소규모 그래픽 디자인 스튜디오의 역할과 생존 모델의 성립: 2010~2015년을 중심으로

다국어 초록 (Multilingual Abstract)

Background : From the late 1990s to the early 2000s, the industrial structure of South Korean society, including design, began to be reorganized due to economic crises such as the foreign exchange crisis. In particular, the subjects performing graphic design were continuously being miniaturized. Small studios that appeared in the mid-2000s began to stand out in the field of culture and arts and achieved cultural achievements. However, in the 2010s, doubts began to arise about the sustainability of small studios. This study aims to reveal that in the 2010s, the members and culture of small studios matured and began to specify and systematize their roles and survival models.
Methods : This study first analyzed the limitations and sustainability issues of small-scale studios raised in the exhibition Graphic Design, 2005-2015, Seoul from various angles. Afterwards, we analyzed articles, interviews, and writings published in magazines, academic journals, daily newspapers, and books in the design field to track the activities of small studios from the early to mid-2010s. We took a closer look at the strategy and the process of building a survival model through it.
Results : In the 2010s, small studios were not limited to just a few cases, and new production entities continued to emerge. First, from the beginning, members of the small studio did not stop at performing design services but showed autonomous and experimental work, demonstrating capabilities on par with artists in the field of culture and arts. As a result, they were able to acquire the status of equal collaborators from the planning stage on projects in the field of culture and arts. Based on this, starting in the 2010s, small studios were able to win projects from cultural and artistic institutions in various fields in South Korea. Second, the small studio discovered new cultural production and consumption groups by faithfully understanding and analyzing the economic, social, and cultural background of the time and presented a new role model in the publishing field. By making literary books recognized as preferred consumption products, the small studio succeeded in commercializing content for the taste community, and later spread into a movement of small studios adopting similar methodologies. Third, they proposed a communication method that shortened the complex decision-making process in corporate communication and maximized the creativity of small studios. This could be of great significance in overcoming the limitations of small studios that find it difficult to pursue profits.
Conclusions : Small studios that emerged in the 2000s were attracting attention by producing autonomous and experimental work. Entering the 2010s, small studios have established new roles and survival models by systematizing methodologies and strategies and carrying out various projects in the fields of culture and arts, publishing, and corporate communication. This has allowed small studios to become more common and a common role and survival model since the late 2010s.