Color Marketing Strategy of Milk Packaging (우유 Packaging 색채 마케팅전략)
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- The Journal of the Korea Contents Association
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- v.12 no.1
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- pp.197-210
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- 2012
In this research, we executed a questionnaire survey targeting men and women in 20' or more who reside in the metropolitan area and have experienced purchasing the vehicles in order to study how Promotion Mix Activity affects Brand assets, and ultimately what kind of relation it has with Purchase intention. In the statistical process of collected data, we analyzed the data by using SPSS 12.0 for Windows statistical package and AMOS 7.0 program. As the result of analysis, first, when we analyzed the relation of the Promotion Mix Activity and Brand Assets of the companies, the more affirmative the assessment on the advertising activities of the companies was, the higher the brand popularity, royalty and image increased, And it appeared that as the assessment on PR activities of the companies got more affirmative, the brand popularity, image and royalty increased. Second, as the result of the analysis of the relation between salespersons' Promotion Activities and Brand assets, it appeared that salespersons' social capacity improved Brand awareness and royalty and their strategic capacity improved Brand awareness, royalty and image. Third, seeing the result of the analysis on the relation between Brand assets and Purchase intention, it was shown that Brand popularity had a meaningful positive(+) effect upon satisfaction and repurchase(oral) intention, and Brand royalty had a meaningful positive(+) effect upon satisfaction and repurchase(oral) intention. In addition, it appeared that Brand image had a meaningful positive(+) effect upon satisfaction and repurchase(oral) intention, and finally it could be known that Brand assets had a close correlation with Purchase intention. Therefore, this research established the color marketing strategy as follows. First, we shall build up the functional role such as aesthetic favor, information communication, protection of ecosystem, publicity reinforcement etc. so as to emphasize the properties of the package design; second, we have to construct the color marketing strategy to convey the images of the commodity besides the psychological and physiological utility which colors grants, the utility used in visual conveyance as communication media; third, we should build the color marketing strategy for the integration of company image; finally we have to compose the colors fitted for the company and product style and introduce design marketing using company colors.
We increasingly see the importance of employees acquiring enough expert capability or innovation capability to prepare for ever growing uncertainties in their operation domains. However, despite the above circumstances, there have not been an enough number of researches on how operational input components for employees' innovation outcome, innovation activities such as acquisition, exercise and promotion effort of employee's innovation capability, and their resulting innovation outcome interact with each other. This trend is believed to have been resulted because most of the current researches on innovation focus on the units of country, industry and corporate entity levels but not on an individual corporation's innovation input components, innovation outcome and innovation activities themselves. Therefore, this study intends to avoid the currently prevalent study frames and views on innovation and focus more on the strategic policies required for the enhancement of an organization's innovation capabilities by quantitatively analyzing employees' innovation outcomes and their most suggested relevant innovation activities. The research model that this study deploys offers both linear and structural model on the trio of learning, innovation capability and innovation outcome, and then suggests the 4 relevant hypotheses which are quantitatively tested and analyzed as follows: Hypothesis 1] The different levels of innovation capability produce different innovation outcomes (accepted, p-value = 0.000<0.05). Hypothesis 2] The different amounts of learning time produce different innovation capabilities (rejected, p-value = 0.199, 0.220>0.05). Hypothesis 3] The different amounts of learning time produce different innovation outcomes. (accepted, p-value = 0.000<0.05). Hypothesis 4] the innovation capability acts as a significant parameter in the relationship of the amount of learning time and innovation outcome (structural modeling test). This structural model after the t-tests on Hypotheses 1 through 4 proves that irregular on-the-job training and e-learning directly affects the learning time factor while job experience level, employment period and capability level measurement also directly impacts on the innovation capability factor. Also this hypothesis gets further supported by the fact that the patent time absolutely and directly affects the innovation capability factor rather than the learning time factor. Through the 4 hypotheses, this study proposes as measures to maximize an organization's innovation outcome. firstly, frequent irregular on-the-job training that is based on an e-learning system, secondly, efficient innovation management of employment period, job skill levels, etc through active sponsorship and energization community of practice (CoP) as a form of irregular learning, and thirdly a model of Yί=f(e, i, s, t, w)+
The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.