• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.497-499
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• 2010

도시의 문화 속성은 도시의 말전수전을 대표할 수 있다.한 도시에 풍부한 창의 및 대표적인 공공 예술과 대중들이 참여하는 상대적으로 광범한 예술의 분위기가 있는지, 그리고 적당한 비율의 예술의 분위기로 가득 찬 문화의 교류 및 심미 및 휴가를 보내고 오락을 즐기는 공공공간이 있는지는 이미 한 도시의 문화품질의 높고 낮음을 측정하는 중요한 지표로 되었다. 이 연구는 사례 연구를 통해서 공공예술품의 예술 특성은 도시 브랜드의 가치를 향상시킬 수 있다고 증명한다.

• The Journal of the Korea Contents Association
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• v.20 no.12
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• pp.206-220
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• 2020

In the glocal era, the competitiveness of local authorities leads to national competitiveness. Even though they have competitively adopted slogans to stay competitive, the process has not been systematic. The goal of this study is to provide basic data needed to develop and utilize urban brand slogans effectively. In terms of a research scope, 48 slogans currently in use by 24 local authorities of Gyeongsangbuk-do as of April 2020 were chosen. Concerning the lingual representation of such slogans, diverse languages such as Korean, English and Sino-Korean have been used. In terms of meaning of meaning and material type, there was a lack of coherence among the slogans. In addition, they were poor in representing identity, and abstract image upgrade types were commonly found. It is anticipated that the study results would make a contribution to the development of urban brand slogans and value generation.

• The Journal of the Convergence on Culture Technology
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• v.9 no.4
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• pp.13-22
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• 2023

Recently, global luxury fashion brands such as Gucci, Saint Laurent, and Louis Vuitton have been showing special interest in Korean contemporary artists and actively collaborating with them. This can be said to be a new change that is distinguished from previous collaborations of fashion brands. Therefore, this study investigated the cases of collaboration between global luxury fashion brands and Korean contemporary artists, and analyzed the types and characteristics to examine the trends and characteristics and draw meaning. As a result, fashion brands combine the characteristics of Korean art works of various genres with the brand concept and pursued values to create new sensibility and high value-added products. It can be seen that the intention was to prepare a place to draw out. In addition, it was found that collaboration was also utilized in terms of marketing so that domestic customers could visit the brand store with a sense of familiarity by utilizing Korea's artistic and cultural sentiments. Based on the results of this study, we intend to provide basic data for the development of creative contents for various collaborations between fashion and art that can help develop the modern fashion industry.

• 프린팅코리아
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• v.12 no.9
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• pp.58-65
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• 2013

고모리코퍼레이션의 한국지사인 일진 PMS의 최신 인쇄기술서비스의 핵심은 '교육'에 있다. 물론 ERP시스템처럼 다른 브랜드는 하고 있지 않은 온라인 서비스도 있지만 다른 브랜드와 차별되는 것은 일본과 한국에서 이뤄지고 있는 '고모리스쿨'과 '고모리 기술교육 및 세미나'에 있다.

• Journal of the Korean Institute of Educational Facilities
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• v.24 no.6
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• pp.22-27
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• 2017

• 프린팅코리아
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• s.22
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• pp.112-116
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• 2004

한국인쇄학회(회장 김성빈)는 최근 인쇄학회지 제21권을 발행했다. 이 학회지에는 '오프셋 인쇄용지의 펄프 혼합비율에 따른 잉크전이율 변화' 등 20편의 논문이 게재돼 있다. 이에 본지에서는 이광숙(중부대), 윤혜영(중부대) 씨가 공동 연구한 '브랜드 이미지 형성을 위한 색상 선택에 관한 연구' 를 요약 소개한다.

• The Research Journal of the Costume Culture
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• v.28 no.2
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• pp.147-165
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• 2020

To identify the antecedents of repurchasing intention toward fast fashion brands, this study was conducted to examine brand authenticity and brand identification as both direct and indirect antecedents of repurchasing intention through fast fashion brand love. Through convenience sampling, 266 university students in Seoul metropolitan area completed a questionnaire survey. Data were analyzed using SPSS for exploratory factor analysis, and AMOS was used for confirmatory factor analysis and path analysis. Factor analysis revealed the following: for brand authenticity, four dimensions('originality,' 'reliability,' 'continuity,' and 'naturalness') were revealed; for both consumer brand identification and repurchase intention one dimension was revealed; and for brand love two dimensions were revealed('passion' and 'affection'). Path analysis confirmed that 'reliability' and 'naturalness'in relation to brand authenticity indirectly influenced repurchase intention through 'passion'(as a factor of brand love) and directly influenced repurchase intention. Further, 'continuity' in relation to brand authenticity indirectly influenced repurchase intention through 'affection'(as a factor of brand love) and directly influenced repurchase intention. Consumer brand identification influenced repurchase intention indirectly through two factors of brand love. These results suggest that fast fashion brand marketers should implement effective strategies that consider consumers'perceptions of brand authenticity, consumer brand identification, and brand love.

• The Research Journal of the Costume Culture
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• v.21 no.4
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• pp.546-561
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• 2013

This study investigated how consumers perceive brand image, the consistency between the images of parent brands and extended brands, the consistency of their advertising images, the differences between brand image and advertising image, and how consumers' brand attitudes change based on those differences. An online survey was administered to women in their 20s and 30s who often use cosmetics and are interested in brands. The brands considered in this research were Chanel, Dior, Armani, and Anna Sui, which have extended brands in the clothing and cosmetics areas. In terms of consumers' perception of brand image, it was found that clothing and cosmetic brands were perceived similarly. In addition, significant differences were found in consumers' preferences and purchase intentions of clothing and cosmetic brands, and those whose perceptions of brand image did not change or increased after looking at advertising images had more positive brand attitudes than the group of people who had higher perception of brand image before looking at advertising images. Therefore, in terms of brand extension, it was revealed that the image of a parent brand affected an extended brand, and that the higher was consumers' recognition of brand image through advertising, the more positive was their attitude toward the brand.

• The monthly packaging world
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• s.287
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• pp.66-73
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• 2017

국내 최고의 브랜드와 상품 패키지디자인을 선정해 시상하는 '제22회 베스트브랜드 & 패키지어워드 코리아(The 22nd Best Brand & Package Design Award Korea)' 시상식이 지난 1월 11일 서울사이버대학교에서 열렸다. (사)한국상품문화디자인학회와 한국경제신문사의 공동주최로 개최된 이날 행사에서는 베스트 브랜드& 패키지 부문에 (주)비상교육의 '2009 개정 비상교과서'가 종합대상을 수상하는 영광을 안았다. 다음에 '제22회 베스트브랜드 & 패키지어워드 코리아' 수상작을 자세히 살펴보도록 한다.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.133-150
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• 2022

Calling the 21th century the age of 'cultural competition' is not an overstatement. In an era of globalization, we try to find the 'identity of our country' in our culture. 'Culture' is the unique ethnicity of the people of each country that reflects the traces of their lives. As the world is transforming into a multi-dimensional place, traditional patterns in reference to cultural uniqueness and original formativeness are the brands that represent the people. France's luxury brand, GOYARD's Y-shaped pattern naturally made during the persistent traditional handmade process is still France's representative corporate brand and is considered prestigious even after 150 years have passed. On the other hand, in low-income countries, patterns created in the natural process of weaving fabrics are succeeded as a unique cultural aesthetic and are loved by people all over the world. Like this, people living in the global multi-dimensional world look to attain the framework 'One Planet Perspective' which is to succeed their own native culture and preserve the unique culture of others. For example, in the process of international relief organizations delivering relief supplies to Columbia's "Wayu tribe" due to the water shortage in 2013, a handmade product, "Mochila Bag" was discovered. Triggered by this incident, Europe and Korea decide to import it to support the livelihood of the "Wayu tribe." Also, the aesthetic and cultural values of the traditional culture in minority tribes that have evolved through thousands of years have been listed on UNESCO and preserved worldwide. Likewise, culture doesn't suddenly appear overnight, but rather the brand representing the company is the pattern used in the trend of the era kept for over 100 years. Moreover, patterns that reflect the country's identity are inherited as the unique aesthetic of the culture. Our country does inherit the unique aesthetic of our culture, but doesn't have a 'strong image' that displays the practical value reinterpreted creatively and aesthetically to fit the modern trend. Traditional patterns are important in perspective of study and theoretical research, but the brand's image using those patterns is a new medium from the past existence continuing to the current tradition. Furthermore, this study suggests that the image of a company that uses traditional patterns will have high economical potential as a national brand.