Willow | Ουίλοου | 윌로우 |

Willow is a typefamily formulti-lingual typographyin Korean, Latin & Greek.

한글, 라틴, 그리스 문자의다국어 타이포그라피를 위한 글자가족.

Μια οικογένεια τύπων για πολυγλωσσική τυπογραφία Κορεάτης,Λατινικά & Ελληνικά.

Willow is a type family for multi-

lingual typesetting in Korean, Latin,

and Greek conceived for an editorial

purpose. It is inspired by traditional

woodblock printing letterforms

and translated into modern

characteristics. Willow consists of

three weights in roman and italic

styles: regular, semibold, and bold. It

is also available in two display styles

for rich text expressions: black(high-

contrast), black-sans(low-contrast).

Willow supply the same styles in

Latin, Hangul, and Greek. This is able

to deal with the same text information

hierarchy in the different languages.

Latin, Korean, and Greek textures

have a similar solid and formal voice,

but not compromised their own tones.

It can be seen elegant and natural

stroke’s movements at a closer look.

Features

Inspired by Korean woodblock printing, and applied its characteristics to Latin and Greek.

Reflects the calligraphic movement.

asymmetric serif

out stroke of brush movementfluent stroke movement

fluent stroke movement

Willow is inspired by Korean traditional woodblock printing

types and translated into a contemporary style feature.

In woodblock printing, original letters are written by brush,

then carved with a knife. As a result, it still has the elegance

and organic shape of the brush as well as the sharpness of the

carving. This is the basic atmosphere of the Willow.

↑ skewed angle

밝은 이.:3)

밝은 이.:3)

Harmonisation

Secondary style

250800 950 950 330 950

200↑ word space for Latin

↑ 0° ↑ 4° ↑ fast hand writing↑ 6°↑ condenced

835 1000 1000 1000300↑ word space for Korean

← different width in different weight.

↑ Generally, Korean typeface has a monospaced width in different weights to keep the same text length. Recently, there is various design decision include proportional width.

← Korean fast writing has a skewed angle due to the influence of traditional vertical writing.

↑ punctuation for Korean

Structure

(High B.:3

(High B.:3In a secondary style, the rule of Korean fast handwriting style(hulim) is applied to Latin and Greeks: fast movements, linking strokes, condensed width, and skewed angle. Then I slightly adjusted the angle of the each script for the comfortable text flow, but they have a similar appearance as an upright style italics.

To work together well, the alignment and word spacing are adjusted carefully between the different script. At the same time, Korean specific punctuations are supplemented for an independent typesetting.

Type family

Regular

Semi Bold

Bold

Regular

Semi Bold

Bold

Black

Black San

Text

Secondary

Display

Rag

Rag

Rag

Rag

Rag

Rag

Rag

Rag

Latin Greek

Άαμ

Άαμ

Άαμ

Άαθ

Άαθ

Άαθ

Άας

Άας

달아

달아

달아

달아

달아

달아

달아

달아

Korean (Hangul)

Willow consists of three weights in roman

and italic styles: regular, semibold, and bold.

It is also available in two display styles for rich

text expressions: black(high-contrast), black-

sans(low-contrast). Willow supply the same

styles in Latin, Hangul, and Greek. This is

able to deal with the same text information

hierarchy in the different languages.

The Greek and Hangul display styles are

designed only a few characters for the

sample text, and Hangul requires more time

to complete the type set because of the huge

number of character sets.

Latin

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz .,!?*&@)]}»12345678901234567890regular 50 pt

A Trip to the Moon (French: Le Voyage dans la Lune) is a 1902 French silent film directed by Georges Méliès. Inspired by a wide variety of sources, including Jules Verne’s novels From the Earth to the Moon and Around the Moon, the film follows a group of astronomers who travel to the Moon in a cannon-propelled capsule, explore the Moon’s

explore the Moon’s surface, escape from an un-derground group of Selenites (lunar inhabitants), and return to Earth with a captive Selenite. It features an ensemble cast of French theatrical per-formers, led by Méliès himself in the main role of Professor Barbenfouillis, and is filmed in the overtly theatrical style for which Méliès became famous.

The film was an interna-tionally popular success on its release, and was extensively pirated by other studios, especially in the United States. Its unusual length, lavish production values, innova-tive special effects, and em-phasis on storytelling were

10 / 14 pt

on storytelling were mark-edly influential on other film-makers and ultimate-ly on the development of narrative film as a whole. Scholars have commented upon the film’s extensive use of pat-aphysical and anti-imperialist satire, as well as on its wide influence on later film-makers and its artistic significance

8 / 11 pt

the French theatrical féerie tradition. Though the film disappeared into obscurity after Méliès's retirement from the film industry, it was rediscovered around 1930, when he importance to the history of cinema was beginning to be recognized by film devotees.

7 / 10 pt

An original hand-colored print was discovered in 1993 and restored in 2011. A Trip to the Moon was named one of the 100 greatest films of the 20th century by The Village Voice, ranked 84th. The film remains the best-known of the hundreds of films, and the moment in which the capsule lands in the Moon's eye remains one of the most

6 / 8 pt

Latin_text_italic_display

“The greatest difficulty in re-alising my own ideas forced me to sometimes play the leading role in my films ... I was a star without knowing I was one, since the term did not yet exist.”

A Trip to the Moon (French: Le Voyage dans la Lune) is a 1902 French silent film directed by Georges Méliès. Inspired by a wide variety of sources, including Jules Verne’s novels From the Earth to the Moon and Around the Moon, the film follows a group of astronomers who travel to the Moon in a cannon-propelled capsule, explore the

explore the Moon’s surface, escape from an underground group of Sele-nites (lunar inhabitants), and return to Earth with a captive Selenite. It features an ensemble cast of French the-atrical performers, led by himself in the main role of Professor Barbenfouillis, and is filmed in the overtly theatrical style

“The greatest difficulty in realising my own ideas forced me to sometimes play the leading role in my films ... I was a star without knowing I was one, since the term did not

A Trip to the Moon (French: Le Voyage dans la Lune) is a 1902 French silent film directed by Georges Méliès. Inspired by a wide variety of sources, including Jules Verne’s novels From the Earth to the Moon and Around the Moon, the film follows a group of astronomers who travel to the Moon in a cannon-propelled capsule, ex-

explore the Moon’s surface, escape from an underground group of Sele-nites (lunar inhabitants), and return to Earth with a captive Selenite. It features an ensemble cast of French the-atrical performers, led by himself in the main role of Professor Barbenfouillis, and is filmed in the overtly theatrical

“The greatest difficulty in real-ising my own ideas forced me to sometimes play the leading role in my films ... I was a star with-out knowing I was one, since the term did not yet exist.”regular 14 / 20 pt

regular 12 / 16 pt

regular 18 / 24 pt semi bold bold

A Trip to the Moon Le Voyage dans la Lune

Directed by Georges MélièsInspired by Jules Verne’s novels From the Earth to the Moon

A group of astronomers who travel to the Moon in a cannon-propelled capsule, explore the Moon’s surface, escape from an underground group of Selenites (lunar inhabitants), and return to Earth with a captive Selenite. It features an ensemble cast of French theatrical performers, led by Méliès himself in the main role of Professor Barbenfouillis, and is filmed in the overtly theatrical style for which Méliès became famous.

The film was an interna-tionally popular success on its release, and was extensively pirated by other studios, especially in the United States. Its unusual length, lav-ish production values,

10 / 14 pt black 55 pt

bold italic 24 pt

black sans 12 pt

bold / regular / italic 18 pt

regular / italic 18 pt

The film was an interna-tionally popular success on its release, and was exten-sively pirated by other studios, especially in the United States. Its unusual length, lavish production values, innovative special

10 / 14 pt

on storytelling were mark-edly influential on other film-makers and ultimate-ly on the development of narrative film as a whole. Scholars have commented upon the film’s extensive use of pataphysical and anti-imperialist satire, as

8 / 11 pt

on storytelling were markedly influential on other film-mak-ers and ultimately on the development of narrative film as a whole. Scholars have commented upon the film’s extensive use of pataphysical and anti-imperialist satire, as well as on its wide influence

8 / 11 pt

Latin_text_italic_display

The moment in which the capsule lands in the Moon’s eye remains one of the most iconic and frequently refer-enced images in the histo-ry of cinema. It is widely regarded as the earliest example of the science fiction film genre and, more generally, as one of

38 / 48 pt

Greek

ΑΒΓΔΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΩΆΈΉΊΪΫαβγδεζηθικλμνξορπςστυφχψωίϊΐύϋΰόώάέήregular 52 pt

αδερφή του στον Απόλλωνα με το χρυσό σπαθί. Πάνω από τους σκιώδεις λόφους και τις αιωνόβιες κορυφές, τραβάει το χρυ-σό τόξο της, χαίρεται στην καταδίωξη και στέλνει θορυβώδεις άξονες. Οι κορυφές των ψηλών βουνών τρέμουν και το μπερ-δεμένο ξύλο αντηχεί με την κατακραυγή των ζώων: σεισμοί και θάλασσα, όπου και

τα ψάρια πλημμυρίζουν. Αλλά η θεά με μια τολμηρή καρδιά στρέφει κάθε τρόπο την κα-ταστροφή της φυλής των άγριων θηρίων: και όταν είναι ικανοποιημένος και έχει καλοσύνη την καρδιά της, αυτός ο κυνηγός που απολαμ-βάνει βέλη χαλαρώνει το εύκαμπτο τόξο της και πηγαίνει στο μεγάλο σπίτι του αγαπημένου του αδερφού Φοίβος Απόλλων, Στην πλούσια γη

γη των Δελφών, εκεί για να παραγγείλετε τον υπέ-ροχο χορό των Μουσών και των Χαρίτων. Εκεί κρέμεται το καμπυλωτό τόξο και τα βέλη της, τα κεφάλια και οδηγεί τους χορούς, κομμένα με χαρά, ενώ όλοι εκφωνούν την ουράνια φωνή τους, τρα-

10 / 14 pt

ενώ όλοι εκφωνούν την ουρά-νια φωνή τους, τραγουδώ-ντας πόσο τακτοποιημένο Leto έβγαλε τα παιδιά υπέρ-τατα μεταξύ των αθανάτων τόσο στη σκέψη όσο και στην πράξη. Χαίρε σε σένα, παιδιά του Δία και πλούσια μαλλιά Λητώ Και τώρα θα σας θυμηθώ και ένα άλλο τραγούδι επίσης.

8 / 11 pt

ενώ όλοι εκφωνούν την ουράνια φωνή τους, τραγουδώντας πόσο τακτοποιημένο Leto έβγαλε τα παιδιά υπέρτατα μεταξύ των αθανάτων τόσο στη σκέψη όσο και στην πράξη. Χαίρε σε σένα, παιδιά του Δία και πλούσια μαλ-λιά Λητώ Και τώρα θα σας θυμηθώ και ένα άλλο τραγούδι επίσης.

7 / 10 pt

ενώ όλοι εκφωνούν την ουράνια φωνή τους, τραγουδώντας πόσο τακτοποιη-μένο Leto έβγαλε τα παιδιά υπέρτατα μεταξύ των αθανάτων τόσο στη σκέψη όσο και στην πράξη. Χαίρε σε σένα, παιδιά του Δία και πλούσια μαλλιά Λητώ! Και τώρα θα σας θυμηθώ και ένα άλλο τραγούδι επίσης.

6 / 8 pt

Greek_text_italic_display

Τραγουδώ για την Άρτεμη, των οποίων οι άξονες είναι χρυσού, που ευθυμίζει τα κυνηγόσκυλα, την καθαρή κοπέλα, τον σκοπευ-τή των σταλάτ, που απολαμβάνει την τοξοβολία, την αδερφή του regular 14 / 20 pt

regular 12 / 16 pt

regular 18 / 24 pt 38 / 48 pt

Άρτεμη | Τραγουδώ για την Άρτεμη, των οποίων οι άξο-νες είναι χρυσού, που ευθυμί-ζει τα κυνηγόσκυλα, την κα-θαρή κοπέλα, τον σκοπευτή των σταλάτ, που απολαμβάνει την τοξοβολία, την αδερφή του στον Απόλλωνα με το χρυσό σπαθί. Πάνω από τους σκιώ-δεις λόφους και τις αιωνόβι-

Korean (Hangul)

흑백 무성 영화이다. 초당 16프레임에 상영

시간은 14분이다. 최초의 과학영화이며, 당

대의 혁신적인 특수효과로 유명하다. 달의

눈에 로켓이 착륙하는 장면은 스톱 모션 기

법으로 만들어진 영상 가운데 최초의 것이

다. 영화제작의 초창기에는, 영화를 만드는

것 자체가 영화예술의 규칙을 세우는 과정

이었다. 영화는 2분 정도의 단편영화들이 대부분

이었던 당시를 고려하면 그 상영시간(약 14분)만

으로도 혁명적이었다. 달나라 여행에는 연극배우

와 마술사로 활동했던 조르주 멜리에스(Georges

Méliès) 감독의 개인사적 특성이 반영되어 있다.

그는 이 영화를 통해 합성화면이나 디졸브와 같은

유명한 영화기법과 편집

방법들을 대담하게 실험

했다. 비록 특수효과는 매

우 단순하지만 일반적으

로 최초의 SF영화로 받아

들여진다. 우주선과 새로

운 개척지의 발견 등 SF

장르의 특징적인 요소들

을 제시했고 SF 장르의

10 / 16 pt

디졸브와 같은 유명한 영화기

법과 편집방법들을 대담하게

실험했다. 비록 특수효과는 매

우 단순하지만 일반적으로 최

초의 SF 영화로 받아들여진

다. 우주선과 새로운 개척지의

발견 등 SF 장르의 특징적인

요소들을 제시했고 SF 장르

의 대부분의 관습을 확립했다.

8 / 13 pt

영화는 멜리에스가 직접 연기한 바

르방프이 교수가 과학의회에서 달

탐사 여행을 가자고 동료들을 설득

하는 장면으로 시작된다. 일단 그

의 생각이 받아들여지고, 탐사일정

이 짜여지고 과학자들은 우주선을

타고 달로 간다. 미사일 모양의 우

주선은 사람의 얼굴로 묘사된 달

7 / 12 pt

영화는 멜리에스가 직접 연기한 바르방

프이 교수가 과학의회에서 달탐사 여행

을 가자고 동료들을 설득하는 장면으로

시작된다. 일단 그의 생각이 받아들여지

자, 탐사일정이 짜여지고 과학자들은 우

주선을 타고 달로 간다. 미사일 모양의

우주선은 사람의 얼굴로 묘사된 달의 눈

에 착륙한다.

6 / 10 pt

Korean(Hangul)_text_italic_display

«달세계 여행» (프랑스어: Le Voyage dans la lune, 영어: A Trip to the Moon)은 쥘 베른(Jules Verne)의 소설 지구에서 달까지를 각색해서 만든, 조르주 멜리에스(Georges Méliès) 감독의 1902년

달나라여행 | 달세계여행(프랑어: Le

Voyage dans la lune, 영어: A Trip to the

Moon)은 쥘 베른(Jules Verne)의 소설

«지구에서 달까지»를 각색해서 만든,

조르주 멜리에스(Georges Méliès) 감

독의 1902년작 흑백 무성 영화이다.

당대의 혁신적인 특수 효과로 유명하

다. 달의 눈에 로켓이 착륙하는 장면

은 알려진 스톱 모션 기법으로 만들어

regular 14 / 22 pt

regular 12 / 20 pt

regular 18 / 25 pt 32 / 52 pt

Application

Li Bai (701–762), also known as Li Bo, was a Chinese poet acclaimed from his own day to the present as a genius and a romantic figure who took traditional poetic forms to new heights. He and his friend Du Fu (712–770) were the two most prominent figures in the flourishing of Chinese poetry in the Tang dynasty, which is often called the “Golden Age of Chinese Poetry”. T y p e S e t t i n g 2 7

달빛

아래

홀로

술잔을

들다

[

월하독작 ]

꽃

사이에 술

한

병

대작할

친구 없이

홀로

따른다

술잔

들어

달님을 초대하고

그림자와

마주하니 세

사람이

되었다

달님은

술

마실

줄

모르고

그림자는

날

따라

움직인다

잠시

달님과

벗하고

그림자를 거느리고

즐겁게

놀아보리라

이

봄이

가기 전에

내가

노래하니

달님은

서성이고

내가

춤을

추니

그림자는

너울거린다

취하기

전에는

사이좋게

즐기다가

취하고

나면

제각기

흩어지리라

영원히

담담한

우정을

맺어

아득히

먼

은하수에서

다시

만나리

이백

지음 \

유병례

번역

Drinking Alone by Moonlight

A cup of wine, under the flowering trees;I drink alone, for no friend is near.Raising my cup I beckon the bright moon,For he, with my shadow, will make three men.The moon, alas, is no drinker of wine;Listless, my shadow creeps about at my side.Yet with the moon as friend and the shadow as slaveI must make merry before the Spring is spent.To the songs I sing the moon flickers her beams;In the dance I weave my shadow tangles and break.While we were sober, three shared the fun;Now we are drunk, each goes his way.May we long share our odd, inanimate feast,And meet at last on the Cloudy River of the sky.

written by Li Bai / translation by Arthur Waley

Πιείτε μόνο από το φως του φεγγαριού

Ένα φλιτζάνι κρασί, κάτω από τα ανθισμένα δέντρα.

Πίνω μόνο, γιατί κανένας φίλος δεν είναι κοντά.

Ανυψώνοντας το φλιτζάνι μου σηκώνω το φωτεινό φεγγάρι,

Γιατί, με τη σκιά μου, θα κάνει τρεις άνδρες.

Το φεγγάρι, δυστυχώς, δεν πίνει κρασί.

Άγνοια, η σκιά μου σέρνει στο πλευρό μου.

Ωστόσο, με το φεγγάρι ως φίλο και τη σκιά ως σκλάβος

Πρέπει να ευχαριστήσω πριν περάσει η Άνοιξη.

Στα τραγούδια που τραγουδάω το φεγγάρι τρεμοπαίζει τα δοκάρια της.

Στον χορό υφαίνω τα σκιά μου και σπάζουν.

Ενώ ήμασταν νηφάλιοι, τρεις μοιράζονταν τη διασκέδαση.

Τώρα είμαστε μεθυσμένοι, ο καθένας πηγαίνει στον δρόμο του.

Μπορούμε να μοιραζόμαστε το περίεργο, άψυχο γλέντι μας,

Και συναντήστε επιτέλους στον Ποταμό του ουρανού.

아르테미스 아르테미스(그리스어: Άρτεμις)는 그리스

신화에 나오는 달과 사냥·야생동물·처녀

성의 여신이다. 로마 신화에 나오는 디아

나(Diana)와 동일시된다. 제우스와 레토

사이에서 태어난 딸로 아폴론과는 남매

지간이다. 곰과 사슴, 활과 화살, 초승달,

토끼가 대표적 상징물이다. 호머는 아르

테미스를 “야생 동물의 아르테미스, 동물

의 여전사”라고 했다.

몸종들과 함께 숲 속에서 사냥을 하며

돌아다니는 야

생적인 처녀의

모습을 하고

있으며, 달이

비칠 때 그 모

습이 나타나는

데 그 때는 산

짐승과 초목이

춤을 춘다고

한다. 아폴론과 마찬가지로 활을 무기로

들고다니며 그녀의 화살은 순식간에 목

숨을 앗아가므로 희생물에게 아무런 고

통도 주지 않는다고 한다. 성격이 거칠고

복수심이 강해서 그녀의 진노에 의해 희

생된 사람이 허다하다. 고대인들은 아르

테미스를 유방이 가득한 여신으로 묘사

할 정도로 풍요의 신으로 숭배했는데, 신

약성서의 사도행전에도 아르테미스 신앙

과 기독교가 대립하는 이야기가 등장한

달빛아래 홀로 술잔을 들다,

달아달아 밝은달아, 달빛밝

은 바다아래, 파도하나 피

어나라, 자유로이 빛밝히라.

달아달아 밝은달아.

__ 호머, 아르테미스

Artemis Artemis(Modern Greek: Άρτεμις) was one of the most widely venerated of the Ancient Greek deities. Her Roman equivalent is Diana. Some scholars believe that the name, and indeed the goddess herself, was originally pre-Greek. Homer refers to her as Artemis Agrotera, Potnia Theron: “Artemis of the wildland, Mistress of Animals”. The Arcadians believed she was the

daughter of Demeter. In the classical period of Greek mythol-ogy, Artemis was often described as the daughter

of Zeus and Leto, and the twin sister of Apollo. She was the Hellenic goddess of the hunt, wild animals, wilderness, childbirth, virginity and protector of young girls, bringing and reliev-ing disease in women; she often was depicted as a huntress carrying a bow and arrows. The deer and the cypress were sacred to her. In later Hellenistic times, she even assumed the ancient role of Eileithyia in aiding childbirth.

who cheers on the hounds,

the pure maiden, shooter

of stags, who delights in

archery, own sister to Apollo

with the golden sword.

__ homer, To Artemis

T h e H o m e r i c H y m n s 2 7 호 머 의 H y m n s 2 7

Τραγουδώ για την Άρτεμη, των οποίων οι άξονες είναι χρυσού, που ευθυμίζει τα κυ-νηγόσκυλα, την καθαρή κοπέ-λα, τον σκοπευτή των σταλάτ, που απολαμβάνει την τοξοβο-λία, την αδερφή του στον

ΆρτεμιςΆρτεμις (Νέα Ελληνικά: Άρτεμις) ήταν ένα από τα πιο ευρέως λατρευόταν από τους αρχαίους Έλληνες θεούς. Ρωμαϊκή ισοδύ-ναμο της είναι Diana. Μερικοί μελετητές πιστεύουν ότι το όνομα, και μάλιστα η θεά τον εαυτό της, ήταν αρχικά προ-Έλληνες. Ο Όμηρος αναφέρεται σε αυτήν ως Αγρο-τέρας Αρτέμιδος, Πότνια Θηρών: «Άρτε-μις της δασικών, Θεά των Ζώων». Οι Αρκάδες πίστευαν ότι ήταν η κόρη

της Δήμητρας. Κατά την κλα-σική περίοδο της ελληνικής μυθολογίας, Άρτεμις συχνά περιγράφεται ως η κόρη του Δία και της Λητώς,

και δίδυμη αδελφή του Απόλλωνα. Ήταν η Ελληνική θεά του κυνηγιού, τα άγρια ζώα, άγρια φύση, τον τοκετό, την παρθε-νία και προστάτης των νεαρών κοριτσιών, φέρνοντας και την ανακούφιση της νόσου στις γυναίκες? που συχνά απεικονιζόταν σαν κυνηγός που μεταφέρουν ένα τόξο και βέλη. Το ελάφι και το κυπαρίσσι ήταν ιερή γι 'αυτήν. Στα νεότερα ελληνιστικά χρόνια, που ανέλαβε ακόμη την αρχαία ρόλο της Ειλειθυίας στην υποβοήθηση του τοκετού.

Που ευθυμίζει τα κυνη-

γόσκυλα, την καθαρή

κοπέλα, τον σκοπευτή των

σταλάτ, που απολαμβάνει

την τοξοβολία, την αδελφή

του στον Απόλλωνα με το

χρυσό σπαθί.

__ Όμηρος, Στην Άρτεμις

Ό μ η ρ ο ς Ύ μ ν ο ς 2 7

A Tripto the Moon

“The greatest difficulty in realising

my own ideas forced me to some-

times play the leading role in my

films ... I was a star without know-

ing I was one, since the term did

not yet exist.”

A Trip to the Moon (French: Le Voyage dans la Lune) is a 1902 French silent film directed by Georges Méliès. Inspired by a wide variety of sources, includ-ing Jules Verne’s novels From the Earth to the Moon and Around the Moon, the film follows a group of astronomers who travel to the Moon in a cannon-pro-pelled capsule, explore the Moon’s surface, escape from an underground group of Selenites (lunar inhabitants), and return to Earth with a captive Selenite. It features an ensemble cast of French theatrical performers, led by Méliès him-self in the main role of Professor Barbenfouillis, and is filmed in the overtly theatrical style for which Méliès became famous.

The film was an internationally popular success on its release, and was extensively pirated by other studi-os, especially in the United States. Its unusual length, lavish production values, innovative special effects, and emphasis on storytelling were markedly influential on other film-makers and ultimately on the development of narrative film as a whole. Scholars have commented upon the film’s extensive use of pataphysical and an-

Georges Méliès Méliès, a pioneering French film-maker and magician now generally regarded as the first person to recognize the potential of narrative film, had already achieved considerable success with his film versions of Cinderella (1899) and Joan of Arc

ProductionThéophile MichaultLucien TainguycompanyStar Film CompanyRelease date1 September 1902 (France)4 October 1902 (U.S.)Running time18 minutes (12 frame/s)16 minutes (14 frame/s)9 minutes (24 frame/s)Country FranceLanguage Silent

CineMaga

CineMega vol .6 | 27

«A Tripto the Moon»Georges Méliès

Jules Verne's novels «From the Earth to the Moon»

Movie & Novel

6

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ΑΒΓΔΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΩΆΈΉΊΌΎΏΪΫ ΑΒΓΔΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΩΆΈΉΊΌΎΏΪΫ ΑΒΓΔΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΩΆΈΉΊΌΎΏΪΫ αβγδεζηθικλμνξοπρςστυφχψωίϊΐύϋΰόώάέήαβγδεζηθικλμνξοπρςστυφχψωίϊΐύϋΰόώάέήαβγδεζηθικλμνξοπρςστυφχψωίϊΐύϋΰόώάέή

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Άαρτεμις, θεά

Άαρτεμις, θεά

ÁĂÂÄÀĀĄÅÃÆĆČÇĊÐĎĐÉĚÊËĖÈĒĘĞĢĠĦ ÍÎÏİÌĪĮĶĹĽĻŁŃŇŅŊÑÓÔÖÒŐŌØÕŒÞŔŘŖŚŠŞȘŦŤŢȚÚÛÜÙŰŪŲŮẂŴẄẀÝŶŸỲŹŽŻ

ÁĂÂÄÀĀĄÅÃÆĆČÇĊÐĎĐÉĚÊËĖÈĒĘĞĢĠĦ ÍÎÏİÌĪĮĶĹĽĻŁŃŇŅŊÑÓÔÖÒŐŌØÕŒÞŔŘŖŚŠŞȘŦŤŢȚÚÛÜÙŰŪŲŮẂŴẄẀÝŶŸỲŹŽŻ

ÁĂÂÄÀĀĄÅÃÆĆČÇĊÐĎĐÉĚÊËĖÈĒĘĞĢĠĦ ÍÎÏİÌĪĮĶĹĽĻŁŃŇŅŊÑÓÔÖÒŐŌØÕŒÞŔŘŖŚŠŞȘŦŤŢȚÚÛÜÙŰŪŲŮẂŴẄẀÝŶŸỲŹŽŻ

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Hangul Secondary

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가각간갈감갑강같개갸거겁것게겨격견계고골곰과관교구국굴규그극근글기길까깨꺄꺼께껴꽃끼나낙난날남낭내냐냥너넌널넜녀년념노놀눈느늑는늘늠니닌님닝다닥단달담당대댜던데도독돌돔동돠되된두둔드득든들듬등디따딸때라란랄람랍랑래랴러런럴레려례로록론롤롬롱료륙르륵른를름리린림립마만말맘맙맞매맥맬맴맺먀머먼메멜며면명모목몰몸몽묘무문물므믐미및바박반받발밝밤밧방밭배백뱌버번벌범법벗벙베변별병보복본볼봄봉부분붐브비빛사산살삼상새색샌샐샘생샤서선설섬성세션소속솜송수순술숨숭숲스슨슬슴습승시식신실심싶아악안않알암압앗았앙애야약양어언얼엄업없엇었에여역연염였영예오온올옴와외요우운울움원월위윌유으은을음의이인일임있자작잔잘잠잡장재쟈적전절점접정제조족존졸좀종좋주줄줌쥘즈즐즘지직진질짐집징짜째차착찬찰참창챠처척체초촘총최추춘출춤취치칙친칠카캬켓타탄탈탐태탸테토톤톨톰톱통특틈틴파퍄편포폰폴폼퐁표품풍프피하학한할함합해했행햐허험혁호홀화확활회효흐흑흘흩희히

나날다달도라래레리바밝벌빛아어우유은음이차 파피하

가각거검겁게고과구그글기까꽃나난날남내너노녹놀

느는늘니닌님다달담대도독돌되드득든들따라람래레

례로르른를리린림마만말맺머먼면모무미바반발밝백

버번범법벗변병보봄브빈빛사살상새서성세수술시실

아안알애어억업없었에역영와외우울움원월위윌유은

을음이인자작잔잘잠장재전정제좋주줄즐지직차초추

춤취치친테파피하한할호홀흩히

나다달도들라래로바밝빛술아어우유은을이자잔잘

차파피하홀히

달밝은바다 아르테미스

달밝은바다 달나라여행

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Many thanks toGerry Leonidas, Fiona Ross, Gerard Unger,

Victor Gaultney, Fred Smeijers, Michael Twyman, James Mosley,all the visiting lecturers, and my classmates.

Especially, thanks to my husband Sanghyun

for his support and encouragement. Loves to my children,

Yejune and Inhoo.

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Submitted in partial fulfillment of the requirements for the Master of Arts in Typeface Design,

University of Reading, 2017

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Designed by Yanghee Ryuyanghee.02@gmail.com