• Journal of Fashion Business
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• v.15 no.6
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• pp.163-175
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• 2011

This study tried to improve the design of the symbol mark for the fashion industry and effectively publicize the brand image of a small fashion accessory company through a powerful visual communication strategy. For this purpose, this study performed research and an analysis of the features of existing fashion accessory companies as well as the current status and features of their utilization of symbol marks for the enhancement of the brand's image. Total 48 fashion accessory brands focued on jewerly were selected from the Dictionary of Fashion Brand and the types of symbol analyzed the concepts and formative aesthetics of the symbol mark design in each brand. Based on the data, this study designed the fashion accessory company's logo and a new symbol mark design. It makes full use of the characteristics of the logos and the symbol mark that reflect the most critical issues of fashion accessory design so as to promote the consumers' level of product recognition as well as the product symbol characteristics. In the case of combining characters with concrete objects, they were found generally to use objects that give elegance, cute and feminine images, such as rings, hearts and small pets. Moreover, colors in the series of black/grey seemed to be used to convey the concept of accessory brands that pursue modern, sophisticate, and practical images. As these design plans, enhancement of the consumers' level of recognition of the brand is attempted as well as the execution of an effective publicity of the feature of the product through the use of the logo and symbol marks reflecting the features of the fashion accessory, instead of simply introducing the brand or product. The result of this study indicates that methods to design brand symbol marks for clothing should be incessantly sought in a way to build brand power as an important component to represent concepts and reinforce brand image.

• The Journal of the Korea Contents Association
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• v.7 no.1
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• pp.207-214
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• 2007

Symbol mark started with expressing the symbolic form through the long history of human beings, in order to transmit self or group's life and thoughts, and since the Industrial Revolution, symbol mark has beer used for the business activities of enterprise, along with the acquirement of term 'CI'. The symbol mark design of A.E.G, designed by Peter Behrens in 1907 is the onset of symbol mark in the CI concept, and the concept of CI and symbol mark was introduced to our nation in the early of 1970s. Since then, until now, CI has reflected the phase of the times as a key factor of CI, while repeating numerous changes, and recently, it is a state that the expression methods of symbol mark have been varied with the popularization of trend, appealing to emotion in the whole society and culture. Accordingly, this thesis examines the corporate symbol mark through the portfolio of representative CI specializes companies from the introduction period of CI to the present, and analyze the features of the time in order to present the basis of the direction of symbol mark design for the creation of future corporate images.

• Archives of design research
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• v.18 no.1 s.59
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• pp.5-16
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• 2005

As for the public, it is hard to understand semiotics because of the scope of an enormous semiotics education. This study is making semiotics of Charles Sanders Peirce the subject. I thought that utilization can hold his semiotics study in a visual design field. First of all, this study considered design related papers related to the existing semiotics again and study found an error of the existing semiotics study and understanding did category concept with re-definition about semiotics of Peirce. Explained a symbol mark through understanding of semiotics of Peirce. This study was able to get the following conclusion through these results. 1) A symbol mark means one product, sonics, company oneself with a custom. Therefore, it is a rule symbol in the Representation side. 2) A symbol mark symbolizes an object with one symbol, so a symbol mark is a symbol in an object. 3) Because a symbol mark exists through a social rule, in semiotics definition of Peirce, this must become understanding with a Argument symbol. 4) A symbol mark is what a company or an organization field used from the past, and the public are recognizing this how. Therefore, it works as fact a company attaches a symbol mark to own product, and to show the public a symbol mark. A symbol mark is Dicent Sign in Interpretant. A rule and understanding about a lot of types which have various mutual relation, Peirce classification and understanding of a symbol mark tells to demand is holding that understanding a type of semiotics with the concept that is not an image to us.

• Journal of Intelligence and Information Systems
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• v.7 no.2
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• pp.129-141
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• 2001

Kansei engineering or image technology is a tool to analyze relation between product design components and the impression or feeling of human for physical products. This paper attempts to construct the designer\`s aid tool for developing corporate identity(CI) symbol mark based on the hybrid Kansei engineering. It combines the forward Kansei engineering for translating consumer\`s feeling into design components of CI symbol mark and the backward Kansei engineering for evaluating consumer\`s feeling for CI symbol mark. The semantic differential(SD) evaluation experiment is carried out to find the relations between image and design. The backward Kansei engineering system is modelled by fuzzy neural network. This research is expected to contribute to the development of CI symbol mark that correspond to comsumer\`s image.

• Proceedings of the Korea Society of Design Studies Conference
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• 2003.05a
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• pp.40-41
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• 2003

• The Journal of the Korea Contents Association
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• v.7 no.7
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• pp.77-86
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• 2007

These days, universities are establishing new image; UI(University Identity) for them because of rapid change of education environment in 21st century, The objective of UI is expressing university's image externally and unifying members internally. In the process of establishing university's image, Symbol mark plays a key role in differentiating other universities because of its visual effect as well as enhancing self-confidence. In this study, I suggest that symbol mark is an important brand asset in point of differentiation and identification and analyze 36 domestic universities' symbol mark designs. In the way of this analysis, I classified these symbol marks in the aspect of shapes and colors and studied current design along with character of each symbol marks by examining usage of emblem. Therefore this paper will be used as a basic reference to understand domestic universities' symbol mark trend and to establishing differentiating strategy in the future.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.05a
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• pp.242-243
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• 2005

• Journal of Korean Institute of Industrial Engineers
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• v.27 no.3
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• pp.305-314
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• 2001

In this paper, we construct an automatic evaluation system of psychological feeling for corporate identity (CI) symbol mark based on a fuzzy neural network technique. The system is modelled by trainable fuzzy inference rules with several input variables (qualitative and quantitative design components of CI symbol mark) and a single output variable (consumer's feeling). The back propagation learning algorithm, which is a conventional learning method of multilayer feedforward neural networks, is used for parameter identification of the fuzzy inference system. The learning ability to train data and the generalization ability to test data are evaluated for the proposed evaluation system by computer simulations.

• Archives of design research
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• v.9
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• pp.901-906
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• 1994

Recently, symbol marks have been developing in many ways with different characteristics, which results in the generation of symbol marks design by space perception cue. We examined and discussed the examples which space perception cue is expressed in symbol marks based on Coren's theory regarding space perception cue.

• Proceedings of the Korea Society of Design Studies Conference
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• 1998.10a
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• pp.34-35
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• 1998