• 기호학연구
• /
• no.54
• /
• pp.65-92
• /
• 2018

Hangul 's iconicity based on the scientific creation principle makes it possible to expand into various designs. 'Fun' is a factor for success in the cultural contents industry. Through the design process, it is possible to apply fun elements to the design of cultural contents to meet the purpose. The characteristics of Hangul icons that can be used in cultural contents design, the concept of 'fun', the inducing factors of fun and the production methods of visual fun are summarized. The production method of visual fun has suggested the same way as the design humor creation method in visual communication design. 10 types of examples of Hangul in relation to visual 'fun' have been analyzed by the semiotic approach. This suggests a design methodology for the creation of fun elements that utilize Hangul Iconicity in cultural contents design in the future.

• Proceedings of the Korea Society of Design Studies Conference
• /
• 1999.05a
• /
• pp.36-37
• /
• 1999

디자인 프로세스상에 이미지를 중심으로 하는 시각언어를 통한 디자인 컨셉 커뮤니케이션은 이미 여러 디자인분야에서 여러 가지 방향으로 진행되고 있다(스타일 스케치보드, 이미지 맵, 컬러맵, 캐털로그 리뷰 등). 그러나 대부분의 경우, 디자인 리서치에 사용되어진 이미지들은 리서치 이후 저장되지 않고 폐기되어지기 때문에, 새로운 디자인 작업에서 재활용되어지지 못하는 프로세스상의 단점을 가지고 있다.(중략)

• Archives of design research
• /
• v.19 no.1 s.63
• /
• pp.191-200
• /
• 2006

A design representation is reflected in the typicality of branch representation as a syntagm in combination with design factors. And the design factors form up paradigm as an attributive category which is reflected object and value of branch representations, and they are consisted of selection and combination in representative process. Selection and combination of the design attributive category also reflect the representation consciousness of operating in representative process, and they imply a cognizance about object and value of the representation. Therefore, branch representation appears an attributive structure which is required of a given field by means of the representative object and value. This is made up of the divided differentiation according to a combined mode. This study is to investigate the fact verification between typicality of attributive structure and each divided differentiation to measure consideration degree of attributive category which is consisted in the design representation. The attributive structure of representation which is affected the industrial design, the visual communication design, and the environmental design fields identifies to take the typical differentiation by means of evaluations and results of this study.

• Archives of design research
• /
• v.16 no.3
• /
• pp.175-182
• /
• 2003

The objective of this study is to systematically understand the swiss graphic style and examine the design ideology of designers and the visual features, with the focus on the posters that played the largest role in the formation and settlement of the swiss graphic style. Although through other visual designs such as editorial design, from the outside beyond posters, the swiss graphic style has evolved to exert a large influence around the world, based on the posters that served as the main medium for expression by designers and that were used the most in instigating the public, this study aims to cast light on the swiss graphic style, which has become recognized as the textbook of the graphic design around the world since the mid 20th century. First, the study casts light on the meaning of the creation of the graphic style through the background and the formation process, aiming to examine the visual features of the swiss graphic style and how they are integrated through the posters of Swiss designers. The personal activities and efforts of individual designers contributed significantly to the formation and development of a certain design style; however this study intends to identify the other equally important elements: the underlying social and cultural influence, the legacy of previous design styles and ideologies, the collective enthusiasm of designers, and the active progress of experimental research.

• Smart Media Journal
• /
• v.3 no.2
• /
• pp.20-28
• /
• 2014

The issues of generation, delivery, and processing of information which have been treated importantly in information design field have evolved along with the evolution of the humankind. In the modern society, the vast amount of, complex, and artificial forms of information such as big-data is accounted for the majority and claims of interest focusing on how to effectively design those kinds of information are being increased. This study explored the visualization methods applied with the natural objects as motives as one of the ways for users to easily get their perception and cognition to the information. Nature has long influenced on the human figural activities. The natural objects take the optimum visual shapes and provide the diverse inspiration and emotion to the designers in the various design fields such as product design, architecture design, and so on. Through the literature studies, we suggested the compositional principles of natural objects and the principles for observing and analysing natural objects as a principle to use the natural objects for information design domain. We, also, suggested the information design approach model which is inspired the natural objects by linking those two kinds of principles to the information design's visual realization factors and explored the possibilities of utilizing of the approach model by the case studies.

• Archives of design research
• /
• v.11 no.2
• /
• pp.167-176
• /
• 1998

The modern contains many problems that cannot be solved by the reductionism based on western natual science. Up until now, it has been formed determinism over the basis of empiricism or rationalism, this can be called a mechanical view of the world. In the field of natural science since 20C, however, raised the standard of revolt in traditional determinism, plural theory headed up. Consequently, in the name of post modernity, western reason became to deconstruct, further, new theory came to need. This new paradigm also affected design, and was studied to overcome the limitation of modern design.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.16 no.8
• /
• pp.5683-5694
• /
• 2015

In architecture, Sensibility is the most basic thing in the environmental cognition. Emotion is the phychological or cognitive phenomenon of sensory changes. A cross-causal relationship is formed between the two, and they have a consensus in contact with humans and environment. Sensibility ever to serve as bundle and cognize as mutual superposition. Humans unconsciously perceive through the synesthesia that integrated all the senses. In this study, it has been identified as a result of the study, the architectural design through the sense must be design to the multisensory experience of the emotional design. Depending on the times change, it can know that the gradual changes based on the anthropocentric sense and sensibility. Emotional design in architecture shall ensure that a variety of experience through the multisensory. In this emotional design, multisensory design (or various sensory function) -visual & tactory or visual & auditory etc.- is required beyond the limitation of conventional visual concenturated. Therefore, In order to achieve the demands of the modern social objectives of sympathy or empathy for the human-centered design sensibility, the visual perception as well as a variety of sensory must be recognized that a combination of cognitive and functional. And the application of multisensory design is required to aim the synesthesia cognition.

• The Journal of the Korea Contents Association
• /
• v.21 no.1
• /
• pp.129-138
• /
• 2021

This study suggests user-friendly design fiction method applying user-centered design process. Design fiction is a method that predicts futures from design perspective with critical discourses and physical representation. It has been regarded importantly in HCI and interaction design realms as aesthetical and experiential approaches, yet not firmly established. Especially, it has not been considered from user-centered perspective which considers users and related problems. Anticipatory design based on current problems which predicts futures and defines design-oriented scenario is becoming significant. Therefore, this study regards design fiction method in relation to prior design also should consider user-centered perspective, not just experimental approaches. In this regards, this study tries to apply user-centered process, specifically affordances which lead more intuitive and direct impact on users into conventional design fiction process. This study led junior students in visual communication major into design fiction process with specific topics and the Design with Intent Toolkit amongst practices of creating affordances so as to develop new design fiction process with its diverse outcomes. Throughout the process, this study aims to suggest alternative user-friendly design fiction method beyond its critical and experiential approaches.

• The Journal of the Korea Contents Association
• /
• v.22 no.3
• /
• pp.309-321
• /
• 2022

As the spread of COVID19 has compelled activities in various fields to transform to adapt to the non-face-to-face environment, various activities have either already been transitioned into non-face-to-face methods or been searching for alternative methods to carry out activities in a non-face-to-face manner. However, there are apparent limits in handling this transition with the pre-existing digital technology. Ironically, said limitations are more apparent in the UX design field that has thus far emphasized resolutions based on digital technology. The reason for this stems from the nature of UX design which strongly emphasizes the importance of collaboration. Especially, in the field of UX design, problems are expected to surface under areas of communication and collaboration in workshops, which are productive means of collecting the ideas of interested parties and coming up with other new ideas. Based on the aforementioned rise of necessity, this study aims to assess the characteristics of workshops in the field of UX design and suggest an effective method of transitioning UX workshops into a non-face-to-face environment. Along the line of this process, this study has created a standard process in regards to design workshops with active creation, suggestion, and acceptance of ideas, among the various types of workshops defined by the Nielsen Norman Group. This study also developed a framework consisting of non-face-to-face workshops by combining with the standard process the methodologies of workshop activation and non-face-to-face services meant for communication and designing activities, and confirmed the adaptability and the effectiveness of said transition against various types of workshops. Application of the results of this study is expected to effectively lead the transition into the non-face-to-face environment and improve the collaborative efforts of the interested parties via workshops.

• Archives of design research
• /
• v.15 no.1
• /
• pp.407-414
• /
• 2002

Human does information processing more efficiently using mental model at his understanding process. if We know what mental model is, we will know how to percept that. Similarly is it used visual mental model to percept visual object\ulcorner If it is true, we will analysis how man to understand. In this research, we have one experimentation to timid out that is true. So we did experimentation to know how man to understand new products by visual mental model. So we use 2700cc car's side view as stimuli. To A Subjects, we give them to see re\ulcorner size view before 120% ratio. To B Subject, we give them to see 120% ratio. After a experimentation, It is true that we make hypothesis that A Subjects percept this stimuli too long then B Subjects. Accordingly it proves human to use visual mental model to percept visual object. The result of experimentation, a testee use preliminary stimulus as basis of evaluation. It means that he use mental model as basis of evaluation of main stimulus. Accordingly development of new design can afford more strategic approach. Industrial designer who want to strategic approach can forced on high-weighted form attribute as consumer gives.