• Archives of design research
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• v.14 no.3
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• pp.7-14
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• 2001

Modern graphic design is creating a new area of graphic design due to the development of computer technology as it changes the existing world of graphic design with a variety of advanced style of image. It is true, however, that the basic principles and images in the modern design are influenced by the visual principles and methods elaborated and changed by the numerous creative works that is well representing the visual features of graphic design trends from the early 20th century to the mid century. The style of graphic design at the time which is generally referred to as 'modern graphic design' went through Pictorial modernism, Constructivism, De Stijl, Bauhaus after the beginning of 20C design, Art Noueau. It spread over the world in the ear of Swiss graphic design and New York graphic design that create the basic principles and styles in modern graphic design. This study examines visual features and flow of graphic design from the early years in the 20th century to the middle of the century, the foundation ear of principles in the modern graphic design. It will give a systematic and fundamental understanding of graphic design and visual features of it while it will be in a research process to create a new graphic style.

• Journal of Digital Convergence
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• v.19 no.4
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• pp.267-274
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• 2021

The purpose of this study is to derive design factors to provide inclusive information without encouraging the division of region and ideology, and to present the prospects of election result infographics design through evaluation and interpretation of the based design factors. First, the methods and results of the study identify the characteristics of infographics design through theoretical considerations to confirm the importance of visualizing data, and the case study of infographics design as the main flow is cathogram-style design using various forms of digital interaction. Second, the 21 st National Assembly election of Korea resulted in the response to infographics design and evaluated and analyzed the suitability of design factors through surveys and expert interview for five designs selected (suitable for purpose, convenient, aesthetic, easy of understanding, and public concern). In conclusion, it is predicted that the election results infographics design will evolve to offset regional and ideological division by providing inclusive information tailored to consumer needs by providing different types of infographics designs that meet basic objectives and functions.

• The Journal of the Korea Contents Association
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• v.21 no.9
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• pp.88-104
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• 2021

The visual expression of deconstructive graphic design influenced by postmodernism differs from the traditional ways of graphic expression that consist of precise images and text and is challenging and highly experimental. The characteristics of the formative nature of such deconstructive graphic design emphasized the importance of the reader as the principal agent of aesthetic experience in the appreciation of works. For this study, a new ideological framework was developed regarding the ambiguity arising due to visual experimentation in deconstructive graphic design, assuming the central theory to be the Reception Theory (Aesthetics of Reception) centering around the recipient who is the reader. The characteristics of Iser's Reception Theory are substituted as a theoretical category and an interpretation of the works of ambiguity in deconstructive graphic design is carried out. Although Aesthetics of Reception is a literary theory about the interaction between the artist and the reader, as a method for interpreting deconstructive graphic design influenced by postmodernism, it laid a theoretical foundation and enriched the interpretation of works. Moreover, the four characteristics of Iser's Reception Theory were used to create a framework that suggested a new direction for the approach based on the reader's interaction in the process of interpreting works of modern graphic design.

• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.293-304
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• 2016

This study is a thesis on motion infographics design trend analysis of the domestic and international Competition award-winning works. The design processes of motion infographic which belongs to information design are divided into information architecture and information visualization. The award-winning works were analyzed by Design elements considered in each design processes. The analysis results showed that the similarity seen between the domestic and international are meaningful for understanding how to communicate by motion infographics and the usefulness of the methods. At the same time, the difference between them showed that the two sides recognized motion infographic differently and the domestic works have the lack of diversity and the uniformity of expression. The results provide information used to further establish strategy of design motion infographics in business and education.

• Proceedings of the Korea Society of Design Studies Conference
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• 1999.05a
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• pp.56-57
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• 1999

경험적 심미성(experimental aesthetics), Gestalt심리학, 그래픽디자인 및 심볼관련문헌에서는 많은 디자인 심미적 특성들이 심볼에 대한 감정적 반응(affective reactions)에 영향을 미치고있음을 알 수 있다. 그러나 불행하게도 이러한 디자인 문헌속에서는 디자인의 심미적 영향요소들이 인자(recognition), 친밀감(familiarity), 의미(meaning)에 어떻게 영향을 주는지에 대해서는 체계적인 연구가 이루어지지 모하고 있고 실증적으로 시험되지도 않고 있어 심볼 디자인에 대한 지침을 제공하지 못하고 있는 실정이다.(중략)

• Archives of design research
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• v.17 no.1
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• pp.63-76
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• 2004

Although information design principles had originated from the graphic design field including publishing design in 1970s, information design have taken one of the most important positions in multimedia design fields as the present since Richard Saul Wurmn started his researches on information design and its practical application on internet environments. However, relatively little researches have been performed for building identity of information design in multimedia design fields so far and moreover in some cases, information design is likely to be narrowly viewed as 'the representation of a piece of information and its visualization' which was defined in traditional graphic design field. This research circumstance leads the study to investigate characteristics of information design in current multimedia design with contingent perspective which is compared to the traditional information design. The study results suggest 5 characteristics of information design including 'suggesting context & finding out information hierarchy', 'access of integrated consideration & share of information control', 'using of multi-dimensional media & content first', 'stabilization of information quality & combinational understanding of meaning', 'bilateral information representation & user's knowledge expansion'. Future researches, based on the results of the study, are expected to be expanded to a degree with argument for inter-dependent and/or exclusive characteristics of adjacent fields of information design such as interface design, interaction design and experience design.

• Journal of the Korea Convergence Society
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• v.8 no.6
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• pp.153-162
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• 2017

Comparison and Convergence of the Blank Space in Chinese and Japanese Graphic Design This study discusses the philosophical foundation in Chinese and Japanese aesthetics. Most of the contemporary graphic designs in China lack influence or individual philosophy on aesthetics. In analyzing and comparing the use of blank-leaving in graphic design works showed that the traditional artistic sense of the blanks can enrich the cultural connotations of design and raise the artistic creation of the works. This paper used "convergence" to create a new approach on Chinese contemporary graphic design, especially on poster design. The application of blank-leaving in the graphic design has positive impact in the creation of excellent graphic design works that provide references and inspiration to develop a new blank on my own design.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.339-344
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• 2007

이동통신 단말기의 그래픽 유저 인터페이스 환경은 다양한 요인에 의하여 그 변화를 자극 받고 있다. 한정된 디스플레이 공간 안에서의 다 기능화로 인한 사용성의 문제, 정적이고 지시적인 상황에 익숙한 문자 중심의 세대에서 자율적이고 동적인 영상 중심의 세대로의 사용자 세대의 변화, 합리적 소비 보다는 감성적 만족을 중요하게 여기는 사용자 가치의 변화, 그래픽 디자인 트랜드의 변화, 서비스 컨텐츠의 변화, 기술의 발전 등 이동통신 단말기를 둘러싼 모든 측면에서 변화가 진행되고 있다. 여기에 이동통신 단말기 제조사, 서비스 업체, 컨텐츠 업체, 칩 제조사 등 이동통신 서비스와 관련된 다양한 사업 주체들의 복잡한 이해관계 속에서의 경쟁 또한 이러한 변화를 부추기는 요인의 하나로 볼 수 있다. 본 연구에서는 이러한 변화요인들을 적절히 수렴하여 제공할 수 있는 보다 효과적인 그래픽 유져 인터페이스 디자인 방법을 모색하고자 하였으며, 보다 효율적이고 적극적인 개선을 위해 현재 이동통신 단말기의 GUI 디자인의 주요 디자인 수단인 Bitmap 또는 Vector 그래픽 대신 보다 다양한 시각적 표현 방법을 내재하고 있는 3D 기반의 Motion 그래픽을 활용한 이동통신 단말기의 GUI 디자인 방법을 제안 하고자 한다. 하지만 아직 여러가지 제약 조건들로 인하여 이동통신 단말기 내에서 3D Motion 그래픽의 적용이 완전히 자유롭지 않은 것이 사실이다. 그러나 기술의 발전 속도로 볼 때 머지 않아 3D Motion GUI 제공을 위한 이동통신 단말기의 기술적 환경은 충분히 발전될 것이며, 이에 따라 본 연구와 같이 3D 그래픽이나 Motion 그래픽을 등을 활용한 이동통신 단말기의 사용자 인터페이스 연구의 선행은 매우 필요하다고 볼 수 있다.

• The Journal of the Korea Contents Association
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• v.11 no.7
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• pp.168-178
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• 2011

Experiencing the vortex of postmodernism, modern graphic design has evolved radically from simple aesthetically-motivated style following modernism. Concurrently, Typography has transmuted into International Typography Style from Grid Standard, which was an outcome of modernism. Edward Fella is one of the most internationally prestigious figures practicing the contemporary graphic design style. He is currently pursuing his career as an educator by teaching graphic design and typography at Cal Arts. For a long time, Fella has devoted himself to yielding products of de-constructive presentations and constructing design identity based on aesthetics. This paper looks into aesthetic criteria which has affected modern graphic design, referring to graphism of Fella, an international graphic design and typography educator whose theoretical origins lie in French modern philosophy and aesthetics. Fella has created graphic works by making use of graphic motives residing in the unconscious and the subconscious. Therefore, his graphic style is viewed and investigated as de-constructive aesthetics in the paper. Drifting around toward the end of postmodernism, the present day defines itself as the age free of formality approaching uncertain future; however, Fella's typography graphically guides us to understand comprehensively not only how international graphic design flows from the present to the future, but its realizations in design works.

• Proceedings of the Korea Society of Design Studies Conference
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• 2000.11a
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• pp.18-19
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• 2000

인간 중심의 디자인을 노력의 일환으로 최근 여러 디자인 프로젝트에서 에쓰노그래픽 사용자 리서치의 방법을 적용하고 있다. 에쓰노그래픽 리서치 방법의 정수는 디자인 될 결과물 지향에서 벗어나, 현장에서 사용자가 실제로 무엇을 하는가에 대한 사람들의 경험에 리서치의 초점을 맞추는 것이라고 할 수 있을 것이다. (중략)