羅凱老師的設計學習誌

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.

 

 

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)

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.


 

   

Conference on Asia Society of Basic and Art, Jeju, Korea, p245-248. Lo, Kai* Lin, Pin-Chang** Chen, Chien-Hsiung*** Graduate School of Design,  National Taiwan University of Science and Technology

Summary:
“Public art” has gradually extended from urban to rural areas. Urban and rural citizens perceive cultural stimuli and aesthetics differently because of their differences in growing up and daily life experience, thus making the view and demand of public art installation in these areas different. This study investigated the perceptional differences in “public art” as street furniture between urban and rural citizens, using a creative bus stop shelter in Hualien, Taiwan, as an example in order to propose recommendations for public art installation in the future. Recommendations based on the research results include: (1) the general comments of urban and rural citizens tend to be consistent and are generally positive, suggesting that public art in the form of street furniture is accepted by the public. The only difference is found in “attraction”: Taipei citizens are impressed by bus stop shelters of peculiar and diverse styles; while Hualien citizens and bus commuters prefer stone sculptures because these are part of the local culture. This is the perceptional difference among these 3 groups. (2) In the open-end questionnaire, respondents of all 3 groups clearly and unanimously express that the practicality and functionality of the bus stop shelter design is secondary to it offering protection from the rain, seats, and posted information. (3) In example-specific ratings, different groups have different comments and feelings on different bus stop shelters. However, the assessment level rises in the integrated assessment, making the integrated perceptional difference insignificant, suggesting that respondents approve of the government’s efforts in building creative bus stop shelters. Results of this study also indicate that both urban and rural citizens are pleased to see the government’s efforts in embellishing the environment and improving living quality.
Key words: public arts, street furniture

2008中華民國設計學會第13屆設計學術研討會論文集，長庚大學

羅凱*
陳建雄** 
林品章***
國立台灣科技大學設計研究所 博士生*
國立台灣科技大學設計研究所 副教授**
國立台灣科技大學設計研究所 教授***

摘 要
近年來，台灣許多的縣市鎮開始將「公共藝術」的思考，關注在「街道家具」的設置。當「公共藝術」不再僅是「公眾場域」中欣賞的藝術品，成為直接地切入民眾的真實生活物件時，其接受的考驗將更加的複雜，勢必將接受全新的檢視與評估。本研究透過使用者的角度，以花蓮市九十六年啟用之「創意候車亭」為樣本，藉由實地觀察紀錄與模擬，進行評估與探討，分析規劃與設置的盲點，藉以提供改善與未來設置的參考。研究結果建議：(1) 整合候車亭的資訊服務：提供乘車相關資訊服務，使候車者主動掌握訊息，降低候車者不安的感受。(2) 提供識別性的統一設計：規劃花蓮市統一之候車亭識別標幟，設置於候車亭本體或周圍，提供主動引訊息導，形成良好的識認性，避免混淆與迷惑。(3)妥善規劃整合區域設置：有效地協調相關執行單位，在各執掌業務內相互配合，可使候車亭設置之整合更加完美。(4)與環境空間取得協調：適切的運用造形元素與材料，自然地融入環境空間，避免無益的美化與裝飾，避免環境視覺的負擔。(5) 考量基地設置條件：避免大型體積結構佔據人行道路面積，降低空間的壓迫感，並保障過路行人的安全。(6) 美感與機能的協調：藝術當以公眾設施的形式呈現時，須仔細評估使用的目的與其機能。公部門亦需明訂設置之操作機能規範，引領藝術創作者朝向符合公眾需求的方式構思。(7)材料的應用與限制的考量：思考適用方式與發展的可能性。石材受限於其重量與體積之關係，容易造成大量空間的佔用，使得候車亭更顯侷促。公部門應更加深入地評估材料的適切性，評估更為彈性與合宜的設置規範。
關鍵詞：公共藝術、候車亭、街道家具、使用、自然觀察法

2007,，《設計學報》，第十二卷（四），p1-20。 羅    凱*  林品章** 國立台灣科技大學設計研究所

摘要
面臨全球化的市場競爭，台灣產業積極推動自有品牌OBM（Own Branding & Manufacturing）邁向國際，然而如何成功打造品牌，並迅速建立「品牌價值」，成為企業的重要課題。本研究奠基於此動機，透過集群分析方式，歸納國際高品牌價值之識別設計模式，探討其造形形態的共同特徵，並進一步瞭解設計者與一般消費者對於識別設計認知的異同。研究結果顯示：（1）文字形態的識別設計，辨識速度較快，且容易判讀。「具象類」雖有歸集現象，但與「抽象類」區分容易產生混淆，顯示識別設計之「象徵意義」於感知階段，較易受到忽略；（2）兩組受測者對於分群結果有相似性的感受，重疊交集的刺激物有六群，比例達83.46%；共計有：「簡潔端正文字型」、「活潑律動文字型」、「色彩框底文字型」、「圖案文字組合型」、「簡潔幾何圖案型」、「複雜裝飾圖案型」等六種。因此，具有高品牌價值之識別設計，以此六種類型最為主要模式；（3）受測者對於識別設計之辨識，以造形的關係為主，色彩感受差異為次，顯然地，識別設計元素之「複雜」程度，是受測者區分屬性的重要因素之一；（4）品牌價值與識別設計，端賴消費者的評價與認知；本研究藉由消費者為受測對象，採集群分析法，可瞭解識別設計認知形態於消費層面的最大公約數。本研究之結果具有客觀的信度，值得台灣品牌新秀參考與借鑑。
關鍵字：品牌識別、品牌價值、標誌、卡片分群、集群分析

An Investigation on the Cognitive Model of High-Brand-Value Identity Design

Abstract
Industries in Taiwan are promoting their Own Brand Manufacturing (OBM) design strategyto deal with the market competition in globalization. Nonetheless, how to create a successful product brand and establish the brand value within a very short time has thus become an important focus of enterprises. This study investigates common features existing in current stylesand forms and the differences in identity perception between designers and consumers by constructing identity design models of international high brand value based on cluster analysis. The findings generated in this study indicated that: (1) "Word marks" identities are more eligible and easier to be identified. Though "pictorial marks" identities tend to be collective, they tend to be confused with “abstract marks” identities in categorization. It suggests that the "symbolic meaning" in identity can be easily overlooked in perceptual stage. (2) Similar perceptions are found in respondents of two different educational backgrounds, and there are six clusters of overlapping stimulants (83.46%), the main models include "terse and neat text type", "vivid and rhythmic text type", "colored frame text type", "mixed graph and text type", "simplified geometric pattern type", and "complex decorative pattern type". (3) Respondents often point out the identities by their styles and then color differences, though the complexity of design elements that had been identified before is also one of the key factors in attribute identification, and (4) Brand value and identity design are dependent on consumers’ comments and perceptions. This study investigates the highest common factor (HCF) of identity design, perception, and style through a survey on consumers by using cluster analysis. The reliability of results is objective, and research results can be very good references for emerging brands in Taiwan.
Keywords: brand identity, brand value, logo, cognition, card sorting, cluster analysis

欲瀏覽全文可至設計學報網站下載：
http://www.ijdesign.org/ojs/index.php/JODesign

2007，《工業設計》，第三十五卷（一），p52-60。

*  羅     凱 Kai Lo
** 陳建雄 Chien-Hsiung Chen
* 國立台灣科技大學設計研究所 研究生
**國立台灣科技大學設計研究所 副教授

摘要
網路已成為消費者購物的重要通路之一，其中旅遊商品更佔有電子商務46%的比例。消費者透過網站購買旅遊商品，須經過大量的資訊瀏覽與連串的程序才能完成網路之訂購。因此如何提供使用者優良的互動介面使用性，將可助益於旅遊商品網站的交易成功率，進而提高獲利。本研究以易遊網(Ez-Travel)、易飛網(Ez-Fly)、及蕃薯藤旅遊網共計三家旅遊商品網站做為研究樣本，並以上班族與學生族群作為受測對象，探討受測者對旅遊商品網站互動介面的使用性，研究結果發現：(1)旅遊網站首頁介面的編排方式相當重要。關鍵字的搜尋功能使用率甚高，建議應置放首頁之視覺中心，避免類似的功能於周圍造成使用上的混淆。(2)圖形按鈕較文字型式的按鈕更為清晰易辨，圖像化的介面會增進使用的效率，能藉由圖像傳達涵義，讓使用者可更為方便地操作頁面並找到目標商品。(3)訂購選單之互動介面為線上交易的重要關鍵，設計上應條理清楚循序漸進且展現親和性，避免多餘的選單與視窗，讓使用者愉悅且輕鬆地完成選購。(4)上班族受測者對於旅遊商品網站的功能性與易於操作方面較為重視，學生族群之受測者則較為重視網頁介面的美觀與一致性，互動介面設計的視覺感受與操作的流暢程度會影響該網站的專業形象與信賴程度。
關鍵詞：線上購物、旅遊網站、使用性、互動介面設計

 

Journal Of Design Science Vol.10, No.1 July,2007 Kai Lo     Pin-Chang Lin Graduate School of Design National Taiwan University of Science and Technology (Received: February 14, 2007; Accepted: April 12, 2007)

Abstract
Industries in Taiwan are promoting their Own Brand Manufacturing (OBM) to deal with the increased market competition brought on by globalization. How to create a brand successfully and to establish brand value quickly has thus become an important focus of enterprises. This study investigated a total of 127 international brands and logos with high brand value to outline successful brand identity design through sample induction and analysis as a foundation for subsequent studies. The findings generated in this study indicated that: (1) Word marks (51.9%) are the commonest identity design for internationally successful brands, while pictorial marks (8.66%) and abstract patterns (7.87%) are used less; (2) 53.54% of sampled brand names are with proper nouns but this trend is decreasing because of the increasing favor of free creation and free association; (3) single color is the commonest color scheme (61.42%) in brand identity, though color use has become more flexible as media technology modernized; however, 4 colors or less are still the norm; and (4) high brand value designs of brand identity are stylistically and chromatically simple and clean, so the naming of brands is extremely important, and new brands in Taiwan would do well to follow this trend.
Keywords: Brand identity, Brand value, Form, Content analysis



高品牌價值之品牌識別設計傾向研究

羅凱   林品章
國立台灣科技大學 設計研究所
(受稿日：2007年02月14日；接受日：2007年04月12日)

摘要
面臨全球化時代的市場競爭，台灣產業積極推動自有品牌OBM(Own Branding & Manufacturing)邁向國際，然而如何成功打造品牌，並迅速建立「品牌價值」，成為企業重要的課題。本研究動機奠基於此，蒐彙國際間具有高「品牌價值」之名稱與標誌(logo)計127個，藉由樣本的歸納與分析，描述成功國際「品牌識別」設計的輪廓，提供後續研究的基礎。研究結果顯示：(1)「文字類」(51.97%)的識別造形設計，為國際性成功品牌最普遍的採取方式，「具象類」(8.66%)與「抽象類」(7.87%)兩者屬圖案類的表現形式較少；(2)「專有名詞」的品牌名稱佔53.54%，但有遞減的傾向，相對之下「自由創作」與「聯想性」有遞增的現象；(3)「品牌識別」色彩多數僅選用單一顏色(61.42%)，但隨著媒體技術年代的更迭，顏色數選用較為彈性，但均在4個色彩數之內；(4)整體分析國際上具「品牌價值」之識別設計，其造形與色彩傾向簡單、清晰的設計，因此對於品牌名稱的命名，顯得格外重要，值得台灣品牌新秀參考與借鏡。
關鍵字：品牌識別、品牌價值、造形、內容分析法

2007國際創新設計研討會論文集，台北科技大學

羅凱*　 陳建雄**
國立台灣科技大學設計研究所 研究生*
國立台灣科技大學設計研究所 副教授**

摘 要
圖形介面的設計與使用者的互動，是網路電子商務成功的重要關鍵。本研究以國內旅遊購物網站首頁之圖形介面為樣本，透過兩階段問卷之進行，探討圖形介面之「意義」符合性與使用者對於圖形介面表現形式之相關問題，並以網路最大的使用族群，上班族與學生族群為受測對象，研究獲得結論有三：(1) 圖形介面之設計，使用者對於較為直覺與簡易的辨識圖像，有比較好的評價，設計上應注重圖像與代表之意義的關聯程度。 (2) 在圖形介面的「意義」符合性上，使用者對於符號(sign)圖像的辨識與認知最為清楚與直接，而圖形的意義隱喻與訊息是否需要經過轉譯，相對的會降低使用者對於圖形介面的評價。 (3) 使用者對於不同表現形態的圖像介面設計的正向感受，影像式(Photo)＞圖像式(Icon)＞插畫式(Draw)，顯示影像照片的圖形介面，可直接且迅速的刺激使用者的感受。插畫式(Draw)的圖形介面風格，與使用者認知之圖形介面關聯性較弱，在設計上應更清楚地呈現可操作的功能性感受。
關鍵詞：圖形介面、圖像設計、使用性、認知

2007銘傳大學新思維、新創意、新文化國際學術研討會論文集，銘傳大學，p.43-52

羅凱* 林品章**
國立台灣科技大學設計研究所 研究生*
國立台灣科技大學設計研究所 教授**

摘要
在人們不同的感官認知中，似乎存在著許許多多可相互對應的關係，然在這些關係裡透露著奇妙的法則性，值得深入去探究與開發。本研究以「構成」的觀念進行實驗，藉由音樂曲目的旋律與色彩的規則，定義創作的基礎元素，嘗試轉換兩種感官的認知感受，探求基礎造形開拓的可能性。由實驗結果的色彩樂章作品發現，聽覺與視覺的感官轉換感受，確實存在著美感的一致性，隨著旋律的起伏，色彩似乎也能展現調和或反差的變化，在此創作實驗中，形成感官認知的新體驗，無異是開拓設計思維的一個良好方式，值得後續研究與嘗試。
關鍵字：色彩、造形、構成、音樂、律


Research on the Form Sensation of Music and Color Transformation

Lo, Kai*    Lin, Pin-Chang **
Graduate Student/Graduate School of Design, National Taiwan University of Science and Technology
Professor/Graduate School of Design, National Taiwan University of Science and Technology

Abstract
Among people's various sensual feelings, there seem to exist numerous homologous relationships, these relationships exhibit intriguing regularities, worthy of more in-depth investigation and exploration. This research experiment via the concept of "Kohsei", through musical melodies and transformation of color, the fundamental elements of creativity is defined, and conversion of these two cognitive feelings is attempted, exploring the possibility of developing fundamental modeling design. Deducing from the results of experiment, there indeed exists the consistency of esthetics during transformation of the sensation of hearing and seeing, hence the new experience of cognitive recognition resulted from this experiment, is no doubt a tremendous approach to developing design philosophies, worthy of continual research and exploration.
Keywords: color, form, Kohsei, Music, rhythm

2007基礎造形與視覺設計國際學術研討會論文集，建國科技大學，p.229-236

羅凱* 林品章**
國立台灣科技大學設計研究所 研究生*
國立台灣科技大學設計研究所 教授**

摘要
全球化時代，台灣產業面臨激烈的市場競爭，OBM（Own Branding & Manufacturing）將是台灣企業未來發展的重要關鍵，而如何有效地建立「品牌價值」，成為企業間共同關心的課題。本研究動機奠基於此，就「品牌價值」與「品牌識別」之關係進行探討，彙整並釐清「品牌」的的意義，瞭解「品牌價值」的衡量方式，藉之提供後續研究的依據，歸納重要觀點，分述如下：(1)「品牌」真正的價值端視顧客與消費者而定；(2)「品牌識別」由消費者心中認知的觀感形成；(3)「品牌識別」與「品牌價值」是一體兩面的關係，品牌識別誘發的消費行為，感受的美好經驗強化「品牌價值」；(4)「品牌識別」是「品牌價值」建立的開始，其中品牌名稱與品牌標誌是支撐「品牌識別」的重要元素。
關鍵字：品牌、價值、認知、識別設計



A Study of the Relationship between Brand Value and Brand Identity

Kai Lo     Pin-Chang Lin
Graduate School of Design, National Taiwan University of Science and Technology

Abstract
In the era of globalization, industries in Taiwan encounter fierce market competition, OBM (Own Branding & Manufacturing) will be crucial to development of industries in Taiwan, hence how to effectively establish "brand value", becomes an increasingly important topic among industries. This is precisely the motivation of this research, to delve into the relationship between "brand value" and "brand identity", at the same time to integrate and clarify the meaning of "brand", to understand how to judge "brand value", and to define key perspectives, for future research reference, as follows:(1)The real value of "brand" varies with differing clients and consumers. (2) "Brand identity" is formed from consumers' awareness.(3) "Brand identity" and "brand value" correlate with one another, consumption behavior is induced by brand identity, good experience resulted will strengthen brand value. (4)"Brand identity" is initial to building of "brand value" , in particular brand name as well as logo, are all critical elements in supporting "brand recognition".
Keywords: brand, value, cognition, identity design

2006年設計學術研討會論文集，東海大學，p.H-13-1~6

羅凱* 陳建雄**
國立台灣科技大學設計研究所 研究生*
國立台灣科技大學設計研究所 副教授**

摘 要
地圖摺頁為遊客瞭解主題樂園資訊的開始，它如同靜態的遊園指引人員，扮演主題樂園與遊客溝通的橋樑，地圖摺頁設計的優劣與使用上的便利，直接影響遊客的遊園經驗與再次遊園的意願。本研究以花蓮海洋公園、九族文化村、劍湖山世界三份地圖摺頁做為研究樣本，經由觀察、訪談與問卷方式，探討受測者對地圖摺頁的使用性，研究結果發現：(1)受測者對於三份地圖摺頁之編排美感、易查詢性、使用便利性、資訊的詳盡程度並無顯著差異存在；而在閱讀的舒適度、風格表現上有顯著的差異存在。(2)地圖摺頁的版面配置，如色彩、文字與符號的安排影響使用者查詢資訊的難易程度，應與地圖色彩之間有所區隔，縮短使用者查詢的時間，增加地圖摺頁與遊客間的互動性，進而使摺頁發揮更好的文宣效用。(3)地圖摺頁應避免與過量的訊息造成紛亂，三款地圖摺頁的因資訊量龐大致使文字級數過小，影響閱讀的舒適感，建議檢討資訊之數量，刪減或精簡文字內容，讓傳達訊息更具可讀性。(4)遊客在園區翻閱地圖摺頁相當頻繁，因此，在設計應注意其便利性，應採易懂的摺疊順序，依摺疊順序安排適切的閱讀流程。

關鍵詞：主題樂園、文宣摺頁、地圖、使用

2005年基礎造形與環境視覺設計國際學術研討會論文集，景文技術學院，p.101-108。

羅凱*    陳建雄**             
國立台灣科技大學設計研究所 研究生*
國立台灣科技大學設計研究所 助理教授** 

摘要
       在環境視覺設計中，導覽地圖看板扮演統合整體環境資訊的重要介面，設計優良的導覽地圖看板可以泯除遊客對於陌生新環境產生的不安、混淆、與困惑，進而協助遊客恣意暢遊，掌握園區空間，創造美好印象；因此本研究藉由花蓮海洋公園之園區導覽地圖看板為對象，探討遊客入園後與其的互動關係，進而分析導覽地圖看板地點設置、造形設計等等問題。觀察結果發現：(1)導覽地圖看板使用率低，遊客普遍呈現忽略的狀態，其原因與已擁有手持地圖、導覽地圖看板不引人注目、團體遊客受到人員指引有關；(2)導覽地圖看板設置之位置與型式，會影響遊客使用的便利與意願；(3)使用導覽地圖看板的主要年齡層為20-30歲青年族群，在群體中擔任主導者及對遊園興致高者，使用導覽地圖看板的態度較為積極。
關鍵詞：地圖、環境視覺設計、非參與式觀察法


Research on the Interactions between Theme Park Directory and Visitors–A Case Study of Hualien Ocean Park

Lo,Kai     Chen, Chien-Hsiung
Graduate School of Design, National Taiwan University of Science and Technology

Abstract
The directory is an important interface integrating the information of an entire environment from the viewpoint of environmental visual design. A well-designed directory can ease the visitor’s anxiety, confusion, and perplexity in a new environment and allow visitors to enjoy their visit, to capture the entire park space, and leave a good memory of the facility. This study thus investigated the interactions between the directory and visitors through a case study on the Hualien Ocean Park in terms of the location and appearance design of the directory. The results generated from this study indicated that: (1) Most of the visitors ignore the directory because they have a printed map. The appearance of directory is unattractive, and group visitors are often led by a tour guide; (2) The location and appearance of directory affect the desire to use; (3) Visitors aged between 20 and 30 use the directory most, and tour leaders and theme park lovers have lower desire to use the directory.
Keywords: Map, Environmental visual design, Non-participant observation