• Archives of design research
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• v.19 no.6 s.68
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• pp.33-38
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• 2006

The development of the typeface 'Arita' presents a method and its following results for a corporate typographic identity. Amore pacific established a strategy for a typographic identity as for their high quality corporate culture and as a first step for it was to develop their corporate typeface 'Arita'. The typeface 'Arita' which pursues sharing and accompanying was developed to be used in the body text to enhance the function of the typography. What was needed to develop this typeface for Amore pacific was first, understanding of the corporation, and second, vision to present new direction for a typeface and its appropriate supervision, and third, ability in designing. Therefore, under the leading of Hong-ik University's meta design research institute, the typeface 'Arita' was created by in collaboration with Seoul women's university's modeling research institute and the typeface design specialty company, type space and the design company, Ahn-graphics. There are two kinds of weight in 'Arita' typeface, one is normal 'AritaM' and the other is semibold 'AritaSB'. 'Arita' is produced into TrueTypeFont(TTF) for Windows Operating System and OpenTypeFont(OTF) for Macintosh Operating System.

• Journal of Information Processing Systems
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• v.2 no.3 s.4
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• pp.178-182
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• 2006

Children exhibit different behaviors, skills, and motivations. The main aim of this research was to investigate children's sensibility factors for icons, and to look for the best typeface for application to Web-Based Instruction (WBI) for e-Learning. Three types of icons were used to assess children's sensibilities toward metaphors: text-image, representational, and spatial mapping. Through the factor analysis, we found that children exhibited more diverse reactions to the text-image and representational types of icons than to the spatial mapping type of icons. Children commonly showedn higher sensibilities to the aesthetic-factor than to the familiarity-factor or the brevity-factor. In addition, we propose a collaborative-typeface system, which recommends the best typeface for children regarding the readability and aesthetic factor in WBI. Based on these results, we venture some suggestions on icon design and typeface selection for e-Learning.

• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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• pp.833-843
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• 2005

The purpose of this study was to investigate the characteristic of logomark in unisex casual apparel brand. For this study, first 36 unisex casual apparel brands were selected from the Dictionary of Fashion Brand, second analyzed the common word showing in them. Third, the logomark of the unisex casual apparel brand were classified into two types according to the typeface character of the logomark, there were serif typeface, sans-serif typeface. Fourth, analyzed the relationship between the typeface image of logomark and brand concept. The results of the study were following : First, the common word that used the most frequently in brand concept were investigated and the order of common word was reasonable, comfort or natural, practical, modern, traditional and basic. Second, The unisex casual apparel brand used the most frequently the sans-serif typeface that represents the images of simple, modern and active sense in the typeface of logomark. Third, the unisex apparel brands used the most frequently English as brand name among the various languages. Fourth, the unisex casual apparel brands were lanuched mostly except several of them after 1990.

• Journal of Korea Multimedia Society
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• v.20 no.12
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• pp.1992-1999
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• 2017

This study proposes a decorative typeface which is produced through the concept of trigonometric functions in an open-source programming language known as Processing. First, the theoretical background of Processing and trigonometric functions as well as previous research in this area are analyzed. Second, basic modules of 'V', 'I', 'O', and 'M' were created for use as the final alphabet typeface with the concept of a trigonometric function. Third, a decorative parabolic curve that encircles the base module was created. Finally, the modules created on Processing were edited in Adobe Illustrator to create a typeface set with characters from A to Z. Various artworks using Programming can produce an infinite number of different versions by modifying only some of the variables and codes, and this method can include multimedia features such as text, images, videos, interactive art and various forms of content and media. Therefore, with regard to expression, the possibilities are endless. In this study, I attempt to expand the field of visual culture using programming and computational methodologies. In contrast to the digital typeface production method, which relies on existing graphic tools, this study is meaningful because it expands the range of use of decorative typefaces.

• 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.

• Journal of Digital Convergence
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• v.17 no.11
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• pp.493-499
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• 2019

Seal is a tool to prove an individual or group. Guk-Sae and Eo-Bo uses typeface to represent their names or titles, which change from tensile to tensile and have varied from time to time. Although the Korean alphabet currently uses Hangul, it had used Chinese characters before Hun-Min-Jeong-Um was created in 1443. All seals and royal seal before the Korean Seal of State were made in Chinese characters. This thesis analyzes the concept of typography through the royal seal, and the subject of this study is 'Sugang Emperor' which is the only eight-letter version seal of the Joseon Dynasty's various royal seal. Bo-Yeong, which is shown in Bo-Myeon has artistic value with beautiful typeface and proportions, which is worth research. It examines the features of the Korean seal, analyzes and studies the typeface shape and features from the typographic perspective of the "Sugang Emperor Bo-Yeong," or writing.

• Proceedings of the Korean Society of Computer Information Conference
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• 2021.07a
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• pp.123-124
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• 2021

본 논문은 기존 폰트 디자인을 고찰하여 한글과 라틴 알파벳 디자인의 형태 유사성을 향상시키기 위한 기초 자료를 제공한다. 고찰을 위해 윤디자인 대표 폰트 20종을 선정하였다. 형태적 관점에서 글자 디자인적 유사성을 찾기 위해 낱자, 낱글자, 낱말, 문장을 기준으로 고찰하였다. 윤디자인 대표 폰트 20종의 한글과 라틴 알파벳 글자 디자인의 결과는 다음과 같다. 첫째, 낱자(자소) 디자인은 동일한 형태이지만, 크기와 비례가 변화할 수 있다. 둘째, 낱글자(음절) 디자인은 낱글자 전체의 디자인을 위해 부분적으로 다른 형태를 디자인할 수 있다. 셋째, 낱말(단어) 디자인은 낱말의 우월효과를 고려하여야 한다. 넷째, 문장의 디자인은 글줄의 흐름을 고려하여 글자의 크기, 비례와 기준선을 디자인하여야 한다.

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.64-65
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• 2002

• Journal of Fashion Business
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• v.15 no.5
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• pp.55-68
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• 2011

The purpose of this research is to study the visual characteristics of domestic national men's wear brand logos. For this purpose, 80 of national men's wear brands were selected from '2010/2011 Korea fashion brand Annual' For analysis, they were classified into three categories: logo types composed only with logomark or symbol and logomark together. Types of symbol were classified into word symbol, descriptive symbol, and abstractive symbol. And the used typefaces were classified into serif and san serif and acromatic and cromatic The results are as follows: The visual characteristics of domestic national men's wear brand logos, there were more brands that used logomark with symbol together than logomark only. And the type of symbols were appeared descriptive symbol(32% ) that meaned the men's power, nobleness and royalty. In domestic national men's wear brands, color of logos were more frequently used acromatic color as black and grey than cromatic color. Among the cromatic colors were more appeared to a kind of blue and green. And the used typefaces were the more frequently used to serif typeface of capital. As a result, the visual characteristics of domestic national men's wear brand logo were that they used the brand logos composed of descriptive logomark with symbol together, black serif typeface the most. From this results, we could find that visual stragety of domestic national men's wear brand logos had the tendency to emphasize the function of conveying information, brand concept that men's wear. The specific and continuous following research in which psychological factor of consumer reflected was requested as a measure to seek brand logo that aid to establish brand power and reinforce brand image.

• Annual Conference on Human and Language Technology
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• 1994.11a
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• pp.223-230
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• 1994

본 한글꼴은 음절 및 음소의 가시성을 높이고자 한글 음소의 이중 가로선형 배열을 통한 밀도 분산형 한글꼴과 음소 나열형 한글꼴 등의 새로운 한글꼴의 다양한 표현의 실험 연구이다. 일도 분산형 한글꼴은 새로운 음소형 한글코드(닿소리, 홑소리, 받침 조합형)와 서로 대응하드록 일원화 한글꼴로 한글 및 옛 한글의 음소 조합형의 입.출력이 가능하다. 이러한 시도는 1바이트 이내에서 현대한글 및 옛한글을 구현하며, 이는 한글의 구현원리에 따른 음소형 코드체계의 실현 가능성으로 한글 코드체계의 최적화에 대한 새로운 가설을 제시 한다.