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by John Choi

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South Africa worldcup 2010

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“... like a Wave on a beach, that thinks it’s had this Tremendous idea, coming to crash on the beach Like that, and it’s true, it has, yet Others have gone before and still others will Follow.” John Ashbery (b. 1927), U.S. poet, critic. “Litany.”

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2Touch

Hair

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Hair Hair Touch Touch

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Quality Vintage clothing and accessories for men and women from the 1930’s to 1980’s “the largest selection of shoes in the UK.’’ Vogue “Voted one of the top 100 stores you must visit in the world” Retail Week and The Evening Standard (July 06)

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[TAEGUKGI] Brotherhood of War 4.7.1950

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SIGHT SEE KOREA SPECIAL EDITION

C Culture

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SIGHT SEE

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From departure to arrival, the world is my destination

KOREA

Beyond 40 years

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THE EDITION 窶認ebruary 2009

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LOCATION 1 KOREA -Seoul


INTRO

HANGUL —The Korean Alphabet by Fritz Park

The original name for the alphabet was ‘HunMin ChungUm’, entitled by its creator King Sejong, the fourth monarch of the Josson Dynasty.

As we leave our ‘sight see’ issue 50 behind us, we’d like to thank our readers for all the positive comments and constructive criticism received over the last ten years. Our electronic letterbox is full of encouraging comments, best wished and inspiring ideas. We start this issue by inviting you to put on your walking shoes and join us on a ‘type tour’ of London, as Caroline Archer guides us though some of the capital’s typographic treasures. From the Far East we welcome Fritz Park who, in his article about Korean alphabet ‘Hangul’. advocates it’s cultural impotence in establishing and maintains a national identity. Through its richly decorated and graphically vibrant pages, Berthold’s Hebrew type Catalogue, from 1924, celebrates Hebrew and Yiddish culture. Steven Heller explains the history of this now scarce publication. Back from the first biannual Codex foundation International Book Fair in San Francisco, David Jury, replete with same fantastic samples, fills us in about the contemporary fine press and artist book scene. The Thackeray Alphabet book, first published in 1929, is a little gem amongst children’s books. Charmingly illustrated and written by William Makepeace Thakeray it’s appeal spans across all generations. Kerry William Purcell explains why. To round off the features, Paul Rennie reminds us about the internationally renowned and influential graphic designer, Tom Eckersley, focusing on his involvement with the LCP (London College of Printing). Finally it is our last lexicon in the series of type designer, compiled and written, from its conception, by Mike Daines. The baseline lexicon has proved so popular, for professionals, academics and students of visual communication alike, that we are planning to develop the series further. (beseline editorial office)

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Hangul is the name of the Korean alphabet. Its meaning is deliberately ambiguous and can be transiated as ‘great writing’ and/or ‘Korean writing’. In the past the Korean alphabet was referred to as ‘Onmun’ (Vernacular/vulgar or women’s scrit), a term that signified the low status it held in the then known world. The original name for the alphabet was ‘HunMinChungUm’, entitled by its creator King Sejong, the fourth monarch of the Josson Dynasty.

Hangul has always been subject to strong political and cultural influences, and was at one point even threatened with obliteration. The situation is not much different now, but unlike the past, instead of an external threat, contemporary Hangul is now facing internal difficulties that threaten its existence again. This is not to say that the language should not undergo change and adapt to the progress of society, but the change should be relevant in terms of communication and social need. This is a topical issue and of great concern in this diversifying, global society, What will happen to language when the world is growing increasingly smaller and cultures are infusing with one another more and more? What will happen when English becomes a more important language than one’s own native one? If typography can be defined as ‘the style, arrangement or appearance of printed and electronically displayed letter forms’ then consequently each language has its own unique typographic principles as well as general ones that reflect the subject matter as a whole. These thoughts open the discussion to still more questions that belong to issues regarding globalization and typography. Such as, what is the role of the skilled and responsible typo (graphic) designer in inculcating the value of one’s own language? Will he take an active part and take a positive contribution in the preservation the visual culture of a nation? An intelligent approach would be to find a middle ground where both tradition and development can meet and interact, instead of overcome and make obsolete?

Although the consonant and vowel configurations in Hangul are nearly endless, not all are used or can even be pronounced. This prototype of ‘Ccotgil’ (a font developed by company Type Space) is such an example

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Dresses Made with Hand and heart

HANBOK

—Hanbok and Its History Hanbok means literally “Korean dress,” the traditional clothing that Koreans have worn through the ages. Hanbok is also the national dress that Koreans often use to express their sense of identity. Thus, the hanbok is the “face” of the Korean people, embodying their characteristics and An especially distinctive feature was aesthetics. the use of a wide band, darker than the main color, along the collar, front The oldest form of hanbok can be hem, and bottom hem of the upper seen in tomb mural paintings from garment. The same darker color might the Goguryeo Kingdom (37 B.C.-668 also be used for a belt that emphaA.D.). In these murals, both men and women wear an upper garment of the sized the shape of the upper garment and gave the wearer a geometrical jeogori or “jacket” type over trousers look by dividing the body spatially. or a skirt, though the cut of the costume differs noticeably according to social status or occupation. The basic feature of the hanbok from this period is that the male and female versions are similar, each comprising an upper and a lower garment.In general, men wore a jacket and pants, women a jacket and skirt, while on formal occasions, both might wear a topcoat or gown over this outfit. The upper and lower garments were of different colors.

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There were many variations on this use of decorative lines, and sometimes a second, thinner line was added. From this we can infer that line decoration was used as an aesthetic element designed to make the upper garment stand out as a focus of attention. It may also have served a practical purpose in making the edges of the garment stronger and more resistant to soiling.

The fabric of the costume is depicted as decorated with dots in various designs, and these have been interpreted as simplifications of the decorative designs that were actually used on clothing of the period. Clothing in the contemporary kingdoms of Baekje (18 B.C.-660 A.D.) and Silla (57 B.C-668 A.D.) is believed to have been similar to that of Goguryeo Kingdom in basic shape, with some differences in size and fit, coloring, and headdress. In state ceremonies, the king, queen and officials wore the Chinese-influenced formal dress, but under this they wore traditional Korean clothing. The ceremonial dress of the king, and even the hat and shoes worn with it, varied with the nature of the ceremony.The status of other wearers was reflected in the design

and coloring of their clothes. Dragon designs were restricted to the royal family: the five-clawed dragon could only be worn by the king and queen, the four-clawed dragon by the crown prince, and the three-clawed dragon by the crown prince’s eldest son. Officials, similarly, were differentiated by the designs embroidered on the front and back of their gowns: civil officials sported a crane, military officials a tiger, and the larger the number of cranes or tigers, the higher the rank of the wearer. Status was also symbolized by color. Yellow stood for the emperor, red for the king, and purple for the crown prince, while violet, blue, and green were used to distinguish the rank of officials.

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TAEKWONDO —The Traditional Art of Korea

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white, yellow, blue, red, and black. Worn with some variations, it forms a large tie-string for the pants.

Korea’s traditional martial art taekwondo is a form of wholesome exercise that has taken its place as a sport in worldwide competition. But taekwondo is more than just a sport. It is also a performing art infused with the Korean spirit. The beauty of art is of two kinds, stable and dynamic. Stability is expressed in the contemplation that forms the mental component of taekwondo training with its emphasis on stillness in repose. More than other sports or martial arts, the movement style of taekwondo places mental cultivation above the skill. It has less to do with offense and defense than with the unity of mind and body that arises from the movement itself. When the body moves in union with the mind, we experience stillness in motion and movement at rest. Within this movement lies a mind in repose.

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Dynamism is the beauty that is manifested in movement. In that the movement of the body expresses the thoughts of the mind, it is founded on the same principle as dance. The taekwondo costume consists of a white jacket and pants tied with a belt. The belt is an important part of the uniform and comes in five colors indicating the levels of achievement:

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Sung-il taekwondo art Korean dragon South Korea Flag Translation Taekwondo in Korean words

The dynamic element in the technique of taekwondo lies in the basic movements of the hands and feet. The fist and limbs are used in the block, punch, thrust, and chop, and the feet in kicking, each with various standing postures. Skill in taekwondo is measured with a grading system in which the learner progresses from an ungraded beginner to a grade holder and then a holder of a dan or level of accomplishment. The grades are counted in reverse from 10th grade (the lowest) to 1st grade (the highest), while the dan progress from level 1 to level 9. The terms dan and dan holder are applied only to competitors aged fifteen or older, while for younger students who have reached the requisite level, the term pum is used instead. ISSUE 04 — 011

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Dramas

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Romantic Comedy

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Chiwaseon Jang Seung-up

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Family/Drama

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그림에 취한 신선, 불꽃같은 천재화가 오원 장승업 1850년대, 청계천 거지소굴 근처에서 거지패들에게 죽도록 맞고있던 어린 승업을 김병문이 구해주고 승업은 맞은 내력을 설명하며 김선비에게 그림을 그려보인다. 세도정치에 편승하지 않고 새로운 세상을 꿈꾸던 김선비. 거칠지만 비범한 승업의 실력을 눈여겨 본다. 5년만에 재회한 승업을 엘리트이자 역관 이응헌에게 소개하는데... 승업에게 진정한 예술가의 자세를 추구할 것을 독려하고 선대의 명화가들처럼 훌륭한 화가가 되라는 뜻에서 오원이라는 호를 지어준 김선비는 승업의 피드백 역할을 해주는 평생의 조언자였고 그런 승업은 행운아였다. 이응헌의 집에서 머슴살이를 하면서 그림의 안목을 키워가는 중 이응헌의 여동생 소운에게한눈에 반해버리지만, 가슴 설레는 첫사랑은 소운의 결혼으로 끝나고... 화가로 자리잡기 시작할 무렵 병을 앓던 소운이 죽어가며 자신의 그림을 청한다는 이야기를 듣고 달려가는데...

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IM Kwon-taek’s ninety-fifth film tells the story of renowned nineteenthcentury painter JANG Seung-up (Choi Min-Sik), an artist whose revolutionary work - and persona - has forever changed the face of Korean art. CHIHWASEON (PAINTED FIRE) begins in the 1850s, when KIM Byung-moon (AHN Sung-ki) saves the young JANG Seung-up from being beaten by a group of drifters. In return, JANG draws him a picture, and as Kim carefully examines the child’s rough drawing, he notices the extraordinary potential of the young boy. Years later, KIM Byung-moon becomes JANG Seung-up’s mentor and encourages him to pursue the life of an artist. KIM eventually gives JANG the pen name of Oh-won. Later on his life, JANG Seung-up meets Mae-hyang, a daughter of a Yangban (social elite) who attracts him deeply. Although their passion is strong, they are eventually forced to separate when she runs away from catholic persecution....

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WORDS BY Yohji Yamamoto ILLUSTRATIONS BY JOHN CHOI

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You live wherever you live you do whatever you do …you talk to whoever you talk to you eat whatever you eat…

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‌you wear whatever clothes you wear you look at whatever images you see...

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You’re living however you can You are whoever you are…

“Identity”... The word itself gives me shivers.

It is a ring of calm, comfort, contentedness. what is it, identity?

To know where you belong? To know your own self worth? To know who you are?

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그림에 취한 신선, 불꽃같은 천재화가 오원 장승업

1850년대, 청계천 거지소굴 근처에서 거지패들에게 죽도록 맞고있던 어린 승업을 김병문이 구해주고 승업은 맞은 내력을 설명하며 김선비에게 그림을 그려보인다. 세도정치에 편승하지 않고 새로운 세상을 꿈꾸던 김선비. 거칠지만 비범한 승업의 실력을 눈여겨 본다. 5년만에 재회한 승업을 엘리트이자 역관 이응헌에게 소개하는데...

승업에게 진정한 예술가의 자세를 추구할 것을 독려하고 선대의 명화가들처럼 훌륭한 화가가 되라는 뜻에서 오원이라는 호를 지어준 김선비는 승업의 피드백 역할을 해주는 평생의 조언자였고 그런 승업은 행운아였다. 이응헌의 집에서 머슴살이를 하면서 그림의 안목을 키워가는 중 이응헌의 여동생 소운에게한눈에 반해버리지만, 가슴 설레는 첫사랑은 소운의 결혼으로 끝나고... 화가로 자리잡기 시작할 무렵 병을 앓던 소운이 죽어가며 자신의 그림을 청한다는 이야기를 듣고 달려가는데...


을 런

How do you recognize identity? We create an image of ourselves and We attempt to resemble this image...

IM Kwon-taek’s ninety-fifth film tells the story of renowned nineteenthcentury painter JANG Seung-up (Choi Min-Sik), an artist whose revolutionary work - and persona - has forever changed the face of Korean art. CHIHWASEON (PAINTED FIRE) begins in the 1850s, when KIM Byung-moon (AHN Sung-ki) saves the young JANG Seung-up from being beaten by a group of drifters. In return, JANG draws him a picture, and as Kim carefully examines the child’s rough drawing, he notices the extraordinary potential of the young boy. Years later, KIM Byung-moon becomes JANG Seung-up’s mentor and encourages him to pursue the life of an artist. KIM eventually gives JANG the pen name of Oh-won. Later on his life, JANG Seung-up meets Mae-hyang, a daughter of a Yangban (social elite) who attracts him deeply. Although their passion is strong, they are eventually forced to separate when she runs away from catholic persecution....

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Is this what we call identity? The accordance between the image we have created of ourselves and... ourselves.

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We live in the cities, the cities live in us... time passes.

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We move from one city to another, from one country to another. we change languages. We change hobbies, we change options, we change clothes, we change everything.

Everthing changes. And fast, our image above all. XXXIX


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John CHOI Mobile + 4 4 (0 )7 7 3 1 3 6 2 6 9 2 Em a i l s u n g h y u n c hoi5425@hotmail.com 46. ARRAS AVE. MORDEN LONDON SM4 6DF U.K.

Online Portfolio: http://issuu.com/johnchoi/docs/portfoliobyjohnc

Education/Grade

Employment

2007-2009

University of Southampton (Winchester School of Arts) BA Graphic design / 2.1 &Marketing and Branding / 2.1

2005-2007

The Arts University College at Bournemouth FDA Visual Communication / 2.2

2004-2005

Bournemouth & Poole College Foundation Diploma in Art & Design / Pass 3.1

1999-2002

Gwang-Nam High School Republic of Korea, Seoul

Spring 2010

Creative id as intenship

Junior Graphic designer www.ananyacards.com

September & February 2009 - 2010

Art therapy Class in South Korea Social Welfare Juridical Foundation

Unnuri Welfare Foundation Second Assistant Art Teacher (Age 23-33)

Winter 2009

National Museum of Contemporary Art As translator and guiding Director, 4th Asian Art Director Forum (AAMDF)

June 2008 - March 2009 - Junior Designer

Studio Admin for magazine Design Han’s Communication, London

Summer 2009

Central Saint Martins College of Art & Design Working as editor making student Fashion magazine & Winchester school of Art BBC Radio Working with editor making radio poster Bournemouth Radio Station at Hope FM

Summer 2008

Personal Project

Awards

Skills

Designer creating regular Web-site, posters and magazine designs for print.

simple, decent, affordable housing in Newsletters, posters, web-site Designer creating regular and other designs for print. Housing Organization building

September 2006 - June 2008

Bournemouth International College Bournemouth International Church

2006-2008

Summer English Camp In Bournemouth Children’s teachers in Art and English (Age 12-18) & South Korea, Seoul

June 2005 - March 2006

Della UK Services Ltd in U.K.

Part-time painting shop working on own initiative.

Summer 2003

TV Animation Seoul South Korea

Make story-board in a illustrative images as team

Spring 1999-2001

Nagnezip in South Korea

May 2008

Volunteer working within a team & taking responsibility for children with special needs. London BRICK LANE Gallery. http://historyrepeatsitself.co.uk/

September 2007 March 2008

D&AD, London (Graphic design & illustration book and O2 Advert)

14 July 2000

Special Prize, 22nd Student Scientific Invention Competition (Class1) Title: Purifier, Exhaust Smoke Gas (Education superintendent & Dong A Newspaper Co., Ltd) Seoul, South Korea

02 Sept 2001

Letter of Commendation For Good Conduct (Chairman. Kwanak-gu Ward Assembly, Seoul)

Understanding of packaging, magazine, newsletter, web-site, poster design,and design for print. Adobe Illustrator, Photoshop, Indesign, Flash MX, iMovie, Motion Graphic and Fnal Cut Studio. Fluent in English and Korean.

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Portfolio