This study examined the benefits of additional extrinsic cues on meat packaging and the influence of informative content labels on consumer’s perception based on product quality. A total of 227 participants were shown various fresh meats packaging labels, termed “product infographic labeling” in the experimental stages of both design and content created as ordinary labeling. We conducted a survey, which was followed up with interviews to help analyze customer behavior and other ideas and beliefs. In addition, we conducted tests and collected and analyzed data to indicate and identify significant points showing additional extrinsic cues pertaining to product information by using repeated analysis of variance (ANOVA) and additional analysis through the eye-tracking data method. The analyzed eye-tracking data showed that visual attention was significantly devoted to an additional infographic label. When these additional data were analyzed through the ANOVA method we discovered that the infographic approach on meat packaging positively influenced consumer’s perception of product quality. Furthermore, the research discovered that the proportionality ratio of an area of interest on meat packaging affects how consumers interpret and process product quality. Additionally, an infographic labeling approach for meat packaging can decrease average time consumption on consumers’ purchasing behavior of meat products by 53.55%. As a result, we provide a design reference for meat product labeling and positioning placement to promote consumers’ perception of product quality. These findings lend valuable data that highlight how infographic labeling design has a greater impact on general product evaluation and quality expectations.
This study was conducted with the aim of redesigning the interface for smart TV. TV has been a monopolist for a long time as a video distribution platform. However, the content market is rapidly changing due to the development of digital technology and the emergence of personalized smart media. As a result, people are starting to use various platforms to watch videos, and TV is also trying to create a new paradigm of smart TV by applying various digital technologies. Especially, it is necessary to develop an interface to make TVs with a wide user base easy and comfortable to use. For this purpose, we conducted a theoretical study on TV and examined the changes of contents market and TV in chronological order, and we defined the concept of smart TV. After analyzing the content structure and interface characteristics of 15 cases introduced to the domestic and overseas markets. At this time, the study on the remote controller is also carried out to consider the operation. In addition, through analyzing the papers related to the user segment, we extracted the five factors influencing the segmentation of the TV user and derived six segments based on the extracted factors. We analyzed the needs of actual TV users by observing them, analyzing tasks, and interviewing them. Based on the results of the analysis, we derived a new type of interface mapped to the 4-way button and created a prototype for to test how it works. Even though there is a regret that it was carried out for domestic users, but it is meaningful that the user-centered interface design has been derived.
Animated film “Cio Tao” highlights the topic of Cio Tao ceremony; a maturity ceremony before marriage in Tionghoa Peranakan (Indonesian Chinese) ethnicity. The practice of this ceremony is getting more and more forgotten because people don’t know the moral meanings in every rituals of the ceremony. Those meanings are implied in the Tionghoa's (Chinese) properties used in the marriage ceremony. This paper interprets the decoration motifs and then implements the adaptation concept into the property design in the animated film “Cio Tao”. This paper uses qualitative method research to explain the relationship between the motifs’ meanings and shapes with the properties used. The design methodology was used to create this animated film. There are some modifications from cultural Tionghoa's visual pattern for designing property of the animated film. The visual adaptation of this study uses literature, existing visual pattern, and the Tionghoa's (Chinese) marriage ceremony properties observation as data for motif decoration conceptualization.
ASCENDER is a single player 2D puzzle platformer PC game which has an explorative world called GOA set under the land of a realm. The game equipped with the basic of all game visual design assets such as characters, environment, properties, visual effects, and user interface. Environment visual design were created by game visual artist to provide a realistic and beautiful set of environmental assets, props and scenery element required for game character exploration and interaction. Designing visual game environment involved visual artist, story writer, game designer and curve level designer. The design process itself included brainstorming, creating concept art, coloring, layering (parallax), and compositing. Environment design build with consideration based on story, world logic, and gameplay, can be effective and immersive for the player to enjoy the game experience, exploring the world, interaction of the game, solving puzzle, and follow the storyline.
We propose a novel concept of game, which allows players to experience tangible interaction with the virtual world of digital games by mixing motorized scenery (object support) with dynamically generated spatial augmented reality. A specific hardware, which includes a turntable platform, on where players can setup customized polygonal shaped scenery to play the game projected onto its surfaces, and a single, or a pair, of focus free laser pico-projectors pointed toward the platform is proposed as a game console able to run this experiment. The turntable platform orientation is synchronized with the game play in a way the physical object rotates aligned with the projected virtual reality in relation to the player’s fixed perspective. By designing 3-dimensional animations, which are rendered and projected in accordance with the surface orientations, we were able to enhance the illusion of depth toward these planar structures during the game play. The use of spatial augmented reality is justified by exploiting the characteristics of projected 2-dimensional light onto 3- dimensional objects in order to extend the game possibilities. As an example, the number and orientation of polygons found on the support can be directly associated with the complexity of the game universe, affecting the game difficulty, scale and game play. In this paper we discuss about spatial actions, which are actions players can perform at object support creases. When synchronized with motor movements, these actions extend the sense of volume in relation to the game avatars providing a tangible connection between players and digital content.
