미수(眉叟) 허목(許穆, 1595∼1682)은 예(禮)에 있어서는 엣 경전에 따른 고례(古禮)를 중시하였으며, 학문에 있어서는 하, 은, 주 삼대(三代)의 육경(六經)을 깊이 연구하였으며, 글씨 또 한 삼대(三代)의 고문을 추구한 상고주의자(尙古主義者)였다. 시대적으로는 양난(임진왜란, 병자호란)의 혼란과 사색 당쟁 의 격변 속에서, 요순시대를 정치현실에 재현하고자 하는 유토 피아적 인물이었다. 사상적으로도 유학의 해석에 있어서 정주 (程朱)의 해석으로 해결하기 어려운 점을 삼대의 문물과 제도 에서 해결점을 찾고자 하여, 경세치용학파(經世致用學派)라는 남인실학파의 초석을 마련한 인물이다. 서예사적으로 볼 때 그의 정치적 이상과 사상적 학문 연구의 결과가 미전체라는 창신적 서체개발의 형성과정을 연유한다고 볼 수 있다. 전서를 통해 그가 끝내 이루고자 했던 삼대시대의 치도(治道)를, 문자, 서법을 통한 재현이었다. . 1660년 그가 삼척부사(三陟府使)로 좌천 부임(1660)되었을 때 세운 <척주동해비(陟州東海碑)>는 미전체의 대표적 묵적이다. 한편 미전체 형성에 많은 영향을 준 낭선군 이우를 통해 접한 청(淸)의 묵적「형산신우비」가 위작의 논란을 겪음으로, 허목 의 미전체에 관한 평가도 엇갈리는 점이 있는 것은 사실이나, 이러한 문제는 후학들이 계속 연구할 과제라고 생각한다. 그러나 서체의 창신은 높이 평가받아야 할 점이다. 그런 의 미에서 논문 말미에 발표한 심일종 연구가의 소장 자료「과두 전(蝌蚪篆)」이 삼척지방에서 발견된 것은 매우 의미 있는 성 과이다. 미전체가 허목 한 사람에 그치는 것이 아니라 지엽적 인 한계를 넘어 시대와 공간을 초월하는 서체(미전체)의 학습 과 계승으로 이어지기를 바라는 바이다.

한글 글꼴의 눈에 띄는 특성에는 세리프 및 네모틀 여부가 있다. 꺾임 또는 삐침으로 장식된 글꼴은 세리프(serif)로 분류되 며, 이러한 장식이 없는 글꼴은 산세리프(san-serif)로 분류된다. 반면 네모틀은 알파벳 글꼴에는 없는 특징 범주이며, 가상의 사각형 안에 자, 모음, 그리고 받침이 조화를 이루는 특징을 의미한다. 본 연구는 오랫동안 광범위하게 사용되어 온 세리프와 네모틀 글꼴 특성을 보유한 글꼴이 그렇지 않은 글꼴보다 친숙성과 선호도가 높을 것을 가정했다. 이 가설을 검증하기 위해 한글 팬그램을 사용한 네모틀 및 탈네모틀 글꼴 그리고 세리프 및 산세리프 글꼴을 제시해 해당 네모틀 및 세리프 유무에 따른 친숙성과 선호도를 조사했다. 그 결과 참가자들은 탈네모틀 글꼴에 비해 네모틀 글꼴에 대해 친숙성과 선호도를 모두 높게 평가했으나 세리프와 산세리프 사이에 이러한 차이는 발견되지 않았다. 더 나아가 친숙성과 선호도 사이의 정적 상관은 탈네모틀 세리프 글꼴에 대해서만 관찰되었다. 이 결과는 네모틀의 특징을 보유한 한글 글꼴이 그렇지 않은 글꼴에 비해 더 친숙하고 선호될 가능성을 의미한다. 특히 본 연구는 한글 글꼴 사용자들에 있어서 익숙하고 편안한 글꼴로 네모틀 글꼴이 권장되며, 더 나아가 세리프를 동반한 네모틀 글꼴이 사용될 경우 이러한 긍정적 감성이 향상될 가능성을 시사한다.

This research investigated the role of perceived luxuriousness of serif versus sans-serif typeface on the persuasiveness of political campaign. Through three experiments, we provided a support for the positive effect of serif typefaces on campaign evaluation of the conservatives through high status perception of the candidates.

Introduction As one of the visual elements in advertising, typeface elicits psychological associations that might have an impact on ad effects and can convey a significant meaning with cognitive and emotional responses. Previous studies illustrate that typeface influences consumers’ perceptions of advertised products, has an impact on readability and memorability of ads (Childers & Jass, 2002), and generates brand personality (Grohmann, Giese, & Parkman, 2013). Therefore, typeface has the potentiality to change the effect of advertising, and could be one of the critical elements to enhance the ad effectiveness by matching with other elements in advertising (McCarthy & Mothersbaugh, 2002). The purpose of the current study is to examine how representative type styles (e.g., Sans-serif, Handwriting, and Serif) can influence consumers’ psychological perception (i.e., warmth and competence), to explore what underlying mechanism exists between typefaces and the ad effectiveness, and to investigate the impact of typeface in ads considering congruence of typeface with the communicator’s perceived power for more effective communications. Theoretical Development The findings of related research support that fonts evoke specific consumer’s perceptions and emotion (Grohmann et al., 2013). Serif typefaces such as Times New Roman were perceived as elegant, charming, emotional, and interesting and Sans-serif typefaces such as Helvetica or Arial were considered manly, powerful, smart, upper-class, and high readability (Grohmann et al., 2013). In terms of the features of typefaces, handwriting typefaces have a curved appearance and they are irregular, unplanned, and characterized by slanted and curved strokes, while Sans-serif typefaces are usually planned and drawn by straight and angular strokes. According to the studies on font in psychology (Jiang, Gorn, Galli, & Chattopadhyay, 2016) and design (Bartram, 1982), circular shapes activate a softness association such as love, warmth, and harmony and angular shapes activate a hardness association such as coldness, aggressiveness, and conflict associations. The research on the transference of some impressions from typefaces illustrates that psychological associations related to type font in ads are transferred to the advertised product or brand (Grohmann et al., 2013). Previous research, based on the Construal Level Theory (Trope, Liberman, & Wakslak, 2007), demonstrated that psychological distance influences individuals’ perceptions and engagement. According to each stream of prior literature on typefaces’ association and Construal Level theory, we predict that handwriting typefaces are associated with closer psychological distance and it reduces the social distance between consumers and the message in marketing activities. In contrast, Sans-serif typefaces are angular and typically associated with professionalism, justice, competence, and power and it may increase the social distance. The current study deals with warmth and competence in consumers’ perceptions. Based on the preceding discussion and research questions, a hypothesis leads to the following. H1: Sans-serif typeface would be more likely to provoke competence perception, whereas handwriting typeface arouses much warmer and more friendly feeling. Variables influenced by typeface Based on the findings of Study 1, the following research question and hypotheses could be built up on the potential variables that influence the effectiveness of typeface: RQ 1. How many reliable and interpretable factors are there among the following variables: Handwriting and Sans-serif typefaces, the perceived power, engagement, and attitude toward typeface? In addition, how much variance in the set of variables is explained by the factors? what kind of underlying mechanism between typefaces and the effectiveness of typeface is such there? H2: Typeface (Sans-serif) would be more likely to provoke (a) perceived power, in turn, positively influences (b) engagement toward the typeface. H3: Typeface (Sans-serif) would be less likely to provoke (a) engagement toward the typeface, in turn, positively influences (b) attitude toward the typeface. H4: Perceived power would be more likely to provoke (a) engagement toward the typeface, in turn, positively influences (b) attitude toward the typeface. Typeface and the perceived spokesmodel’s power in ads Including typeface, as a visual imagery in an ad, a spokesmodel can generate psychological perceptions in persuasive communication. According to the agentic-communal model of power theory, the power of communicators has an influence on the persuasion process (Dubois et al., 2016) and attitudinal and behavioral responses. However, the communicators’ power would be different by individuals’ perceptions or experiences for the category of people (e.g., employee or expert). Therefore, it would be critical to consider the communicators’ power as ‘perceived power’ in communication. The previous study suggested high-power communicators, compared to low-power communicators, are more inclined to generate responses or arguments related to competence. In addition, low-power communicators are more inclined to generate responses related to warmth (Dubois et al., 2016). Based on each stream of literature of typefaces (Grohmann et al., 2013) and communicators’ power (Dubois et al., 2016), the following hypotheses occur. H5. When an ad includes a handwriting typeface in a headline copy, if consumers perceive low power from the spokesmodel’s in ads, by the matching (congruence) effects, it leads to a more favorable attitude toward the ad, ad engagement, and purchase intention than when an ad is employed by sans-serif typeface in a headline copy. H6. When an ad includes a sans-serif typeface in a headline copy, if consumers perceive high power from the spokesmodel’s in ads, by the matching (congruence) effects, it leads to a more favorable attitude toward the ad, ad engagement, and purchase intention than when an ad is employed by handwriting typeface in a headline copy. Overview of Research Design Three separated experiments were conducted to investigate all hypotheses. Study 1 was examined to test the effect of typeface across three representative typefaces such as Sans-serif, Serif, and handwriting, on psychological responses (i.e., warmth and confidence) (H1). Study 2 was conducted to explore the interrelations between the factors and the model with other strong potential effects (RQ1 & H2, H3, and H4). Study 3 was conducted to investigate the effects of typeface along with a spokesmodel in an ad on ad attitude, engagement, and behavioral intention (i.e. purchase intention) (H5 & H6). Research Design in Study 1 Participants were exposed to all 15 typefaces in each 3 font-style (i.e., sans-serif, handwriting, and serif). To test and choose an appropriate typeface in consumer’s perceptions and psychological associations (i.e., warmth and competence) among several typefaces, there were sans-serif (e.g., Arial, Helvetica, Oswald, Quarrion, etc.), handwriting (Bradley, Children, Dandelion, etc.), and serif (Time New Roman, Soria, Courier, Playfair, etc.). Results and Discussion The results of repeated ANOVA (Analysis of Variance) showed that participants perceived different level of competence (F (1.40, 54.63) = 17.23, p < .001, Partial η2 = .31) and warmth (F (1.28, 49.96) = 10.32, p < .01, Partial η2 = .21) depending on typefaces. The post-hoc analyses indicated that participants were more likely to perceive competence in Sans-Serif (M = 4.89, SD = 1.15) and Serif (M = 5.07, SD = 1.04) than in handwriting typeface (M = 4.23, SD = 1.22). On the other hand, participants perceived higher warmth in handwriting (M = 4.75, SD = 1.26) and Serif (M = 4.47, SD = .96) than in Sans-Serif typeface (M = 4.01, SD = 1.08). Model fit for competence was Wilks’ λ = .58, F (2, 38) = 13.82, p < .001, Partial η2 = .42 and model fit for warmth Wilks’ λ = .61, F (2, 38) = 12.11, p < .001, Partial η2 = .39. Study 1 examined the effects of three kinds of font-styles across each typeface on warmth and competence. The findings provide distinct evidence that Sans-serif font-style provokes more competent associations than others (i.e., serif and handwriting) and handwriting font-style generates more warm associations than others. Research Design in Study 2 Given that a certain font-style is more associated with psychological perceptions (warmth vs. competence), the next step was to ascertain whether is the relationship of the variables (i.e., attitude toward typeface, engagement, and perceived power of typeface) (RQ1, H2, H3, and H4). Participants were exposed to two typeface-conditions by using handwriting typeface (i.e., Tornac) and sans-serif typeface (i.e., Nimbus) with several text phrases. Factor analysis was conducted to determine what underlying structure exists for measures on the following variables: typeface, the perceived power, engagement, and attitude toward typeface and to summarize the structural equation modeling among the set of variables. Results and Discussion To check the structural equivalence of measures, reliability test, correlation analysis, and confirmatory factor analysis (CFA) were conducted. Reliabilities for all measurements indicated acceptable levels: perceived power (a = .89) (Dubois et al., 2016), engagement toward the typeface (a = .95), attitude toward the typeface (a = .94). The correlations analysis showed that there is no violation of multicollinearity among the variables (r ≤ .62). A CFA was conducted to confirmed the measurement model fit. The results of CFA indicated that the measurement model had a good fit to the data, χ2 (41) = 55.38, p > .05, χ2/df = 1.35, GFI = .94, CFI (comparative fit index) = .99, TLI (Tucker-Lewis index) = .99, RMSEA (root mean square error of approximation) = .05, SRMR (root mean square error of approximation) = .04. For study model analysis, the Amos 23 with 5,000 bootstrap samples for mediation analyses was employed to analyze the proposed study model. Figure 1 indicate the result of path analysis. The results of the analysis showed that people perceived stronger power in Sans-Serif than in handwriting typeface (β = .43, p < .001, SE = .22, 95% CI [.00, .86]), but they were likely to engage in handwriting than in Sans-Serif typeface (β = -.34, p < .001, SE = .23, 95% CI [-.79, .11]). Perceived typeface power is positively associated with the typeface engagement (β = .60, p < .001, SE = .60, 95% CI [.44, .76]). Indirect effect of typeface on engagement through perceived power was significant (β = .26, p < .001, SE = .06, 95% CI [.16, .38]). Insignificant effect of typeface on engagement become significant when mediator, perceive power, was included in the model. The result shows a full mediation model. Engagement toward the typeface is a significant predictor of attitude toward the typeface (β = .62, p < .001, SE = .07, 95% CI [.48 .76]). Indirect effect of power on attitude toward typeface through engagement was significant (β = .28, p < .01, SE = .07, 95% CI [.24, .51]), but indirect effect of typeface on attitude through engagement was not significant (β = -.21, p > .05, SE = .05, 95% CI [-.15, .04]). Research Design in Study 3 An experimental study between-subjects randomized factorial design, 2 (typeface: handwriting vs. sans-serif) x 2 (perceived power of the communicator in ads: high vs. low), was used to test the proposed Hypotheses 5 and 6. Results and Discussion Regression analyses were conducted to test proposed hypotheses, controlling for the differences of communicators’ characteristics (e.g., a business woman vs. a housewife). Even though ad stimuli were developed by two conditions on communicator’s power, there are individual differences from the perceived power toward each spokesmodel in ads. Therefore, we measured and analyzed the perceived power. The results (Table 1) revealed that perceived communicators’ power positively influences ad engagement (β = .19, p < .05), attitude toward to ad (β = .41, p < .001), and purchase intention (β = .38, p < .001), but typeface does not. Different from the expectation, typeface and perceived communicator power did not interact to generate advertising effectiveness. Conclusion Study 1 obviously revealed that handwriting typefaces are associated with warmth and Sans-serif typefaces provoke competence in consumers’ perception. Study 2 illustrated that there were strong relationships between typeface and the perceived power toward typeface, between typeface and engagement through the perceived power toward typeface, and between the perceived power toward typeface and attitude toward typeface through engagement. Engagement toward the typeface is a significant predictor of attitude toward the typeface. Moreover, there were relatively relationships between typeface and engagement; between engagement and attitudes toward typefaces. The result of Study 3 shows that advertising audiences are more likely to process other visual information (e.g., photo images) than typefaces (e.g., a headline copy) in order to indicate audiences’ responses in advertising contexts and to generate advertising effectiveness. The current research has demonstrated that the strong effects come from a typeface itself might eventually dissipate when woven with other visual elements such as photo images in ads, even though the current research previously indicates that there are influential effects come from typefaces such as warmth and competence and the relationship with the perceived power.

더욱이 경쟁이 치열한 시장 환경 속에서 소비자의 선호요인 중 심미성이 중요하게 부각되는 현실에서 소비자의 라이프스타일의 변화와 그에 따른 소비자의 의식변화를 통해 소비자의 상품구매 기준 역시 변화를 가져왔다. 이렇게 변화하는 소비자의 욕구를 만족시키기 위해서는 디자인 기술과 방법 또한 그에 따른 변화가 필요하다. 따라서 본 연구는 범주화 이론(Categorization theory)을 통한 전형성과 동시에 중요하게 인지되는 심미성의 개념적 구조를 파악하고, 심미적 영향 요소 중 한글서체와 관련성이 있다고 여겨지는 율동(rhythm)을 선정하여 이를 이미지 형태조작에 활용함으로써 다양한 형태발상을 유도한 새로운 디자인 프로세스를 구축함으로서 디자이너의 아이디어 발상의 한계성을 극복하고 소비자가 선호할 수 있는 디자인을 창출하여 디자인의 성공 확률을 높이고자 한다.

최근 다양한 매체의 등장으로 제품을 소비자에게 각인시키고 제품 판매를 촉진하기 위한 기업들의 다양한 광고와 판촉, 이 벤트 활동 등이 전개되고 있다. 이러한 제품을 구입하는 장소에서 이루어지는 POP광고물은 소비자들의 구매활동에 많은 영향을 미친다고 하겠다. 대기업에서 운영하는 규모가 큰 매장에서는 디자인 전문 인력에 의해서 POP광고물을 계획적으로 제작하고 설치하지만, 소규모 매장에서는 점주가 개별적으로 POP광고물을 제작하기에는 전문적인 지식과 역량이 부족하 다는 현실적인 어려움이 있는 실정이다. 이에 소규모 개별매장에서 점주의 요구에 따라서 가격표나 포스터, 모빌류, 사인류 등의 POP광고물을 제작하는 수기 POP광고물 제작 전문가들의 역량은 POP광고물과 광고효과에 중요한 영향을 미친다. 컴퓨터로 편집되고 인쇄된 광고물보다 사람의 손으로 작성되고 만들어진 POP광고물은 소비자의 이목을 집중시키고 감성 을 자극하여 제품판매를 촉진하는 효과가 있다. 이러한 수기 POP광고물의 중요한 표현요소중 하나인 서체표현은 POP 전 문가들의 개인적인 개성과 역량에 따라서 각기 다르게 표현되고 있지만 일반적인 현황 분석과 효과적인 서체표현에 관한 연구가 부족한 실정이다. 이에 본 연구는 전국의 10년 이상 수기 POP전문가 50인의 기본서체(10종)를 표현요소(크기, 기 울기, 기본구조)별로 분석하여 수기 POP서체의 일반적인 표현방법을 도출하고 수기 POP서체의 특징을 파악하여 문제점 및 개선방안을 제시하고자 한다.

캘리그래피는 아름다움과 신선한 감동을 주는 표현력이 강한 글자체로서 전달하려는 문화적 메시지와 특성에 따라 매우 다양하게 나타남을 알 수 있다. 이것은 한글이 우리의 정서에 맞는 감각이기 때문이며 캘리그래피의 영역은 무한하다고 볼 수 있다. 타이포그래피의 영역 속에 있으나 그 독자적으로 새로운 표현 가능성을 찾아내고, 디자인의 한 요소인 캘리그래피는 한 시대의 유행이 아닌 발전적 가능성을 충분히 내포하고 있는 것으로서 보다 근원적이고 새로운 사고와 연구를 통하여 그 개념을 정립하는 것이 중요한 과제가 될 것이며 디자인에의 적용 및 시도는 표현의 다양성을 추구하는 현대 디자인에서 강력한 표현 도구가 될 것이다. 캘리그래피에서 표현기법은 신중하게 선택해야 한다. 왜냐하면 표현기법에 따라 전달하고자 하는 정보의 이미지가 달라지기 때문이다. 최근 정보전달 효과를 극대화하기 위한 새로운 기법으로 캘리그래피가 여러 광고 매체에서 활용되어지고 있다. 그러나 잘못 전달되는 매체표현도 많아 정보의 사각지대가 되고 있다. 이러한 캘리그래피의 매체들은 직접적으로 전달하려고 하는 메시지를 보다 새로운 기법으로 표현함으로써 소비자들의 기억에 오래도록 각인되고 있다. 본 연구는 창조적 캘리그래피의 중요성을 인지하고 한글 캘리그래피의 효과를 더욱 높이기 위하여 다양한 도구를 활용한 표현기법을 통해 신선하고 독특하며, 새로운 표현기법을 구사하고 또한 각 브랜드별 캘리그래피의 표현 사례 및 분석을 통해 이에 따른 문제점 및 캘리그래피의 향후 발전 방향을 제시함으로써 캘리그래피의 미래에 대한 효과적인 메시지 전달 기능을 극대화 시킬 수 있도록 하는 것에 그 의의를 두었다