• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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• pp.833-843
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• 2005

The purpose of this study was to investigate the characteristic of logomark in unisex casual apparel brand. For this study, first 36 unisex casual apparel brands were selected from the Dictionary of Fashion Brand, second analyzed the common word showing in them. Third, the logomark of the unisex casual apparel brand were classified into two types according to the typeface character of the logomark, there were serif typeface, sans-serif typeface. Fourth, analyzed the relationship between the typeface image of logomark and brand concept. The results of the study were following : First, the common word that used the most frequently in brand concept were investigated and the order of common word was reasonable, comfort or natural, practical, modern, traditional and basic. Second, The unisex casual apparel brand used the most frequently the sans-serif typeface that represents the images of simple, modern and active sense in the typeface of logomark. Third, the unisex apparel brands used the most frequently English as brand name among the various languages. Fourth, the unisex casual apparel brands were lanuched mostly except several of them after 1990.

• Journal of Information Processing Systems
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• v.2 no.3 s.4
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• pp.178-182
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• 2006

Children exhibit different behaviors, skills, and motivations. The main aim of this research was to investigate children's sensibility factors for icons, and to look for the best typeface for application to Web-Based Instruction (WBI) for e-Learning. Three types of icons were used to assess children's sensibilities toward metaphors: text-image, representational, and spatial mapping. Through the factor analysis, we found that children exhibited more diverse reactions to the text-image and representational types of icons than to the spatial mapping type of icons. Children commonly showedn higher sensibilities to the aesthetic-factor than to the familiarity-factor or the brevity-factor. In addition, we propose a collaborative-typeface system, which recommends the best typeface for children regarding the readability and aesthetic factor in WBI. Based on these results, we venture some suggestions on icon design and typeface selection for e-Learning.

• Archives of design research
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• v.19 no.6 s.68
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• pp.33-38
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• 2006

The development of the typeface 'Arita' presents a method and its following results for a corporate typographic identity. Amore pacific established a strategy for a typographic identity as for their high quality corporate culture and as a first step for it was to develop their corporate typeface 'Arita'. The typeface 'Arita' which pursues sharing and accompanying was developed to be used in the body text to enhance the function of the typography. What was needed to develop this typeface for Amore pacific was first, understanding of the corporation, and second, vision to present new direction for a typeface and its appropriate supervision, and third, ability in designing. Therefore, under the leading of Hong-ik University's meta design research institute, the typeface 'Arita' was created by in collaboration with Seoul women's university's modeling research institute and the typeface design specialty company, type space and the design company, Ahn-graphics. There are two kinds of weight in 'Arita' typeface, one is normal 'AritaM' and the other is semibold 'AritaSB'. 'Arita' is produced into TrueTypeFont(TTF) for Windows Operating System and OpenTypeFont(OTF) for Macintosh Operating System.

• Journal of Korea Multimedia Society
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• v.20 no.12
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• pp.1992-1999
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• 2017

This study proposes a decorative typeface which is produced through the concept of trigonometric functions in an open-source programming language known as Processing. First, the theoretical background of Processing and trigonometric functions as well as previous research in this area are analyzed. Second, basic modules of 'V', 'I', 'O', and 'M' were created for use as the final alphabet typeface with the concept of a trigonometric function. Third, a decorative parabolic curve that encircles the base module was created. Finally, the modules created on Processing were edited in Adobe Illustrator to create a typeface set with characters from A to Z. Various artworks using Programming can produce an infinite number of different versions by modifying only some of the variables and codes, and this method can include multimedia features such as text, images, videos, interactive art and various forms of content and media. Therefore, with regard to expression, the possibilities are endless. In this study, I attempt to expand the field of visual culture using programming and computational methodologies. In contrast to the digital typeface production method, which relies on existing graphic tools, this study is meaningful because it expands the range of use of decorative typefaces.

• 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.

• Archives of design research
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• v.14
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• pp.321-333
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• 1996

The typeface of the Shhnch 'ongjon woodblocks is unsophisticated and old-fashioned while at the same time having a tidiness and strength that give it its special appeal. This is the typeface used in publishing novPls for sale to the common people during the latter half of the Choson Dynasty_ Their demands could not be satisfied with most currently available literature. which was intended to suit the tastes of the official class. As a result of a development to overcome the unbalanced use of space characteristic of letterforms that followed the geometric principles of early Hangul. the typeface followed the refined. feminine "hrushstroke" style of kungch 'e. establishing itself as a "rough" face displaying the characteristics of carved. woodblock printing in answer to the needs of the common p-eople who had the greatest need of Hangul during the time of its f1owering. The Shhnch 'ongjon face is characterized by thin horizontal strokes. thick vertical strokes. and the appearance of being condensed left to right. They possess simple yet varied form. With these characteristics the Shimch' ongjon typeface. if revived and compared to other typefaces. has a beauty of structure and composition and a unique. modern lmage with excellent readability. giving it great significance for modern r langul typography.r langul typography.

• 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.

• The Transactions of the Korea Information Processing Society
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• v.4 no.8
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• pp.2017-2024
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• 1997

The main focus of this paper is the recognition of printed Hangul documents in terms of typeface, character size and character slope for IICS(Intelligent Image Communication System). The fixed-size blocks extracted from documents are analyzed in frequency domain for the typeface classification. The vertical pixel counts and projection profile of bounding box are used for the character size classification and the character slope classification, respectively. The MLP with variable hidden nodes and error back-propagation algorithm is used as typeface classifier, and Mahalanobis distance is used to classify the character size and slope. The experimental results demonstrated the usefulness of proposed system with the mean rate of 95.19% in typeface classification. 97.34% in character size classification, and 89.09% in character slope classification.

• Annual Conference on Human and Language Technology
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• 1994.11a
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• pp.223-230
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• 1994

본 한글꼴은 음절 및 음소의 가시성을 높이고자 한글 음소의 이중 가로선형 배열을 통한 밀도 분산형 한글꼴과 음소 나열형 한글꼴 등의 새로운 한글꼴의 다양한 표현의 실험 연구이다. 일도 분산형 한글꼴은 새로운 음소형 한글코드(닿소리, 홑소리, 받침 조합형)와 서로 대응하드록 일원화 한글꼴로 한글 및 옛 한글의 음소 조합형의 입.출력이 가능하다. 이러한 시도는 1바이트 이내에서 현대한글 및 옛한글을 구현하며, 이는 한글의 구현원리에 따른 음소형 코드체계의 실현 가능성으로 한글 코드체계의 최적화에 대한 새로운 가설을 제시 한다.