined the related literature and data. Moreover, a fashion book-based literature review and a case study were conducted using sources, such as exhibition books, exhibited works, news, fashion magazines, and fashion sites, to examine letter appropriation strategies. In the critical fashion, the appropriation of subversive letters subverts meanings by providing experiences different from those based on real images of letters, which are displaceable. The appropriation of such subversive letters to challenge the value of modernism aims to subvert social value by bringing and relocating existing objects while focusing on their external forms. The appropriation of referential letters focuses on delineating the distance between the subjects who quote something and the quoted something and reprograms the existing letter objects with an introspective and reflective attitude. In other words, critical fashion designers can effectively express their messages through the appropriation of letters, such as graffiti and typography, which are manifestations of challenge or resistance. Appropriating letters as a creative action pursues unmarginalized humans who possess their existence.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.7
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• pp.727-740
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• 2012

This study is for the enhancement and utilization of future graphic design for T-shirts and deals with the expression styles and features of T-shirt graphic designs that appear in modern fashion. A literature examination about graphic design and T-shirts was performed for the research method and the analysis followed 378 pieces of graphic design featured in four major international collections for females from 2001S/S to 2011S/S. The research results from the expression type of T-shirt graphic design in the modern fashion are as follows. Expression in graphic figure accounts for the largest portion of 40.8% that includes illustration or cartoon characters, personal figure or part of the physical body, object in daily life or landscape pictures, animals and plants, and others. Expression given in text with typography or logo accounted for 27.5%, expression combined with letter/text, graphics and geometric figures accounted for 24.3%, geometrical expression accounted for 7.4%; most of which are given in print. Characteristics found in modern fashion graphic design are as follows. First, role of sort of public relations marketing was accompanied with utilization of brand logo or symbol. Second, visual play was shown in a sense of humor with diverse graphic figures and playful texts, witty layout with graphic motives, and a free design formation. Third, it denoted a front burner issue delivering the message for various current events or arguments via the way of texts, slogans, and symbolic pictures. Fourth, it depicted artistry through the self-expressive creation of the designer.

• Fashion & Textile Research Journal
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• v.5 no.1
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• pp.17-24
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• 2003

Objet, which showed up with the art of 20C, is now an important element giving a creative idea to fashion designers in modern times. The purpose of the study is to review how the objet technique was paid attention and recreated in the fashion, through the analysis of works, and the formative features of each technique for fashion, in order to identify the connection of arts and fashion, and the position of fashion as art. The techniques using object appeared in the 20th century fashion are as follows: First, papier-colle, which is adding printed materials onto the surface, is such a technique that adds cut-feeling materials to impose a new texture, or arrange again the cloth-cuts to create a different clothing from the existing one, which went to the extension of materials in the fashion. Second, collage of daily materials expresses directly and emotionally through direct presentation of the objets. Especially, collage of patch-work is reproduced into a new fabric depending on the objet used, giving a standing over the form. Third, ready-made which presents the material meaning only of the objet expands the range of objets which could be used in the fashion by introducing the daily materials having a meaning itself as a fashion. Forth, an attempt to approach to the objets of popular image by designed techniques come out in modern fashion as a graffiti look or a typography look, making the clothing itself an objet to transmit a message directly to the masses. Introduction of various objets and development of expression technique brought out the diversification of materials, and enrichment and extension of expression sphere, which resultingly spreaded the freedom of expression and progressed into the art sphere, making a direct motif to solidify its standing as a formative art.

• Journal of Korea Multimedia Society
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• v.13 no.4
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• pp.618-625
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• 2010

Receiving information and transmitting it is the most basic and important thing in numan society. And modern communication is not only transmitting objective information but also a visual communication which shows feeling of each emotions and image-motive. Introduction of Motion graphic which was grown by new media changed opening title sequence to a more expanded genre. The purpose of this research is to announce the new value of opening title sequence. Motion graphic will be used continually as an important way to communicate and also a guideline which could transmit exact informations and emotions to viewers with creative expressions.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.8 no.6
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• pp.159-163
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• 2008

Recently, typography in Korea has been varied. Among them, after 2005 a new trend caligraphy has appeared and in reality people discussed that this has been occurred as a coincidence. However, as a view of one who is interested in Hangeul typography, born of Hangeul caligraphy is not a coincidence. It is because computerizing of Hangeul has been later than U.S. or Japan. Korea was colonized by Japan and experienced the Korean War and economical independence got late and cultural independence got late as well. Our language, Hangeul was independenced in the beginning of 1990's after computer was introduce and original letter of Hangeul was scanned and basic standard was built. From the end of 80's there were many efforts for independence of Hangeul but there were problems on hardware side than software side. In the beginning of 90's basic fonts such as Myungjo or Gothic of Choi Jung-ho's fonts were set for computer hardware, but later 90's can be called as a time for distributing designed fonts for that new fonts that were planned and applying new ideas on fonts were done. In 2000 the two major font company in Korea Sandoll Communication and Yoon Design Institute made a fonts such as When branding had to be done by designer, typo must be written so adjusting size and moving baseline made old style and caligraphy fonts to be born. These cycling process has been natural motive for nowadays' caligraphy and these two major companies' role has made caligraphy to be popular.

• Cartoon and Animation Studies
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• s.50
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• pp.327-347
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• 2018

From the end of the 18th century to the end of the 19th century, the late 19th century was a genre of a new art that was in contrast to the distribution between social class and low class, and it was also a popular culture that attempted to transform the late Joseon Dynasty's social class. It is no exaggeration to say that it is the origin of the Korean folk art, started as popular art concepts, use colorful techniques and decorations which doesn't yield to ordinary iconography. But, because of the attempt of this technique was used by lower class, the meaning of the idea was lowered from iconography to secular picture. Ethics character picture, passed on to the present from going through the upheaval cultural time, was started from secular picture and transformed into hyukpil time illustration, and it represented popular arts until now. This thesis aims to reflect the meaning, various visual expressions and the lifestyle of Ethics Character Picture of filial piety and brotherly love, which is a unique genre of popular arts. Also, propose to suggest about the kinetic typography using video media, and how the traditional ethics character picture, which are combined with video technology, effects to the advertisements. These kind of attempts will show the world about the korea's traditional contents, and through the various media information it can be recreated as national symbolic key words. Furthermore, its meaningful to pass down the noble and cultural Ethics Character Picture of filial piety and brotherly love to younger generations. And by realigning to modern expression, it is predicted that it will be significantly meaningful to pass down and make the younger generations to understand to spirit of the ancestors. This will allow various attempts to reconstruct various items of contents from Korea's traditional contents to new media content that merged with video media.