• Journal of the Ergonomics Society of Korea
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• v.24 no.3
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• pp.29-34
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• 2005

Little research has been performed regarding auditory icons even though auditory icons have great potentials as a strategy for creating informative, intuitively accessible, and unobtrusive interface. Therefore, this study was conducted to design new auditory icons through the iconic mapping for ten most frequently used mobile phone menus, and to show the usability of auditory icons. Two most familiar auditory sounds for each menu were collected and compared to the current button-pressing sound. The results show that the newly designed auditory icons had shorter recognition times, better satisfaction than the current icons. In other words, auditory icons could be an effective interface to provide a redundant feedback along with visual feedbacks in navigating mobile devices.

• Journal of the Ergonomics Society of Korea
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• v.23 no.3
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• pp.39-52
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• 2004

Icons are the main element of the graphic user interface (GUI). They can help users perform effectively on the computer, especially when the icons reflect user`s mental model. However, few studies in Korea represented Korean users` mental models in icon design. The purpose of this study, therefore, was to ascertain whether existing icons agreement with Korean twentieth mental model, and to deduce properties of Korean twentieth mental model. To do that, 10 icons from two commercially available toolbar-icons of word processing programs were compared with the newly developed icons, which were developed to represent Korean user`s mental modelthrough interviews, surveys, and mental model sketches. The results show that five new metaphors were found: a dog-eared part on the bottom right corner new for new document, a magnifying glass for search, a red pencil for spell-check, `＋` and `` signs in the magnifying glass for zoom, and a yellow post-it for paste. These new icons were preferred to the existing. Korean twentieth users preferred rather complex and dynamic icons than simple and static ones even though icon development guideline said simple icons are better.

• Journal of the Korean Society for information Management
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• v.21 no.4 s.54
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• pp.315-327
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• 2004

The study examined 131 icons that appeared in major Web sites for the use of children. Out of 131 icons, 66 icons were selected as core icons by calculating the number of their occurrence in the same category. The 66 icons were examined to find out whether they meet the evaluation criteria. And also 66 icons were presented to the children to find out whether they immediately recognize the meaning of each icons. Finally, the study investigated to find out the correlations between the results of evaluations by criteria and the results of the children's recognitions of meaning of each icons. As a results of the study, it presented 16 icons that were proved to be appropriate for the use of children.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.9 no.6
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• pp.2251-2270
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• 2015

More than 1 billion mobile apps (smartphone applications) have been released worldwide. Competition among developers of apps that are available in app stores has intensified because of increasing demand. App icons with an appealing design can instantly increase attention. Miryoku Engineering methods were used and combined with the Kansei interface model to examine the relationship between attractive icons and users. The evaluation grid method (EGM) is a qualitative method that was used to evaluate the icons, and Quantification Theory Type I is a quantitative method that was used to analyze the influence of design elements in icons. Eight attractive factors of app icons were determined using EGM, and six specific factors were identified using questionnaires. The quantitative results indicated that user cognition and emotion were influenced by the various design elements. The impact on the attractive factors of a single design element differed among users with diverse backgrounds. App icons were assessed on the basis of aesthetics to identify attractive factors and thereby assist designers in understanding and implementing design elements and improving the overall visual appeal of their apps. The result of this investigation is crucial to the presentation of app icons in online app stores.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.89-101
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• 2010

The purpose of this study was to investigate the fashion item of the symbolic fashion icons in the 20th century. The symbolism of fashion icons was grouped into four classes according to the influence of a social-cultural change. 1. Icons between dream and reality: A dreary emotion that was caused by material richness has a longing for an ideal image. A typical style was Art Nouveau style, which pressed into a grotesque S-bend. While as the world placed on a economic reconstruction after World War I, rational fashion icon which pursued more function and simplify than cumbersome style and complexity came out. 2. Icons between solid and liquid: A solid icons was connected with a mode of female body during World War 1. This extremely stylized female figure. Flowing fabrics enveloped the stylized female figure and they brought a liquid icons into relief. 3. Icons between uniformity and variety: At a time when uniformity was appeared strongly within 20th century is during World War II and about 1940-1950. The uniformal icon was classified into uniformity by uniform and by mass production. A repugnance for the uniformity and imitation of fashion was tried a new fashion style. It could be called with the various of fashion icon. 4. Icons between social secession and rediscovery: In 1950-1960, 1970-1990, and the end of 20th century, the advent of the young culture was born a consumer who newly breaks in fashion. It could be included within the domain of social secession icon. While the rediscovery of fashion icon was associated with experimental new fibers, leotard, suitable replacement for wool or acrylic knit, silk that could stretch in any direction, new fabrics that were transparent, took color beautifully, and could be painted, tie-dyed, or embroidered.

• Journal of the Korea Safety Management & Science
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• v.15 no.1
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• pp.141-150
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• 2013

In this paper, the learnability of haptic icons was tested as a way of conveying turn-by-turn directions to users involved in navigation interactions with commercial smartphones. To do this, six most distinctive haptic icons were identified from those having different duration of each pulse, interval between pulses, and rhythm. Associations between the selected haptic icons and 3 pairs of navigation directions were analyzed using data gathered from 30 subjects by 7 point Likert scale. The haptic icons were then assigned to proper directions based on the results from that stereotype analysis. The results showed that the commercial smartphone with one linear motor at a fixed location is not capable of making hapticons to have clear directional stereotypes. The hapticons with poor stereotypes has no advantage in learnability compared to those of random assignment.

• Archives of design research
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• v.17 no.2
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• pp.269-278
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• 2004

This research categorizes various icons that used in PDAs according to symbolization patterns, operating systems and support for color display. Since different icons vary in communication capacity I executed this research to verify it positively. In result, PDA loons were found to have different intuitive communication capacity according to its functions, symbolization pattern, operating system and use of color. \circled1 Icons which have similar object as ones that are used on desktop computer and icons with accurate, simple expression seems to have higher intuitive communication capacity among the icons categorized by functions. \circled2 Among the icons categorized by symbolization pattern, ones that express the action related to their functions have the highest recognition accuracy and longer delay before recognition. \circled3 Among the icons categorized by operating systems, ones that have concrete expression of object and a number of representation elements have higher recognition accuracy and longer delay before recognition. \circled4 Among the icons categorized by color and grayscale, ones with color have superior communication capacity due to additional stimulation although LCDs in most PDAs have limited color depth.

• The Transactions of the Korea Information Processing Society
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• v.2 no.1
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• pp.23-33
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• 1995

This paper describes a visual programming tool which provides novice programmer as well expert with the abilites to capture real physical world of problem domain and to manipulate it user-friendly using icons and symbols. Therefore, novice can understand object-oriented features of C＋＋ incrementally and construct classes easily. For this, we introduce some visual metaphors which are displayed as tables. The tables can not only represent objects and classes, but also be considered themselves as icons. We have named these tables as table-icons. Three levels of table-icons(i.e., Super Table-Icons, Intermediate Table-Icons and Detailed Table-Icons) are proposed to follow up appropriate evolution of object-oriented concepts. Table-icons are not simple pictographs but are activated and expanded to table forms. And then, developer can inset necessary entities into table body and delete useless entities from it. These table-icons are applied to a diagramming technique, C＋＋gram［18］, which is suggested for designing and implementing C＋＋ programs.

• Korean Journal of Cognitive Science
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• v.8 no.4
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• pp.19-33
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• 1997

Icon is a small graphic which represents a particular function in computer interface. Comprehension and learning of icons are needed for using them because they represent some meanings. This study was conducted to examine which were more important factors in using icons. First, representational characteristics of icons were examined. Second, using a eyetracker, the way of coding of redundant display was examined which removed obscurity of display and gave more meaning to a user. Icons using attribute of object and direct discription of action were more efficient than icons of other representational form in comprehension. Redundant display was proved to have some advantages, especially when the icons had low familarity. Visual information processing of icons were discussed according to familarity and learning.

• Journal of the Korean Society of Costume
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• v.49
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• pp.95-112
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• 1999

The purpose of this study was to research of color symbol on white in the Virgin Mary and an Infant jesus icons. For this purpose icons were selected and analyzed from the medieval ages to the 18th century. The results were as follows. Icons on the subject of the Annnunciation and the Nativity should be expressive of nobility immaculacy and innocence of the Virgin Mary and an Infant Jesus. With this view white was used to be color of candle a waxing moon lily kettle dress bedspredad towel wall encircled garden and became symbolic color in the Icons. As a result the color symbol of white the meaning of immaculacy and innocence disseminated according to spread of the Christian religion. In these days though elimination of the religious meaning the white color is using continuosly as a symbolic color of immaculacy and innocence.