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

• Proceedings of the Korea Society of Design Studies Conference
• /
• 2002.05b
• /
• pp.86-87
• /
• 2002

• Proceedings of the Korean Institute of Interior Design Conference
• /
• 2007.05a
• /
• pp.71-72
• /
• 2007

In this study and design, I explore the visual communication design process related to wayfinding in Wonkwang University Hospital in Iksan City. The purpose for designing an integrated is to graphically communicate the complex information. I have designed a graphic information system combining graphic elements such as typography, color, image and text layout, and graphic image to present interpretive and communicative processes. As a result of designing, the wayfinding is s term used to describe the program of applying environmental graphics and or architectural sign systems. In other words, wayfinding is the art of helping people find their way by utilizing visual communications such as signs, directories, landmarks, edges, paths and so on. Wayfinding can also be explained as the ability to know where one is in space and how to find one's way through space. Wayfinding design then becomes a systematic arrangement of the variables that allows patients and visitors to successfully find their desired destinations, especially in a hospital.

• Korean Journal of Computational Design and Engineering
• /
• v.5 no.4
• /
• pp.327-335
• /
• 2000

The spent fuel rod extracting machine is automatically operated in high radioactive environment, so high reliability of operation is required. In this paper, to enhance the reliability of this machine by providing a close monitoring capability. a real time graphic simulation method is suggested. This method utilizes conventional IGRIP (Interactive Graphics Robot Instruction Program) 3D graphic simulation tool to visualize and simulate the 3D graphic model of this machine. Also, the dedicated protocol is defined for transmission of the operational data of the machine. The real time graphic simulation is realized by developing the socket module between a graphic workstation and a machine control computer through the TCP/IP network and by dividing the 3D graphic simulation GSL(Graphic Simulation Language) program as a small sized sub routine. The suggested method is implemented while automatically operating the rod extracting machine. The result of implementation shows that the real time 3D graphic simulation is well synchronized with the actual machine according to the operational data.

• Archives of design research
• /
• no.18
• /
• pp.1-12
• /
• 1996

• 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.

• Transactions of the Korean Society of Automotive Engineers
• /
• v.6 no.6
• /
• pp.7-14
• /
• 1998

A graphic user interface program for the design of vehicle suspension system is developed in this work. Graphic templates are designed by using a graphic language and a library and given to users for interactive data input. Several suspension types are graphically given, and the information of hard points can be directly provided on the graphic templates by users. The information is saved in a data structure which can be efficiently accessed, and transformed into another data format. The data transformation is for the interface to an analyzer by which suspension design characteristics can be calculated.

• Archives of design research
• /
• v.14 no.4
• /
• pp.147-155
• /
• 2001

Graphic design plays an important role in contemporary culture. The chief social function of design is to create a visual identity. This essay focuses on the development of American graphic design and the embodiment of national identity in the twentieth century. The first chapter looks at the brief history of American graphic design. And the following chapter analyzes the example of those designers who have most obviously contributed to embodying identity in the United States. At the beginning of the twentieth century American modern design began with strong European roots. American designers added new forms and concepts to the tradition of graphic design. And their original approach to modern design gained international prominence. American design was pragmatic, intuitive, and more informal in its approach. The purpose of this essay is to inquire into the identity of American graphic design in a chronological survey.

• Journal of the Korean Institute of Telematics and Electronics B
• /
• v.30B no.1
• /
• pp.1-9
• /
• 1993

In recent days high perfermance graphic operation is needed, since computer graphics is widely used for computer-aided design and simulator using high resolution graphic card. In this paper a graphic accelerator is designd with the functions of graphic primitives generation and geometrical transformations. 1-D Systolic Array Processor for Matris Vector operation is designed and used in main ALU of a graphic accelerator, since these graphic algorithms have comonon operation of Matris Vector. Conclusively, in case that the resolution of graphic domain is 800$\times$600, and 33.3nsec operator is used in a graphic accelerator, 29732 lines per second and approximately 6244 circles per second is generated.

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