• Journal of Korea Multimedia Society
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• v.23 no.2
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• pp.361-367
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• 2020

This study analyzed the factors consisting moving poster design. In order to analyze the elements of moving poster, the researcher reorganized the elements of moving posters by referring to the previous studies on printed posters, motion graphics and works of moving posters. In this study, moving poster components were classified into 'communication', 'visual and form', and 'sound'. In 'communication' section, moving posters had narrative elements, including scenes, because of the time and movement added by the poster's original function. The 'visual and form' section was classified into graphics, layouts, movement, and time. Graphics refered to various graphic objects constituting the screen such as photo, illustration, typography, color, diagram. Layout means screen layout, size, and orientation of the screen. Movement section was divided into 'subject of movement' and 'attributes of movement'. Time was classified physical time such as playing time and subjective time felt by the audience. Also, the researcher categorized 'sound' as an additional section, since most moving posters did not include sound.

• Archives of design research
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• v.21
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• pp.109-121
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• 1997

The poster in America was considered merely a means of advertising until the late 1880s, and was not thought to have any intrinsic value. During the 1890s, the poster in America came into its own as a medium of artistic expression, and it was recognized anew as an medium of advertising. The production and circulation of posters became active, and it won the popularity of poster collectors. But the American poster renaissance flourished for a few brief years in the 1890s. In this thesis, I paid attention that the art poster in America was mainly a product of the publishing trade, and that it's rise and fall was connected with the circumstances of the publishing business. In chapterII, I discussed the growth of publishing business and the phenomenon of poster craze, and tried to figure out the characteristic of American poster design in 1890s. The American poster boom was formally initiated in Spring 1893, when Edward Penfield published the first of his monthly designs advertising Harper's Magazine. Penfield created a native American tradition of realism in the series of Harper's posters, his figures are realistic though anonymous, and are drawn without distortion or grotesquery, and details are reduced to essentials but not eliminated. In chapterIII, I discussed the change in book cover design in the 1890s. The rapid evolution of book and magazine covers was largely a reaction to the poster craze. Most magazines were issued with the same standard covers month after month at that time. In 1894, when William Bradley was asked to design a standard cover for the Inland Printer, he convinced the publishers to change the cover with every issue instead of designing one permanent cover. With the poster craze at its height, posters became big business, but still they were not very successful as advertisements. Because collectors of the 1890s were more interested in acquiring posters than in buying books. Significantly, this was also the moment when poster like designs began to appear on the covers of books and mass magazines. Publishers took notice of an idea. If the eye-catching design was on the cover itself rather than on a separate poster, the customer who wished to acquire the design would be obliged to buy the magazine. So there was no distinction stylistically between the posters of the 1890s and the magazine covers of the early 1900s. At the same time, the artistic poster was beginning to decline. While the most typical advertisements of the 1890s were the book and magazine posters of Bradley and Penfield, after 1900 advertisements for manufacturers' products played an increasingly prominent role. They would never again assume the leading role that they had played in the 1890s.

• Archives of design research
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• no.16
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• pp.185-196
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• 1996

The series of ‘Dubonnet’poster is one of the masterpieces of Cassandre who was the leader of advertising poster in 1920's and 1930's. Orihinally it was a triptych, but it was developed as a serial work later through lettering and seasonal advertising posters. It was kept in circulation for more than two decades and issued in a variety of formats. In this thesis I tried to figure out the artistic character and uniqueness of Cassandre's poster by analyzing it with many different points of view of the poster, the stream of changing style and influence from the Avant-garde painting. In chapterII, objectively analyzing the series of‘Dubonnet’one by one, I examined the method that Cassandre used to deliver the concept of advertising and his message. The triptych, the first one of series of Dubonnet poster is witty, the slogan is a pun using the words dubo(doubt), bon(good), and Dubonnet, and the theme is treated as an animated sequence in the manner of a comic strip. In the following winter and summer seasonal advertising posters, the‘Dubonnet man’in the same position is enjoying the‘Dubonnet’, irrespective of the hazards of climate and season, There was a change towards 1929 that rectilinear design gave place to supple and undulating lines in Cassandre's posters. Seasonal advertising posters also showed the change, and the tendency of realistic and concrete elements of an expression was strengthened. In chapterIII, I studied three as main characters of Cassandre's poster. The first one is simple and geometric expression, second one is uniqueness of figures and the last one is important roll of lettering. Cassandre believed that there were fundamental differences between the function of a poster and that of a painting. He also recognized that the symbol was the essential element in the poster design, which would be simply and swiftly recognized. The recognition led him to simple design and bold geometric abstraction. He was a man who knew the value of copy in advertising and developed it fully in his simplified geometric compositions by integrating of letterforms and image. The‘Dubonnet man’is geometrized, almost featureless. This approach of rendering human beings was one that Cassandre had used from the early years, most notably in his posters for Dubonnet.

• Proceedings of the Korea Society of Design Studies Conference
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• 2003.05a
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• pp.52-53
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• 2003

• Proceedings of the Korea Society of Design Studies Conference
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• 2003.05a
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• pp.184-185
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• 2003

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.195-212
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• 2022

Based on the kinetic typography principle and the structure features of Chinese characters, this study took the Chinese'24 solar terms' theme dynamic poster as the research object, explored the visual expression of dynamic Chinese characters, and tried to summarize the visual expression law of Chinese characters in dynamic poster design. It can be found that, there could be 6 different types of Chinese character expressions in the 24 solar terms poster design. Among them, 'Drawing' design method has the meaning of text structure and form expression, and 'Assembling' design method has the meaning of text stroke and texture association, also, 'Forming' design method bring its meaning through stroke deformation, 'Transforming' design method conveys the content through text disintegration, 'Replacing' design method mainly bring the meaning through simulation, while 'Rotation' design method always express through visual three-dimensional and space. Finally, the findings could not only provide analytical logic and methods for the expression of Chinese characters in dynamic poster design, but also fill the lack of formative research on dynamic Chinese characters, which hopefully provide basic information for the research related to dynamic Chinese character structure, as well as the dynamic poster designers.

• Review of Korea Contents Association
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• v.9 no.3
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• pp.37-42
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• 2011

• Journal of Korea Multimedia Society
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• v.23 no.1
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• pp.67-73
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• 2020

This paper analyzed the characteristics of Motion Poster (Moster) and discussed the visual expression methods. To this end, the existing literature on motion posters was organized. The visual representation of motion posters was analyzed by dividing into 'Main Visual', 'Mode of Movement', 'Playtime' and 'Sound'. The analysis results were as follows. As motion posters are kind of movie posters, they are made from the original movie poster images, characters, or scenes of the movie. Graphical representations used either photo-realism or computer realism. The movement methods are 'simple movement of visual elements(movement, gesture and rotation, appear or disappear)+fixed camera movement' or' camera movement (zoom in/out, rotate, move) + fixed visual element movement'. Playback time ranged from about 10 seconds to over 1 minute of video, and the longer the video, the higher the probability of including sound.

• Journal of Game and Entertainment
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• v.2 no.3
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• pp.24-29
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• 2006

Nowadays, 'Interaction' is discussed not only in the multimedia field but also as a topic of daily life at the various viewpoints. And as the permmited limit of Interaction by Mutimedia Technology and audiovisual function is getting more activated, It is the time for us to have new understanding of a 'POSTER'. The Poster, as a one-sided information transmission media till now, is faced with its limitation in transmitting messages due to its unconformity between satisfaction of receiver' sdesire for information and installation space. This fact speaks for need of study about Digital Poster as an alternative communication method, and activation of Digital Poster Design Field. Therefore, I would like to present Design process and Examples by using Digital Poster for Maximizing the Communication Effect. And I expect the activation of Digital Poster Field by studying the possibility of development and various method of practical use of digital posters through presenting the examples.

• Cartoon and Animation Studies
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• s.48
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• pp.359-383
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• 2017

3,000 years ago, since the first poster of humanity appeared in Egypt, the invention of printing technique and the development of civilization have accelerated the poster production technology. In keeping with this, the expression of poster has also been developed as an attempt to express artistic sensibility in a simple arrangement of characters, and now it has become an art form that has become a domain of professional designers. However, the technological development in the expression of poster is keep staying in two-dimensional, and is dependent on printing only that it is irrelevant to the change of ICT environment based on modern multimedia. Especially, among the many kinds of posters, the style of movie posters, which are the only objects for video, are still printed on paper, and many attempts have been made so far, but the movie industry still does not consider ICT integration at all. This study started with the feature that the object of the movie poster dealt with the video and attempted to introduce the augmented reality to apply the dynamic image of the movie to the static poster. In the graduation work of the media design major of a university in Korea, the poster of each works for promoting the visual work of the students was designed and printed in the form of a commercial film poster. Among them, 6 artworks that are considered to be suitable for augmented reality were selected and augmented reality was introduced and exhibited. Content that appears matched to the poster through the mobile device is reproduced on a poster of a scene of the video, but the text informations of the original poster are kept as they are, so that is able to build a moving poster looked like a wanted from the movie "Harry Potter". In order to produce this augmented reality poster, we applied augmented reality to posters of existing commercial films produced in two different formats, and found a way to increase the characteristics of AR contents. Through this, we were able to understand poster design suitable for AR representation, and technical expression for stable operation of augmented reality can be summarized in the matching process of augmented reality contents production.