• Journal of the Korean Graphic Arts Communication Society
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• v.20 no.2
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• pp.141-152
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• 2002

From women's magazine published between January to June in 2002. Ywo page spread magazine advertising were selected for this study. From the findings, standard layout of two page spread advertisements in women's magazine Language are enumerated. It is written in Korean or Korean and English in black roman/serifs or square typeface for headline copy written in same typeface. Two to three color are used for typeface in the most ads. The relationship between product life cycle and all research items shows that there is very strong relationship.

• Journal of Digital Convergence
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• v.17 no.11
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• pp.493-499
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• 2019

Seal is a tool to prove an individual or group. Guk-Sae and Eo-Bo uses typeface to represent their names or titles, which change from tensile to tensile and have varied from time to time. Although the Korean alphabet currently uses Hangul, it had used Chinese characters before Hun-Min-Jeong-Um was created in 1443. All seals and royal seal before the Korean Seal of State were made in Chinese characters. This thesis analyzes the concept of typography through the royal seal, and the subject of this study is 'Sugang Emperor' which is the only eight-letter version seal of the Joseon Dynasty's various royal seal. Bo-Yeong, which is shown in Bo-Myeon has artistic value with beautiful typeface and proportions, which is worth research. It examines the features of the Korean seal, analyzes and studies the typeface shape and features from the typographic perspective of the "Sugang Emperor Bo-Yeong," or writing.

• Proceedings of the IEEK Conference
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• 2002.07b
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• pp.916-919
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• 2002

This paper introduces the problem of typeface classification of Hangul characters and proposes features for typeface classification among Serif and Sans-serif classes. Serif classes have a small decorative stroke around the beginning of vertical strokes, while Sans-serif classes have no serif. Therefore, the serif part is first segmented from the vertical strokes, and the direction of the serif is computed as the feature for Hangul typeface identification. To evaluate the performance of the proposed system, we used 3,000 characters extracted from Korean documents - 1,500 from Serif fonts, other 1,500 from Sans-serif fonts.

• Proceedings of the Korean Society of Computer Information Conference
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• 2021.07a
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• pp.123-124
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• 2021

본 논문은 기존 폰트 디자인을 고찰하여 한글과 라틴 알파벳 디자인의 형태 유사성을 향상시키기 위한 기초 자료를 제공한다. 고찰을 위해 윤디자인 대표 폰트 20종을 선정하였다. 형태적 관점에서 글자 디자인적 유사성을 찾기 위해 낱자, 낱글자, 낱말, 문장을 기준으로 고찰하였다. 윤디자인 대표 폰트 20종의 한글과 라틴 알파벳 글자 디자인의 결과는 다음과 같다. 첫째, 낱자(자소) 디자인은 동일한 형태이지만, 크기와 비례가 변화할 수 있다. 둘째, 낱글자(음절) 디자인은 낱글자 전체의 디자인을 위해 부분적으로 다른 형태를 디자인할 수 있다. 셋째, 낱말(단어) 디자인은 낱말의 우월효과를 고려하여야 한다. 넷째, 문장의 디자인은 글줄의 흐름을 고려하여 글자의 크기, 비례와 기준선을 디자인하여야 한다.

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.64-65
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• 2002

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.661-674
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• 2016

Despite a dramatic increase in the use of smartphones these days, the elderly's smartphone usage rate is relatively low. This is because there are some facts limiting the elderly's access to the smartphones: 1) aging in both physical and cognitive abilities and 2) complicated functions that are hard to see in the phones. In this study, we studied how Korean typography influence the elderly's legibility and extracted proper Korean typography factors that would best suit the elderly when they use the smartphones. As a result of the study and legibility evaluation for the 24 seniors over 65, we could witness the excellence of 13pt font size compared to 11 or 12 and the Serif typeface as being better than San Serif typeface. On the other hand, the space between the letters and lines did not make a big influence on the elderly's readability. From the preference evaluation, there were no differences found between Serif typeface and San Serif typeface. However, a bigger font size was preferred in the order of 13pt, 12pt, and 11pt. There was no difference in preference found regarding the space between the letters and the lines. We expect that proper Korean typography in smartphones could help the elderly in using the smartphones well.

• Journal of Fashion Business
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• v.15 no.5
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• pp.55-68
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• 2011

The purpose of this research is to study the visual characteristics of domestic national men's wear brand logos. For this purpose, 80 of national men's wear brands were selected from '2010/2011 Korea fashion brand Annual' For analysis, they were classified into three categories: logo types composed only with logomark or symbol and logomark together. Types of symbol were classified into word symbol, descriptive symbol, and abstractive symbol. And the used typefaces were classified into serif and san serif and acromatic and cromatic The results are as follows: The visual characteristics of domestic national men's wear brand logos, there were more brands that used logomark with symbol together than logomark only. And the type of symbols were appeared descriptive symbol(32% ) that meaned the men's power, nobleness and royalty. In domestic national men's wear brands, color of logos were more frequently used acromatic color as black and grey than cromatic color. Among the cromatic colors were more appeared to a kind of blue and green. And the used typefaces were the more frequently used to serif typeface of capital. As a result, the visual characteristics of domestic national men's wear brand logo were that they used the brand logos composed of descriptive logomark with symbol together, black serif typeface the most. From this results, we could find that visual stragety of domestic national men's wear brand logos had the tendency to emphasize the function of conveying information, brand concept that men's wear. The specific and continuous following research in which psychological factor of consumer reflected was requested as a measure to seek brand logo that aid to establish brand power and reinforce brand image.

• Archives of design research
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• v.19 no.2 s.64
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• pp.241-250
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• 2006

Hangeul as the Korean unique characters were invented according to some character-making principles and based on scholars' exhaustive researches. While most of the characters in the world evolved naturally, Hangeul was invented based on a precise linguistic analysis of the time, and therefore, it is most scientific and reasonable among various characters throughout the world. Nevertheless, Hangeul typeface designs do not seem to inherit the ideology of scientific and reasonable Hangeul correctly. For the square forms have been used intact due to the influences from the Chinese characters which prevailed during the time. If a single set of square characters should be designed, as much as 11,172 fonts should be designed, which suggests that advantages of Mangeul may not well be used fully; Hangeul was invented to visualize every sound with the combinations of 28 vowels and consonants. Problems of such square fonts began to be identified since 1900's when typewriters were introduced first from the West. Since a typewriter is designed with 28 characters laid out on its keyboard by using such combinations, the letters may be easily combined on it. The so-called the flexibility square-format typeface was born as such. Specially, the three-pairs fonts of these can be combined up to 67 letters including vowels and consonants. The three-pairs fonts system can help to solve the problems arising form the conventional square fonts and inherit the original ideology of Hangeul invention. This study aims to review the history of the three-pairs fonts designs facilitated by mechanic encoding of Hangeul and thereupon, suggest some desirable directions for future Hangeul fonts. Since the flexibility square-format typeface is expected to evolve more and more owing to development of the digital technology, they would serve our age of information in terms of both functions and convenience. Just as Hunminjongum tried to be literally independent from the Chinese characters, so the flexibility square-format typeface designs would serve to recover identity of our Hangeul font designs.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2002.05a
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• pp.353-356
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• 2002

대부분의 디자인관련 종사자들은 심미성이 소비자의 선호에 중요한 영향을 미친다는 주장에 동의하고 있다. 하지만 어떠한 심미적 요소가 소비자 선호도에 얼마큼 영향을 미치는지에 대한 연구가 미미한 편이다. 따라서 본 연구는 심미적 영향 요소인 율동에 관한 사례연구를 통하여 구체적 영향 정도를 파악하고 연구결과를 이용 소비자 선호도를 높일 수 있는 방안 제시를 시도할 것이다.

• 프린팅코리아
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• s.15
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• pp.80-85
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• 2003

법적인 보호장치 미비로 복제에 대해 무방비 상태에 머물된 인쇄용 글자꼴(Typeface)에 대한 보호가 이루어진다. 특허청은 하나의 글자꼴 개발을 위해 상당한 연구와 시간, 비용이 들어감에도 불구하고 그동안 글자꼴이 아무런 대가 없이 컴퓨터 등에 의해 손쉽게 모방, 복사되어 사용됨에 따라 '의장(Design)법'에 의한 개발자의 재산권을 보호하기로 했다. 특허청은 이를 위해 지난 7월 23일 서울 역삼동 한국지식재산센터에서 경희대 이상정 교수, 서울여대 디자인 학부 한재준 교수 등이 참가한 가운데 '의장법 개정 공청회'를 갖고 전문가 등의 의견을 들었다. 다음은 이날 발표된 경희대 법대 이상정 교수의 주제 발표 내용을 정리했다.