• Journal of the Ergonomics Society of Korea
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• v.16 no.2
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• pp.29-38
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• 1997

The research on the factors which effect on legibility is mainly utilized as the basic data of selecting the standard guideline of VDT screen. But the research on Korean is scarcer than that of English. Furthermore, it is unreasonable to apply the results of the foreign language to Korean, beause of the difference between the typography of English and that of Korean. Therefore, more systematic and ergonomic research of the Korean typography on VDT screen is needed. In this paper, an experimental study on search speed and error rate is designed and performed according to different Korean letter size and font on search task with VDT. The experimental screen based on popular Ming and Gothic style is made up of total 12 artificial screens, each 6 different font size. As the criteria of the performance, searching speed(s.s.) and error rate (e) are selected, and CFF value is measured to evaluate user's visual fatigue. The results of experiment in font show that the Korean Gothic style is superior to the Korean Ming style in user's visual performance. The letter size that gives user the optimal performance ranges from the visual angle 39.8' to 55.5' in Ming style, from the visual angle 39.8' to 52.6' in Gothic systle. In visual fatigue experiment, the better performance of letter size is, the less tired user feels. And the smaller letter size is, the more tired user feels. There is no relationship between font and user's visual fatigue.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1163-1190
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• 2010

Korean EFL learners' stylistic sensitivity was examined through the two types of letter writing, professional and personal. The base of comparison with the English native speakers' stylistic sensitivity was the linguistic style markers that were statistically found by Biber's (1988) multi-dimensional model of variation of English language. The main finding was that Korean university students were sensitive to stylistic difference in the correct direction, though their linguistic repertoire was limited to the easy and simple linguistic features. Also, the learners were skewed in the involved style in both types of the letters unlike the native speakers and it was interpreted as due to the general developmental direction from informal to formal linguistic style. Learners were also skewed in the explicit style in both types of letters unlike the native speakers and it was interpreted as due to the learners' heavy reliance on one particular linguistic feature. As a whole, the learners' stylistic sensitivity heavily relied on the small number of linguistic features that they have already acquired, which happen to be simple and basic linguistic features.

• Archives of design research
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• v.14 no.4
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• pp.127-136
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• 2001

The decay of the Old Chinese Dynasty, Tang in the 10th century caused the collapse of the political order of Southeast Asia and the neighboring countries began to try to go their own way. Japan abolished the system called "Yudangsa" and nourished the culture of Japanese style. The fang age had a respect of the′Japanese Character Culture", in which when we expressed the sound, they developed the Japanese letters ,that is, reduced Chinese characters, and systematized them as linguistic symbols and developed them into one of letter design styles. The Japanese letters which was mainly the media of the expression of the female literature were delicately shaped ′as natural materials, which finally resulted in Japan′s oldest letter modeling, Asite Letter Design Style. The Japanese letters were blended with ′Reeds around the Lake", "Sea Birds", "Birds′flying", and "Rocks", mixed with the overall shapes of the objects and assimilated into one part, and became a means for the main entertainment of the nobility such as "Singing Festival", "Conference", and "Ceremonial Events" According to the relics, the Japanese feeling of a small cosmos was represented with the fabulous skills of artifacts. In audition, "Play Painting"in the countryside is also a kind of Asite the ordinary people accepted as wit and satire. What we will have to notice is about exchange of the Chinese letter designs, when the thought focused ′on the letter design, Jobcheso was popular. The letter design Jobcheso is -a kind of letter design which represents -natural objects and was popular at the time of Yukjo Dynasty, and there are some documents of that period left both in Japan and Korea. "Hyojedo" in Korea is supposed to have been influenced by the letter design. Asite- is also considered to have been "Japanese Letter Jobcheso." Therefore, the purpose of this study is to look into the origin of the letter designs in the Chinese character culture circle, in terms of the letter design of Jobcheso.

• Journal of Korean Society of Archives and Records Management
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• v.1 no.2
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• pp.159-183
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• 2001

The praying sentences of the script of Saddharmapundarika-sutra NO.5 which was made by prayer Bang-Ui, prince Ik-An, was investigated and the cover painting, Byonsangwha(Buddha's preaching painting), and letter style written in the script were discussed in this study. The cover painting on the script is known to be followed to the style of the cover painting as shown in a set of 7 rolls of Saddharma pundarika-sutra of the Horim Museum collection. It is not so difficult to say that the characteristics of cover painting of the script would be suceeded to those of scripts of the end of Koryo and the early Choseon Dynasty. Lotus and its surround was decorated with arabesque figure whose stems were drawn with golden paste and the arabesque figures were done with silver paste. However, for the expression of lotus and arabesque pattern the special feature of drawing style that was originated from the end of Koryo Dynasty to draw the outline with broad line and/or the hardness of drawing line became much more deepened than ever. It is not different to think that this characteristics should be those of Choseon Dynasty. On the Byeonsangwha(buddha's preaching painting) the painting of scattered flowers on stairs of Sumera-Mandala and the scheduled clouds (underseen from heaven) were as similar as to the Byeonsangwha style of the end of Koryo and the early Choseon Dynasty. However, the image of Shakyamuni and/or the halo(光背) is nearly same as the characteristics shown on the Beonsangwha of Saddharma pundarika-sutra of Nesosa' collection, a set of seven rolls which was completed in the 15th year of king Taejong(AD 1415). It is apparent that these characteristics are those of Choseon Dynasty. After king Chungsean in Koryo Dynasty, letter style of Chao Meng-Fu was shown in the script of late Koryo Dynasty as a new letter style.

• Archives of design research
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• v.19 no.5 s.67
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• pp.95-104
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• 2006

The advertisement is an informative product in which a company or an organization has made a substantial capital investment in order to achieve their goals based on their carefully thought-out plans. David Ogilvy maintaned that making a headline of an advertisement is worth 80 percent completion of the advertisement. As he insisted, a headline is also the most important element in the printing advertisement. Therefore, the importance of selecting headline's font style is increased because, while creating a headline, it is necessary to consider the emotional aspects of the advertising object that attract the attention of people. Many researchers call 'typography' as 'frozen sound' or 'written sound' because typography not only works as a letter but also provide people with an emotional pleasure. An appropriate selection of headline's font style in the advertisement production makes both the client and the audience for the advertisement satisfied because it reduces the communication risk and makes design results more reasonable. It is difficult to find many decision-making methods for selecting headline's font style. Therefore, the author of this paper investigated the trend of the use of headline's font style in order to help the designer understand headline's font style as one of design factors. As a result of the research, it is possible to conclude that, while selecting the headline's font style, the attributes of a font consist of limited style, and more objective and systematic font selection methods are necessary.

• Journal of Fashion Business
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• v.12 no.2
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• pp.42-58
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• 2008

The purpose of this study is to examine actual design cases of decorative detail in the Art Nouveau style from the end of 19th century to the beginning of 20th century, and create designs and fashion works to meet our contemporary fashion trends by means of over-decorative style, a characteristic of decorative detail. The characteristics of decorative detail in the Art Nouveau style can be outlined as follows: First, pleats appear with two major feels of solidity, undulated and curvilinear solidity based on gather(ruffle, frill/ flare and flounce) and regular and linear solidity based on linear pleats or tucks. Second, embroidery appears in various patterns developed with stitch of solid feel as well as a variety of coloration effects. Third, attachments are expressed by means of independent motif(applique, gloss effects(beads, sequins), affluent texture and mobility(fur, feather). Moreover, according to technical characteristics and expressive aspects of pleats, embroidery and attachments, it is found that decoration detail in the era of Art Nouveau is over-decoration style. Indeed, it appears in major expressive aspects such as rhythmical solid type, detailed prominence type, superficial touch type and profound volume type.

• Korean Journal of Cognitive Science
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• v.23 no.2
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• pp.269-293
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• 2012

This study aimed to investigate the interactive effects of individual's cultural disposition (individualism, collectivism, horizontal disposition and vertical disposition) and cognitive style (analytic vs. holistic thinking) combination on differences in global precedence. For this purpose, the participants were divided into 4 different cultural disposition groups based on Singelis et al.'s(1995) INDCOL scale, and 2 cognitive style groups based on Choi et al.'s(2007) AHS, and required to respond selectively to global or local property of two types of compound stimuli (compound figure and compound letter). Reaction time and error rates for both global or local property were analyzed and compared as the dependent measurement. The results can be summarized as followings. First, faster responses were observed in compound figure condition than in compound letter condition, and to global property than to local property. Second, contrasting to individualism-cognitive style or horizontal disposition-cognitive style combinations, significant interaction effects both between collectivism and cognitive style, and between vertical disposition and cognitive style on global/local processing were found. This result indicated that combinations of collectivism-holistic thinking and vertical disposition-holistic thinking can induced larger global precedence effect than other combinations of cultural disposition and cognitive style.

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.67-71
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• 2024

Mo Youzhi (1811-1871) was a famous scholar, poet and calligrapher in the late Qing Dynasty. Mo Youzhi's life was rich in experience and broad vision, especially during his ten years in the Shogunate of the Tsengoku Domain, and he made friends with many political and cultural elites. Mo Youzhi is talented and diligent, and has a good relationship with celebrities from all walks of life at that time, so that his talents have been fully demonstrated. In the Qing Dynasty, the study of calligraphy became the absolute dominant force in the world of calligraphy, and the first great prosperity occurred after the Qin and Han dynasties. In accordance with the times, Mo Youzhi devotes himself to learning, takes into account the calligraphy, and goes out on his own path. Moe's work seal, li, kai, line, especially fine seal. Based on its Lishu, this paper expounds its typical style and atypical style respectively, and also discusses the relationship between its Lishu and other fonts. Finally, the author briefly summarizes the significance of Li Shu for the creation of contemporary Li Shu.In the course of discussion, always based on calligraphy ink, consult the relevant literature, combined with Mo Youzhi's life experience, try to be objective and fair, the listed points of view can be based on.

• Journal of Korean Society of Archives and Records Management
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• v.3 no.1
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• pp.1-21
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• 2003

In this paper the characteristics of the script centers golden and/or silver letter center in Koryo Dynasty and a set of seven rolls of the script written in silver letter on blue paper prayed by Yearn Seong-Ik were studied with focusing on the referred records and an epilog of the script. This script was discovered from Namgewon's stone stupa, when it was transported from original site of Daekam Dong, Kaiseong city to Kyungbok Palace in 1919. This script prayed by Yeom Seong-Ik which was written in silver paste on blue papers is a set of seven rolls, the size is 31.1 cm (length) ${\times}$ 27.2 cm (width). The cover painting and Beonsangwha(Buddha's preaching picture) were painted out and in the roll cover. This script was written with 14 letters on a line whose characteristic with the style of cover painting and Beonsangwha is similar to the golden and silver scripts prayed by kings of Koryo Dynasty. The person who prayed this script was a powerful vassal of the king Chungyeol period, Yeom Seong-Ik. According to Koryosa(Koryo History) and Koryosa jeolyo(summarized Koryo History), it is described that Yeom Seong-Ik offered his own house which was built by a group of strangers as a 'Writing Place for the complete collection of Buddhist Sutras and the place of the script of the complete collection of Buddhist Sutras. Therefore, it is possible to consider that this script a set of seven rolls of the script of Saddharma Pundarika-Sutra was written to pray for himself as well as his families' fortune at the place of golden script of the complete collection of Buddhist Sutras, and enshrined it in the Namgaewon stone stupa when the stupa was repaired in 9th year of king ChungYeol. Above all the most important point should be centered on that he offered his house as a writing place for golden script of the complete collection of Buddhist Sutras as recorded in Koryosa Jeolyo. The writing place for golden script of the complete collection of Buddhist Sutras should be emphasized on the meaning of its site. It is an important key point to clear that Kumjawon(Golden letter center) would be different from Kumjadejangso(the writing place of golden script for complete collection of Budihist Sutras) with Kumkyungsa(Goldm script place). As considereing the point that this script showed the characteristics of golden and/or silver scripts which prayed by king Chungyeol in Koryo Dynasty as they were, even though this script was manufactured by individual praying, this script follwed in the style of Kumjawon(golden letter center) and/or Unjawon(siIver letter center) as they were, because this script was written in the place of the golden script for the complete collection of Buddhist Sutras. In this paper all of the points described above with focusing on the referred records and an epilog of this script were collectively considered to make clear the characteristics of the script centers, golden and/or silver letter.

• (The)Study of the Eastern Classic
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• no.33
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• pp.413-435
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• 2008

This study is purposed to analyze the appearances and functions of ellipsis of case markers through the Hangul letters of Hyun-Poong Kwak's family in the early 17th century. Hangul letters appear more colloquial than typography, and ellipsis is the one of main features of it. Generally, 'ellipsis' occurs when a constituent of a sentence deliberately leaves out of a sentence, because it is repeated or can be deduced by the context or occasion. As Hangul letter is written for a specific person, 'ellipsis' occurs more often than typography written for unspecified individuals. The ellipsis of case markers are not an exception. The ellipsis has functions as follow. The first, function is 'brevity.' Communication can be more convenient by ellipsis. Next will be 'informality.' Informality caused by ellipsis can make people express their thoughts and feelings fluently and naturally. It is the reason that spoken language has more frequently occurred ellipses than written language. The third function is 'quickness.' The same information can be delivered more quickly by the sentence using ellipsis than not using. In the 21st Century, ellipsis is misused in netizen communication owing to the quickness. The last function should be 'the effect of a literary style.' The effects can embody through ellipsis such as 'rhythm effect', 'letter style effect', 'translation style effect.' As a result of analyzing ellipsis of case markers, frequency follows the order below.[subjective objective > Locative > Dative > Commutative > Instrumental]