• Proceedings of the Korea Society of Design Studies Conference
• /
• 1999.05a
• /
• pp.58-59
• /
• 1999

오늘날 소비자에게 있어 제품의 이미지는 제품을 선택하는 중요 기준이 되고 있으며, 기업의 제품개발에 있어서도 제품의 이미지는 품질과 성능 못지 않게 매우 중요한 요소로 자리잡고 있다. 디자이너의 입장에서 성공적인 제품디자인의 개발을 위해서는 소비자가 원하는 이미지를 정확하게 파악하고, 그 이미지를 디자인에 충분히 반영해야 할 것이다. (중략)

• Journal of Digital Convergence
• /
• v.11 no.2
• /
• pp.391-396
• /
• 2013

As recently highlighted the importance of relationships between people and products, and is a pure functional sensibility in pursuit of the trend. Sensibility factor is an important part in the process of looking to purchase consumer products that suit your sensibilities. The purpose of this study is to look at the possibility of seeing the role and future of the industry to diversify the culture of the ceramic ornaments design sensibility that purpose. Variety of emotional design ceramic ornaments and cultural industries to identify market design induced by craft as cultural products that can stand up to the global process development. Ceramic ornaments of historical, cultural, design, value can be utilized in a variety of cultural industries to offer emotional design ceramic ornaments, ceramic ornaments product design to contribute to the development plan for the purpose.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
• /
• 2009.05a
• /
• pp.55-58
• /
• 2009

본 연구는 주관적인 사용자의 감성을 객관적으로 정의하여 2차원 감성 모델에 의한 터치폰의 GUI 디자인 요소에 대한 디자인 가이드라인을 제시하고자 한다. 본 연구는 다음과 같은 단계로 연구를 진행하였다. 첫 번째 단계로 그루밍(Grooming) 사용자들의 라이프 스타일을 조사하여 Norman(2002)에 의거한 감각적, 행태적, 그리고 심볼적 세 가지 레벨의 감성요소를 추출하였다. 두 번째 단계로 Russell(1980)의 28개 감성 어휘와 세 단계 감성과의 관계성을 설문하여 감성모델을 구현하였다. 마지막으로 요인분석을 이용하여 대표 감성 어휘를 도출한 후 감성적 터치폰의 GUI(Graphic User Interaction) 디자인 요소를 제시함으로써 사용자의 감성이 반영된 인간 중심적인 제품 디자인을 위한 가이드라인을 제안한다.

• Archives of design research
• /
• v.15 no.4
• /
• pp.25-32
• /
• 2002

It has gone that the age of making the products focusing on only the capacity or efficiency, We face the age that only the products which fit the sensitivity of customers. Now, customers attach importance to impressive design, convenience, and satisfaction as well as the quality, cost, and capacity of the products. Under the much plentiful life, it has a limit of exciting customer's interest to pursue the quality, cost and capacity, so we need new design development which can produce more different, better, and newer mood. Recently, past synchronism and standardization have collapsed according to the change of sense of value, customers make much account of their own sensitivity comparing with at any time in much information and visual stimulus, and they would like to purchase the products which satisfy their sensitivity as a way of their image creation and settlement of wants.

• Archives of design research
• /
• v.13 no.2
• /
• pp.7-13
• /
• 2000

On the design or development of auto-vehicle, customer's images are strongly related to buying vehicles. I is importantly considered to review detailed specific properties of them. Product design includes functional quality, and aesthetics factors. among these, such as color sense, material of sense, and shape sense, the image of design feeling aesthetics has largely effect on the selling of products. From this point of view, it is not too much to say that the successful development of product is how design of it. The purpose of this study is to evaluate the sensibility of human needs, and apply it to the design of MEVs (Mini Electronic Vehicles).

• Science of Emotion and Sensibility
• /
• v.1 no.2
• /
• pp.23-33
• /
• 1998

본 연구의 제 1보에서는 꽃문양 스카프 디자인의 두 레이아웃 변인 (모티브 크기와 반복 배열 방식)의 변화에 따른 소비자 감성을 실증적으로 분석하고,이러한 분석결과를 시장현황 조사 결과와 비교함으로써 꽃문양 스카프 디자인의 레이아웃에 대한 연구를 수행하였다. 제 2보네서는 제 1보의 결과를 토대로 하여, 소비자의 감성을 만족시키는 꽃문양 스카프 디자인을 위한 지침과 디자인의 프로토타입을 제시하고자 한다. 본 연구에서는 꽃문양 스카프 디자인의 레이아웃 기법이 감성에 미치는 효과에 대하여 실증적으로 접근함으로써, 스카프 디자인에 있어 레이아웃 기법 전개에 관련된 실증적 지표를 얻을 수 있었다. 또한 사변적 또는 미학적 접근이 주류를 이루었던 기존의 스카프 디자인 연구 분야에 새로운 접근방법을 제시함으로써 최근 주목받고 있는 감성과학 이론이 섬유 제품 디자인 개발에 유용한 방편으로 적용될 수 있는가에 관한 가능성을 타진하였다.

• Science of Emotion and Sensibility
• /
• v.12 no.1
• /
• pp.87-96
• /
• 2009

Recently, there is a tendency of consumer's participation gradually increasing in the design shaping process. Consumers make evaluation or suggestion about the shape of the product, and the industries lay out schemes to elicit consumers' participation. However, when it comes to dealing with the shape of the product, consumer and designer has a fundamental difference in their point of view, and it works as interruption to the efficient communication between the consumer and designer. Therefore, this study will examine the difference of consumer's and designer's view of products' shape, and the guidelines of effective molding which elicit the consumers' affective responses. First, I established the sensible image vocabulary based on the shape of the product. And based on the vocabulary, I carried out the same experiments to the consumers and designers. As a result, the affective responses of the two groups toward the shape have similar characteristics and designers' reactions found out to be more dramatic than consumers.

• Science of Emotion and Sensibility
• /
• v.11 no.4
• /
• pp.645-652
• /
• 2008

First question: what makes inclusive design truly inclusive? Most inclusive design products are far from being appealing to their intended customers. This is mainly because designers are typically concerned with enhancing the usability, and not the emotional value that creates the connection between the product and the users. Typical solutions are larger displays and larger buttons, and these solutions often make the product less tasteful, graceful, and favorable. As a result, such products become less inclusive, veering from the original intention of the designers. Emotional design is not about making fun products, but about enjoyable products. Positive emotional design increases the affection value in products that enable users to create emotional connection with products. With the emotional connection, the user can engage in learning about the product as well as enjoy using the product. This can also resolve most usability issues by increasing the attention level and decreasing boredom. When more people feel that a product is enjoyable, it becomes more inclusive. Second question: Can't inclusive design have innovative value? Most inclusive design products are far from being innovative, and thus, they cannot create market opportunities. While emotional design approach increases value for users, innovative design approach creates value for the businesses. This will eventually promote development of inclusive products. This paper discusses the benefits of emotional design approach in inclusive design. It also argues how emotional design can help make inclusive design more innovative. Accompanied exemplar design process illustrates how emotional design contributes to inclusive design and how it leads to innovative products.

• Science of Emotion and Sensibility
• /
• v.11 no.2
• /
• pp.285-292
• /
• 2008

The purpose of this study is to provide the fundamental data needed in analyzing customer needs and understanding products in developing designs, to help designers to have better understanding of digital camera products, and to support the setting of concepts in developing designs, by understanding the specific properties of products that have specific purposes. In this study, homogeneity analysis was performed to the collected products launched from 2000 until now and representative products were selected to extract the questions on the adjectives and preferences felt form such products. Based on the questions, basic questionnaire survey and subject image analysis was performed in relation to the elements of images preferred by customers through the regression analysis of dependent variables and preferences and the regression analysis of purchasing power. When we design for digital camera, we must consider about the elements of digital cameras and the terms convenient, sensitive, functional, and grace. In terms of whole trend of shape, the shape highlighting grips and the digital cameras having grips, large LCD, dark colors, and manual buttons were preferred.

• Science of Emotion and Sensibility
• /
• v.13 no.1
• /
• pp.243-250
• /
• 2010

A study is presented that examines the effect of personality on preference and purchase intention of positive and negative novelty design products. Participants evaluated their preference and purchase intention on 18 design products including positive and negative novelty design products. A cute Scream character was created as a positive novelty design and a skeleton Mickey character was used as a negative one. We measured extroversion, neuroticism, and visual product aesthetics as individual traits. The results shows that people, of course, prefer(and want to buy) the positive novelty design product to the negative novelty design product. Only in the case of the negative novelty design product, the more neurotic people is, the more they prefer it. Also, among the people who like the negative novelty design product, introvert ones are likely to purchase it but extroverted ones are not. These findings imply that personality plays an important role in liking and purchasing negative novelty design product.