• Proceedings of the Korean Society of Disaster Information Conference
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• 2015.11a
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• pp.120-123
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• 2015

국민 생활안전과 관련된 안전디자인에서 기본적으로는 안전성이 가장 중요한 요소가 되지만, 디자인의 고유 요소들도 아울러 고려하지 않으면 안 된다. 안전디자인은 산업디자인의 고유 특성과 인간공학과 안전 공학적 측면을 포함해야한다는 특성을 가지고 있다. 즉 안전디자인이란 제품 시설 공간 등에 설계 제조 건축 운영 등의 형태로 적용되어 주기능의 '안전' 달성도를 높이고, 타 기능과의 상승적 융합을 통해 사회 안전 수준을 향상시키는 것이다. 본 연구에서는 지금까지의 국내외 관련 논문, 보고서, 통계자료 등의 문헌연구에 대한 이론적 고찰을 통해 안전디자인 개념과 구성요소, 안전디자인의 범위에 대해 살펴보았다. 또한 작업공간에서의 안전디자인의 개념을 체계적으로 정립하고 있는 호주의 안전디자인 원칙 가이드라인에 대해 살펴봄으로써 안전디자인에서 지켜져야 할 다섯 가지의 원칙에 대해 논의하여 안전디자인의 확립에 도움이 되는 기초 연구로서 활용이 되고자 했다.

• Journal of the Korea Convergence Society
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• v.11 no.9
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• pp.143-154
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• 2020

Due to the widespread of COVID-19 pandemics, as the health care supplies. Thus the facial mask has been transformed from personal health product into social epidemic prevention product, and its design is more inclined to be User-centered design. First employed health facial mask which is sold in the market as the method subject, under the concept of " User-centered design", this article analyzes the design elements such as appearance and color of the facial mask. Second used the analysis approach of sample, character and positioning map, this article conducts the comparative analysis research of collected sample and data and find the relationship of User-centered design, purchase tendency and health care facial mask. When the users purchase the mask, through the research on the relationship between the choice of form or color of mask and design element of mask, it can compensate for the blank spot of design and has some references.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2003.11a
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• pp.1321-1327
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• 2003

본 연구에서는 캐주얼 티셔츠의 디자인을 평가하는 감성 요소를 도출하고, 이것이 소비자 감성에 미치는 영향을 분석하여, 그 결과를 토대로 효과적인 캐주얼 티셔츠 디자인 프로토타입을 제시하였다. 캐주얼 티셔츠 디자인에 대한 소비자 감성의 주요 하위차원으로는 맵시, 평범성, 활동성의 요인이 도출되었다. 또한 캐주얼 티셔츠의 collar형태, 장식유형, 로고의 위치와 크기 그리고 인구 통계학적 특성이 소비자 감성에 영향을 미칠 것이라는 가설에 대한 분산 분석의 결과, 여러 항목에서 유의한 차이를 얻었다. 본 연구에서 의미 있는 감성 효과를 나타난 디자인 세부 요소들은, 캐주얼 티셔츠의 디자인 기획 시에 체계적인 평가기준으로서 활용될 수 있을 것으로 기대된다.

• Science of Emotion and Sensibility
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• v.10 no.3
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• pp.443-450
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• 2007

Design is a realm one should have brought out creativity. So designers have continuously struggled for creating something new. In respects of that the essence of design work is making novel and creative things, and in design process' creative idea generation' to reach a final design solution is one of important capability that designers must have. In this study two different substantial methods for creative idea generation are suggested. One is existing' analogical association', an essential form widely used in association process, another is 'shape elements reconstruction' similarly operated 'shape grammar'. Therefore in this study for finding methods to reinforce designers' creative idea generation both of paper-based and computer-based design method are suggested substantially. In Both there is a common feature that existing or quiet new elements are organizationally associated or reconstructed in idea generation procedure.

• 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.15 no.1
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• pp.27-36
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• 2002

To do this, study of human memory and theoretical approach on form in general is carried out to compare the types of memories and the stage of perceive theoretically to discover the relationship between psychological perceive and form. In the second please, scenario of form recognition in cultural aspect is studied through various written records to obtain unbiased critics on what a person can feel from a form through various analysis and experiment. Examples will be given on products designed on the basis of correlation with form through analysis. Through this procedure, elements of reactions on implicit and explicit is derived (Data obtained from experiments on computers and inquiries are used) Analyzed elements are than divided into, general knowledge, memories of reality and subconsciousness memories and basic mental image and user mental image and mental image of form of each products are analyzed. In the third phase, the way of adapting of the elements obtained from the analysis of implicit and explicit reaction to the field of design is predicted. Together with this, future theme this the study will be suggested. Confusions obtained from this study can be listed as below.

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.196-197
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• 2002

• Archives of design research
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• v.16 no.4
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• pp.423-432
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• 2003

The purpose of this study is to build user's psychological response process model on design evaluation. Users firstly evaluate design factors such as form, structure, texture and colors which are basic elements of product design. These factors, however are affected by product's situational factors, user's individual factors and environmental factors. That is, even same design can be evaluated differently by users according to product's situational factors such as price level, brand prestige level and marketing programs, and user's individual factors such as tastes, involvement level, personality, lifestyles and demographics, and environmental factors such as culture, sub-culture, social class, reference group and family and so on. Understanding how users evaluate product design is necessary to increase the possibility to create user-preferring design and also is the starting point of user-based design and design marketing. In the future researches, it is necessary to examine more factors which are not included in the study and to find out the relationship between factors affecting user's evaluation on design and user's psychological response.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2007.05a
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• pp.139-142
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• 2007

본 연구의 목적은 특정 목적을 가진 제품들의 특성들을 파악하여 디자인 개발시 이러한 특성들을 제품 컨셉 또는 디자인 형태에 응용하고자 함이다. 이를 위해 먼저 실험 대상을 설정하였고, 실험 대상을 선택한 후 실험 대상에 관한 기초 설문과 실험 대상 이미지 분석을 실시하였다. 이후 실험 대상의 디자인과 기능적 요소를 추출하여 코딩하였다. 그리고 실험 대상의 이미지분석 후 얻은 요소와 실험 대상의 요소의 관계를 증명하였으며, 실험 대상의 특성 추출을 위한 설문을 실시하였다. 이러한 실험 프로세스를 거쳐 특정한 제품에 특성들을 추출함으로써 디자인 개발 시 소비자 니즈의 분석이 가능하며, 제품을 이해하는 기초 자료로 사용이 가능하다. 또한 디자이너가 제품을 쉽게 이해하고 디자인 개발 시 컨셉 설정에 큰 기초가 된다. 본 연구의 MP3의 경우 MP3의 이미지 분석 결과 음악성, 확장성, 휴대성, 사용성, 신체 부담감, 인터페이스, 그리고 개성으로 나타났으며, 이들과 각각 연관된 특성들을 찾았다. 이로써 MP3를 디자인할 때 중요 특성들을 제시하였다. 이러한 기초 연구를 통해 보다 효과적인 소비자 니즈 파악이 가능하고, 디자인 기초 학문 발전을 가져올 것이다.

• Archives of design research
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• v.17 no.3
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• pp.179-188
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• 2004

Recently, design has emerged as a key factor of successful product development. This study reviewed the elements of form with a view point of addressing and defining the elements of aesthetics and how they influence consumer aesthetic response. Though past researches related to form aesthetics reported that form aesthetics exist as a single element with other sub-elements, this research made further investigations into form aesthetics and reported that form aesthetics in product design can be broadly divided into form aesthetics and content aesthetics. Empirical studies on each category was undertaken and from the results obtained, it was concluded that typicality is a dominant element in content aesthetics while rhythm is a dominant element in form aesthetics. Also, the study investigated the effect of conditional variables such as price and brand hierarchy on each category and it was observed that both content and form aesthetics elements are affected by conditional variables such as price and brand hierarchy, Furthermore, the study reports that both content and form aesthetics elements are mutually correlated and both categories affect user's aesthetics response. It is intended that the results obtained from this work will contribute to theoretical knowledge of aesthetic elements and can be put to use by product design and manufacturing companies.