• Science of Emotion and Sensibility
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• v.12 no.1
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• pp.87-96
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• 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
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• v.12 no.1
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• pp.97-108
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• 2009

In the process of product design, shaping is the process of making a substantive existence, and ultimately it generates the outcome. The process of shaping is generally led by designer's initiative work, and in this process, various formative elements are used to generate the outcome. In this research, the basic purposes are to figure out the differences of elements which generated by the differences of consumer's and designer's view in the process of shaping of the product, and the characteristics of the affective responses caused by those differences. Also, it will examine how the consumers can directly participate in the process of the shaping of the consumer-participated product, and the feasible guidelines of design in which consumers' needs can be reflected more efficiently to the process of shaping. As a result, consumers and designers have certain degree of difference of view-point about the formative element of the shape. The difference was due to subjective common ideas of design in case of designers, and in case of consumers, it was due to their immature visual understanding. There is another experiment of affective response about the shape of the product. 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.

• Archives of design research
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• v.19 no.4 s.66
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• pp.5-16
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• 2006

This research premises that design failure in the market can stem partially from the gap between designer's communication intension through design and consumer's signification for design. Therefore, it's necessary that designers should examine and understand consumer's signification process for design factors or overall design images that they consider in the design process. For this, this research suggests that understanding consumer's signification process is possible by performing value categorization, consumer segmentation, value identification of main target consumers and relationship examination between value of target consumers and design attributes based on Means-End model by reviewing various theoretical backgrounds. In addition, this research suggests contents and methods for performing each step of understanding consumer's signification process. Also, Laddering was suggested as a method for the study and a case study was performed by it. Finally this research claims that understanding consumer's signification process can be one of the methods that decrease failure possibility rather increase success possibility of design in the market.

• The monthly packaging world
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• s.18
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• pp.126-127
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• 1994

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

• The monthly packaging world
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• s.276
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• pp.98-101
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• 2016

월간 포장계에서는 금번 4월호부터 12월호에 걸쳐, 패키지디자인에 있어서의 심리학의 중요성을 피력해 보고자 한다. 본 지는 이를 통해 패키지디자이너는 물론 경영자, 패키지 관련 용기, 기계, 재료 등 전 분야의 종사자들이 패키지디자인을 하는데 있어서 마케팅적 사고의 범주에서 벗어나 소비자 심리를 이해하고 공감하기를 기대해 본다. 본 고에서는 '포장디자인은 소비자 기억을 촉진시키도록 디자인되어야 한다'는 명제 아래, 패키지디자인은 기업의 일방적인 메시지에 앞서 소비자가 원하는 정보를 소비자 가치 기준에 맞춰 디자인해야 할 것을 강조해 보고, 소비자의 기억을 촉진시켜 구매로 유도하기 위해 전략적으로 디자인 해야할 것을 제시해보도록 한다.

• Proceedings of the Korea Society of Design Studies Conference
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• 2000.11a
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• pp.104-105
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• 2000

제품을 디자인함에 있어 정확하고, 신속한 소비자 욕구에 대한 조사는 디자이너의 키치 못지 않게 제품의 성패를 좌우하는 주요한 요소이다. 특히, 각종 매체의 발달이 가져온 정보경제시대의 소비자 욕구변화나, 소비시장의 변화양상은 급속히 그 주기를 좁혀가고 있어 수집된 시장정보의 신속한 제품화는 그 어느때보다 더 절실하게 요구되어지고 있다.(중략)

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2007.05a
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• pp.81-84
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• 2007

소비자들이 상품에 대한 미학적인 측면을 점점 더 중요시 하게 됨에 따라 현대 디자인은 기존의 개념을 탈피하여 새롭고 부드러우며 유연한 감성이 요구되고 있다. 디자인의 궁극적인 목표가 '소비자의 꿈을 현실로 만들어 주는 것'이라면 이러한 목표에 이르기 위한 '창의적 아이디어발상' 은 디자이너가 갖추어야 할 가장 중요한 능력 중의 하나이다. 따라서 본 연구는 창의적 아이디어 발상법에 대한 선행연구의 프로세스와 방법론의 문제점을 파악하고, 이를 보완한 새로운 디자인 방법론을 제시하고자 한다. 이와 같은 연구목적을 이루기 위해 사례연구로써 컴퓨터를 이용한 창의적 아이디어 발상법을 제안하여 디자이너에게 실제 디자인현장에서 활용할 수 있도록 하며 창의적 아이디어발상법의 개발에 대한 효과와 새로운 가능성을 제시하고자 한다.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.74-75
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• 2004

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.6
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• pp.838-851
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• 2015

This study explores the level of designer brands' market oriented attitude through a conceptual framework of market orientation. Designer brands have rapidly increased in the Korean fashion market with a competitive environment that pushes designers to improve market oriented attitudes and strategy. Designers working for 20 brands that the government designated as 'promising creative designer brands' were invited for in-depth interviews, 19 designers from 18 brands participated in this study. The generation of market intelligence that composes market orientation meant that the designers were confirmed to collecting different types of information according to information sources. They showed interest in collecting information on the exploration of design trends from overseas designers as well as operational and managerial information from domestic designers. Fashion-related stakeholders mainly collected feedback on design concepts from the press and public institutions. They collected customer feedback from buyers; however, appropriate feedback was inadequate. Designers generally appeared to place less value on the collection of customer responses and opinions; however, two groups of designers showed customer-oriented attitudes according to accumulated experience. The market-oriented attitude of top designers had an important role in designer brands; consequently, top designers should be properly trained to improve market-oriented attitudes to increase market performance.