• Science of Emotion and Sensibility
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• v.11 no.1
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• pp.57-68
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• 2008

With the shift of consumer’s spending behaviors further into emotionally-driven purchases, the role of brand is becoming even more important, which in turn, expands design’s role in the brand image strategy. The contact point between the consumers and the brand is the primary channel for building strong brand image through experience. Therefore, it is critical to comprehensively plan and manage the consumer contact point for any brand. Given the changing market conditions, the objective of this study is to define and structure an integrated design development and management system for building successful brand image. In order to do so, the research analyzed the characters of brand image, the conditions for consumer experience and the roles of emotion. The analysis into the correlation between images and emotion process model yields three natures of an image. The image 1) is based on empirical decisions, 2) expresses and conveys emotional aspects and 3) builds mental values through a sense of sympathy. Through case studies of successful designs that meet all three characteristics, the roles of a brand icon in building strong brand image and the needs for integrated design approach for implementation are defined. The methods for integrated design include 1) providing a focal point through brand image positioning, 2) utilizing visual themes based on brand image plot, 3) building a Total Identity Program to holistically manage brand images and 4) developing brand icons for brand image reinforcement.

• Archives of design research
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• v.16 no.2
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• pp.335-344
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• 2003

There are various schemes to improve the environment of a rir in which we dwell. Among them environment color is one of formative elements that compose a city environment, the recognition about it is coming to be high gradually. A stabilized appropriate color of city environment gives a psychological social cultural effect to the people and also can be a useful method even in public information of city image, To give a citizen sensitive aesthetic and emotional satisfaction, a systematic rational design approach is necessary in an environment color plan. Hereupon, this study suggests one model of a concrete substantial color design through analyzing a present condition, for example, an existing environment, a case study about similar space, and a question investigation for finding out preference image and applying them to the color design. Through a rational systematic environment color design one can expect several effects making identity in a region, increasing a peculiar image or unity reinforcement by total application of color scheme, creating a visual environment with aesthetic characteristic, and efficiency of continuous color management system.

• Journal of the Korea Furniture Society
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• v.25 no.2
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• pp.79-86
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• 2014

Furniture can be a product of design and is considered a form of a decorative art. Architectural works are often perceived as cultural symbols and as works of art. Korean traditional architectural form and wooden furniture were improved by adding up an organic coordination in the interior space. Furniture adds beauty of life by being coordinated with the interior space with its particular characteristic in the form of architectural structure. Architecture and furniture are also being improved in a more natural and diverse way. Therefore, in this research, from the choice of the location, Korean traditional architecture is considered to be coordinated with the nature, and the technical skill is lessened to express its beauty. There is a presence of elegance yet robust combination of simplicity and beauty. In addition, the traditional architecture and wooden furniture are completely expressed structurally with coordination of the outstanding design and solid structure according to the thrifty living in the Confucian ideas which influenced the Korean traditional society. The representative of Korean traditional architecture, Baeheulrim pillar, has worked as motive because of its visual comfort caused by optical illusion and formative elements. The small portable dining table (Soban) which reflects the characteristic of Korean unique tradition and the sensitivity of Koreans has been reinterpreted through the motive in this research. As a result, it has shown the possibility as the design element to change the aesthetic structure. In the modern society, cultural identity plays a vital role. Therefore, this research can be used as reference for the new concept of furniture - making. It could be a combination of modern people, lifestyle and living space by creating the Korean image suitable for the modern society.

• Journal of the Korean Society of Costume
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• v.60 no.4
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• pp.76-97
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• 2010

The purpose of this study is to review the influence of Ukiyo-e on the design of European Paintings of the $19^{th}$ century and the expression of the design of Kosode design in Edo-era. We collected data from the actual study of visiting Museums and other theories and visual materials through literature review. Then, we analyzed the data. The result came out that Ukiyo-e, which is the genre painting of Edo-era, provided the new vision and the new way of expression to the European Paintings of the $19^{th}$ century. In the same way, the result also indicated that Ukiyo-e similarly influenced on the design of Kosode. For example, the study showed that the patterns of Kosode, such as flower, bridge, fun, wave, Lotus flower, stripe, oval, plaid, were used in the works of European artists in the $19^{th}$ century. The Ukiyo-e styles include Kan Bun style, Dan-Gawari style, Back facing style, Two-Section Segmentation style, and Folding screen style, with the identity of Japan and Japanese unique nature and landscapes. Thus, this study proved the design of Kosode to be the frontier of both European and Japanese arts, by examining Ukioyo-e's plastic characteristics, its composition & arrangements, and its subjects & objects which were samely revealed in Kosode design and European Art in nineteenth century.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.5
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• pp.64-77
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• 2009

In landscape architecture, the pursuit of pluralism requires diverse expression based on cultural and philosophical differences. Landscape architects impart social purposes and spatial relationships to the contemporary generation by providing particular environments that reflect the culture of the day. Particularly, landscape architects reflect contemporary art in their design works and express the characteristics of the arts of the day in real spaces. Historically they have sought motives from all fields of art. The plastic concept in landscape design is based specifically on paintings that directly influence spatial composition. Minimalism in landscape architecture contributes to the formation of artistic characteristics that can be explained to improve artistry in landscapes as aesthetic objects, which were eliminated in the modernist era, and to realize contemporary art. By interpretively studying design works, therefore, this study reveals plastic concepts' influence on landscape design affected by minimalist art. The characteristics of plastic concepts in minimalist landscape design can be summarized as follows. First, the reduction of Minimalist Landscape is meant for viewers to immediately understand a work's identity and to easily perceive its intention by using design language implied by the pure geometric forms such as circles, triangles and squares. Second, the extension intends to seek internal order by connecting design elements mutually and externally to provide visual direction by adopting linear expression. Third, the flatness that defines meaningless space tends to overlay additional elements on a flattened site to induce the perception of a sequence of landscapes and to patternize pavement to improve its visual image. Finally, seriality has two characteristics: to make centrality in space and to compose by repeating formative elements and materials based on the pursuit of a site's totality, rather than an individual space's originality.

• Science of Emotion and Sensibility
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• v.12 no.2
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• pp.193-204
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• 2009

The importance of corporate identity design has been recently highlighted in the marketing. However, logotype among marks that represent the image of a company has been neglected relatively comparing to symbol mark and logo mark. A logotype should be something to represent the personalities and characteristics of a company in suggestive ways. For such reasons, the image expressions by shape are thought to be important. Consequently, the formative aspects of visual communication design should be examined with emphases. However, it is true that studies on the formative aspects regarding logotypes and logo marks, especially studies on the shapes of font types and the responses of consumers to them, are lacking. Accordingly, this study examined the visual shape of logotype preferred by consumers and the shape of logotype preferred by consumers according to the business type of companies. As a result of research, there were differences in the elements of logotype preferred according to the business type of companies; as for construction companies is preferred the body of the type of dotum font with bold stem, without serif, with oblique, straight-line and curve-line endings; as for banks is preferred the body of the type of dotum font without serif, with oblique ending and with one-side curve style of serif, the stem in a middle level; as for laboratories is preferred the body of the type of dotum font with oblique ending, with bold stem and straight-line serif. The elements that should be commonly applied to construction companies, banks and laboratories appear to be the oblique ending but the curve-line ending and shallow stem seemed to be avoided. On the other hand, the serif, ending and gulim appeared to be applied differently according to the business type.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.81-96
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• 2006

This study aimed to investigate the sociocultural phenomena which affected to clothing change in 1650-1900 and to examine the features of men's necktie in the western art. For this study, information about historic neckwear is obtained from the visual evidence of painted or engraved portraits, contemporary written sources. The covered area of this study was Europe mainly England and France. For this process, research steps were as follows : 1. Investigating the sociocultural phenomena which affect to clothing change through 1650-1900 and analysis of men's clothing and appearance. 2. Finding the changing characteristics of neckties including it's different types, shapes, knots, colors and materials and analyzing similarities and differences of neckties by the times. 3. Examining necktie as one of important and representative icons of male gender identity. The results of the study was as follows: 1. In 1660-1900, men's fashion was simplified in color and detail due to the influence of practical Puritanism and matured civil culture. And British men's fashion spreaded throughout whole European countries and get popularity. 2. In 1650-1720, there were band, cravat and steinkirk. And expecially cravatier, a expert custodian of cravats, was appeared in that period. In 1720-1800, there were stock, solitaire and cravat. In 1800-1850, neckwear were popularized and got various sizes and types up to shape and size of chemise collars. Black stock, scarf cravat and shawl cravat were popular and terms of 'necktie' were used for an certain neckcloth shape. And abundant literature for necktie were published thanks to the development of printing technology in that period. In 1851-1900, the leady-made neckties were spreaded and there were changes in shape, length, knot of necktie up to V-zone formed with shirt's collars and vest types. Neckwear was gradually evolving through four distinct styles, bow tie, scarf or neckerchief, Ascot and four-in-hand. 3. After the mid-l7th Century, as civil culture matured and splendid and extravagant colorful men's wear disappeared, British men's fashion spreaded throughout whole European countries and got popularity. The necktie become an essential ornamental accessory of men's fashion and one of important and representative icons of male gender identity.

• Fashion & Textile Research Journal
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• v.9 no.1
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• pp.49-54
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• 2007

In the 21th century, the age of image, people express and evaluate with images. Image is a symbol of a person or a thing. It simulates people's visual sense most quickly and precisely and is shared in the society. At the time, since it is acknowledged that there are few books available and lack of theoretical system with regard to image making, the purpose of this study was to get a theoretical access to image making by taking as an empirical case the case of Choi Byeongryeol, a candidate running for the congress in June 4, 1998 and combining it with theories of costume. Research methods employed here were to investigate the theoretical system of image making and fashion direction, and to analyze empirical cases. The boundary of the empirical case was limited to the candidate's fashion direction during the election period for 50 days from April 1998 to the election date June 4, 1998. The results of this study are as follows. First, personal image making aims at the establishment of one's own identity through building up an ideal image. Second, it is found that personal image making can make a complete image possible through fashion direction. Third, it is found that fashion direction functions as a symbol and communicative means with a result that the effect can penetrate to the society accurately and quickly. Fourth, it is found that fashion direction fit for a situation can enhance personal values and reinforce his or her competitive power to carry out the ultimate goals in the society. This study proved that fashion styling for personal image making expresses a person in a symbolic image, enhances his/her personal value in the society and, ultimately, contributes to the establishment of an individual's identity.

• Journal of Science of Art and Design
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• v.5
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• pp.35-66
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• 2003

This article dealt with the formation and dissolution of tautological structure in the Frank Stella's work from 1959 to 1980 years by the analysis of signifier. A characteristic of Stella's work change is that it has the gradual progress which condensed into three periods -1) the formation and fixation period of tautological structure 2) the relaxation period of tautological structure and 3) the dissolution period of tautological structure. In other words, the early works of stella in the early 1960s has the structure which minimize differences in one hand, and maximize strictness, clearness, and identity on the other hand However, the stella's work from mid 1960s to mid 1970s extend differences gradually, while keeping a characteristic of prior work. And the stella's work after late 1970s has the decentered disintegration, namely anti-tautological structure which maximize differences. 'The formation and dissolution of tautological structure' in the Stella's work could be understood in relation to the fact that the Greenberg's modernist canon has loss the power gradually after late 1960s. That is to say, the dissolution of tautological structure in the late stella's work could be interpreted as the inevitable product which is produced in the searching for a new canon of painting. However, on the other hand, the structural change of stella's work in the late 20th Century is also understood in relation to the broader context, the social, and cultural context. Here, it is interpreted as the one of typical example which reflect a social and cultural convulsion designated as a 'Coming of Postmodernism'. In short, the late Stella's work which emphasize differences and unclearness, while diverging from early Stella's work which stress identity and rationality could be interpreted that it has the homology with the change of ways of thinking in the late 20th century Society.

• Journal of Digital Contents Society
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• v.19 no.6
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• pp.1043-1050
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• 2018

As the cconvenience economy of food culture becomes more widespread and the consumption trends for easy and convenient meals grew, every food company is making their various efforts to provide better service. Along with this change, various methods have been allowed for quick and easy ordering. Especially, the introduction of kiosk systems with various merits such as reduction of queues for cashes, saving labor costs, and smoothness of business processes have been actively growing recently. If kiosk system provides not only order but also systematic contents and interface design considering differentiated identity from other companies, brand image enhancement and customer service strategy would be available as well. A kiosk GUI design for effective interactions that provides more usability and satisfaction to users by analyzing the structure and contents of kiosks in fast food stores and GUI designs and investigating usage patterns and design preferences of kiosks through user surveys.