• 한국멀티미디어학회논문지
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• 제23권2호
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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.

• 문화기술의 융합
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• 제4권3호
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• pp.269-274
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• 2018

본 연구는 2015년 메르스 사태 후 성인의 손씻기 실태 및 손씻기 포스터의 효과를 파악하기 위하여 공공 화장실을 이용하는 성인 370명( 포스터 미부착 185명, 포스터 부착 185명)을 대상으로 직접 관찰 및 설문조사를 실시하였다. 남성의 46%, 여성의 21.5%가 손씻기를 하지 않았으며, 포스터를 부착한 집단에서 손을 씻은 대상자는 83.2%로 포스터를 부착하지 않은 집단에서 손을 씻은 대상자 47%에 비해 많았다. 남성은 평균 7.6초 동안, 여성은 13.5초 동안 손을 씻어 여성이 더 오랫동안 손을 씻었으며, 포스터 부착군과 미부착군 간에 유의한 차이는 없었다. 손씻기의 6가지 절차를 다 실천한 대상자는 3.3%에 불과하였다. 손씻기 6가지 절차 중 4가지 이상을 수행한 대상자는 포스터 부착군 17%, 미부착군 10.3%이었다. 이상의 결과에서 손씻기 포스터는 손씻기 행위 자체에는 유의한 효과가 있었으나 올바른 방법으로 손씻기를 하는데, 즉 손씻는 시간 증진과 손씻기 절차 이행율 향상에는 효과적이지 못하였다. 그러므로 공공장소 화장실에 손씻기 안내방송과 시각적인 효과를 높일 수 있는 포스터의 보급이 필요하다.

• 디지털콘텐츠학회 논문지
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• 제19권9호
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• pp.1679-1688
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• 2018

디지털 기술의 발달은 단순히 표현 기술의 발달만이 아니라 제작의 과정, 표현 매체, 제작 형식 및 방법, 관객과의 커뮤니케이션에서도 변화를 가져왔다. 그 하나의 형태로 지면 포스터 대신 LCD 디스플레이를 이용한 모션포스터가 등장하게 되었다. 이것은 단순히 지면에서 사운드와 움직임이 가미된 포스터의 발생만이 아니라, LCD 디스플레이라고 하는 플랫폼이 가지고 있는 특징을 활용한 확장의 가능성을 제시해 주고 있다. 이 확장의 하나로 본 논문에서는 "인터랙션"이라는 요소에 주목, 인터랙티브 모션포스터를 새롭게 제안한다. 연구의 내용 및 방법으로 첫 번째, 본 논문의 대상이 되는 포스터의 개념 및 특징에 대하여 알아보며, 표현 테크놀로지의 발달에 따른 포스터의 변천과 우리나라 영화포스터의 발달에 대하여 고찰하고, 디지털시대 영화포스터의 형태로 모션포스터에 대하여 알아본다. 두 번째, 인터랙티브 모션포스터의 제안으로 영화 <서치>의 인터랙티브 모션포스터를 기획, 가능성을 확인한다. 더불어 포스터에 인터랙션이 채용되었을 때, 인터랙티브 모션포스터의 정의, 특징, 그리고 가능성 및 확장성에 대하여 제시하였다.

• 디자인학연구
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• 제21권
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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.

• 한국멀티미디어학회논문지
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• 제23권1호
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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.

• 디자인학연구
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• 16호
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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.

• Asian Pacific Journal of Cancer Prevention
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• 제15권18호
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• pp.7707-7711
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• 2014

Background: Currently poster presentations offer a common visual medium for knowledge transfer by a wide range of health professionals. Our study aimed to determine the scientific importance of poster presentations for Medical and Radiation Oncologists. Methods: A survey form including 40 questions was distributed to a total of 131 oncologists experienced in poster presentations. One hundred completed survey forms were included in the study. Descriptive statistics and modified thematic analyses were performed on the responses. Results: Overall 64% of the participants agreed that posters were a good medium for knowledge transfer. Some 88% agreed that concise and clear styled presentations would increase appealing interests for poster contents. Visual appearance was cited more influential than content of the subject; 70% of participants agreed that appearances of posters could help to draw more viewer attention. Of respondents, 63% believed that posters accompanied by their author were more attractive for congress attendees, and 33% of them declared that the halo effect of the poster presenter was also important. Conclusion: The present study indicated that intelligibility, appearance and visuality of posters are most important factors from the aspect of oncologist participants. Presenters must take into account these important points when preparing their academic posters.

• 아시안잔디학회지
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• 제11권2호
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• pp.139-143
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• 1997

A major purpose of a scientific meeting is the exchange of information. Traditionally, authors have preferred to present their research in an oral format. However, poster presentations are becoming more popular every year. Today, poster and oral presentation are recognized as being of equal status, Regardless of which format you select, remember that the poster or oral presentation must he carefully planned, clear and concise, oriented to transfer information effectively, and hold the attention of the learner.

• 융합보안논문지
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• 제14권7호
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• pp.91-99
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• 2014

NFC(Near Field Communication)는 13.56MHz 주파수 대역에서 기기 간 데이터 교환 무선 통신기술이다. NFC Forum에서는 NFC Device와 NFC Tag간 데이터 교환을 위한 메시지 형식인 NDEF(NFC Data Exchange Format), 메시지 내의 탑재 가능한 레코드 유형을 정의한 NFC RTD(Record Type Definition), 기존의 종이포스터를 대체할 Smart Poster RTD, 레코드의 진위성과 무결성을 보장하기 위한 Signature RTD를 정의하였다. 그러나 기존 스마트 포스터 인증기법은 가장 빈번하게 일어나는 스마트 포스터 인증 과정에서 방대한 보안 기반구조인 PKI(Public Key Infrastructure) 및 인증서를 통해 스마트 포스터의 공개키 유효성을 확인하는 과정과 인증경로 상에 있는 인증서를 포함한다는 문제점을 가지고 있다. 따라서 본 논문에서는 스마트 포스터 인증과정에서 PKI와 인증서를 사용하지 않고 인증 URL, 서명, 공개키를 통해 스마트 포스터의 공개키의 유효성을 확인하여 스마트 포스터를 인증하는 기법을 제안하고 구현하였다.

• 게임&엔터테인먼트 논문지
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• 제2권3호
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• pp.24-29
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• 2006

최근 상호작용성(Interaction)은 멀티미디어에서 뿐만 아니라 일상생활의 화두로서 다양한 각도에서 논의되고 있고, 멀티미디어 기술에 기한 상호작용의 허용정도와 시청각적 기능이 더욱 활발해지고 있는 지금, 우리는 포스터에 대한 재인식이 필요할 시점이라 생각된다. 지금까지의 포스터는 일방적 정보전달 매체로서 수용자의 정보욕구 충족과 설치공간의 부적합성으로 메시지 전달의 한계에 부딪치고 있는 실증이다. 이는 새로운 대중 커뮤니케이션 대안으로서의 디지털 포스터에 대한 연구의 필요성과 디지털 포스터 디자인 영역의 활성화를 대변해 주는 근거 요소가 된다. 따라서 본 연구자는 이러한 디지털 포스터를 활용한 커뮤니케이션 효과의 극대화를 위한 디자인 과정과 사례제시를 하고, 본 연구에서 디지털 포스터의 사례제시를 통해서 그 발전 가능성을 가늠해보고 다양한 활용방법을 모색해 봄으로서 디지털 포스터 영역의 활성화를 기대한다.