• The Journal of Information Systems
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• v.19 no.1
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• pp.117-148
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• 2010

The user interface (UI) is the part of the systems that users can see, hear and feel. That means, a user can interact with the systems through the user interface. Effective user interfaces create positive feelings of success and competence. In addition, they enable users to concentrate on their work, exploration, or pleasure. The German word "Gestalt" means "whole" as well as a figure or a shape. A comprehensive information systems (IS) literature review found that there has been little empirical evidence on the Gestalt principles in UIs that affect online users' perceived usability in a Web context. Therefore, the goals of this study are to 1) examine the relationships between Gestalt principles in UIs and online users' perceived usability in a Web context and 2) come up with design guidelines to enhance user success. Using a survey, this study explored the relationships between Gestalt principles used in six Web sites and 17 aspects of usability. The results showed that in terms of 16 aspects of usability, there are significant differences among the UIs that have different levels of Gestalt principles. In practice, online stores may use these findings to improve their Web pages. Specifically, the sixteen usability attributes can be used to check whether online stores' Web pages meet customers' user interface quality expectations.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.37-56
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• 2016

Gestalt psychology is a theory of psychology to organize separate stimuli perceived by people's vision to incorporate them into significant types, and this also is applied in terms of the brand awareness of consumers. This study considered which influence the Gestalt psychology theories have upon the fashion consumers' information processing in fashion advertisement. The results are as follows. The principles of the totality and the perceptual organization in the Gestalt psychology are allowing fashion consumers to perceive information through advertisement and to be capable of understanding it a little more easily and clearly in the process. As for the principle of totality, an integrated Gestalt was formed by combining the stimulant elements of fashion ads and the brand schema of consumers. The principles of figure and background that were part of the perceptual organization theory enabled the consumers to pay attention to, choose and focus on some of the objects of perception in an easier and faster way. The principle of perceptual grouping was used to draw attention from the consumers by simplifying the objects of perception and then by combining them or making them look complete. Therefore the more advanced application of the principles and laws of Gestalt psychology is expected to make fashion consumers' way of looking at ads more well balanced and positive in a more efficient and convincing manner.

• International Journal of Advanced Culture Technology
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• v.12 no.2
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• pp.205-214
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• 2024

This paper delves into the application of Gestalt psychology principles in logo design. It analyzes how these principles refine design elements to bolster the efficiency and impact of visual communication. Drawing from Gestalt psychology perspectives, the theoretical foundations and application methods of logo design simplification strategies are discussed. Through the analysis of Gestalt psychology effects in various types and styles of logo designs, this study compares the applicability and differences of logo design simplification strategies under different cultural and social contexts. Furthermore, it evaluates their role and value in enhancing the innovativeness and communicative impact of logo designs. The findings suggest that strategies informed by Gestalt psychology significantly improve the organization rules within logo designs, such as the relationship between figure and ground, proximity, similarity, and continuity. Thereby they enhance perceptual clarity, cognitive load, and aesthetic satisfaction. Moreover, these strategies promote creative thinking and problem-solving abilities in logo design. The results indicate that simplified design methods not only enhance aesthetic appeal but also improve the adaptability and recognizability of logos across different media and environments. This approach aligns with the minimalist and flat design trends of today's information age, meeting the evolving needs and aesthetic preferences of consumers.

• Journal of architectural history
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• v.15 no.2
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• pp.39-54
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• 2006

Focusing on the emergence of the basic course in American schools of architecture, in particular Gyorgy Kepes' courses at MIT, this paper studies the transformation of architectural pedagogy during the years after World War II. Kepes centered his architectural pedagogy on the picture plane, which was to function as the primary media for applying the principles of Gestalt psychology, that is the identification of the whole and its parts and the reciprocity between the internal human organism and the outside world. Kepes hence introduced a set of unconventional visual practices that were not readily assimilated to architectural conventions. Paralleling the establishment of the basic course, MIT also formulated a functionalist and spatial pedagogy with its two initial design studios, courses 4.721 and 4.722. These studios shared the notion that architectural design evolved from the inside toward the outside, an idea that took hold not just in the pragmatic environment of MIT's studios but also in conservative academic programs as well as in popular magazines, picture books, and exhibitions for the consumer public. The architectural surface became inseparable from the objects of art, furniture, and design, all of which were to be the generators of space. Hence, during the 1950s, the architectural surface provided a specific locus of intersection between the visual fundamentals of the basic course and the working principles of architectural design. Kepes, however, had by this time become disillusioned with architecture's potential as the medium of unity. Though he maintained the Gestalt logic of identity, he expanded it toward the goal of grander synthesis of society and consciousness freeing himself from the constraints of disciplinary instruction. In the case of Kepes, the mediating role of the picture plane was foregone in a regressive turn toward a primal, innocent, and direct experience.

• Journal of the Korea Computer Industry Society
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• v.9 no.2
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• pp.83-92
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• 2008

Throughout the history of computer use, the interface metaphor has been employed to make computers easier for humans to use. Even the earliest command line interfaces used metaphor. Metaphors in user interfaces help to make the software accessible to users and allow the users to communicate with the system as well. User interface guidelines for most of the popular operating systems encourage the use of metaphors in interface design. Thus, metaphor in interface design is employed as central element with a long history. Therefore, this paper will suggest substantiating guidelines which are based on conceptual model and Gestaltprinciples for successful metaphor construction with a better user interface.

• Journal of the Korean housing association
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• v.17 no.6
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• pp.19-26
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• 2006

Along with the development of creative building design ideas, how to effectively sign design concepts is also an important consideration on environmental design. The research goals established in order to solve these problems are to develop structures of sign design and analyze the cases of it. This paper explains structures of sign design in two ways: the compositional elements of signs and the relationships of visual perception. Among various relationships among sign design compositional elements this study uses relationships based on the Gestalt theory, the balance theory by Rudolf Arnheim, and the optical away theory by Gibson. The design principles investigated on the basis of the visual perception theories include the relationships between compositional elements and background space, visual weight balance, horizontal and vertical balances, grouping, and visual layout patterns

• Journal of the Korean Society of Costume
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• v.44
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• pp.104-116
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• 1999

This study was intended to make an inquiry into the effect of lines, shapes and colors (achromatic colors) as apparel design elements on the perceptions of facial size, brightness and shape through an empirical research based on the theories of visual perception and optical illusion that have been studied in Gestalt Psychology, which becomes the basis of apparel design principles. It was shown that the facial size was influenced by the collar size, the degree of neckline cut, and the thickness of the trimming line. The white scarf with the white jacket made the face look darkest while the black scarf with the black jacket made the face look brightest. When the neckline had the characteristic of the line contrasted with the facial shape, the oval-shaped face was perceived to be the most ideal. When the facial shape and the neckline shape were similar, the facial shape was perceived to be more highlighted.

• Archives of design research
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• v.14
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• pp.53-60
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• 1996

The most remarkable and characteristic problem of design is that of creativity of design. Originality is a part of creativity. In the process of designing, we used to handle design thoughts that shows some patte군 of divergent and productive thoughts. During design thinking, for example 'Idea sketch', We also are under Pattern Recognition and Gestalt principles organization. In this study, it is reorganized that the 'Originality Test of Line Drawing(OTLD)'is a measurement system for personal originality. There is a regression on two tests of OTLD, which has 1 Semester Interval. From the regression data, Test2 = 7.763 + 0.643Test1, F value : 55.219, Prob : 0.0001. We would suggest a measurement system for an ability of originality in design fields, but we couldn't find any reliability and validity for Fine Art fields. In this point, OTLD could be a development tool for design creativity.

• Journal of Digital Convergence
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• v.19 no.6
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• pp.293-297
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• 2021

This paper applies the natural history contents of the Science Museum and combines the Gestalt theory to develop the butterfly arrangement structure of the butterfly sample box and the butterfly sample information necessary for the sample box as AR (Augmented Reality). Existing analog sample information is expressed as digital information by combining place, butterfly information, and graph to maximize the effect of digital diorama exhibition. Digital natural history information is increased or decreased, and an environment optimized for real samples and suitability is constructed, and natural history contents are arranged in the principles of collectiveness, closure, simplicity, and continuity using the Gestalt visual perception principle to increase attention and increase the attention of butterfly collection information. Was applied as an application plan of AR.

• Journal of the Korean Society of Costume
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• v.61 no.9
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• pp.39-49
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• 2011

The presented study was designed to investigate the attribution of the visual perception of decorating techniques that have often been witnessed in the realm of modern fashion since 2006. The form is more impressive, more suitable to convey a message and, most of all, more memorable. In this study, attempts were made to categorize and create an order of prioritization among components such as surrounding, pattern (closure), space arrangement, area, overlapping, and community (proximity) surrounding that comprise the place and arrangement of decorating techniques in modern fashion. The results were as follow: First, centered decorating technique surrounded by other techniques is prioritized. Second, the more standardized the clothing with patterns, the more it was noticed. Third, the space arrangement also had an impact on prioritization in the following order: center of the sight, horizon, vertical, and diagonal in relation to the central axis. Fourth, concentrated area attracted more attention. Fifth, when overlapped, what is placed in the front became the center of recognition. Sixth, the technique that formed a community was more recognized. Therefore, the study suggests that as the decorating technique is gaining more significance, these findings would help to find the most effective method to utilize an acute visual stimulus to apply for a technique and maximize its aesthetic effects.