• Archives of design research
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• v.18 no.2 s.60
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• pp.143-154
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• 2005

Typography in visual communication design is 'potential form' hidden within a space. Showing rhythm in typography is making 'aesthetic sense' in a graphic which has formative characteristics, the way of expression is very important. When the rhythm is recognized through visual stream, Rhythmic Sense is formed. The research will present a new form of the Visual Rhythmic Sense by analyzing typography works out positively. First of all, I researched works done by Fillippo Marinetti, Robert Massin, Wolfgang Weingart, and David Carson for their vigorous experimentalism in typography in forming visual rhythm. I used S.D. Scale method to analyze characteristics of visual image and VARIMAX for factor analysis reaching types of visual rhythm, which could be classified as following. (1) Synesthesia Rhythmic Sense (R-synesthesia) means that the senses are conveyed through 'visualization of auditory sense' and 'visualization of touch' (2) Simultaneous Rhythmic Sense (R-simultaneity) means that the time and space co-exist in one plane. (3) Connective Rhythmic Sense(R-connection) means that different factors (Within one plane) co-exist interacting with one another and creating a unified impression through such a process. (4) Artist Oriented Rhythmic Sense ($-artist) means that the artist interprets the content subjectively and expresses his/her impression, thereby, attracting a gaze of audience systematically and arbitrarily. (5) Reader Oriented Rhythmic Sense(R-reader) avoids the existing legibility formed through aggressive engagement of the reader.

• Archives of design research
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• v.14 no.4
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• pp.65-75
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• 2001

The movement towards fashion and east-west culture in housewares has placed a requirement upon tableware to be varied and segmentized meals have become more than simply what to eat, where to eat, and how to eat This issue created demand for both practical and aesthetic tableware, that satisfies modern eating habits and lifestyles. Therefore, the following research was commenced in order to assess the development of contemporary tableware and tablecloths that try to harmoniously accommodate tradition and modernity while evoking a younger feel and sophistication. The direction of this study lies in introducing an innovation to tableware, one not based on predetermined combinations, but on an unlimited number of open coordination concepts, an innovation that satisfies movements towards itemization, specialization, and variation of the fashion and fusion represented in the culture of the dining table, and furthermore, the objective of this study lies in the transformation of the conservative image of the Woo Il Yo brand in order for it to exhibit modern sensibilities through a harmonious combination of tradition and modernity, as seen in a new tableware design that provides various table settings that implement color coordination through a mix and match concept The development objective of the design efforts was focused on lunch ware comprising of the following: 15 pieces of tableware items based on 15 tableware designs, 4 pieces of tablecloth items based on 3 tablecloth designs, all combined, comprising 19 pieces of design. Additionally, a dinnerware line was also developed comprising of 8 pisces of tableware items originating from 8 tableware designs and one tablecloth design resulting in one item. As a result of the research, S/S lunch ware line was developed comprising of 15 items of tableware and three tablecloth designs, and a F/W oriented dinnerware line was developed comprising of 5 items.

• The Journal of the Korea Contents Association
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• v.17 no.11
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• pp.143-155
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• 2017

In the mobile-first era, plenty of mobile apps have been created so that the number of apps owned in a smartphone have been increasing as well. However, users spend most of time with only a few apps and the rest of apps are just kept in their smartphones for future usage. Thus, in order to help users find the apps quickly it is important to study how users arrange apps in a mobile phone screen and find an app. In the literature, we extracted 5 user types to organize mobile apps. We further conducted user survey with 30 subjects and finalized major 3 user types categorized by relatedness(A), aesthetic(B), and external concepts(C). We found that most of subjects took less than 2 minutes when finding frequently-used-apps. However we identified difference in times taken to find a barely-used-apps across three user types; while A type users turns out to be the most effective in finding barely-used-apps, the B type uses tend to be the least effective among three types. For the A type users, an app's name is more important than an icon image because they tend to guess the functionality from the name of the app. The B type users use the color of app icon to find the app in the smartphone. For the C type users who tend to remain the original position of an app when first downloading it in the smartphone, the visibility of an app icon is important to catch users' eyes while they scan a page. The results of this study is expected to be useful for UX designers who improve the usability of app icon usage considering the user types.

• Journal of Korean Home Economics Education Association
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• v.28 no.1
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• pp.1-17
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• 2016

The purpose of this review was to introduce and examine 'development' and 'relations' as the core concepts of Home Economics in 2015 revised middle school curriculum in Korea. The 2009 and 2015 proclamation of the ministry of education on home economics curriculum and 26 published middle school textbooks were reviewed. The major findings were as follows. First, the components of human 'development' and family 'relations' were strongly associated with promoting four key competencies (i.e. the self-management competency, the communication competency, the aesthetic sensibility competency, the community competency) of 2015 revision. Also, four of cross-curricular learning topics (i.e. character education, multicultural education, safety and health education, human right education) in 2015 revision could be effectively discussed with human 'development' and family 'relations'. Second, when teaching and learning of the core concept, human 'development', continuous dynamic aspects of life-span development, the connectedness of different domains of development, systematic approach of various concepts in development, specificity and empirical evidence of information and variability of developmental patterns in adolescence should be considered. Third, when teaching and learning of the core concept, family 'relations', family trait such as generational relations, gender relations, role relations and power relations should be taken into account. In addition, exclusively focusing on normal family ideology or image of middle-class family and lecture-centered instruction methods should be changed for students to achieve the competencies relevant to family relations. The future directions for applying core concepts, 'development' and 'relations' in classroom will be discussed.

• Korean journal of communication and information
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• v.48
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• pp.109-134
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• 2009

This study explores the political parody, which has become an active art form in order to express Korean Internet users' political practices, especially, during the politically turbulent periods from the presidential election of 2003 to the recent candlelight vigil protest of 2008. This study investigates the rise and fall of a parody culture by online users from the mid-2000s, and also examines aesthetical aspects of parodic artworks relying on amateurism culminated in 2004. Specifically, the current study questions an aesthetical lack shown in 'appropriation', by which most of the online users simply produce imitations of original image. This study rather notes 'photomontage' as an aesthetic prototype, the political aesthetics made by John Heartfield, through which this study intends to observe how his aesthetical legacy of political art could be realized in the contemporary form of political parodies produced by online users. The present paper concludes that online users' political participations in producing critical works of art could allow us to negate the dichotomy between the elite and the mass, professional artists and amateur parodists, and a radical politics and the politics of style.

• Journal of the Korea Convergence Society
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• v.9 no.9
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• pp.263-270
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• 2018

The purpose of this study is to investigate the correlation between the demographic characteristics of Korean men and the preference of women's grading such as age, education, marital status, occupation, monthly income, and residence. After the questionnaire distribution, 333 questionnaires were analyzed statistically. Through this study, we will investigate the preference of men according to the step length of women's graduation cuts, and contribute to the establishment of the most preferred type of graduation cuts. As a result of the questionnaire analysis, 51.1% of all males preferred the gradation type with a large step of the cut length, and it was found that there was a difference in the preference for the step according to demographic characteristics (p <0.05) It is possible to conduct various studies on the style of the graduation cut among the hairstyles of women who are visually preferred and beautiful. In addition, it will be possible to derive the importance of customer satisfaction in hair salons, and it will be a basic index for searching for changes in the gradation cuts that can be applied in various ways while maximizing the aesthetic image of women.

• Cartoon and Animation Studies
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• s.49
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• pp.399-423
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• 2017

When thinking about the essence of color, green is the image that is settled on the plant itself, and it is also the color shining by the sun. Physics tries to explain green of plants in the correlation of sun and moon, and the history of art contemplates how it is expressed on the canvas. The film attempts to represent a realistic green using camera or computer specific to the medium. Many color theorists who explore the essence of color do not trust the mechanical and reductive scientific colorism that began in Newton and seek a completely different way of exploring in psychology and aesthetics. Like Goethe, who opposed Newton, they do not distinguish the human as subject and the color as object, but focus on the internal grounds of the relationship between subject and color. The representation of color in film is a combination of physics and art. Film color can be expanded to the spiritual dimension beyond the previous emotional and aesthetic, even beyond the physical and mental domains.

• Cartoon and Animation Studies
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• s.26
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• pp.31-56
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• 2012

This is a scientific study of subjectivity on recognition types and preferences of animation audience. Therefore, Q-methodology was used as a methodology of this study. As a result, it was possible to find the various characteristics according to the preferences of audience on animation genres. The features of each type were classified into 3 types. First was an artistic and literary value-oriented type that explored storytelling and descriptive value. Second was a pictorial and aesthetic value-oriented type that explored visual beauty such as characters and Mise en scene. Third was a visual and entertainment value-oriented type that explored entertainment factors and attractions. Thus, according to the classification of preference types, it was inferred that digital image generation audience with an active preference that can create and consume images have developed a tendency that independently consumed their preferences based on thoroughly personal or subjective preferences rather than classified and accepted their preferred culture as their symbolic expressions of hierarchical position. In this aspect, Q-methodological consideration that is useful to analyze the subjectivity of audience could be a significant work. Nevertheless, this study alone could not reveal various generative contexts of specific preferences. It seems to have more significant results by applying various qualitative or quantitative methodologies together with this study and analyzing recognition types and preferences of audience.

• Journal of Digital Convergence
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• v.15 no.2
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• pp.459-464
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• 2017

This study aims to provide basic materials for marketing strategies of cosmeceuticals by investigating customers' recognition and satisfaction about cosmeceuticals targeting 161 adult men and women in their 20s to 50s and living in Seoul, Korea and then analyzing what should be improved for customers. According to the survey, many customers prefer cosmeceuticals due to the professionalism recognized by hospitals, the recommendation by doctors and the scientific image, though the recognition about cosmeceuticals is low among customers in their 40s or older because they are unfamiliar with the term. The survey also shows that the satisfaction about cosmeceuticals is very high in that 94.41% out of 49.85% total users said they were willing to repurchase them, while 72.22% out of 50.15% total nonusers said they wanted to purchase them. The greater knowledge about skin, the higher the interest in cosmetics and the aesthetic practice rate. When it comes to comparing cosmeceutical users and nonusers in choosing cosmetic products, the greater knowledge about skin, more nonusers consider brand recognition (r=.222, p<.05) and cosmetic ingredient (r=.245, p<.005); and more users convenience (r=.162, p<.05). Now that total customers' awareness of cosmeceuticals remains low yet, therefore, it is considered necessary to steadily promote them, enhance repurchase factors, and come up with strategies differentiated from ordinary cosmetics.

• Trans-
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• v.3
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• pp.29-53
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• 2017

The film scholar Vincent Amiel divides into three types of montage through his book The Aesthetics of Montage ; Montage narratif, Montage discursif, and Montage decorrespondances. These three categories are the concept that encompasses the aesthetic class to which most movies belong. Early films pursued the essential and basic functions of editing, which tend to be modified in the direction of enhancing the director's goals over time. In this way, "Expressive Montage" is one of most important concepts of montage, not as a 'methodology' that combines narrative but as a 'purpose'. In the montage stage, the expressive montage work is done through three steps of decision. The process of 'combining' to combine the selected films in a certain order, after the process of 'selection' which selects only necessary parts of the rush film, and 'connection' to determine the scene connection considering the duration of the shot. The connection is the final stage of the montage. There are exceptions, of course. When fiction films of classical narratives use close-ups, or when using models or objects of neutered animals, the film induces the tendency of a "montage decorrespondances" rather than a "montage narratif" or "montage discursif". This study attempts to analyze the tendency of montage of works with 'uncertain connection' through 'collage' used by close-ups and montage decorrespondances as 'fragmentation tendency of modern films'. The fragmentation of the montage in contemporary film breaks the continuous and structural nature of the film, and confuses the narration structure that is visible on the surface of the film. The tendency of the fragmentation of the montage, which started from this close-up, seems to give an answer to the extensibility of the modern image.