Advertising in modern society has been growing both in quantity and quality. Besides its economic function, it is now expanding its range of influence even into social and cultural fields. Therefore this study went through the characteristics and structure of the language of broadcast advertising by theoretically, presenting the advertising system and its influence in the social and cultural backgrounds. Also it presented improvements and solutions for the examined problems of the language. Advertising can be described as a text which shows its functional side of the language expression. Meanwhile, if advertising is considered not as an unilateral speech but as `communication between a sender and a receiver(consumer)`, its linguistic influence on the language of everyday life should be quite potent. With this point, advertising can be said as a medium which reflects the of language mostly used in the times.Therefore, to study the aspects of advertising language is very significant. This study is to examine the functions of language expressions chosen to catch consumers` attention efficiently, the influence of the characteristics of the language expressions used among the public, the problems occurred when using those expressions and the alternative measures to solve them. Lastly, the study proved that the social and cultural influence of advertising was great indeed, especially the language of advertising was easily accepted in the society, which led to a conclusion that more intense regulation is needed. This also means that the language itself has a great social power and also a lot of meanings. But above all things, it is necessary to make a balance between the regulation and the autonomy in the language of advertising. When there is a public awareness of understanding the advertising more in the cultural and economic point of view, advertising will be developed in better ways.

keyword : Visual Advertisement, Broadcast Advertising, the Language of Advertising, Influence

Today, the importance of communication service through mobile and the usage of design environment are emphasized by the change of design paradigm related to the mobile service and the quantitative and qualitative growth of the related industries. However, the professional Graphic User Interface has little made because the most of estimations of mobile usage give undue stress to the product design and navigation. Therefore, this study tried to establish the model for usage estimation of design in the mobile GUI by using Inspection tool with delphi. And it also examined the way to improve the existing problems of design by approaching the mobile GUI design with `usage model`.

keyword : Mobile, GUI, Usability

Character industry became a new promising industry that is called fancy or gift product in our life in 1990s. Especially, in the beginning of 21th century, character has been more familiar with people by developing of computer animation and the spread of internet and it has been spotlighted as an important role for 21th century cultural contents industry by its fast growing significance and product value. However, the state of current domestic character industry has a very weak basis compared to USA and Japan because it does not have enough professional education and systematic research of character design and also the product strategy and merchandising which grow the previously developed character to product. Especially the profit-only behavior of some companies that just intend to use the famous foreign characters with the high-priced royalty and the moral consciousness of some designers who embezzle and copy the foreign design without hesitation rather than try to develope and utilize our own unique character are the major disincentives. According to consumer preference, Korean image character development which includes positive and educational message is necessary for the consumers because mainly they are from the elementary school students to age of around 20 who are sensitive and it is also a prerequisite in the aspect of business ethics.Therefore, most of all, designer`s fresh sense, professional technique, and true decision are important for the character design which needs the originality and creativity and it is urgent that there must be the national support for training professional designer.

keyword : Fancy, Character, Character industry

The history of opening credit titles (title sequence) runs parallel to the history of cinema and design. Early on, silent films used title cards to provide cast and crew details, crucial narrative information as well as a device to create dialogue or voice for the main characters in the films. The cumulative influence of developments in animation, mid-twentieth century designers and more recently the digital revolution, has seen the credit title sequence develop into its own art form.The purpose of this paper is to not only reflect on past examples of the title design but to also reveal that the title sequence in opening credits is not a revolutionary process. Rather that throughout modern history the contributions of design and designers in film has been crucial to the films very own existence. Even the technology that films work within has been redefined by the designer in order to convey their concepts in film. Finally, this paper should also serve to provide some insight into the changing field of design as typography, sound and image making are used as key elements in the title sequence process as well as in motion graphics.

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Shigeo Fukuda understands the process of visual perception and introduces visual distortion to get an effective communication. On the basis of common visual language, Fukuda has succeeded in conveying the non-verbal concepts and presenting the inexplicable visual phenomenon with his unique methodology. By distorting reality purposely, he leads the viewer to a new imaginary world. What makes it possible for Fukuda? work to evoke curiosity and communicate well is based on the human ability to read non-optical reality from the optical images in the eyes. What we see goes far beyoud the evidence available to the eyes. The impossible figure and the reversible figure in which Fukuda is involved represent well the designer? psychological approach to using distorted space. The impossible figure is a 3-dimensional form that can be produced in 2-dimensions. The impossible figures cannot be perceived through the experience or in a logical way. They calls up no acceptable perceptual object-hypothesis. These figures make the viewer? perception coufused and evoke curiosity. The Reversible figure in which Fukuda introduce is based on figure and ground relationships. In the reversible figures, spaces are not distorted directly, but ambiguous clues are presented, which make perception confused.

keyword : visual distortion, visual perception, Shigeo Fukuda