• 유통과학연구
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• 제14권5호
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• pp.59-70
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• 2016

Purpose - The objectives of this study are described as following. First, the study will establish the concept of Brand Values of Environmentally-friendly agricultural product through theoretical discussion. Second, it shows the effects of Environmentally-Friendly Agricultural Products brand value on Brand Satisfaction, Brand Trust and Brand Loyalty by empirical investigation. Third, in order to provide the methodology of brand development, literature regarding and questionnaire survey were used such as Environmentally-Friendly Agricultural Products Brand Value, Brand Satisfaction, Brand Trust and Brand Loyalty. Based up on the results, the research estimates consumers' relative priorities of Environmentally-Friendly Agricultural Products Brand Value factors in purchase. This research also suggests the consumer oriented new brand development and the progressive direction for the successful launching of Korean Environmentally-Friendly Agricultural Products Brand. Research design, data, and methodology - Because the relative literatures reviewed regarding not only each factor but also the relationships among them, Brand Value was categorized into 4 dimensions: Emotional, Social, Functional, and Epistemic Value. Then, Brand Loyalty was added as an outcome variable and Brand Satisfaction, Brand Trust were also added as mediators. The proposed research model and 13 hypotheses were created and 23 measurement items were developed. A face-to-face questionnaire survey with items concerning the Brand Value of Environmentally-Friendly Agricultural Products is conducted to housewives in metropolitan area in May 2016. Respondent answered about Brand Value, Brand Satisfaction, Brand Trust and Brand Loyalty in preferred Environmentally-Friendly Agricultural Products. 333 copies of the questionnaire were collected and analyzed using SPSS 21.0 and AMOS 20.0 to determine the reliability and validity of the measurements. Results - From the confirmatory factor analysis and a structural equation modeling, the outcomes of these studies were as follows; (1) Three Brand value dimensions, i.e. Emotional Value, Social Value, and Epistemic Value had a significant and positive impact on Brand Satisfaction, but Functional Value did not. (2) Social Value also had an impact on Brand Trust, (3) Brand Satisfaction significantly affected Brand Trust, and Brand Trust influenced on Brand Loyalty, and (4) Brand Satisfaction were perfectly effective in mediation between Emotional Value, Epistemic Value and Brand Trust, and it also partially mediated between Social Value and Brand Trust. Conclusions - According to the result of consumer research on Environmentally-Friendly Agricultural Product brand, 3 dimensions of brand value affected brand satisfaction, and especially Social Value was a significant positive dimension. So, marketers should concern about value proposition of Environmentally-Friendly Agricultural Product to consumers by using premium package design, store identity, and distinctive product. Consumers wanted to get self-esteem, self-regard, and high social position by purchasing it. This study has academic and practical significance, so the findings can be applied to a wide range of brand management strategies. However, there are some limitations; 1) limitation about development of new brand value dimensions, 2) limitation about gender in the area of respondents. Future research should be done with wide range of respondents.

• 한국게임학회 논문지
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• 제5권2호
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• pp.29-36
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• 2005

게임 신제품 가격결정은 기업의 유지 및 운영에 많은 영향을 미치는 부분이다. 적정한 제품가격 결정에 따라 소비자들의 선호 및 반복적인 구매의욕을 자극할 수 있기 때문이다. 하지만 게임업계에서는 제품특성과 광고, 원자재 등에 포함되는 지출 금액에 따라 가격책정을 하는 것을 선호하고 있고, 경쟁기업대비 가격 결정 등 기업의 입장 및 시장동향에 의한 가격을 결정하고 있는 경우가 현 기업의 상황이다. 따라서 많은 기업들은 제품의 가치를 제대로 평가받지 못하여 현 가격보다 낮게 또는 높게 책정해 매출 부진, 고객이탈, 신규고객유치 부진 등 경영상에 많은 악영향을 미치고 있다. 이러한 차원에서 본 연구의 방향을 기업입장 및 시장동향에 의한 가격결정보다는 소비자가 신제품을 바라보는 관점에서 제품을 평가하는 부분에 초점을 맞추어 신제품 가격을 결정하고자 하는데 중점을 두었다. 게임유형별 적정가격을 분석한 결과를 보면 한국의 게임 사용자들은 시뮬레이션 게임, RPG 게임, 아케이드 게임의 경우 "3만원 때의 가격"을 선호하는 것으로 나타났으며, 온라인 게임인 경우 "2만원 때의 가격"을 선호하는 것으로 나타났다. 이는 각 게임유형별로 가지고 있는 특성을 잘 반영하여 나타난 것으로 분석된다.

• Asia Marketing Journal
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• 제15권3호
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• pp.97-115
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• 2013

This paper was motivated by two gaps in the extant literature on brand portfolio planning. First, research has shown that, as the number of products connected to a brand increases, the extended product receives more favorable evaluations. However, this result was obtained by comparing two brands with different number of products while controlling the brands' breadths. Hence one may question if the above result would hold when the brand is narrow as well as broad. Second, the literature has investigated the effect of brand breadth on the perceived fit and evaluations of an extended product within a relatively limited range ("narrow vs. broad") and not considered the case of a "very broad" brand. To address these gaps, we propose two hypotheses: 1) the effects of the number of products associated with a brand on the perceived fit and evaluations of a moderately far brand extension are moderated by the brand's breadth (H1); and 2) the relationship between a brand's breadth and a moderately far extension's perceived fit and evaluations looks like an inverse-U shape (H2). Study 1 was conducted to test H1. Study 1 employed a 2 × 2 within-subjects design in which the first factor was the number of products (small (2) or large (5)), and the second factor was brand breadth (narrow or broad). We measured brand breadth as the perceived similarity among products associated with a brand. Participants provided the perceived fit and evaluations of an extended product. Study 2 was conducted to test H2 as well as to replicate Study 1 in a more general setting and with different products. It employed a 2 × 3 within-subjects design, in which the first factor was the number of products (small (2) or large (5)), and the second factor was brand breadth (narrow, broad, or very broad). The results from two experiments support both hypotheses. This paper contributes to the literature on brand extensions in two ways. First, it broadens our understanding of the effects of product number and brand breadth on extended product evaluations by considering the two factors jointly. Second, we believe this study to be the first to present evidence that brand breadth can exert an inverted U-shape effect on the perceived fit and evaluations of an extended product. The results also offer implications for marketers. First, marketers should heed the finding that adding similar products to a narrow brand does not help the brand's extension launch. Second, the finding that the relationship between brand breadth and extended product evaluations might not be linear provides practical implications. While a narrow brand should not keep launching close extensions, nor should a broad brand continue producing far extensions to broaden its breadth. A firm with a broad corporate or family brand might want to consider introducing a new brand instead of adding dissimilar products under the brand umbrella.

• ETRI Journal
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• 제42권2호
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• pp.272-281
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• 2020

Three-dimensional (3D) selfie services, one of the major 3D printing services, print 3D models of an individual's face via scanning. However, most of these services require expensive full-color supporting 3D printers. The high cost of such printers poses a challenge in launching a variety of 3D printing application services. This paper presents a stencil-based 3D facial relief creation method employing a low-cost RGBD sensor and a 3D printer. Stencil-based 3D facial relief is an artwork in which some parts are holes, similar to that in a stencil, and other parts stand out, as in a relief. The proposed method creates a new type of relief by combining the existing stencil techniques and relief techniques. As a result, the 3D printed product resembles a two-colored object rather than a one-colored object even when a monochrome 3D printer is used. Unlike existing personalization-based 3D printing services, the proposed method enables the printing and delivery of products to customers in a short period of time. Experimental results reveal that, compared to existing 3D selfie products printed by monochrome 3D printers, our products have a higher degree of similarity and are more profitable.

• 마케팅과학연구
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• 제19권4호
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• pp.24-31
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• 2009

公司生产不同功能, 设计, 颜色的产品. 产品扩散的出现有三个不同的原因. 当存在规模经济, 当这种产品和别的产品一起生产时, 单位成本比单独生产要低. 二, 消费者是异构的, 即它们具有不同的品味, 喜好, 或价格弹性. 一家公司可赚取细分为具有类似特点的不同群体的消费者更多的利润. 例如, 产品扩散通过更准确地满足不同消费者的需要来帮助公司增加利润. 产品扩散的第三个原因是基于战略. 生产一定数量的产品, 不仅可以阻止通过提供给一些少数市场的产品进入, 也使得公司可以有效地应付低价格进入. 通过生产各种产品, 公司可以减少利基, 使潜在进入者有较少进入的诱因. 此外, 企业可以生产新产品来应对进入, 我们称之为战斗品牌. 也就是说, 当一个进入者试图以低廉的价格吸引消费者, 已存在者介绍新的低质量的产品, 同时保持现有产品的价格. 产品扩散的缺点是同型装配. 一些买了高价位的产品的消费者会转向低价位的产品. 此外, 当新产品与对手现有的产品的异化程度不高时, 由于激烈的竞争, 产品扩散会降低利润. 许多研究已经在经济分析和市场营销等领域的产品线竞争的影响. 它们展示了一个垄断者可以通过调整质量来解决市场中的消费者对质量的偏好不同的同型装配的问题. 他们发现, 喜欢高品质的产品的消费者将获得他或她最喜欢的质量, 但没有这方面的偏好的消费者将获得比他或她所喜爱的质量低的产品. 本研究分析了产品的竞争在一个双头垄断市场, 两种不同类型的消费者对质量偏好的影响. 我假设这两家公司将在这个意义上的不对称, 一个运营商可以同时生产高, 低质量的产品, 而一个进入者只能产生低质量的产品. 产品扩散的影响是可以通过比较市场结果来解释, 当已存在的运营商生产两种产品和只生产一种产品时. 在这个案例中, 当已存在的运营商只生产高品质的产品, 由于激烈的竞争, 在喜欢低质量产品的消费群中低质量的产品价格趋于下降. 但由于缺乏竞争, 在喜欢高质量产品的消费群中价格会上涨. 据了解, 当企业在进行价格竞争时, 理想状况是当公司的对 手提高价格时, 此公司也提高价格, 这被称为战略补充. 由于价格是战略性的补充, 我们有两种相反的效果. 事实证明, 一个高品质的产品价格上升, 因为竞争力减弱的积极作用超过了战略互补的负面影响. 这意味着, 已存在的运营商推出了低质量的产品时还需要增加高品质产品的价格. 然而, 在进入者的低质量产品的价格变化是模糊的. 二, 此案例中, 已存在的运营商只生产低品质的产品, 在偏好低质量的消费群中价格往往增加. 但在偏好高质量的消费群中价格往往下降. 低质量产品的价格下降是因为负面影响大于正面影响. 而且, 当已存在的运营商生产两种产品时, 其低质量产品的价格往往较高, 尽管两家的低品质的产品质量一样. 此原因由于对高品质产品价格的负面影响, 运营商没有较大的动机去降低低品质产品的价格. 事实上, 竞争的产品线对利润的影响不仅取决于价格变化, 还取决于销售和同型装配. 如果在边际成本同产品质量的差异相比是适中的话, 产品扩散的积极影响大于负面影响, 从而增加利润. 此外, 如果成本差异是非常大(小), 运营商最好只生产一种低 (高)质量的产品. 而且, 本研究还分析了当公司通过关注战斗品牌来决定产品特征时, 竞争产品线的影响. 最近, 大韩航空和韩亚航空公司建立了廉价航空线路, 分别是Jin线路和釜山线. 来应对Hansung航空和济州航空. 另外, 很多网上书店也进入市场, 例如处于领先地位的实体书店Kyobo已经有了自己的网上书店. 通过战斗品牌, 在它的低品质产品跟新成员比起来有差别时, 一个具有高品质产品的运营商通过生产更多的低质量产品可以增加利润.

• 한국실내디자인학회논문집
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• 제24권3호
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• pp.68-78
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• 2015

Nendo, which was established in Tokyo in 2002, is a design company established by Oki Sato, which is gaining reputation as a new design group representing Japan through numerous design tasks encompassing diverse design sectors, such as architecture, interior, furniture, graphic, and products. This study was conducted to investigate the formative features of Nendo furniture by reviewing 133 pieces of Nendo furniture designed for the last ten years and identify the general characteristics of Nendo furniture by reviewing the time of launch, product launch type, and furniture type. As a result, the design features of Nendo furniture are as follows: First, the shapes of basic materials including boards, lumber, and bars are maintained intact and Nendo furniture has simple and moderate design without complicated or decorative elements. Second, Nendo furniture has simply embodied a design characterized by simple transformation, minimization of furniture elements, and rearrangement. Third, Nendo presents new and simple furniture differentiated from other pieces of furniture using optical illusions. Such expressions of optical illusions which are hardly found in preexisting furniture are a major feature of Nendo furniture. Fourth, a majority of chairs of Nendo cause optical illusions with the minimized size. In addition, their top boards made of transparent glass and mirror cause optical illusions with the properties of materials. In short, design of Nendo furniture is characterized by formative expressions, expressions of optical illusions, and differentiated use of materials. Fifth, Nendo keeps launching new furniture items in various exhibitions. As a result, Nendo makes furniture with its own unique characteristics based on its diverse studies and experiments which are applied to furniture design in a realistic way. In summary, design of Nendo furniture is characterized by simply embodied design based on small differences in daily life, minimalism with simple and moderate shapes, and its own witty uniqueness based on formative expressions, expressions of optical illusions, and use of materials differentiated from other furniture brands.

• 복식문화연구
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• 제20권5호
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• pp.679-694
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• 2012

The purpose of this study was to develop a logo type for a new fashion brand and to present design cases that apply the relevant logo type to suggest an advisable direction for logo design. This study analyzed the logo designs of domestic and foreign fashion brands and used the data to develop a logo type for a brand name that reflects the concept of the newly launched brand, in addition to presenting the relevant design process and method. Besides a literature review, this study conducted case analyses of domestic and foreign fashion brand logos. This is an empirical study in which researchers developed a logo type and presented designs that applied it. The research results are as follows. The brand name of the new L Fashion brand in Korea is 'LEAY'. This study developed a logo using the initials L, E, A, and Y, each standing for life, love, and liberty; esteem, eternity; act, art; and youth. The Caslon type font, which evokes a casual yet modern sentiment, was used for the design. Cleats and zippers, which are decorative subsidiary materials used in labels, tags, shopping bags, clothing, and props, were applied in the design of the developed logo type. All design cases was produced into articles. The case of fashion brand logo design and development presented in this study implies that the development of fashion brand logos and the logo-applied product design must be tied to the launching and planning process; thus, logo development must be based on the brand concept in relation to the market entry strategy that satisfies both producers and customers.

• 한국패션뷰티학회지
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• 제4권1호
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• pp.4-11
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• 2006

Masstige goods aimed consumers who want the fame and the emotional contents with reasonable price are presented overall and around the life style, from all the fashion items like bag and apparel to car, electric household, food, sports goods, furniture, toys, pets and performance of art, etc. Masstige casual, essentially different from the passed casuals which emphasized only price strategy, appeals to teenagers and young of twenties with a definite brand concept. Therefore masstige casual might be separated from business casual of a target aged thirties. Established celebrity brands have launched masstige brands matching the popularization of prestige goods. Armani Exchange from Armani, Marc by Marc Jacobs from Louis Vuitton are representative ones. DKNY from Donna Karen, MiuMiu from Prada, Paul smith Pink from Paul Smith can be added. These are relatively inexpensive, however the quality, design and shop's atmosphere are more exclusive than general brands. Consumers are over middle class and have a pride and fidelity to those brands. Leading Masstige trend, new luxury brands put the importance to the quality and aims middle class. To succeed in this field, companies should know exactly what consumers want, considering not only functional aspect but also emotional pleasure. Even though masstige has a weakness in pricing, it has to keep brand's proper benefit. Its price range could be wide to be in great demand but has to have elasticity and not to be expanded too much. Masstige industry should do its best not to damage original brand's identity. Forming family brand, like Armani made Georgic Armani, Emporio Armani and Armani exchange, system of parent brand and sub brands would be recommendable. From the launching time, masstige needs the effects to create a sensation and bring it into vogue and offer emotional value to the consumers.

• Asia Marketing Journal
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• 제13권3호
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• pp.265-274
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• 2011

본 사례는 중형차 시장의 선도 브랜드인 기아자동차 K5가 어떻게 중형차 시장에 성공적으로 포지셔닝 하였는지를 분석하고 있다. 기아자동차가 K5를 출시하기 전까지 쏘나타와 SM5는 각 브랜드를 선호하는 고객들의 지지를 기반으로 중형차 시장에서 1, 2위를 다투면서 오랫동안 소비자의 사랑을 독차지해 왔다. 경쟁사들이 지속적으로 새 브랜드나 신 모델을 출시함에 따라 쏘나타와 SM5도 새로운 버전의 차를 출시해야 한다는 압박을 받게 된다. 하지만, 시장의 새로운 트랜드를 따라 잡기위해 출시된 YF 쏘나타는 기존 디자인에 비해 너무나 달라 이질감을 느끼게 하였으며, New SM5는 달라진 것이 거의 없는 구형차 라는 이미지로 받아들여졌다. 두 브랜드가 고객들을 제대로 만족시키지 못하고 있을 때, 기아자동차 K5는 중형차 소비자를 만족시킬 수 있는 제품에 대한 기회를 포착하고 중형차 시장에서 현재 제공되는 가치와 소비자들이 원하는 가치의 차이를 채워줌으로써 준중형 고객의 업그레이드 수요와 중형차 대체 수요를 만족시키는 성과를 거두었다. K5는 고객들이 원하는 가치를 찾고 그 가치를 성공적으로 제안하였다. 본 사례는 포화상태에 있는 자동차 산업에서 성공적인 포지셔닝 전략을 통해 신 시장을 개척하는 과정을 잘 보여주고 있다. 기아자동차 K5의 성공적인 포지셔닝 전략을 크게 디자인 혁신, 시장분석, STP, 그리고 출시전략의 4가지 축으로 설명하고 있다. 기아자동차 K5의 성공적인 포지셔닝 전략은 신 시장 개척을 위한 포지셔닝 전략을 계획하고 있는 많은 기업에게 의미 있는 시사점을 제공해 준다.

• 지능정보연구
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• 제23권4호
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• pp.57-76
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• 2017

최근 정보 기술의 발전 속도가 매우 빠르게 변화하고 있다. 스마트폰과 태블릿 같은 IT 기기에서 이런 변화들이 두드러지고 있다. 이전의 IT 기기들은 기능상의 혁신과 진보를 통해 소비자들을 끌어들였지만, 현재는 IT 제품 상에서 기능상 발전과 혁신은 둔화되었다. 기능상 차별점이 줄어든 시점에서 기업들은 외관과 디자인적 측면에서 차별화를 시도하고 있다. 스마트폰의 외관적 변화를 반영하듯 소비자들도 성능보단 디자인을 스마트폰 구매의 중요 요인으로 삼고 있다. 스마트폰은 패션 아이템의 하나로 자리매김하게 되었고, 스마트폰의 디자인과 외형이 지속적으로 중요해짐에 따라 해당 제품에 대해 소비자들이 느끼는 디자인 가치가 무엇인지도 중요해졌으며, 무엇에 영향을 받는지도 중요해졌다. 소비자들이 느끼는 가치가 중요해짐에 따라 소비자들이 해당제품의 디자인에 대해 평가하는 메커니즘을 밝힐 필요성이 존재하며, 적절한 가치를 전달하기 위해 디자인을 평가할 수 있는 모형이 필요하다. 디자인과 관련한 기존 연구들은 소비자들의 인지와 가치 부분에 초점을 맞추어 연구를 하였지만, 제품 속성 자체에 대한 부분은 고려하지 않은 경향이 있으며, 제품이 갖고 있는 객관적인 속성들에 따라 소비자들의 인지가 변화하는 과정과 최종적으로 느끼는 가치에 대한 메커니즘을 밝힌 연구는 부재한 것으로 나타났다. 따라서 본 연구는 스마트폰 제품이 갖고 있는 객관적 속성인 제품 속성과 객관적 속성을 통해 느끼는 소비자들의 인지, 가치에 대해 평가할 수 있는 메커니즘을 설계하고, 이를 평가할 수 있는 3단계 디자인 평가 모형을 제시하려 한다. 3단계 디자인 평가 모형은 제품 속성, 인지 속성, 소비자 가치까지 모든 단계를 고려한 정량화된 모형으로 스마트폰 분야만이 아닌 사용자경험 분야에 전반적으로 적용 가능할 것으로 기대하며, 기업이 갖고 있는 소비자 데이터와 결합한다면, 특정 소비자층을 겨냥한 제품 생산 및 설계가 가능한 지능형 디자인 가치 평가 모형으로 발전할 수 있을 것으로 예상한다.