• Proceedings of the Korea Society of Design Studies Conference
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• 1995.04a
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• pp.46-49
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• 1995

• Archives of design research
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• v.9
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• pp.601-616
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• 1994

avant garde poet Yi Sang wrote his poetry with architectural and artistic inspirations. his artistic creativity was exploded by typographic expression. he lirerated the !iterated word into visible language also. he played with his-own-created-signs. fighted against the reality, traditions and cliches. his typographic characteristic poetry is an evidence for the lengthening the history of korean modern typography as a pioneer. because his experimental works is the great evident. so we evaluated the worth of it.

• Proceedings of the Korea Society of Design Studies Conference
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• 1995.11a
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• pp.92-93
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• 1995

• Archives of design research
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• v.20 no.3 s.71
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• pp.335-344
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• 2007

Hunminjeongeum. is. book. of. Hangul.. The. contents. is. all. about. philosophy. and. concept. of. Hangul. design.. It. is. world-valuable. design. text.. It. is. a. design. theory. book.. typographic. theory.. and. design. philosophy. book.. The. word. of. 'design'. is. Meotjit. in. Korean.. Design. is.'doing. or. making. with .Meot'. in. material,. non-material,. even. in. thinking.. Visual. communication. design. is.'Bom-Meotjit',. Fashion. design. is. 'Ot-Meotjit'.. Substance. of. Meot. is. Oullim,. the. great. harmony.. The. state. of. Meot. is. the. identity. of. Korean. design. spirit..

• Archives of design research
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• v.13 no.1
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• pp.103-110
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• 2000

Hangul came to life as part of the East Asian culture of the Chinese ideograph. Korean letter-culture is starkly different from that of Western letter-culture. In the Orient, letters were sacred and incantory; they were objects of awe, which incorporated elements of the majestic, mysterious, and of ritual. Here we had cultural tradition that acknowledged the intrinsic value of the letters. And it was in this context that Hangul was born as a completely phonetic system of writing. However, the characteristics of Hangul are quite different from those of Chinese ideographs, which are designed to convey a certain meaning. Despite the fact that Hangul is phonetic, its roots lie most definitely in the image of Chinese ideographs. This is something that contrasts with the roots of the Latin alphabet, which have been lost in its long journey of evolution. As a phonetic writing system, a notable characteristic of Hangul is that it has this and the attributes of image. In other words, in that Hangul is a compound, it shares some of the same attributes as Chinese ideographs, but also in that it is a phonetic writing system it is dose to the Latin alphabet. Hangul is definitely a visual writing system that has its origins in the visual culture of Chinese characters as well as being functionally a highly developed phonetic writing system. In short, Hangul has both of these attributes in one writing system. These characteristics of Hangul, for us living in the era of the image, are parts that awaken us to the meaning of existence in our visual culture. Unique among the world's writing systems, the identity of Hangul typography will become none other than the essence of our visual culture.

• Archives of design research
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• v.12 no.1
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• pp.145-154
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• 1999

With the introduction of digital technology since the late 1970s, we have been shifting from the industrial era into the information age. New communication systems have changed our concept of reality. Korea has a wealthy communication heritage with its own language and alphabet. However, Korean typography today has struggled to keep its originality, and does not hold up well to international standards. Korean contemporary typography is not efficient for communicating. It is not orderly, organised and simple. It has currently become complicated and decorative. Moreover, many young designers are attracted by imitations of western trends. It is now time for Korea to reveal its own identity. How can it develop a new typographic language that is more sympathetic to Korean tradition\ulcorner How will Korean information design produce a contemporary style with international relevance that contributes to world culture\ulcorner This thesis will be developed a new Korean typographic language that relies more on Korean traditions. Simultaneously, in this thesis will be examined Swiss typography as a relevant style for a new Korean typography to incorporate. Swiss typography maintained a similar philosophy to Korean tradition with its emphasis on clarity and simplicity. This study will be explored the potential of creating a contemporary Korean typographic solution which combines the traditions of Korea with the clarity of Swiss typography. The first attitude of the new typographic language should focus on legibility. The second condition of the new typographic philosophy based on the ability of designers is interpretation of context. The third concept of the new language is founded on an objective, rational design attitude. The final mental attitude of the new typographic language should feel a deep obligation to traditions. It is crucial time for Korean alphabet to establish a relevant standard rather than goes uncritically with the international current. Korea has had worthy traditions. It is suggested that the answers to 'good design' lie in the study of Korea's own history. Simultaneously, the research of Swiss design which is a

• Annual Conference on Human and Language Technology
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• 1997.10a
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• pp.167-172
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• 1997

효율적인 정보전달이란 글꼴 자체의 모양뿐만 아니라 본문 배치에 함께 사용되는 여러 요인에 의해 영향을 받는다. 본문의 가독성에 대한 연구는 주로 글자모양, 글줄길이, 글자크기, 글줄간격 등을 조작하여 읽기 시간을 측정한 것이거나 시각적 이미지 및 선호도 조사였다. 본 논문에서는 컨조인트 분석을 사용하여 가독성에 영향을 미치는 요인들이 본문 선호도판단에 미치는 상대적 중요도를 살펴보았다. 글자넓이가 가장 중요한 요인이었고, 글자크기, 글자모양, 글줄간격, 글자간격 순서로 나타났다. 글줄길이는 그다지 중요하지 않은 것으로 나타났다. 이런 결과는 전달수단으로서의 기능적인 한글 타이포그라피에서 인간의 선호를 어떻게 고려해야 하는지에 대한 이해에 도움을 줄 것이다.

• The Journal of the Korea Contents Association
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• v.10 no.5
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• pp.144-151
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• 2010

Five Plus One' is a result of visual expressions on five senses such as the sense of sight, hearing, smell, taste, and touch. Although I searched for the data on five senses, there were only information which was quoted in various languages and scientific bases, and also most of the books written were far from artistic expressions including visual pleasure and emotional expressions. In addition, most materials were mainly textbooks for children's intellectual development, academic papers, and medical publications. Therefore, I made this book that makes us to communicate about five senses and an inspiration even though we have a problem to read writings in both Korean and English. I arranged visual elements using illustrations and typography in various ways based on the scientific evidence.

• Archives of design research
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• v.17 no.3
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• pp.383-392
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• 2004

Oullim is Vital principle Which allows humanity to continue its inherent culture. By proposing the evaluative authority of the creative significance of the invention of Hangul and its formation and superiority from the stand point of Oullim, I would like to focus on Hangul's creative significance on the grounds of 'broadly profound design'. The ideas of Hunminchongum's invention id based on the philosophy of Great Absolute. The philosophy of Great Absolute is natural phenomenon and metaphysical understanding of cosmology. But King Sejong could keep a good balance between identity and practicality. It is a high value of Hangul. The main idea of design is seeking for principle of nature and systematical vitality. King Sejong also put this main idea of design in practice for inventing Hunminchongum. In the process, Oullim appeared as an essential function for the Great Design.

• Journal of the Korean Graphic Arts Communication Society
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• v.19 no.1
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• pp.55-63
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• 2001

Visual and color in Korean newspaper advertisements appeared in transformational advertising (21cm$\times$30.4cm) were analyzed. Data were gathered from 191 advertisements shown on major four daily newspaper; Dong-a, Joong-ang, Chosun, and Hanguk from October to December in 2000. From the results of this research, researcher concluded the followings; Both Korean and English are frequently used. With expectation of high readability, Roman/serifs and San serifs are mostly used typefaces. Selecting color for copy and backgraund in advertisements became more varied to satisfy varied consumers' personality.