• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.99-118
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• 2019

This study confirmed the followings based on analysis of language messages in 718 advertisement in , AMOREPACIFIC's beauty magazine, published from 1958 to 2018 by product categories, era, in terms of purchase information, persuasive expression, word type. First, the number of pieces among 1980s to 1990s advertisement were the largest and, in terms of product categories, there were the greatest number of pieces in skincare, makeup and mens products. Second, headline and bodycopy had a different aspect in persuasive expression. "focused on image-making" was mainly used for head lines. Specifically, "situational image" was generally dominant. While the "user image" was higher before 1990's, "brand image" was as recent times. "Informal" was mostly applied for bodycopies, especially, "general information" and "differentiated information" was used the most. It is important to know what kind of information the brand established in each brand should be embodied rather than simply dividing the appeal method into "rational appeal" and "emotional appeal."Third, persuasive expression has different aspects in headlines and body copies. "focused on image-making" was mainly used as headlines. Specifically, "situational image" is dominant. Also, "user image" was high before 1990s but "brand image" got higher in recent times. "Informal" was mostly used as body copies, especially "general information" and "differentiated information" were the most frequently selected. Therefore, it is important to apprehend which information to specify established images by brands, rather than to divide "rational appeals" and "emotional appeals". Lastly, categorizing word type into brand names and headlines, foreign language was the most dominant in brand names and Chinese characters in headline. Remarkably, brand names in native language temporarily high in 70's and 80's, which could be interpreted to be resulted from the government policy promoting native language brands in those times. In addition, foreign language was frequently used in cosmetics and Chinese characters in men's product. It could be explained that colors or seasons in cosmetic products were expressed in foreign language in most case. On the other hand, the inclination of men's product consumers, where they pursue prestige or confidence in Chinese character, was actively reflected to language messages.

• Proceedings of the IEEK Conference
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• 2000.07b
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• pp.831-834
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• 2000

The sign-language tan be used a9 an auxiliary communication means between avatars of different languages. At that time an intelligent communication method can be also utilized to achieve real-time communication, where intelligently coded data (joint angles for arm gestures and action units for facial emotions) are transmitted instead of real pictures. In this paper we design a gesture-emotion keyframe editor to provide the means to get easily the parameter values. To calculate both joint angles of the arms and the hands and to goner-ate the in keyframes realistically, a transformation matrix of inverse kinematics and some kinds of constraints are applied. Also, to edit emotional expressions efficiently, a comic-style facial model having only eyebrows, eyes nose, and mouth is employed. Experimental results show a possibility that the editor could be used for intelligent sign-language image communications between different lan-guages.

• KNOM Review
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• v.24 no.2
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• pp.35-47
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• 2021

Various stress exists in a modern society, which requires constant competition and improvement. A person under stress often shows his pressure in his facial expression and language. Therefore, it is possible to measure the pressure using facial expression and language analysis. The paper proposes a stress measurement system using facial expression and language sensitivity analysis. The method analyzes the person's facial expression and language sensibility to derive the stress index based on the main emotional value and derives the integrated stress index based on the consistency of facial expression and language. The quantification and generalization of stress measurement enables many researchers to evaluate the stress index objectively in general.

• Fashion & Textile Research Journal
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• v.16 no.6
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• pp.995-1000
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• 2014

This study, using the free language association method, examined the characteristics of emotional words of respondents who were exposed to facial photos of women in 60s, and favorableness and favorable styles of them. To analyze mood characteristics on the faces, they were divided into positive mood words and negative mood words. Following previous researches, they were divided into introversion, extraversion, and ambiversion. It was found that the proportion of positive emotional words respondents used was 37%, and that of negative ones was 63%, demonstrating that respondents are more likely than not to get the negative impressions from the faces of their contemporaries. The characteristics of the words consists of 38% introversion, 47% extraversion, and 14% ambiversion. And, respondents used the words like 'beautiful' and 'good-looking' to the stimuli to which they felt favorable, and 'ill-tempered' and 'stubborn' to the stimuli to which they felt unfavorable. Third, the most favorable style to both male and female respondents in 60s were sentimental and good-mannered. They generally favor women who are soft and caring, and dislike talkative, snobbish, and thick make-up women. The analysis results in this paper may help image making and personal relations. Further study needs to expand the survey area to ensure more significant influence on the social life and interpersonal relationship of senior citizens.

• Journal of Fashion Business
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• v.16 no.6
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• pp.127-143
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• 2012

This study aims to derive the sensitive image analysing the color tones based on the web-sites of cosmetic brand and to know how the web-site color tones and the color tone image as visual factor for information transfer do influence the effective communication. 10 cosmetic brand web-sites are selected based on the pre survey, and the main page color tones of cosmetic brand web-site are analyzed by Color Catch and Munsell Conversion program, whereas the composition of color tones and color image such as the main trend colors, secondary colors, accent colors and etc are analyzed by a graphic professional program 'Adobe Photoshop'. 5 color tone groups are classified as Black&White, Green&White, Blue&White, Purple&White and Red&White according to the color distribution chart, and the emotional language is derived applying them to the pre research and IRI image scale. The color association is empirically analyzed by a survey method. The study results finally show Black&White is proper for expression of high quality and modern image, Green&White for pure and clean image, Blue&White for cool and transparent image, Purple&White for mysterious and elegant image respectively. This study results are necessary for plan of color delivering the strong transferring power of visual information the time when to make the effective web-sites, and it hopefully will be utilized as the basic data for the color marketing to actively express the brand identity and to satisfy the consumers' sensitivity.

• Science of Emotion and Sensibility
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• v.23 no.2
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• pp.75-88
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• 2020

Given the development of information technology, various methods for efficient information delivery have been constructed as the method of delivering product information moves from offline and 2D to online and 3D. These attempts not only are about delivering product information in an online space where no real product exists but also play a crucial role in diversifying and revitalizing online shopping by providing virtual experiences to consumers. 360 product image is a photorealistic VR that allows a subject to be rotated and photographed to view objects in three dimensions. 360 product image has also attracted considerable attention considering that it can deliver richer information about an object compared with the existing still image photography. 360 product image is influenced by divergent production factors, and accordingly, a difference emerges in the responses of users. However, as the history of technology is short, related research is also insufficient. Therefore, this study aimed to grasp the responses of users, which vary depending on the type of products and the number of source images in the 360 product image process. To this end, a representative product among the product groups that can be frequently found in online shopping malls was selected to produce a 360 product image and experiment with 75 users. The emotional responses to the 360 product image were analyzed through an experimental questionnaire to which the semantic classification method was applied. The results of this study could be used as basic data to understand and grasp the sensitivity of consumers to 360 product image.

• Korean Institute of Interior Design Journal
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• v.16 no.5
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• pp.22-29
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• 2007

In the face of the new dimension of the developed technology $L{\acute{a}}szl{\acute{o}}$ Moholy-Nagy, a master of 'the Bauhaus Akademie', made an effort to constitute the integrated life of the intellectual and the emotional by translating the experiences of the new technology Into the emotional language and the cultural realities. As an artist who criticized in the constructivist ethos the conception of the image as the imitation and brought the Image movements into relief Moholy-Nagy groped for a new expressive idea that can be called as 'the idea of the non-representational spatial expression' in which the expressive elements interact one another. His idea of the non-representational spatial expression that is made up of the pure forms of the nature, the direct colors and the spatial elements is oriented to incorporate the modern realities, i.e. the space experiences as the complicated sensory workings and the new technology as the measure of the human thinking, and further to see where they will move to. This study is on the one hand purposed to explicate the fundamental idea of the non-representational spatial expression that was poorly illuminated in spite of its importance in the respects of the design and art history, on the other to re-actualize the implications of the space-design which are contained in it.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.19-34
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• 2010

This study aims to examine associationistic psychology and psychological operation associated with each color image, then to study the relation between particular colors used in paintings produced by Gogh and Klimt in different times and these painters' psychology in a bid to explore the meaning and role of psychological operation of colors. The findings of the study indicated that red and blue colors represent mainly negative images, while yellow and orange colors represent mainly positive images and psychologies. Specifically, in the case of Gogh, red expresses anxiety, a negative image, yellow symbolizes passion, a major positive image of emotional liberation, dark and thick green and the green involving blue symbolize negative images, emptiness and despair, and blue represents negative images of internal desire conflicts, and screaming. Also, purple used together with white represents anxiety and depression. In the case of Klimt, red represents negative images of anger toward mother and suppressed energy, yellow, an alternative to gold color, symbolizes the positive image of hope, passion, desire and eroticism, the arrangement of strong gold and orange colors represents a color of psychological healing more than a color of hope. As such, colors used in paintings produced by modern Western painters express the physiological conditions, psychological feeling and emotion in life, at the time when the artists produced such works. It was found that colors are yet another language of expressing emotions, and symbolize the psychologies of the artists, indicating that colors have something to do with the painters' experience and emotional impulses.

• Journal of Korea Game Society
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• v.21 no.6
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• pp.75-86
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• 2021

Brand image refers to how customers, stakeholders and the market see and recognize the brand. A positive brand image leads to continuous purchases, but a negative brand image is directly linked to consumers' buying behavior, such as stopping purchases, so from the corporate perspective, it needs to be quickly and accurately identified. Currently, methods of investigating brand images include surveys and SNS surveys, which have limited number of samples and are time-consuming and costly. Therefore, in this study, we are going to conduct an emotional analysis of text data on social media by utilizing the machine learning based KoBERT model, and then suggest how to use it for game corporate brand image analysis and verify its performance. The result has proved some degree of usability showing the same ranking within five brands when compared with the BRI Korea's brand reputation ranking.

• International Journal of Internet, Broadcasting and Communication
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• v.10 no.3
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• pp.73-80
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• 2018

This study introduces an interactive drawing system, a tool that allows user to sketch and draw with his own intentions. The proposed system enables the user to express more creatively through a tool that allows the user to reproduce his original idea as a drawing and transform it using his body. The user can actively participate in the production of the artwork by studying the unique formative language of the spectator. In addition, the user is given an opportunity to experience a creative process by transforming arbitrary drawing into various shapes according to his gestures. Interactive drawing systems use the segmentation of the drawing image as a way to extend the user's initial drawing idea. The system includes transforming a two-dimensional drawing into a volume-like form such as a three-dimensional drawing using image segmentation. In this process, a psychological space is created that can stimulate the imagination of the user and project the object of desire. This process of drawing personification plays a role of giving the user familiarity with the artwork and indirectly expressing his her emotions to others. This means that the interactive drawing, which has changed to the emotional concept of interaction beyond the concept of information transfer, can create a cooperative sensation image between user's time and space and occupy an important position in multimedia society.