• Archives of design research
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• v.19 no.2 s.64
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• pp.151-162
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• 2006

The purpose of this thesis is to upgrade brand logo's equity by objective and professional evaluating tool. A brand logo is the main factor in making brand equity, but many times a brand logo is decided without objective judgment because making a logo is considered an intuitive process. To minimize the poor judgment by non-experts, a brand logo needs objective numerical grading tool. Thus, a brand logo is a factor in making a brand identity, not only brand image. That is why brand logo must be chosen by an expert's object judgment. The concrete method to obtain a objective, and at the same time professional grading tool which can De used for the developing and verifying process for a brand logo is as below-first, considering brand judgment from various angles through existing literature, I found various logo grading factors and then extracted them with professional identity designer's subjective consideration. second, applying extracted factors to actual logo grading, verify as a efficient design management tool

• Archives of design research
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• v.14 no.1
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• pp.187-197
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• 2001

Conventional design producing systems using the Internet are largely classified into two groups: a basic type in which an operator of a design producing site receives an order for manufacture of a design from a purchaser, produces the design based on the content of the received order, and delivers the produced design to the purchaser; and a type in which a purchaser inspects given designs and select one of them for purchasing. Such conventional design producing systems have following problems. Firstly, receiving an order over the internet and delivering a produced design to a purchaser has nearly the same procedure as a conventional logo design procedure with the sole exception that an order can be received through the Internet. Therefore, the production of a design still costs a great deal and takes much time. Secondly, inspecting given designs, selecting one and producing the selected design is like simply selecting a picture, and thus a purchaser is not allowed to modify a design. To solve the above problems, it is an object of the present a new solution to provide a self-design producing system and method using network, in which a purchaser searches a design database for a design suitable for the purchaser's company, determines a design database by modifying design conditions, and makes an order for manufacture of a product to which the determined design is applied, through the Internet.

• Science of Emotion and Sensibility
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• v.15 no.4
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• pp.469-476
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• 2012

The purpose of this study is to derive design guideline for logo design development of smart clothing using flexible plastic optical fiber. In a criterion of guideline derivation for logo design, the first, it is a question of whether it indicates an appropriate degree of brightness across the front of flexible plastic optical fiber. The second, it is a question of whether it indicates relatively an uniform brightness characteristic across the front of flexible plastic optical fiber. For this, the brightness characteristic of flexible plastic optical fiber according to the angle changes and the length of flexible plastic optical fiber was analyzed by the 'Experiment 1'. To deduce guideline for the logo design of the actual garment, the brightness characteristic of flexible plastic optical fiber about the main morpheme of the capital letter of alphabet was analyzed by the 'Experiment 2'. Based on the results of the two experiment, this study derived design guideline and limitations for logo design of smart clothing visualized by the flexible plastic optical fiber.

• Journal of Global Scholars of Marketing Science
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• v.2
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• pp.183-202
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• 1998

본 연구에서는 1) 경기용 여자 수영복의 디자인을 분석하여 대표적인 디자인 요소를 도출하고 2) 경기용 여자 수영복 디자인에 대한 소비자의 감성을 분석하고 그 결과를 토대로 한 디자인 기획의 지침을 제시하며 3) 디자인기획의 지침을 토대로 하여 합리적인 경기용 여자 수영복 디자인 프로토타입을 개발하였다. 이러한 분석을 수행하기 위하여 오미겐타로의 디자인평가인자 이론을 개념적 모형으로 하여 경기용 여자 수영복의 이미지를 20개의 디자인 세부요소로 분해하여 디자인 특징을 기술하는 디자인 요소 분석 체계를 구성하였으며, 연구 결과를 토대로 하여 디자인 요소 분석 체계를 보완하고 개발하였다. 경기용 여자 수영복디자인에 대한 소비자의 감성의 주요 하위 차원으로는 참신함, 발랄함, 심플함, 강함 차원 등이 도출되었다. 또한 경기용 여자 수영복의 디자인 세부 요소들 중 로고와 색체에 관련된 디자인 세부 요소들은 선에 관련된 디자인 세부 요소들보다 감성에 더욱 지배적인 영향을 미치는 것으로 분석되었다. 이 결과는 기존의 스포츠 마케팅에서 로고를 중요한 수단으로 활용해온 것은 타당함을 의미하였으며, 경기용 여자 수영복 디자인 기획에서는 로고 뿐 아니라 색채도 중요하게 다루어져야 함을 시사하였다. 또한 본 연구에서 의미 있는 감성 효과를 나타낸 디자인 세부 요소들은, 스포츠마케팅 및 디자인 마케팅 분야에서 경기용 수영복 디자인 제품에 대한 체계적인 소비자 평가 기준으로서 활용될 수 있을 것으로 기대된다.

• Smart Media Journal
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• v.12 no.5
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• pp.111-121
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• 2023

The purpose of this study is to find methods for logo renewal design according to the brand life cycle, considering the logo as an important visual tool that represents the brand identity in terms of brand management. This study was conducted through literature study on brand life cycle and brand renewal strategy, an expert survey on logo renewal design, and logo analysis of 35 food and beverage brands with statistical data to determine brand life cycle. The results of the study are three. First, the four stages(introduction, growth, maturity, and decline) of brand life cycle characteristics and renewal strategies were derived. Second, four brand renewal strategies(partial change, total change, repositioning, new image creation) and methods for logo renewal design were proposed based on the life cycle of the brand. Based on this, renewal characteristics for each life cycle were proposed. Third, visual elements of identity that are important depending on the brand life cycle and brand renewal strategy were found. It was found that the addition and subtraction of graphic elements and change of color tone are important in the partial change strategy of the growth period and maturity period, and that the change of signature color is important in the repositioning strategy and the creation of the new image.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2012.05a
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• pp.98-100
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• 2012

• Journal of Digital Convergence
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• v.17 no.2
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• pp.355-361
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• 2019

The purpose of this study is to analyze how brands are perceived to be most positive when they are presented to users in brand experience design, and to help them communicate more effectively. Originally, brands changed their logos periodically with the aim of communicating anniversaries. These days, not only this information but also emotional communication with users. As a research method, two major portal sites were selected for use in Korea, and a preference survey and in-depth interview were conducted based on the case of the event logos. From the results of the study, we were able to obtain results that the event logos act as a more positive factor when they provide users with various emotional motivations. In the future, we anticipate that users will be given higher value if they have a design approach that will elicit more diverse emotions from the brand experience.

• 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.

• Korean Architects
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• s.609
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• pp.118-119
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• 2020

• 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.