• International Journal of Costume and Fashion
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• 제9권1호
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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.

• 패션비즈니스
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• 제28권2호
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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.

• 감성과학
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• 제14권1호
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• pp.93-100
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• 2011

소닉 브랜딩은 소리를 활용하여 브랜드 가치를 창조하고 관리하는 것을 의미한다. 소닉 브랜딩의 다양한 방법 중에서도, 브랜드 정체성의 청각적 요소인 소닉 로고는 보통 비주얼 로고와 함께 쓰이며, 가장 널리 사용되는 소닉 브랜딩의 형태이다. 소닉 브랜딩이 중요한 마케팅 도구로 활용되고 있음에도 불구하고, 이에 대한 학문적 연구는 거의 수행된 바 없다. 본 연구에서는 기능적 자기 공명영상 기법을 사용하여 소닉 브랜딩에 대한 신경 반응을 알아보고자 한다. 15명의 오른손잡이 참가자의 뇌 반응이 3T MRI 장비를 통해 스캔되었고, 청각 자극 없이 여러 장의 브랜드 로고 사진(광고에서 소닉 로고와 함께 제시되었던 비주얼 로고 사진 20장과 광고에서 소닉 요소가 없었던 비주얼 로고 사진 20장)이 제시되었다. 연구 결과, 소닉 요소가 없었던 비주얼 로고에 비해 소닉-비주얼 로고가 청각 심상과 관련된 뇌 영역(예를 들어, 상측두이랑)의 활성화 증가와 연합되는 것으로 나타났다. 또한, 소닉-비주얼 로고에 대한 브랜드 친숙도, 광고 친숙도가 높을수록, 이러한 영역의 활성화 정도가 증가한다는 것을 알 수 있었다.

• 한국정보과학회논문지:소프트웨어및응용
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• 제35권12호
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• pp.753-763
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• 2008

UCC(User Created Contents)의 급격한 증가에 따라 저작권 문제도 크게 대두되고 있다. 자동 로고 인식은 이러한 저작권 문제를 해결하기 위한 효율적인 방법이다. 로고는 다양한 특징을 가지고 있고, 이러한 특징들은 로고 검출과 인식을 어렵게 한다. 특히, 비디오 내에 빈번한 로고 전이가 일어날 경우, 정확한 로고 인식과 로고 기반 분할이 어렵다. 따라서 본 논문에서는 디지털 비디오에서 로고 인식을 위한 정확한 전이 검출 방법과 다양한 로고 타입 인식 방법을 제안한다. 제안한 로고 검출과 로고에 따른 비디오 분할을 이용하여 다양한 비디오에 대한 좋은 실험 결과를 얻을 수 있었다.

• 패션비즈니스
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• 제15권5호
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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.

• 패션비즈니스
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• 제19권5호
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• pp.128-138
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• 2015

The purpose of this study is to explore the characteristics and recent trends of Korean herbal medicine cosmetics brand logos and to shed light on the identities of herbal medicine cosmetics in Korea. Ultimately this study aims to seek ways to develop strategic global brands distinguished from other brands, and providing the basic data for such development. In order to investigate the characteristics of brand logos, the researcher of this study chose 11 Korean Herbal Medicine Cosmetics Brands marketed today and collected information related to the brands from their websites. The visual characteristics of the logos currently used by Korean herbal medicine cosmetics can be summarized as follows. Most brand logos include marks consisting of Chinese letters written in calligraphy styles to represent the brand information of'Korean herbal medicine.' As for colors, most brands use mostly black and gold to present luxurious images, or convey strong impressions through stark contrast between black, red and white, hoping to distinguish themselves from other cosmetic products. An analysis of the linguistic characteristics of herbal medicine cosmetics in South Korea revealed that most brands use associative and freestanding brand names which suggest that the user's appearance will improve by using the products they represent. Using such names that convey oriental purity and mysterious meanings, trying to capture the deepest beauty with the best quality, the brands construct brand images that are luxurious and high-class. Most of the brands currently used by Korean herbal medicine cosmetics employ components that emphasize the functional aspect of Korean herbal medicine cosmetics. To secure the status of world-class brands, however, it is imperative to conduct research on brand logos capable of establishing identities distinguished from others.

• 영미문화
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• 제17권2호
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• pp.29-61
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• 2017

Said's Orientalism criticized the European representations on the Middle-East by theorizing orientalism as a discourse. In this text, he explored and criticized the colonial forms of knowledge and language that distorted the image of the colonized. The justification of the discourse of orientalism is derived from the binary system that is originated from Plato which Derrida rejects on the ground that it always privileges one term over the other, that is, colonizer over colonized. Derrida names for this traditional heritage of Western binary system logocentrism which regards logos(the Greek term for speech or reason) as the central principle of language and philosophy, whereas mythos derives its meaning from the logos on the basis of binary oppositions. Thus according to logocentrism, the colonized is merely the defined who can have its meaning from the definers, colonizers. In this paper, utilizing Derrida's a (non)concept called supplement which means both to add on as a surplus and to make up something missing as a mere extra, I propose another alternative interpretation towards the critique of colonial representation by raising internal contradictions in the Platonic dichotomy between logos and mythos embedded in western colonialism discourse, orientalism. I attempt to show that logos(colonizer) and mythos(colonized) is inseparable in itself due to the fact that they exist as supplementary. For this purpose, I demonstrate how colonial binary system constituted and was constituted in terms of language. Through this paper I reinterpret the colonial rationality of privileging 'logos' over 'mythos' by substituting the colonial binary system with the supplement.

• 복식문화연구
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• 제14권5호
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• pp.790-801
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• 2006

This study analyzed features of elements that compose a logo of inner wear brands to get the following results: First, it was found that "elegance" was the most frequently used word to express the concept of inner wear brands to be followed by words like dignity, high-end and aristocratic, words emphasizing femininity, such as feminine, romantic and sexy, words emphasizing practicality, such as convenient, practical, modern, functional and reasonable, and words emphasizing hygiene, such as clean, healthy and hygienic. This suggests that consumers nowadays pursue image more than functional aspects in the shopping of inner wear and consumers' pursuit of such values is reflected in the concept of inner wear brands. Second, unlike logos for outerwear brands that generally used initials of brand name, word-type logos for inner wear brands used the full name of brands, thus suggesting that they put more emphasis on delivery of information rather than on the symbolic aspect. In case of combining characters with concrete objects, they were found generally to use objects that give an soft, elegant and feminine image, such as flowers, woman's head and ribbons. Third, colors in the series of pink and red seemed to be used to convey the concept of inner wear brands that pursue such images as romanticism, femininity, elegance and sensibility, while colors in the series of blue, black and grey for such concepts as functionality, practicality, simplicity, health, hygiene and refinement. With reference to typeface used in the design of logos, unlike outerwear brands of which 83% use sans serif typeface for logos, relatively high percentage of inner wear was found to use typefaces of serif series to stress feminine flexibility and delicacy and give the image of elegance and classical tenderness. With reference to language used in logo naming for inner wear brands, 33 brands were found to use English and only three brands used Korean among the 36 brands surveyed. Even with inner wear brand logos that have Korean name, it was found that they used English in the use of logo marks. Like the result of previous studies, the result of this study indicates that methods to design brand logos for clothing should be incessantly sought in a way to build brand power as an important component to represent concept or function of brands and reinforce brand image.

• 가정과삶의질연구
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• 제27권4호
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• pp.67-80
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• 2009

Most consumers prefer certain brand logos of cosmetics in accordance with their cognized brand image and self image. In other words, consumers select particular brands from various brands in the market based on their image. The purpose of this study is to find out which factors affect a consumer's attention of cosmetic brand logos. The brand logo that has an abstractive image, sign, and brand pursues the consumer who purchases the cosmetic product and image. The semistic analytic method of pierce was used. The major findings are as follow. 1) The image of the logo of a female consumer is a significant difference in the educational level variable. The result compares, according to marital status and educational level, the traditional characteristic from the logo of the image. 2) There is a significant difference in the logo type. It follows the educational level variable in female consumers. The result compares a preference by inserting a picture in the logo. A high preference appears based on age, marital status, occupation, and income. 3) There are significant differences in demographics school register with attitude of the logo. It follows the attitude that appeared about in age. Finally, when examining closely the effects between cosmetics' brand logo and logo's implications, there are significant differences in the income level, educational level, age, and marital status. The feminine consumer tends to prefer accordance between the cosmetics brand logo and the logo's implications.

• 감성과학
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• 제15권3호
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• pp.355-366
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• 2012

This paper analyses the sensory responses of Chinese female consumers towards different designs of perfume bottles with particular attention to the existence of logos on them. We used total 40 samples of the perfume bottles, 20 with logos on them and 20 without, and the results show that young Chinese female consumers prefer simple designs over complex designs that contain different types of free curves with vivid colors. In addition, the existence of logos on bottles was found not to change the responses significantly, meaning that the logos on bottles do not affect sensibility of Chinese female towards perfume bottles. A logo's impacts on the bottle depended in part on the bottle's color and shape. Overall, a perfume bottle with simple shapes and light colors became regarded as more resplendent when the logo was added, but a bottle with more complex shapes and vivid colors tended to become regarded as plainer after adding the logo. This shows that a logo serves as a conciliatory element in the impression of the whole bottle in the 'resplendent-plain' category.