TYPOJANCHI 2011: Seoul International Typography Biennale Catalogue

Printing: December 26, 2011 / Publishing: December 31, 2011
ISBN: 978-89-7059-607-5 (03600)

Planner: TYPOJANCHI Organization / Publising House: Ahn Graphics / Print: Hyosung Printing
Creative Director: Ahn Sang-soo / Art Director: Park Young-hoon / Design: Kim Sung-hoon
Project Manager: Lee Ji-hyun / Editorial Coordination: Ahn Ma-no, Song You-min, Hwang Li-ling
Translators(Korean to English): Kay Jun, Kelly M. Choi, Kim Hyun-kyung, Ku Ja-eun
Translators(Chinese to Korean): Huang lina, Lee Hye-kyung, Li Zhe, Lin Xinghui
Translators(Japanese to Korean): Sim Ji-hyeun, Sakabe Hitomi
Proofreading: Lee Eun-sil / English Supervision: Lee Mi-jin

Geuljjassi 5: 921-1110
The Journal of Korean Society of Typography 2011.12. Vol.3 / No.1

ISSN 2093-1166
Printing 2011.12.27 / Publishing 2011.12.31

Paper
1. Kang Ko-ni / Study on the Improvement of Pavement Word Marking Seen from Typographic Viewpoints
2. Lee Ji-eun, Nosaka Masashi / The difference of Emotional Structures between the Kinetic Typography and the Printed Typography
3. Sim Wu-jin / Punctuations as an environment of Hangeul Typography
4. Nosaka Masashi / A criterion of aesthetic value judgment in characters: on visual poetry and calligraphy
5. Lee Yong-je / A relationship between direction of writing and Hangul letter-form

좌담
Kim Jee-hyun, Won You-hong, Han Jae-joon, Lee Byung-ju / 한글특별위원회 발족에 앞서

Talk
카롤로스 세규라, Han Chang-ho, Kim Ji-won / 카롤로스 세규라와의 대화

Book Review
Kim Joo-sung / 타이포그래피의 빈 공간
Yu Jeong-mi / 전집 디자인

학회 정관 및 제반 규정

A relationship between direction of writing and Hangul letter-form
Lee Yong-je (Kaywon School of Art & Design, Korea)

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Abstract
Since its birth in 1446 the Hangul letter-form has been constantly changing from ‘Refined’ to ‘Handwritten’ and back to ‘Standardized Handwritten’. This is due in part to a) tools added to already geometric shapes b) the flexibility of handwritten letter-forms in a given uniform space and c) standardization of letter-forms contribute to the reading experience and visual stability of the text.
Vertical reading is influenced by standardized calligraphic letter-forms, which form the basis of Myeongjo classification. This letter-form tends to have its center toward the right, resulting in the letters themselves being slightly slanted upward, on the right. also with the writing sequence being relatively short the letter-forms tend to elongate downward. these characteristics coupled with the reasons for the changes in Korean letter-form, ‘New SM SeMyeongjo’ ‘New SM JoongMyeongjo’ ‘New SM ShinMyeongjo’ ‘New SM ShinShinMyeongjo’ were found to have a progression from vertical to horizontal reading placement.
Recognizing the conditions of changes in the Korean letter-form may assist in designing future fonts or even re-designing current ones. For instance, when designing a suitable text font, perhaps consider a font that retains calligraphic tendencies.

Keywords
direction of writing, vertical writing, horizontal writing, Myeongjo-che

A Criterion of Aesthetic value judgment in Characters: on Visual Poetry and Calligraphy
Nosaka Masashi (Hokkaido University, Japan)

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Abstract
In typography, characters are designed by aesthetic handling of style, size, configuration and layout, beyond a function of communicative process in writing and reading them. Typography is not supposed to be a new concept born in the 20th century but a natural fruit of activities that have inherited an old sensibility to enjoy an image-modeling function in characters since an emergence of them followed by a long history of their development. A central argument of this paper is about a difference and a relationship between writing characters and designing them. To consider this issue, examples are examined of Han Meilin(1936- ), a Chinese famous artist; Feng Jicai(1942- ) who understands works by Meilin in the context of calligraphic art from a point of view that paintings and calligraphy have a common origin; visual poetry in Japan and the other countries; calligraphy by Hakuin(1686-1768), a Japanese Zen priest in the Edo period. Meilin’s aesthetic attitude to see a character as a visual shape is different from Jicai’s aesthetic attitude to evaluate Meilin’s works connected with calligraphic art. This suggests a difference between designing characters and writing them. To get to the point of the difference, this paper takes up visual poetry as a typical example of characters used to design and calligraphy as a typical example of writing characters. As a conclusion, difference and common components between visual poetry and calligraphy are specified.

Keywords
character, calligraphy, visual poetry, shape, layout, brush trace, body

Punctuations as an environment of Hangeul Typography
Sim Wu-jin (Mulgogi Publishing, Korea)

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Abstract
The environment of Hanguel Typography has been improved by many people since the invention of Hunminjeongeum. Yet, typography methodologies of Latin Alphabet and Japanese Kana are still used in Hanguel typesetting. Typographic infrastructures, such as independent typesetting methodologies, punctuation guidelines, font production standards, are currently insufficient.
Hanguel, however, is also a very quickly evolving letter considering the period of its dissemination and wide usage. In order to improve the Hanguel Typography, which is showing an impressive growth since the late 20c, compensation of the infrastructure foundation is required.
The punctuation usage environment, which takes up a significant portion of Hanguel text type font glyph and has complex structure and history, was studied in this paper. Problems of current punctuation typesetting was analyzed. Alternative options to improve font production and typesetting environment was proposed.
This study is hoped to raise a small opportunity for the increase in Hanguel fonts compatibility and implement efficient Hanguel Typography process.

Keywords
punctuation, hangeul, standard, em space, en space, unicode, character class