2 research outputs found
ìšëŒìž 컀뮀ëí° ëžëë ììŽëŽí°í° ëììž ìíì°êµ¬ë¥Œ ì€ì¬ìŒë¡
íìë
Œë¬ž (ë°ì¬) -- ììžëíêµ ëíì : 믞ì ëí ëììžíë¶ ëììžì ê³µ, 2021. 2. ê¹ê²œì .ëžëë ììŽëŽí°í°ë ì€ë ìžì ëì ìžë¥ì 컀뮀ëìŒìŽì
ìëšìŒë¡ ì¡Žì¬íŽ ìë€. ë§ ììë ë겜 ì¬íììë ê°ì¶ ë±ì ìì ê¶ì ìŠëª
í ìê° ìëšìŽ íìíì¬ ìžì¥ì ì¬ì©íê³ , ìí ì ë¶ììŽ íë°íë ì€ìžìë ì ì¥ìì ì군곌 ì êµ°ì 구ë³ì ìœê² íêž° ìí ìê°ì ìë³ì ìëšì ì¬ì©íêž° ììíë€. ìŽë ê° ê°ë¬ž ë° ì±ì ëííë ì¬ë²ìŽ ëììŒë©°, ìì¥ ê²œì ì ì¬íì ìŽë¥Žë¬ìë ìíì ë§ë ìŽì ê°ì¹ë¥Œ íííë ìëšìŽ ëêž°ë íìë€.
íë ì¬íì ëžëë ììŽëŽí°í°ì ëììžìë ë§ì ê²ìŽ ëŽí¬ëë€. êž°ì
ì ì
묎, êž°ì
ìŽ ì ê³µíë ìë¹ì€ë ìí, ê°ì¹, ìì¹, 구조, ì€ëŠœ 목ì , ì² í ë± ë§ì ê²ìŽ ëŽê²š ëììžìŽ ëë€. 곌거ì ëžëëë€ì ì¢
ì¢
íëì ììŽëŽí°í° ëììžì íµíŽ ìŽ ë§ì ëŽì©ë€ì íííê³ ì íë€. íì§ë§ ì ì°š ëžëëë¡ ëíëë ê²ë€ì ííê° ë€ìíŽì§ê³ ëžëë ì첎ì êµ¬ì¡°ê° ë³µì¡íŽì¡ë€. ìŽì ëíŽ ìëê° ë³ííšì ë°ëŒ ëžëëê° í¬ìëë 맀첎 ëí ë³í륌 ê±°ëíê² ëìŽ ëžëë ììŽëŽí°í° ëììžì íìë ë€ìí 몚ìµì ëë¬ëŽê² ë ê²ìŽë€.
íë ì¬íì ëžëëë ê·ž íì¥ìŽ ì êž°ì ìŒë¡ ìŽë£šìŽì§ë 겜ì°ê° ë§ë€. í¹í ì€íížì
ë€ì ë¹ë²í ìë¹ì€ì íì¥ìŽë ëžëëì í©ë³ìŽ ìŽë£šìŽì§êž° ë묞ì íë ì¬íì ëžëëë ë§ì¹ ì Ʞ첎ì ê°ë€. ëžëëì êµ¬ì¡°ê° ìì ëžëëì íìì ëžëëë€ë¡ ëëë íì¥ì 구조륌 ë ê³ ìë ëžëëì 겜ì°ì ìì ëžëëì íì ëžëëì êŽê³ ííì ììŽ ëììžê³Œ íí ë°©ìì í° ë³í륌 볎ì¬ì£Œê³ ìë€. íì¬ ìŽí ì ìë íìë, í¹ì íì¥ì ìŽë£šë ëžëëë€ì íµìŒì±ì ìŽì ìŽ ë§ì¶ìŽ ììŽ íìŒì ìŽê±°ë ë€ìì±ìŽ ì§ëì¹ê² ê°ì¡°ëìŽ ë¬¶ìì ë ì¬ëŠŽ ì ìë ëììžì 볎ì¬ì€ë€. ì ë§ë€ì 겜ì 방칚ì ìíŽ ê·žë¬í íìì íí ê²ìŽì§ë§, ë€ìì±ê³Œ ìŽë ì ëì íµìŒì± ë ê°ì¹ë¥Œ 몚ë륌 ë§ì¡±í ì ìë íììŽ ììŽ ëì€ê³Œì ìíµì ë¶ížì ëŒì¹êž°ë íë€: íµìŒì±ì ìŽì ìŽ ë§ì¶ìŽì§ 겜ì°ë íì ëžëëê° ê°ì§ ê°ë³ì ê°ì¹ê° ìê°ì ìŒë¡ ëë¬ëì§ ìì ìë³ì 묞ì 륌 ìŒìŒí€ë 겜ì°ê° ìêž°ë©°, ë€ìì±ìŽ ê°ì¡°ë ëžëë 구조ë ìì ëžëë륌 ì ì ììŽ ìë¹ìì 충ì±ë íí곌 ìë¹ì€ì ì í 구맀륌 ìí 충ë¶í ì 볎 ì ê³µì ì ìœì ì€ ì ìë€.
ë¹ëë©Ž ì íž ížë ëì ëë¶ìŽ ìœë¡ë-19(COVID-19)ì ëì íìŒë¡ ìžíŽ íìž ê°ì ìíµì íë 죌ë ë°©ììŽ ì íì ì ë§ìŽíê³ ìë€. ììŒë¡ ì ìžê³ì ìŒë¡ SNS ë±ì ìšëŒìž íë«íŒìŽë ì격 íì íŽì íµíŽ íìžê³Œ 컀뮀ëìŒìŽì
ì íë ë°©ììŽ ëŽ ë
žë©(new normal)ìŽ ë ê²ìŽëŒê³ íë€. ìŽë ê² ìë¡ìŽ ížë ëì ì¬í íìì ë³íì ë°ë§ì¶° í ëžëëì ì 첎ì±ì ìê°ì ìŒë¡ íííë ë°©ììë ìë¡ìŽ ìëê° íìíë€. ë°ëŒì 볞 ë
Œë¬žììë ìì ëžëëìì ì ìíë ì¬ë¬ 몚ë ìì ë° êµ¬ì¡°ë¥Œ íì©íì¬ íì ëžëëì êŽê³ìë€ìŽ ì§ì ì°žì¬íŽ ì ë§ë€ì ììŽëŽí°í° ëììžì 구ì¶íŽ ëê°ë 몚ë íì© ë°©ìì ìì€í
ì ì ìíê³ , ìŽì ì í©í ì¬ë¡ë¥Œ ì ì íì¬ ìì€í
ì ë°ìíë ì°êµ¬ë¥Œ ì§ííë€.
ììŽëŽí°í° ëììž ìì€í
ì ì ìì ìì 묞í ì°êµ¬ë¥Œ íµíŽ ìëì êž°ì ì ë³íì ë°ë¥ž ê·žê°ì ëžëë ììŽëŽí°í° ëììžì ìì¬ì íëŠì ìŽíë€. ìŽë¥Œ íµíŽ ì¬ì°š íìží ì ìë ì¬ì€ì, ìì¬ì ìŒë¡ êž°ì ìŽ ë³ííšì ë°ëŒ ììŽëŽí°í° ëììžìŽ íì¶ëë 맀첎, ì ì ë°©ì ë° íìì ë³íê° ì§íëìŽ ìë€ë ê²ìŽë©° ëžëëì 겜íìŽ ì€ìëë íìì ìì ì°žì¬ë¥Œ íµíŽ ììŽëŽí°í°ê° ì ìëë ë°©ììŽ ëì
ëë€ë©Ž êžì ì ìž íšê³Œë¥Œ êž°ëí ì ìë€ë ê²ìŽë€.
ëí, ëììŽëê° ìì±ë ëììž ê²°ê³Œë¬Œì ë§ë€ìŽëŽë ìŒë°ì ìž ëììž íë¡ìžì€ë¥Œ í¬íšíì¬ ì ëë ìŽí°ë¥Œ íì©íŽ 결곌묌ì ì ìíë ë°©ì, ì¬ëë€ì ì°žì¬ë¥Œ ì ëíì¬ ëììžì ì ìíë ë°©ìì ëí ìŽë¡ ì°êµ¬ë¥Œ ì§ííë€. ìŽë¥Œ íµíŽ ì¬ëì ì°žì¬ë¥Œ ì ëíë 컎íší°ë¡ íë¡ê·žëë°ë ë구륌 íì©íë€ë©Ž ëìì ì ì ë° ëììž ìì€í
ì íì©ìŽ ëì± ì©ìŽí ê²ìŽëŒë ë°©í¥ì±ì ëì¶íë€.
ìŽìŽì ì§íí ëžëë 구조ì ììŽëŽí°í° ëììžì íìì ëí ì°êµ¬ë ì¬ë¡ ì¡°ì¬ ë°©ììŒë¡ ì§ííìê³ , ìŽë¥Œ íµíŽ ì°êµ¬ì 죌ì ì ê°ì¥ ë¶í©íë ëžëëì 구조ì ììŽëŽí°í° ëììž íìì ìíì íšë°ëŠ¬ ëžëëì 구조륌 ì§ëë©Žìë ëììž íí ë°©ìì ììŽì ì ì°íšì 볎ìŽë íììŽëŒê³ íëšíê² ëìë€.
ìíìŒë¡ ì ìíêž° ìíŽ ì ì í ëžëëë ìŽì©ìë€ìŽ 몚ìì ê²°ì±íŽ 췚믞륌 ê³µì íë 몚ìì ê²°ì±í ì ìê² íë«íŒì ì ê³µíë ëžëëìŽë€. 췚믞 ê³µì íë«íŒì 묌늬ì ì¥ìì ì ìœìŽ ììŽ íìë륌 ê°ì¥ ì ë°ìíë ë¹ìŠëì€ì ííìŽë©°, íì ëžëë, ìŠ ëªšììŽ ììì ìŒë¡ ìì±ëë€ë í¹ì±ì ë ê³ ììŽ ì ì íê² ëìë€.
ìíì ëììžì ë°©í¥ì ì€ì ì ìíŽ ì»šì
ì ì íê³ ì€ìŒì¹ë¥Œ ê±°ì¹ íì ì 귞늬ë륌 êž°ë°ìŒë¡ 몚ëì ì¬ë¬ ê° ì ìíì¬ ê·ž íì© ë°©ë²ì ëí ê·ì¹ì ëë ë°©í¥ìŒë¡ ì€ì íê³ , ìŽ ê·žëŠ¬ëì 몚ëì êž°ë°ìŒë¡ ì첎륌 ì ìíŽ ë¡ê³ íì
ìŒë¡ íì©í ì ìëë¡ íë€. 몚ìì ê·ž í¹ì±ì ë°ëŒ ë€ ê°ì 칎í
ê³ ëŠ¬ë¡ ëë ì ìëë° ìŽì ëí 구ë¶ì 컬ë¬ë¥Œ íµíŽ ê°ë¥íëë¡ ì§ì íë€.
ëììŽëê° ìë ìŒë°ì ì°žì¬ìë€ì 몚ì§íì¬ ê°ìê° ê°ììŒë¡ ë§ë€ê³ ì íë 췚믞 몚ìì ì¬ë³Œì ì ìíê² íë ë°©ììŒë¡ 귞늬ëì 몚ëì íì© ê°ë¥ì±ì í
ì€ížíìŒë©°, ìŽë ì ìë ì¬ë³Œë€ ì€ ìŒë¶ë¥Œ 몚ìì ìê·žëì²ë¡ ë°ì ììŒ ìµì¢
ìíì ë°ìíìë€.
ìµì¢
ì ìŒë¡ ìí ì°êµ¬ìì, ë€ ê°ì 칎í
ê³ ëŠ¬ 몚ìì ë€ìí ìê·žëì² ì¡°í©ë€ì ì ìíê³ ìŽë¥Œ ê°ì¢
묌í ë° ìžì묌ì ì ì©íì¬ ì ì©ì±ì íìžíììŒë©°, ìŽë¬í ëŽì© ë° ëªšë íì© ë°©ë² ë±ì ê°ìŽëëŒìž ì±
ìŒë¡ ì®ìë€. ìŽì ëíŽ ììŒë¡ ì¡°ìíë ì¬ë³Œ ì ì ë구ì íë¡í íì
곌 몚ë°ìŒ ꞰꞰ륌 íì©íŽ ì¬ë³Œì ëììžíë ëì§íž ë구륌 ì ìíì¬ ìì€í
ì íì© ë°©ë²ì ì ìíë€.
ê²°ë¡ ì ìŒë¡ 볞 ì°êµ¬ë ëžëëì 구조ì ììŽëŽí°í° ëììžì êŽê³ì±ì ëíŽ ìŽíŽë³Žë ë°ì ìì륌 ëê³ ììŒë©°, ì°žì¬ ë°©ìì ì 목í 믞ëì§í¥ì ìž ìë¡ìŽ íìì ëžëë ììŽëŽí°í° ëììž ìì€í
ì ëíì¬ ê³ ì°°íë€. ìŽì ëíŽ ìµì¢
ì ê²°ê³Œë¬ŒìŽ ìë ììŽëŽí°í° ìì€í
ì ì ì ë°©ë² ì첎륌 ê³ ìíŽìŒ íë ëììŽëì ìí íì¥ì ëíŽ ëŽë¡ íë€. íë ì¬íììë ëììŽëê° ëšìí ì ììê° ìë ì 첎ì êž°íì ìí ì íŽìŒ íë 겜ì°ê° ëê³ ììŒë©° ì ì°š ê·ž ìí ì ì€ìëê° ëìì§ê³ ìë€. ìŽë¬í ë©Žìì, 볞 ì°êµ¬ë 구첎ì ìŒë¡ ëžëë©ì ììŽì ëììŽëê° êž°íìë¡ì ìŽë ë²ìê¹ì§ ììì íì¥í ì ìëì§ì ëí ìì륌 ì ê³µíê³ ìë€ë ë°ì ìì륌 ê°ëë€. ì°žì¬ìë€ ìì ëšìí ììŽëìŽ ë° ì€ìŒì¹ ì ê³µìì ë²ìŽë ì§ì ëììž ê²°ê³Œë¬Œì ì ìíŽëŽë ê²ìŒë¡ ê·ž ìí ì íì¥íë€ë ê²ì ììê° ìë€.Brand identity has existed for many years as one of many human communication methods. When the human race began to form agricultural societies, they needed visual means to prove livestock ownership, etc. In the Middle Ages, when territorial disputes were active, they began to use visual displays of identifying allies and enemies on the battlefield. It became a symbol representing each family. Later on, in the market economy society, these visual displays became a fundamental way of expressing the value of manufacturers and various goods and services they provide.
Present societys brand identity design implies more than just what it stands for: the design contains corporate work, information about services or products, values, locations, structure, the purpose of establishment, philosophy, etc. In the past, brands often tried to compress this much into a single mark. However, increasingly, the types of things represented by brands became more diverse, and the structure of the brand itself became to form a more complex structure. Moreover, as time flows, the leading media that the brand is projected changed along, causing brand identity design to reform its way of expression with its change.
The brand of present society often makes its expansion organically. In particular, startups frequently expand or merge their services. So, the brands in current society are like organisms. In the case of brands with an extended structure (that divides them into upper and lower brands), the design and expression of the relationship between the upper and lower brands show a significant change in the way they are expressed. Derived or expanded brands that are currently available are focused on unity, offering designs that are uniform. Otherwise, they are too emphasized in diversity to recall the bundle. While such design format has been chosen as a business decision, the identity design that only satisfies either unity or diversity sometimes causes communicational inconvenience with the consumers: if the unity is too substantial, the sub-brands values are likely to be ignored, and if the diversity overwhelms, it would be hard for the consumers to express the brand loyalty.
In addition to the non-face-to-face preference trend, the communication method is facing a turning point due to the pandemic of COVID-19. It is said that the new normal would be to communicate with others through online platforms such as SNS or remote video conference tools, and it is already happening around the world. New attempts are needed to visually express the brand identity design in line with recent trends and social changes. Therefore, in this study, the researcher proposes an identity design system of module utilization in which sub-brand builders can directly participate to build their identity designs. The appropriate case would be selected to reflect the system to explain how to use the modules and the system.
Prior to designing the identity system, a literature study was proceeded to observe how the identity design developed its forms along with the historical and technological changes. From this, it was possible to reacknowledge that the identity design has developed its expression and the production method with the main medium change. Moreover, this historical study reconfirms the importance of brand experience in the present time. Therefore, adopting a participatory methodology for the design process would evoke positive effects.
The literature study was followed by the theoretical study. This part examines some research papers regarding the general design process (proceeded by the designers), generative design method, and participatory design method. This theoretical research drew the design direction for the output. The direction is to have participants use a digital tool for their convenience.
Followed by the case study for brand structure, and the identity design format has proceeded. The case study led to the determination that the brand structure and identity design format that best fits this research subject is the one with a horizontal family brand structure while showing flexibility in design expression.
The type of brand chosen for the output of this research is a hobby sharing online community platform brand. It does not have any physical and locational restrictions that make it the type of business that most reflects the present era. Also, its sub-brands are generated spontaneously by the users.
The final direction was decided after conceptualizing and sketching the design direction of the work. Several modules were created based on the dot-grid, and the rules were established for the users to utilize them properly. The typefaces based on this grid and modules were designed to be used as logotypes for sub-brands. The meeting can be divided into four categories, sorted by the types, and the distinction is designated through the use of colors.
Non-designer participants were involved in designing and drawing symbols for their hypothetical hobby sharing group. Some of the symbols designed from this process were developed into sub-brand signatures to be included in the final output.
For the final output, few signature combinations for each category were created and applied on some products and printed matters for the usability test. The brand guideline book was designed to contain the rules and examples of using the design system. Besides, a prototype of the tactile tool and the digital tool was created to suggest the usage.
All in all, this research values finding the relationship between the brand structure and its identity design, and it also contemplates the innovative brand identity design system that incorporates participations. Moreover, it discusses a designers expanded role from a mere designer to a plan maker. Designers in present society are required to become a master planner, and the importance of their position is growing more prominent. From this aspect, this research has significance in offering the specific example of how broader the designers role as a master planner can be expanded within the branding process. It also has value in expanding participants role from idea givers or sketchers to designers who actually design the end result.1. ìë¡ - 1
1.1. ì°êµ¬ 배겜 ë° ëª©ì - 2
1.2. ì°êµ¬ ë°©ë² ë° ê³Œì - 4
1.3. ì°êµ¬ ë²ì - 6
1.4. ì©ìŽì ì 늬 - 8
2. 맀첎ì ë³íì ë°ë¥ž ëžëë ììŽëŽí°í°ì íëŠ - 11
2.1. ëìêµê°ì íì - 13
2.2. ìžìì ì ììŽ - 15
2.3. ìžìì ì ë°ì - 17
2.4. í
ë ë¹ì ì ë³Žêž - 19
2.5. ìží°ë·ì ìì©í - 20
2.6. 몚ë°ìŒ êž°êž°ì ë³Žêž - 21
3. ëžëë ììŽëŽí°í° ëììž ë°©ì - 24
3.1. ìŒë°ì ë°©ì - 26
3.2. ìëìì±í ë°©ì - 28
3.3. ì°žì¬í ë°©ì - 30
4. ëžëëì íì¥ì 구조ì ëžëë ììŽëŽí°í° ëììžì íì - 33
4.1. ëžëëì 구조ì íì¥ - 34
4.2. ì±êž ëžëëì íšë°ëŠ¬ ëžëëì 구조 - 35
4.3. ì±êž ëžëë ììŽëŽí°í° ëììžì íì - 36
4.4. ìì§ì íšë°ëŠ¬ ëžëë ììŽëŽí°í° ëììžì íì - 38
4.4.1. ê³ ì ì ìì§ íšë°ëŠ¬ ëžëë ììŽëŽí°í° ëììž - 39
4.4.2. íë ìëž ìì§ íšë°ëŠ¬ ëžëë ììŽëŽí°í° ëììž - 43
4.5. ìíì íšë°ëŠ¬ ëžëë ììŽëŽí°í° ëììžì íì - 46
4.6. ëžëëì 구조ì ëžëë ììŽëŽí°í° ëììžì íìì ëí ê³ ì°° - 49
5. ì í© ëžëë ì¬ë¡ ì¡°ì¬ - 50
5.1. ìšëŒìž ëíží - 52
5.2. ì¬ëìì¥ - 59
5.3. ì í© ëžëë ì¬ë¡ ì¡°ì¬ì êŽí ê³ ì°° â 64
6. ëììž ë°©í¥ ì€ì ë° ì€ìŒì¹ - 65
6.1. êž°íí ì¡°ê°ì ì¡°í© êž°ë° ì°êµ¬ - 67
6.1.1. ëììž ì¬ë¡ ì¡°ì¬ - 67
6.1.2. ëììž ê°ë° - 69
6.2. 귞늬ë ì ëì ì±ì êž°ë° ì°êµ¬ - 72
6.2.1. ëììž ì¬ë¡ ì¡°ì¬ - 72
6.2.2. ëììž ê°ë° - 74
6.3. 3ë¶í ì ë êž°ë° ì°êµ¬ - 80
6.3.1. ëììž ì¬ë¡ ì¡°ì¬ - 81
6.3.2. ëììž ê°ë° - 83
7. ìí ì°êµ¬ - 86
7.1. ëžëë ì€ì - 87
7.2. 귞늬ëì 몚ëì ì€ì - 88
7.3. ì묞 íì
íìŽì€ ë° ì«ì ì ì - 92
7.4. íêž íì
íìŽì€ ì ì - 95
7.5. 볎조 ì첎 ì§ì - 99
7.6. ìì ëžëë JOINì ë¡ê³ íì
ì ì ì - 102
7.7. ì»¬ë¬ ì§ì - 103
7.7.1. íì ëžëë(칎í
ê³ ëŠ¬) ì»¬ë¬ ì§ì - 103
7.7.2. êž°í ì»¬ë¬ ì§ì - 105
7.8. ì°žì¬ë¥Œ íµí íì ëžëë ì¬ë³Œ ì ì - 107
7.9. ìµì¢
ìí ìê·žëì² ì ì ì¬ë¡ -118
7.9.1. í ë¡ (Discuss) - 119
7.9.2. ì°œì(Create) - 120
7.9.3. ë°°ì(Learn) - 121
7.9.4. ìŽë(Workout) - 122
7.10. ì ì© â 123
7.10.1. ììëžëë JOIN - 123
7.10.2. í ë¡ (Discuss) - 124
7.10.3. ì°œì(Create) - 130
7.10.4. ë°°ì(Learn) - 134
7.10.5. ìŽë(Workout) - 139
7.11. ëžëë íì© ê°ìŽëë¶ - 143
7.12. ì¬ë³Œ ì ì ë구 - 150
7.13. ì ì - 156
8. ê²°ë¡ - 160
ì°žê³ ë¬ží - 165
Abstract - 168Docto