• Archives of design research
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• v.18 no.2 s.60
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• pp.173-188
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• 2005

Design has become a buzzword in the marketing community these days and has been considered as an important success factor for business. Unfortunately, however, little research to date has been conducted on consumer responses to brand logo designs, which visualize brand identities. This article reports the findings from an experimental study which examined consumer evaluations of logo designs through conjoint analysis. The study explored potential factors which would give rise to the differences of consumer preferences. The results indicate that in the case of cognitive brand concepts, search goods show high elaborateness and low symmetry, experience goods show high associativeness, and credence goods show low elaborateness and high symmetry in the logo design characteristics. Affective brand concepts reveal different results in the logo design characteristics: search goods indicate high elaborateness and low associativeness, experience goods show low naturalness, and credence goods show low elaborateness and high associativeness. Implications of the results are discussed from a theoretical and practical standpoint.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.500-510
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• 2015

This study examined the effect of face sensitivities on a consumer's choice of luxury product's logo size. To answer the research question, an experimental design was planed and conducted where the stimulus for the experiment comprised two luxury brands, Louisvuitton and Couronne. For each brand, three different sizes of a logo were considered; no logo, logo with small size, and logo with big size. Each product has an identical design, color, and size except for the size of logos. A total of 115 students were enrolled in the experiment to select one of the logo sizes in each brand. Through the data analysis, we found that shame consciousness and consciousness for others among face sensitivities were significantly associated with the choice of a logo size both in Louisvuitton and Couronne. In addition, there was no significant difference in face sensitivities between male and female, but was significant difference in the choice of a logo size between male and female.

• Journal of Industrial Convergence
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• v.5 no.2
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• pp.33-51
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• 2007

environmental has given rise to a world where consumer persue satisfaction in quality and quantity of products. From this point of view, a study of the impact of logo design on brand association and consumer emotions is very important and useful. For this study, we investigate on the basis of preceding studies. Finally, it is thought that it will be necessary to conduct a more specific study on the relation between brand association and consumer emotions.

• International Journal of Costume and Fashion
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• v.9 no.1
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• pp.15-25
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• 2009

As fashion brand logos have been used conspicuously, they have been recognized as a part of the product design. Since the 2000s, fashion designers have actively begun to apply fashion brand logos to product designs by transforming, patterning, and distorting, so the importance of fashion brand logos were emphasized. This article has attempted to establish the implications between fashion brand personality and the motif which is applied to a fashion brand logo. 27 of fashion brand logos were chosen because they are easy to access and have a history of more than 10 years. As a result, these 27 logos were categorized into 5 animal motifs: a horse, a bird, a snake, a dog and a tiger. In recent years, numerous studies have found that the appearance and behavior of an animal affects their symbol system which is recognized by humans. To deduce the symbolism which is communicated by a brand logo, archetypical symbols of 5 animals were analyzed as mentioned and the brand personality and image of 27 brands. As a result, there are implications between the archetypical symbol of animal motifs and a brand image and brand personality. A majority of the adjectives which express the archetypical symbolism of animal motifs as well as brand image and brand personality are similar. Moreover, the personalities of fashion brands categorized by animal motifs are different from each other, so how each animal motif communicates different images and symbols was explored.

• Journal of Fashion Business
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• v.15 no.5
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• pp.55-68
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• 2011

The purpose of this research is to study the visual characteristics of domestic national men's wear brand logos. For this purpose, 80 of national men's wear brands were selected from '2010/2011 Korea fashion brand Annual' For analysis, they were classified into three categories: logo types composed only with logomark or symbol and logomark together. Types of symbol were classified into word symbol, descriptive symbol, and abstractive symbol. And the used typefaces were classified into serif and san serif and acromatic and cromatic The results are as follows: The visual characteristics of domestic national men's wear brand logos, there were more brands that used logomark with symbol together than logomark only. And the type of symbols were appeared descriptive symbol(32% ) that meaned the men's power, nobleness and royalty. In domestic national men's wear brands, color of logos were more frequently used acromatic color as black and grey than cromatic color. Among the cromatic colors were more appeared to a kind of blue and green. And the used typefaces were the more frequently used to serif typeface of capital. As a result, the visual characteristics of domestic national men's wear brand logo were that they used the brand logos composed of descriptive logomark with symbol together, black serif typeface the most. From this results, we could find that visual stragety of domestic national men's wear brand logos had the tendency to emphasize the function of conveying information, brand concept that men's wear. The specific and continuous following research in which psychological factor of consumer reflected was requested as a measure to seek brand logo that aid to establish brand power and reinforce brand image.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.143-157
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• 2013

Fashion products are goods purchased based on cultural and psychological values derived from a brand image as well as on the physical value of the product itself. Management of brand image has been one of the most important marketing strategies in the fashion industry. In this research, three best-selling young casual brands were tested with 200 male and female subjects to compare brand image, logo image, and advertisement image. The objective of the research were as follows: 1) to explore the effect of advertisement on the purchase of young casual wear and brand image management status through advertisements of domestic brands, and 2) to investigate differences in consumer perception on brand logo image and advertisement image. The results showed that most of young casual brands are depending much on star marketing rather than developing differentiated brand image through advertisements as indicated in brand image management status. Failure in development of differentiated and consistent brand image is a barrier to the long-term and continuous advancement of young casual brands. Therefore, more efforts should be made for the reinforcement of brand image for the consistent growth of domestic young casual brands.

• The Journal of the Korea Contents Association
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• v.12 no.5
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• pp.154-162
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• 2012

We can expect an effective color marketing to build up a positive industrial image as it is easy for consumer to approach due to the ability of colors to affect human consciousness and sub-consciousness more than any other factor. The purpose of this research is to draw attention to the importance of color communication and to find strategies to elevate the brand image by surveying the degree of influence color communication has when forming a brand image. In order to conduct effective research, we executed theoretical and collaborative analysis through research materials and documents. If you take a look at the outcome of this research, brands that brings credibility and likability to its customers are not brands that uses color communication, but brands that utilize marketing strategies that build up credibility for quite some time. Also, preference over colors are distinctive. It turned out to be that the color of a brand logo that one likes has very little to do with one's favorite color. When people choose a brand, they are choosing the brand not because of the color of the brand logo, but its credibility and likability that the brand offers. It proves that the color of the brand logo has nothing to do with the colors that people prefer. The relationship between the color that consumers prefer and the image and emotional color that forms brand image is negligible. However, since research shows that there was a relationship between the color you prefer and the emotional color that forms brand images, it seems to be important to figure out what color customers prefer rather than the color that shows customers' self image. Unlike existing color communication research, through this research, we would like to know how to utilize the color communication strategically in the forming of brand images and take a look at the relationship between customers' preferences and the image of each brand logo's emotional color.

• Journal of Korea Multimedia Society
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• v.18 no.12
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• pp.1509-1518
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• 2015

Because a logo is a medium that connects between consumers and corporations or brands, designing memorable logo images is vital. Although predicting logo's memorability for brand marketing is essential, there have been only few researches that deal with memorability of logo images. In this paper, we analyze the memorability characteristics in logo images by performing experiments based upon our proposed prediction method for logo image's memorability. Our proposed research consists of three phases: crowdsourcing for memorability computing, computational phase for logo image's memorability, and development of a prediction model. Using computed memorability of logo images by "Visual Memory Game," we analyze the different characteristics of logo's memorability. We first developed a novel computational method that reflects logo image's color and shape. Each computational method on color and shape are selected by comparing the correlations between result values and ground truth memorability. Selected computational value is then converged with generic image feature descriptors such as SIFT and HoG to make a prediction model of logo's memorability. Using our method, we obtain reasonable performances in predicting logo image's memorability.

• Journal of Fashion Business
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• v.28 no.2
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• pp.76-91
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• 2024

This study analyzed the colors used in the logos of infants' and children's clothing brands, comparing them based on brand type and the pursued image. A total of 34 brands with the highest recent sales rates were selected. Among these, 17 were large-sized enterprise brands found in department stores, and the other 17 were in-house production enterprise brands. All colors used in the logos of the selected brands were extracted from the brand logo images. In addition, the study classified the pursued images of the selected brands using emotional adjectives in order to assess variations in different color attributes of the logos according to the brand type and pursued image. The study found that in-house production enterprise brands used lighter and more varied colors compared to department store brands. For both brand types, reddish-to-yellowish hues were most commonly used. Brands projecting a 'cute' and 'gorgeous' image exhibited a greater array of colors in their logos, while brands with a 'neat', 'modern', and 'luxurious' image used less saturated colors. In terms of logo type, symbol logos used the most colors with a moderate level of lightness, while typographic logos used the fewest colors with a low level of lightness.

• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.91-105
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• 2014

As luxury goods market has expanded and has become more affordable, luxury consumption value has become more diversified. The purpose of this study is to classify visible characteristics of luxury consumption by the degree of logo clarity, and to explain this classification in relation to personal luxury consumption values. Also, the study utilized the concept of cultural capital, in addition to the concept of economic capital, in order to aid understanding of current new luxury consumption trend and give directions on brand signal strategies for luxury brands. In order to develop a survey that could measure an individual's cultural capital, focus group interviews, each composed of 5 women in their twenties and thirties, were conducted. Then, the survey was conducted on 230 females residing in Seoul who have purchased at least one product from a luxury brand within a year. The results suggest that luxury consumption can be explained by 'self-oriented value' and 'others-oriented value' as suggested in precedent studies. However, no significant difference was found between economic capital and these two luxury consumption values. However, the more cultural capital one possesses, the more one is likely to pursue 'self-oriented consumption value'. In studying the correlation between luxury consumption values and preference for brand signal clarity, respondents with 'self-oriented consumption value' has shown low preference towards highly visible brand logo when design and quality were equivalent. Also, respondents with 'other-oriented consumption value' has shown high preference towards highly visible brand logo.