• Archives of design research
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• v.14 no.3
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• pp.187-196
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• 2001

With the introduction of Macintosh computer in 1984. the environment of typography design has been digitalized rapidly. Although it has been less than 20 years, typography went through dramatic changes more than any period in the design history. Digital technology saved the time and efforts in the process of design works. The new temporal and spatial elements opened new dimensions and made it possible for typography to challenge for new experiments. On the other hand, with the overuse of digital technology, design works lack of originality and quality have been produced a lot. The purpose of this thesis is to propose the direction of the typography in the turbulent digital environment. To fulfill this goal, I have researched the typographic changes due to the technical innovations, and the experimental works of pioneering designers. As a result, I propose that the direction of digital typography is to combine the strengths and value from the historic heritage as well as digital technology, and to explore new possibilities of digital typography.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.329-330
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• 2014

The continuous development of information technology had led people into the era of new media. New technologies, in its rapid development, have also produced impacts on traditional visual communication design. As an integral element in traditional visual communication design, Chinese characters have no longer confined to traditional paper media but turned to dynamic video space. In light of the changing globalization tendency, dynamic Chinese characters are producing increasing influences in motion graphics. It is an inevitable trend in character typography design that visual communication will make a breakthrough in the traditional expression boundary. This paper analyzes the influence of dynamic Chinese characters upon motion graphics in view of typography and style, and puts forward with the typography design that can conform to the development of the time, spread information and express emotions in a better way.

• Archives of design research
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• v.14
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• pp.33-41
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• 1996

Typography has two aspects, form and meaning. It is a collaboration of elements both to be read and to be seen. Typographer has to consider that typography has a meaning from only visual form as well as various meanings from every receiver. Because meaning could be differently translated through their cultures, experiences and so on. New visual communication style, typography as discourse, is not one-way communication, but dialogue communication.

• Journal of the Korean Graphic Arts Communication Society
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• v.29 no.1
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• pp.101-110
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• 2011

This research attempts to analyze type of typography influence on advertising attitude, brand attitude, and purchasing intention among print advertisements. Frequency analysis, reliability analysis using Cronbach's alpha, and MANOVA were utilized to analyze those gathered data. The result is the type of typography, affects on building advertising attitude in the mind of audience. However, brand attitude, and purchasing intention are not signigicant. It means that type of typography does not influence on building brand attitude and purchasing intention.

• Journal of the Korean Graphic Arts Communication Society
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• v.30 no.2
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• pp.13-22
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• 2012

This research attempts to analyze communication effects of print ad having pictorial typography. 150 Questionnaires were distributed to respondents staying Daejeun City and 148 copies were retreated for five days from April 22nd to 26th, 2012. Frequency analysis, factor analysis, Cronbach's alpha for reliability analysis were utilized for data analysis with SPSS 12.0. For testing hypothesis, regression analysis was used. As result of testing hypothesis, 'informative, beneficial, creative, reliable' were partially significant to attitude towards print ad having pictorial typography. That means 'creative' and 'reliable' were insignificant, while 'informative' and 'beneficial' are significant. Variable of the most influencing on attitude towards advertising is 'informative.' 'Informative, beneficial, creative, and reliable' were partially significant to brand attitude, too. That means 'beneficial' and 'creative' were insignificant, while 'informative' and 'reliable' were significant. Variable of the most influencing on brand attitude was 'reliable.' Therefore, to enhance communication effect of print ad having pictorial typography, 'informative' and 'reliable' are most significant variables.

• International Journal of Contents
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• v.14 no.2
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• pp.41-44
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• 2018

In this paper, we propose a novel method for developing expressive typography authoring tools with personal emotions. Our goal is to implement an interactive typography system that does not rely on any particular language and provides an easy, natural user interface and allows for immediate interaction. For this purpose, we converted the text data entered by a user to image data. The image data was then used for interaction with the user. The data was synchronized with the user's skeleton information obtained from the depth camera. We decomposed the characters using the formality of language to provide a typographical movement that responds more dynamically to the user's motion. Thus, this system provides interaction as a unit of characters rather than as a whole character, allowing the user to have emotional and aesthetic emotional immersion into his or her creation.

• Archives of design research
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• v.14 no.1
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• pp.167-176
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• 2001

In 21st century as a digital era, visual communication design becomes more important than any other period. Recently, traditional typographic design for the communication with emphasis on the readability and experimental typographic design with emphasis on the expressionism contrary to the traditional concept coexists. There have been experiments on the typography with the establishment of modem art concept in the past: this trend is more obvious since the 1980s with the technological development of desktop computer. In this study, experimental typography works by David Carson who is one of the most representative graphic designers of the 1990s are analyzed in detail, and problems and prospects of this experimental typography in a digital era contrary to the traditional viewpoint we discussed.

• The Journal of the Korea Contents Association
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• v.20 no.8
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• pp.162-175
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• 2020

The purpose of this study is to deal with practical investigation, which blends symbolism on spatio-temporal level-especially typography in three-dimensional environment-and the symbolism of written language in the context of visual communication. Up until now, typography research and education have mainly been centered on two-dimensional environment and printing technology, such as the paper. However, this study is the result of this researcher's direct design and implementation of projects on typography aside from paper. Accordingly, this study is to provide an opportunity to raise the level of reason and expression used in visual communication to a new level and to expand its scope. To ensure the efficient progress of the project, this study was to identify the structure, system, and process of communication first. Furthermore, this study was to investigate two-dimensional and three-dimensional typography as the backbone of visual communication. In addition, several representative 3D typography works are analyzed in context and used as the conceptual framework of the project conducted for this study. Based on these results, this research verifies and suggests the possibility practically and objectively by creating the project series entitled Rhetorical Space in 3D typography. In addition, this research gives an opportunity to visualize ideas aimed at the development of character-based visual language and visual communication design in the realm of the more spatial, physical, and three-dimensional public environment.

• The Journal of the Korea Contents Association
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• v.15 no.6
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• pp.203-214
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• 2015

Before the digital age, the main tools used for printing out letters were pen and brush. Therefore, forms and styles of the languages modelled out during the age also revolved around the pen and brush. However, new tools and techniques introduced in the digital age to express typography put this limit in the shade. In other words, the user can make expressive and experimental typography and typefaces quickly and easily, by learning and utilizing new tools efficiently. As such, this study is to explore those cases, to understand characters and meanings of expressive and experimental typography within the context of typography history, to introduce a new tool, 'Scriptographer' developed by means of the open-source scripting plug-in for Adobe Illustrator, and to discuss the advantages, disadvantages and applicability of this tool. Further on, through case analysis of successful preceding projects, the researcher arranges a practical foundation, and estimates the practicality of this research through experimental typography series, Rush Type and Celestial Type, created by using Scriptographer.

• Journal of Game and Entertainment
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• v.2 no.2
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• pp.61-69
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• 2006

Along with advance in visual culture, the importance of motion graphic has been increasingly emphasized day by day, which can maximize information delivery using image illustration and typography, graphic factors of images. In addition, we can easily see increasing cases where what a designer intends is visualized using creative typography in diverse mass media such as TV commercials, movies or web. Thanks to the effects of this trend, various ways of manufacturing works have been proposed in the field of motion typography by applying diverse factors including verbal ones, time, form, motion, colors, and sound for the purpose of expressing formless semantic notions through visual form of typography. However, physiological features such as sex, age, health status, pathological conditions, and body size can have a bigger effect on the process of real communication. Therefore, if property of quasi-verbal sound can be reflected appropriately in motion typography where communication is expressed only by visual form, it can enable people to understand what a designer intends faster and more exactly.