2012,《設計學報》,第十七卷(二),p97-118。


林品章* 
羅    凱**
楊小青***

銘傳大學數位媒體設計學系*
國立台灣科技大學設計研究所**  ***

摘要

      商品包裝上的警告圖像是提供消費者注意商品安全訊息的第一線,其識認性傳達的良莠,是影響人們能否正確與安全使用商品的關鍵性課題。國內目前使用之警告圖像效用堪虞,亟待重新改良設計,以維護消費者權益。因此,本研究透過專家小組之改良修正建議,提出新設計之警告圖像,並再次藉由實驗評估確認其效用。本研究參酌國際標準組織(ISO)建議公共資訊符號設計程序,設計出13 款符合目前商品包裝警告圖像需求之完整系統,並全數通過理解測試67%之評估,整體平均值達88.46%。研究結果發現:(1)警告圖像設計類型,採「意象型」的設計開發與認同度上的評價不佳,建議以「具象型」及「結合型」概念開發較為適切;(2)警告圖像外框之選用,除可依據ISO-3864 的安全標示通則及危險程度等級區分外,亦須評估其與圖像結合產生的意義變化,以避免產生誤解導致危險發生;(3)經認同度評估調查發現,受測者對於不同設計類型圖像的評價,有顯著差異存在者,佔全數比例達92.3%(12/13),其中「結合型」對於「具象型」及「意象型」最為顯著;(4)圖像設計類型中,以「結合型」的警告圖像擁有較高的評價(m=5.87),「具象型」概念的警告圖像居次(m=4.14),而「意象型」警告圖像最不受消費者認同(m=3.63)。本研究成果值得推薦相關政府單位推廣及製造商參考之用。
關鍵詞:警告標示、圖像設計、安全、包裝

Improved Design for Warning Symbols on Product Packages

Abstract
       Warning symbols on product packages provide consumers with the first-line information on product safety. The identification and communicability of these symbols becomes a key to the correct and safe use of products. The effectiveness of the warning symbols currently used in Taiwan is questionable. It is necessary to improve warning label design in order to maintain the consumers’ rights and benefits. This study proposes some new warning symbols based on the improvements recommended by an expert panel, the effectiveness of which has been verified by experiments. Based on the public information symbol design procedure specified in the ISO, this study designs a complete system containing 13 types of product package warning symbols according to the current warning symbols requirements for product packages. All passed the comprehensive test of more than 67%. The overall average is 88.46%. From the experiment, the following conclusions have been reached. (1) In the classification of warning symbol design, representational design shows the lowest value in identification survey, so we recommend image and composite concepts design for better result. (2) In the selection of outer frames, beside procedures specified in ISO3864 and levels of danger, the messages suggested by the combination of symbol design and selection of outer frames should also be considered to avoid danger caused by misleading. (3) The identification survey shows that participants who responded with significant differences to various symbol designs covered 92.3%, 12/13 of total participants and the differences are more noticeable in the category of composite than in the image and representational concepts. (4) The “composite” warning symbols have the highest value (m=5.87); the “representational” warning labels the second (m=4.14); the “imagery” warning symbols the lowest (m=3.63). These results can be recommended to the relevant government agencies for promotion and to the manufacturers as good reference.
Keywords: Warning Symbols, Pictogram Design, Safety, Package.

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Journal Of Design Science Vol.13, No.2 July,2010


Kai Lo*    
Hsiao-Ching Yang**
Pin-Chang Lin***



Graduate School of Design
National Taiwan University of Science and Technology*  **
School of Design, Ming Chuan University***
(Received:June 21, 2010; 
Accepted: October 21, 2010)
 Journal       


Abstract

Product safety has become increasingly important with the rise of consumer rights in recent years. As the package is the first line of communication between the product and consumer, apart from informing consumers of the product features and functions, the ease of identification of warning signs on products becomes key to the accurate and safe use of products. Therefore, this study spent one year collecting the warning signs on products distributed in Taiwan through onsite inspection to investigate the status and approaches of warning sign use in Taiwan through analysis of 68 samples. After the focus group discussion, 37 samples were selected for the identification assessment and in-depth investigation of issues related to warning signs. Finally, the ideal design principles and suggestions are proposed. The results of research show: (1) There are 13 types of warning signs in meaning terms, and warning signs for “Do not microwave” (17.6%), “Warning: Hot Content” (13.2%) and “Take Care of Your Belongings” (13.2%) are the most diversified to confuse consumers and should thus be standardized. (2) There are 5 types of warning signs in product terms, and the warning signs for food (30.9%), household supplies (29.4%) and cleaning agents (23.5%) are the most in quantity and meanings, suggesting that these three types of products are highly user-sensitive and the signs should be clearer to prevent hazards. (3) Results of the identification assessment show only 32.43% of the samples conform to the ISO 67%, suggesting that most warning signs are ineffective. (4) Highly identifiable signs are representational and familiar in everyday life or are conventional symbols. By contrast, low identifiable symbols are too abstract, too complex or too trifling in form, with improper icon layout or associations that consumers often confuse or misjudge. These should be considered in future studies and designs.

Keyword: Warning signs, Identification, Pictogram, Comprehension test.



 

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Journal Of Design Science Vol.14, No.1 July,2011


Kai Lo*     Pin-Chang Lin**

Graduate School of Design
National Taiwan University of Science and Technology
School of Design, Ming Chuan University
(Received: August 23, 2010;
Accepted: October 20, 2010)

 

        Journal


Abstract

The use of pictogram has been an important part of human communication. Pictogram has become part of our daily life in modern society, and people use pictograms as part of message communication. As pictogram has become common sense, it thus attracts the attention of related units. The technological advancement and thriving digital technology in the 21st century have increased unprecedented possibilities to the application and future development of pictogram. With the historical approach and review of related literature, this study traced the historical development of pictogram in a timeline and could be used as a foundation for establishing a pictographic system in the future. Conclusions of this study indicate that:(1)visual languages developed from pictogram fulfill the classless and equal qualities in democracy and could promote cultural fusion; (2)the ISOTYPE created by Austrian scholar Otto Neurath in the earlier 20th century has inspired the development of pictogram; (3)the rapid development of electronic technology has given rise to pictographic diversification; (4)the establishment of a new logical thinking of icon-based languages is an important issue in the future development of pictogram; and (5)pictogram is a solution for simplifying message communication in the information explosion era. Based on the above conclusions, this study provides a new path for the future research, application, and development of pictogram in order to establish academic rationale for pictogram.

Keywords: pictogram, visual language, symbol, icon, auxiliary language.


 

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這是設計人不容錯過的展覽,一世紀的經典設計,活生生地出現在眼前,
無須藉由書本憑空想像,你可以從各個角度細細品味,一窺設計百年來的變化....

展期原定於5/19結束,但因反應熱烈,確定延至8/21截止,
還沒看過的朋友,快快把握這難得的機會,親眼目睹設計史上的經典巨作吧~

百年百張經典椅  

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Issuu是一個相當易於使用的線上網路電子書系統,
成立於2006年,而於2007年12月推出這項服務,
2009年更獲得時代雜誌評定為50個最佳網站(50 Best Websites 2009)。

Issuu 

Issuu線上出版的概念,
如同Flicker讓我們可以藉由網路分享照片,或藉由Youtube來分享動態影片。
使用者可以將自己的文章、書籍、雜誌、作品集等等,
採取網路上傳的方式,在線上出版電子書籍。
讀者由簡易的介面,可模擬翻頁的動作,仿若真實閱讀一本書。
                                                                                                            

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沒畫色票怎麼算是上過色彩學,
這可是所有學過色彩學課程的大夥兒們共同記憶吧!

(回想當年...這印象還頗為深刻啊~)。

畫色票

雖然,辛苦完成的作業難免會被退件,但幾番來回,認真總會有所回報,
相信同學們對於色彩的感受上,應該更加地敏銳吧!                              

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去年在侯純純老師華文構成實驗室的推文,接觸到這個字型設計的網站,
個人覺得相當有意思,值得再次推薦。

FontStruct

FontStruct是由國際上知名的字型製造商FontShop
在2008年所發表一個免費的字型編輯工具。
它基礎於網路架構的應用方式,提供非常友善的操作介面,
讓使用者可以快速地、輕鬆地創造各式各樣的字型。
你可以利用FontStruct提供的幾何形狀,如同貼磚一般地建構於網格模式中,
當你依序完成26個字母的編輯後,即可設計出一套專屬於你的字型。
更棒的是,創造的字體,還可以製作成為高品質的TrueType字體,
只要你將其拖曵至控制台的「字型」中,就可以更加自在地應用。
                                                                                                        

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朋友轉寄給我一份在COLORlovers中發布的有趣調查,
恰巧與我過去研究中的部分討論相似(請看→高品牌價值之品牌識別設計傾向研究),
想不到有人與我擁有相同的好奇,想瞭解這些成功的品牌中隱藏著什麼樣的設計線索。

the most power colors in the world.jpg  

COLORlovers針對目前全球100大的頂尖品牌網站進行色彩的調查,
分析的結果發現:藍色與紅色竟然主宰了這些品牌的主要用色,
然而品牌的色彩策略不是經過縝密的調查與測試才予以訂定的嗎?
這樣的有志一同的結果,不是與品牌所強調的獨特差異性背道而馳嗎?
                                                                                                        

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