• Proceedings of the Korea Society of Design Studies Conference
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• 2001.10a
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• pp.51.2-51
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• 2001

• Archives of design research
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• v.19 no.3 s.65
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• pp.71-92
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• 2006

People have their own cultural backgrounds and experiences in terms of visual perceptional thinking so that they could misunderstand the cultural symbols, trademarks, Brand Identities, and trade characters, especially, animal trademarks. Sometimes Easterners and Westerners seem to not comprehend the different meanings of the cultural symbols. The signs of twelve Chinese zodiac animals are the typical symbol of the Asian mythology. What I wanted to focus on emphasizing the different views and perspective of an animal trademark is according to the Chinese Zodiac between Eastern and Western cultures. Generally, multiple symbolisms are difficult to comprehend, because they are created by individual ideas and incorporate several mythologies and histories. How do Westerners interpret the implied meaning of Eastern animals in general? How are they going to understand the Eastern animal logos or marks accurately? How can we solve the problem to make people understand their different meanings? There were some confusing pictorial images in the area of the design field when a designer creates an animal mark for globalization and localization. Creating of hybrid symbol is the best way to break the communication barriers with people all around the world.

• Journal of the Korean Geographical Society
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• v.43 no.6
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• pp.981-1001
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• 2008

This research deals with cognitive characteristics of point symbols on the current tourist maps in terms of the communication theory in considering levels of symbolization and those of preference. The levels of symbolization are examined on the basis of the meaning of point symbols between map-makers and map-users. Preferences of point symbols are investigated by the tourist objects. As a result, when point symbols are expressed in conciseness, the meaning and interpretation about those symbols are highly accorded. And the point symbols that have familiarity by visual experience are preferred. Also, the higher symbolical levels symbols have, the more likely they are preferred. Through that fact, familiarity from the visual experience, conciseness in expression, concreteness of figures expressed in maps, and representativeness of visualized properties were deduced as factors that affect preferences. Those factors work to affect preference complicatedly, but familiarity is prior to simplicity in preferences. Likewise, ways that visualize information, contents that are expressed as images and familiarity in terms of cognitive characteristics make a relative difference in preferences and the levels of symbolization. On the basis of those cognitive characteristics, visual complexity and ambiguity should be removed and the higher symbolical level of point symbols for efficiency of map-reading should be developed.

• The Journal of the Korea Contents Association
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• v.12 no.7
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• pp.94-101
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• 2012

Design reflects the time and cultural trends and thus can have different symbolic significance and functions depending on the perspective. While this is evident, corporations still insist that designers achieve viewers' complete understanding and satisfaction in their designs. Also, they refuse to accept the designers' interpretation on the grounds that they are subjective and incomplete interpretations even when in fact they are of superior intellectual standard. This problem is also found among the designers dealing with the clients. Thus, as long as all they are willing to accept is the fallibility of each other, the clash between designers and users is inevitable. To solve these problems, we need to have more objective and logical framework for achieving collective understanding on the interpretation of designs and symbols from the very stage of their development. The graphic design is a tangible product that represents the cultural phenomenon and needs to be interpreted as visual symbols. This makes the graphic design a semiological subject. Thus, a semiological approach will enable more analytical interpretations of polysemy of visual symbols. In this light, this study seeks to apply a semiological approach to suggest criteria for interpreting graphic designs as symbols. The criteria will serve as a useful tool for rational evaluation as well as strategic design development.

• 한국게임학회지
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• v.8 no.1
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• pp.32-38
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• 2011

The help or guide sentences of educational math games which use mathematical statements need to represent graphical forms for the learners of the game generation whose cognitive style is graphic first. In this paper, we proposed an object-based visual representation method for mathematical statements. It has object-based description rules to use graphical symbols and mathematical symbols with text words. It is easy to describe or to understand accurately mathematical meaning and is also fast for learners to read for understanding. The proposed method is good for learners of the game generation to get the help as scaffolding for learning math by educational games.

• Journal for History of Mathematics
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• v.28 no.4
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• pp.167-179
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• 2015

We study the solution of truncated series of Lee Sang-hyeog with the aspect of visualization. Lee Sang-hyeog solved a problem of truncated series by 4 ways: Shen Kuo' series method, splitting method, difference sequence method, and Ban Chu Cha method. As the structure and solution of truncated series in tertiary number is already clarified with algebraic symbols in some previous research, we express and explain it by visual representation. The explanation and proof of algebraic symbols about truncated series is clear in mathematical aspects; however, it has a lot of difficulties in the aspects of understanding. In other words, it is more effective in the educational situations to provide algebraic symbols after the intuitive understanding of structure and solution of truncated series with visual representation.

• The Transactions of the Korea Information Processing Society
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• v.2 no.5
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• pp.746-756
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• 1995

This paper describes the intractive visual programming environment using multi-view which shows the tools of visualization for called and the visualizations for called member-function flow in C＋＋ language. This research defines new visual symbols for class and constructs interactive visual programming environment of various views by using visual symbols. Our proposed interactive multi-view visual programming environment can represent visualization for representation of class and execution relationships between objects in the object-oriented language, which is easy to understand the structure of object-oriented program, therefore our proposed interactive visual programming environment enables easy program development, and can use of education and trainning for beginner in useful.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.83-89
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• 2019

Zhang yimou's film "the shadow" adopts a lot of modern literary symbolic content in the story structure. The novel has been greatly modified, abandoning the setting of the original work and making up the historical background of the story, thus completing the discourse practice of aerial literature rather than historical literature. The film expresses the historical story poetically and even writes the personal mind. In this way, the audience's sense of substitution is increased, and a large number of traditional Chinese cultural symbols are adopted visually. In terms of clothing, the most traditional is sought, which advocates loyalty to history, and adds cultural connotation and depth. The audience can feel the bold and unfettered artistic creation spirit of the main creator, as well as the novel and unique visual expression style, which makes his works have both traditional visual perception and modern story content. The combination of traditional vision and modern drama forms a new visual and cultural experience.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.519-528
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• 2023

The visual characteristics of the World Cup emblem play an important role in conveying culture and identity, highlighting the key elements of the Games, and strengthening the brand image. This study first investigated the visual elements and theoretical background of the emblem through previous studies. Second, the selection of symbolism, shape, and color was the subject of the study. Third, based on the shape-related theory based on the '100 National Cultural Symbols', the analysis was performed using the 'IRI Color Matching Image Scale' as a tool, and a final conclusion was drawn. The World Cup emblem uses a lot of ethnic and living symbols, and the living and ethnic symbols are expressed in a combination. In the beginning, there were many symmetric shapes, but after that it changed to an asymmetric shape. The curved expression form is more used than the straight expression form. And most of the color arrangement image scale distribution shows light, dynamic and modern color arrangement characteristics. In the future, the World Cup emblem design will continue to use national and living symbols. The shape of the emblem should use curves and asymmetric designs, be intuitive, and directly reflect the theme of the competition. In addition, the national flag color should be used as the main color, and other colors should be used as secondary colors. The combination of colors must match the light, dynamic and modern color characteristics of the IRI color scheme image scale.

• Korean journal of communication and information
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• v.50
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• pp.94-120
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• 2010

This Studies interpret Kim Ki-duk's film in terms of shamanistic world views. In this studies, the ritual properties of Kim Ki-duk's film were trying to reveal. To do this, Kim Ki-duk's entire 14 works were analysed. Specifically, shamanistic characters, their actions, themes, ways of storytelling, mis-en-scenes, and visual settings were focused on. The results show, fantastic and ritual properties were represented directly and the very archetypes of Korean cultural shamanistic symbols were embedded in his films. Shamanistic symbols and narratives in Kim Ki-duk's films were related to the main themes of harmony between suppressing men and suffered women. This symbols and narratives could be interpreted through the sacrifices of characters, exorcistic behaviors, expressions of death etc. In the long run, as visionary or anti-realistic author, Kim Ki-duk has been performing shamanistic ceremonies(in Korean "Gut") with his whole works. With these findings, processes from preparations to completions of Gut-Pan (Shamanistic ceremony) in Kim Ki-Duk's works were tried to reconstruct.