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文台善 誠信女子大學校 1986 硏究論文集 Vol.23 No.-
The contemporary trend is becoming more widespread to perceive the improvement of city environments as by an aesthetic endeavor. The reality however is that inappropriate space utilization resulting in eyesores such as cluttered billboards, chaotic traffic lights, advertisements and overcrowded shopping malls create the need for a concious effort toward improving the environment, so that it better represents a well orchestrated, aesthetically enticing image. Aesthetical environmental creation through visual means is an effective implementation of such effort, and with that objective in mind, the significance of posters as a form of street art, rather than commercialized billboards and advertisements, becomes more enhanced than has been recognized to date. Seoul is at present an endless maze of shopping malls and its streets are overwhelmed by billboards and advertisements. Present conditions leave almost no room for posters and as a result, poster are becoming, contrary to orginal purpose, a source of visual strain. Poster must have the capacity to awaken the unrecognized needs and the desires of the public, and at the same time to meet the demands of clients. The majority of posters today, however, are excessively blatant in attempts to arouse public interest or prompt purchase, the result being an averse and skeptical public response. The characteristic feature of the poster is its ability to provide passers-by with visual information in a fashion that is without limitation and in a direct, free-flowing manner. Because posters are created not by public demand but by the needs of the supplier, they bear the difficult task of breaking through the indifference of passers-by and catching their attention. By the virtue of its definition, posters need to be elevated to a form of art. Posters of poor quality are nothing but a source of visual strain to city dwellers living amidst commotion aod stress. In response to the never-ending demands of reinvigorated public art, today`s posters bear great meaning and significance in improving the visual environment and in helping to generate an aesthetic living environment of which we are a part.
문태선 성신여자대학교 산업미술연구소 1998 産業美術硏究 Vol.14 No.-
At Present these days when a lot of information pours out through various media, the problem of overflowing information as much as it seems that acceptants are attacked by it becomes an another significant problem about acceptant in 20 century. There is, so called, a side effect of narcosis that people are being unconcerned or vulnerable as a result of adapting too much information. However information is a king of property even when some researchers say that mass communication receivers are no longre acceptants but victims. The newspaper as a medium which provides right information and is easily contacted is expected to take an important place in the near future even though multimedia are developed, which process and provide various kinds of information. at a time due to the development of informative communication technology under the situation like this. The newspaper ads in this point of view are utilized more than any other ads because they, as the possible intellectual medium, provide various information. However, it still needs to study how the communicative media would be effective and easily undestood because busy modernists can't remember a lot of information at a time. Therefore, it should be accordingly studied how the visual symbols in printing medium and newspaper ads are expressed.
문태선 한국비쥬얼디자인학회 1997 한국디자인포럼 Vol.2 No.-
현재 시각디자인은 산업화, 정보화에 따라 그 분야가 세분화 되면서 영역의 폭이 넓어졌다. 과학과 테크놀로지한 분야에 접근하면서 조형예술과는 관계가 없는 정보화 시대의 한 수단으로 되어가고 있다. 그러나, 우리는 모더니즘 시대에 학습과 작업을 한 허버트 바이어(Herbert Bayer, 1900~1985)를 통해서 디자인이 예술과 생활의 통합을 꾀하면서 기계적인 것들, 산업화된 구조, 정보사회에서 예술가의 조정, 예술가의 비젼을 희생 않고도 작업이 가능하다는 것을 알 수 있다. 디자인 분야에서 모더니즘시대는 근대에 속한다고 볼 수 있다. 그러나, 현대에 있어서도 근대 못지않게 교육은 과정의 중요성을 필요로 하지만, 현재를 통해서 과거를 볼 수 있어야만 한다. 바우하우스 시대의 바이어와 고도의 상업주의의 미국에서의 그의 작업을 조명하는 것은 시각디자인의 교육과 디자이너의 중요성, 유용성에 있어서 조형예술과의 관계를 연구하는데 의의가 있다. Visual Design Arts has been recently expanded in its domain as its field was subdivided in accordance with the industrialization and information of society. It is becoming a means in the information era as it approaches to the field of science and thechnology departing from formative arts. However, we can find that the work of arts is possible without sacrificing intervention and vision of artists for the society of information, industrialized structure and mechanicles as its design seeks to integrete arts and life through Herbert Bayer, 1900~1985, who got lesseons and worked in the days of Modernism. It is thought that the era of Modernism belongs to the modern ages in design field but the education in design field takes its procedure important even in recent days as well as modern days because it should look back the past through the present. The objective of examining Herbert Bayer in Bauhaus days and his activities in America, a country of high commecialism, is significant to study the relation with the formative arts in the education, the importance of designers and usefulness in Visual Design Arts.