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안병학(Ahn Byunghak) 한국디자인사학회 2023 Extra Archive: 디자인사연구 Vol.- No.7
An archive is composed of “marks” and “traces.” “Marks” are the tangible aspects that represent individual events, people, and objects, occupying substantial space. On the other hand, “traces” signify the meanings created by the interrelationships among these individual events, people, and objects. In other words, an archive consists of “marks” that are sparsely and irregularly collected, accompanied by past records and collections, and meaning is created as “traces” through the interrelations of numerous dense “marks.” Therefore, one important aspect to consider is exercising patience and restraint in defining “traces” throughout this process. In other words, it is suspending “meaning-making” in every step until sufficient collection is completed. This is because the quality and quantity of what is collected constantly create shifts in meaning by determining the content and scope of the collection. For this reason, an archive remains in a kind of potential state until it is completed to a certain extent or even afterward. Considering this, an archive may serve as a valuable tactic for creative designers who drive changes in visual culture. First, what is creative design? In a systematically specialized society, visual design has assumed the role of contributing to form production at the fringes of the process created by the vast umbrella of marketing. However, as the growth-oriented and highly specialized industrial society approaches its end, and a society of collaboration and sharing emerges, our goals have been redefined towards a sustainable society. In this environment, both art and design have experienced various changes from around the 1990s up to recent times. The characteristics of these changes include notions such as “authorship,” “objects,” “events,” “stories,” “connections,” “community,” “labor,” “interaction,” “experience,” and “collaboration.” However, visual designers, primarily involved in the production and consumption of intangible content, typically produce and distribute messages through form, contributing to the changes in visual culture. The public collectively appreciates and disseminates these changes. In this process, visual designers who lead the production of creative visual culture, as the public’s appreciation and dissemination of visual culture becomes somewhat standardized, break free from the forms they have created and seek new changes, venturing far beyond them. As mentioned earlier, in a highly specialized society, visual designers have primarily been responsible for the implementation of form within the design process focused on problem-solving, which includes “problem definition → strategy formulation → data collection → plan establishment → form implementation → problem resolution.” However, individual designers now play a role in discovering problems, approaching the essence of the problem by discovering it themselves using various information, and intervening in problem-solving. In other words, they position themselves as a kind of coordinator or facilitator in the process of “problem discovery → collection and recording → problem review → recollection and recording → problem definition → plan establishment → form implementation → problem intervention → communication and dissemination → problem resolution,” avoiding providing straightforward answers. This design process that deals with problems within the historical context closely resembles the meaning creation process of an archive. The keyword “experience” has been working as an important factor to utilize the diverse “intervention” and “participation” of design consumers or users for a long time. Designers actively utilize the experiences created through the organic activities of various stakeholders within the platform they provide, for problem discovery and resolution. For today’s designers who maintain a distance from the ideal, avoid singular message production, and pursue problem-solving through social communication
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안병학(Byung-Hak Ahn) 한국콘텐츠학회 2007 한국콘텐츠학회논문지 Vol.7 No.10
연구자는 이 논문에서 데리다의 『그라마톨로지』와 타이포그라피의 글자 개념을 차례로 살펴보고, 책과 문자의 영역에서 다루어지는 타이포그라피의 미래를 확인하고자 한다. 여기에서 『그라마톨로지』란 형이상학에 대한 비판을 통해 소리로부터 글자를 복권(復權)시키고자 하는 데리다 ‘문자학’을 뜻하고, 타이포그라피란 글자를 공감각(共感覺)적으로 활용하는 창작 영역이다. 이 연구가 가능한 이유는 첫째, 『그라마톨로지』와 타이포그라피는 글자라는 연결 고리를 함께 가지고 있기 때문이고 둘째, 타이포그라피에서 글자는 역사학ㆍ철학ㆍ문학ㆍ언어학과 같은 주변 학문과 연관 관계 속에서 이해해야 한다고 보기 때문이며 셋째, 형이상학의 울타리에서 소리에 종속된 글자의 권리를 회복하고자 하는 『그라마톨로지』의 뛰어난 실험성 때문이다. 타이포그라피의 주된 목적은 의미의 정확한 전달이다. 그러나 진보를 향한 창의로운 사고의 원동력은 무엇보다 실험성에 있으며, 따라서 타이포그라피의 목적을 단순히 의미 교류를 위한 소통으로만 제한할 수 없다. 이런 이유로 타이포그라피에 대한 연구에서 아직 접근되지 않은 주변 학문에 대한 관심이 무엇보다 중요하다고 하겠다. This study is possible because, first, 'rammatology and typography are connected by language. Second, I believe that language in typography should be comprehended in a relationship between peripheral studies such as history, philosophy, literature, and linguistics. Finally, grammatology is an excellent subject for experiments which attempt to rehabilitate the right of language, which is dependent on sound within the metaphysical boundary. This study is formed on the idea that the study of typography should be based on language, which is the basic foundation, and that this is possible in investigations related to peripheral studies. The main purpose of typography is an accurate delivery of meaning. However, the dynamics of creative thoughts towards advancement mainly depends on experiment, thus we cannot limit the purpose of typography as a means of communication to exchange meanings. For these reasons, I admit that interest in peripheral studies ?which are not yet approached in the study on typography ?take precedence.
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안병학 ( Byung Hak Ahn ) 한국기초조형학회 2015 기초조형학연구 Vol.16 No.6
기초디자인 교육에서 타이포그라피 교육은 지속적인 반복과 직관적 탐험을 통해 원리를 이해하도록 하는 일이 무엇보다도 중요하다. 좋은 타이포그라피 교육은 글자와 관련한 지식을 ‘머리’로 학습하게 하는 것이 아니라, 학생의 몸과 감각을 활용한 경험과 실험을 통해 ‘눈과 손’으로 원리를 익히고 체화하도록 하는 것이어야 하기 때문이다. 타이포그라피에 대한 관련 지식, 역사, 이론 등은 이 과정에서 자연스럽게 공부하고 스스로 깨닫도록 유도해야 한다. 이 연구는 저학년 타이포그라피 교육의 실효성에 대한 문제 제기에서 시작해 타이포그라피 교육이 학생 자신이 알지 못하는 숨은 감각을 스스로 발견하게 하고, 이를 극대화하도록 유도하기 위한 방법론에 대한 탐구이다. 이를 위해 표현의 실험성을 가장 자연스럽게 유도할 수 있도록 문자 언어적 조건과 제약을 활용했고, 이것이 시각적 번역 과정을 통해 표현의 잠재적 다양성을 유도하는 효과적인 도구로 사용될 수 있다는 가정을 확인하고자 했다. 또한, 이 연구는 창발적 타이포그라피는 머리가 아닌 손과눈을 통해 몸으로 익혀야 한다는 연구자의 관점을 실험과 관찰을 통해 확인하는 과정이기도 하다. It is crucial that understanding typographic principles within fundamental design education could be attained by continuous repetitive training and intuitive discipline. This is because learning typography should not be conducted not by intellectual study focusing on gathering knowledge but by accumulating practical principles, utilizing students’ eyes and hands through vivid experience and experimentation. In terms of effective drilling this study is aimed to figure out a proper methodology in typography education for undergraduate students whose purpose of study is to discover their inner potential which they even don``t know and to maximize it by themselves. In order to stimulate students’ experimental nature of visual expression, they were given certain semantic conditions and requested to gather poem titles from different poets that they are unfamiliar with. As a result of this study, the supposition that the titles collected could act as a role for arising their inner potential was verified and the idea that emergence of typographic expression has to be earned by students’ eyes and hands was reassured.
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