• 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.

• 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.