Background With hundreds years of history, Chinese New Year Painting as the carrier of people`s belief is of certain values and significance. Studies on endangered local New Year Painting mostly focused on field investigation and the related records. This research finds out the key problems on the basis of field investigation and analysis to make out how to invigorate the Dongchangfu New Year Painting, especially aimed at providing materials for Dongchangfu New Year Painting research. Methods Field investigation, interview and oral history study were used as the main methods in this research. To have a further understanding of Dongchangfu New Year Painting, this research has taken records and analysis in the form of oral dictation. Result A lot of problems have been discovered through the investigation on the poor situation of Dongchanfu New Year Painting. The main factor that hinders its development is the shortage of professional researchers. This deficiency has resulted in the lack of studies on activating New Year Painting. To solve this problem and invigorate Dongchangfu New Year Painting, this research proposes some schemes that with the Dongchang New Year Painting Museum as the center, education programs should be launched and professional New Year Painting research groups should be created. Conclusion Dongchangfu New Year Painting contains folk belief and local custom with distinctive artistic characteristics, thus it will be of great significance to develop and invigorate Dongchangfu New Year Painting. This research can help present a further understanding of the invigoration and key problems of Dongchangfu New Year Painting, taken as a fundamental material for local culture invigoration research. This research is expected to be the foundation of future studies on the invigoration of local New Year Painting.

keyword : 동창부(東昌府) 연화, 동창 연화 박물관，구술사, Dongchangfu New Year Painting, Dongchang New Year Painting Museum, Oral History

Background The function of communication in design field cannot be overemphasized. Design is generally intended to promote public communications, that is, to induce positive empathy and response from the public through strategic planning based on creative thinking. The Dutch graphic design, which has attracted worldwide attention in recent years, is highly recognized for the uniqueness and reasonableness of individual designers based on the open and objective thinking. Against this backdrop, this study aims to look into the methods of communication in design through the analysis of formative language intended for communication of the Dutch graphic design. Methods The study has classified the communication methods shown in Dutch graphic design in terms of style, meaning, and expression, and presented a number of iconic methods of expression based on case studies. The characteristics and trends have been analyzed in terms of borrowing and mixing, experimental nature, layers of meaning and selective interpretation, geometric form and message, and the autonomy combined with modernism. Results The characteristics of the Dutch graphic design style can be summarized as follows. First, borrowing and mixing is accompanied by experimental spirit to be recreated on the basis of the resources accumulated with arts and culture, and creates a new formative language. Second, it implies a sophisticated level of meaning and concept in works of art and induces participation in the design to facilitate communicates with audience. Third, the geometric form, as a major design element, combines even with irrelevant forms to create new messages. Fourth, the advantages of functional and reasonable modernism are combined with the autonomy and creativity of the designers to get access to the public in a new style. As such, the Dutch graphic design style adds a variety of form experiments to artists` personalities, building their own unique style of expression. Conclusion Therefore, analyzing the communication style of the Dutch graphic design is intended to study the communication methodologies with the public established through the messages that they like to convey to the public and the expression methods for that, through which it seeks a variety of design methodologies.

keyword : 네덜란드그래픽디자인, 커뮤니케이션, 디자인스타일, dutch graphic design, communication, design style

Background Advertisement is working as another meaning through the connection with surrounding society and culture on top of its own meaning. Therefore, instead of just pursuing fun and sensational elements of B-list, it also shows the insight based on the sociocultural meaning in the B-code of advertisement. It aims to understand the concrete roles of B-list in advertisement by analyzing the visual/linguistic image of B-advertisement. Methods Among 19 advertisements registered in the Hall of Fame after continuously receiving empathy from consumers in the advertisement area sensitive to trend for last three years(2014-2016) in an advertisement portal site, TV CF, total seven advertisements containing the B-topic were selected as subjects. By reviewing the visual/linguistic elements shown in advertisement in the comparison with Pierce`s ternary relations based on preceding researches, it aims to examine changes in sociocultural meanings hidden in B-advertisement. Result The representamen gives a reversed pleasure by reversedly using the existing image of A-stars and objects after getting out of the typical B-patterns. The object arouses consumers` curiosity and interest by simply and interestingly expressing the product information through the use of homonym, marking without syllabic boundary, famous lines of films, and slangs. The bold imagination and absurd set-up in the interpretant thoroughly imply the image of each brand and product even when they look illogical. Conclusion The young generations feeling tired/frustrated of led culture get a comfort and fun by viewing characters looking ridiculous. Also, the B-culture is used as a communication tool to form a social consensus by generations familiar with online and SNS.

keyword : B급, 기호학, 퍼스, B-list, semiotics, Charles Sanders Peirce

Background Interest of science on the image of life continuously influences in the expansion of boundary of art including the development of scientific technology. If artists can see objects that cannot be identified by naked eyes, it would be a way of expanding the base of creative thinking. Therefore, use of science lab tools is valuable to artists as aesthetic instruments and the scientific experiment method could be tried as a new method in the process of artists` creation. Methods It researches the scientific thinking and background appeared in the modern art. Especially, it focuses on artists and their works which expressed with life. It designs the plan and practice in the lab for researchers` work and looks characteristics to make a pattern with the scientific facts and knowledge achieved after the experiment. From the image materials seen with the optical microscope of the lab, it sorts out their types and makes a pattern using the material as a direct motive. Result The scientific experiment method could be a new way of getting unexpected aesthetic results for artists. The mold which was regarded as unpleasant became to have a meaning of `life` appearing as a life cycle of creation and extinction known in the lab and the reproduction and breed of the life was suitable to make and express as a pattern. Conclusion It could observe living creatures that cannot be seen by eyes through the method of scientific observation and express it as an abstract bio pattern. At present that the boundary and area of art are expanding, it is expected that this study would be a variety and new ways of creation in the art field in the future.

keyword : 생물체, 생성, 바이오 패턴, Life, Creation, Bio pattern