In recent years, as information equipment has become multi-functional, an easy-to-use interface has been demanded. Particularly, an interface design that can be operated intuitively is urgently required. Therefore, we have re-examined this problem from the point of view of familiarity and organization along the flow of execution of user behavior for the design method, characteristics, and the meaning of an intuitive interface by use of a literature search, a questionnaire survey, and experiments. Based on our results, after reviewing patterns that combine the recognition and operation by a user, we classified interfaces into four types. As a result, we have clarified the characteristics and requirements of an intuitive interface and design guidelines which form the methodological framework of an intuitive interface design. The current study focused on information terminals using a touch panel, but the design guidelines proposed should be applicable to the interface design of various devices.

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Recent city branding efforts in Japan have generally employed brand associations utilizing the historic heritage and other elements of the local background. Typically, the local community executes these branding campaigns. This report focuses on the Murasaki River in the city Kitakyushu as a case study about the potential disincentives of using a particular, local identifying feature in a community for the city's brand. For the brand formation of Kitakyushu, the Murasaki River flowing through the central city area is the local resource from which one would expect rich imagery. However, among the citizens, the Murasaki River is a resource that lacks an emotional connection. As a result of this study, the present lack of emotional ties to local resources was shown in the context of the local “success experience” and “civic pride”.

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This study examined how the aesthetic evaluation of a colored shape is affected by its color and shape. Two groups of participants were asked to rate 8 shapes, 6 colors, and 48 colored shapes on three scales of aesthetic evaluation (beautiful-ugly, pleasant-unpleasant, and like-dislike). We applied multiple regression analysis to the experimental data in order to predict the aesthetic evaluation values of colored shapes based on the evaluation values obtained for colors and shapes separately. The results indicated that the prediction was accurate, and that the shape component had a stronger influence than the color component on the aesthetic evaluation value of the colored shape. In addition, we discussed the effects of colors and shapes based on their physical features such as curvedness, regularity, complexity, and CIE-L*a*b* color feature.

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This study is designed to obtain primary knowledge relevant to impressions on figures, and clarify the effects of color, shape, and location on the impressions on figures by psychology experimentation. A measurement is conducted using the combinations of 3 types of shape, 4 types of color, and 5 types of location. The experimental results show that the most dominant factor that affects the visual impression is the location of a figure, and suggest that the central location is considered well-balanced and favorable. Then, the color is the second most influential factor in the visual impression, and “yellow” yields impressions of gaiety and cuteness, however, “blue” to the contrary yields impressions of gloom and no cuteness. Additionally, the results suggest that the shape is the least influential factor in the visual impression and almost neither types of shape used in this experiment are nice-looking nor cute and have any specific features.

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Some pauses are found in natural reading a book aloud, which work to support smooth communication. They are supposed to be working in transliterating service for visually impaired people. In this study, we propose types and functions of the pauses in that situation. We conducted an experiment to record speeches of 3 transliterators. As a result, 2 types of pauses were extracted; pause as visual information, and pause as easy-to-understand. In the both type usage, an expert made better use of the short pauses which put 0.5 second or less in the speeches than other transliterators. This suggests that the short pauses have an important function to support the smooth communication. In the future work, we analyze pitches and other parameters to specify the characteristics of expression with the short pauses.

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Classification of fragrances has not accepted widely, because the range of stimuli was very wide and words of evaluation were a little. This study picked up essential oils, and selected words from prior questionnaire. Purpose of this study was to classify fragrances by psychological method. This study consisted of 2 experiments, A and B. The same materials and procedures were used in both experiments. Subjects were asked to evaluate fragrances by SD(semantic differential) method. In experiment A, a total of 220 subjects were joined and 15 pair words were used. In experiment B, 75 subjects were joined and 18 pair words were used. Cluster analysis and Factor analysis were used for analyzing the data. As a result, in both experiments, 11 clusters and 3 factors were observed, and clusters of citrus fragrances were showed. The factor of “Pleasantness” was showed in the first factor. This factor was common both experiments.

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The generation gap has an effect on the sense of values and error criterion in an lighting space. We performed checking individual difference. A temporal coherence is in his 20's and his 50's, and made the generation's inequality the distinctly. I performed the valuation from the subjectivity evaluation and the object evaluation. The result was not able to check the clear inequality from a subjectivity evaluation. However, 20's tend to be affected from the result of an object evaluation to a result by the physiological influence of an illumination. Rather than the work with his physiological 50's, since the sense of values over an illumination space affected it. It suggested the inequality of a generation. The evaluation to a lighting space needs to carry out when the inequality of a temporal coherence's generation has been grasped.

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Humans have various impressions for visual stimulus such as order/disorder and aesthetic preference, but the brain characteristics that each impression reflects are not readily apparent. We hypothesized that perception of order/disorder reflects the stimulus processing fluency. We conducted one preliminary experiment and two main experiments. The preliminary experiment simultaneously presented two stimuli to participants, who judged which stimulus was the more disordered. We scored perception of order/disorder using participants' responses. The main experiments used a same-different judgment task to assess the hypothesis. We presented two stimuli simultaneously, scored with perception of order/disorder. Participants reported whether the stimuli were the same or not. Participants easily judged whether the two stimuli were the same or not when the same-difference task included the stimulus perceived as orderly. Results suggest that the impression of order/disorder reflects the processing fluency for each stimulus.

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This paper verifies relation between two-wheel inverted pendulum personal vehicle's motion control parameter especially rotate control sensitivity and driver's affinitive evaluation. In recent years, personal vehicles have received a lot of attention to expand our mobility to cope with low carbon society and diversification of individual mobility. Personal vehicles run in the different environments from other vehicle (e.g. cars and trains) because these environments have pedestrians near personal vehicles. We have to design personal vehicles regarding not only mechanical evaluations but also driver's affinitive evaluations, and motion of personal vehicles should be satisfy driver's affinition for that purpose. We have to verify relations between human's affinitive evaluations and design parameters for motion control of personal vehicles to establish the advanced designs. In addition, this paper also verifies relations between driver's center of gravity moving path and rotate control sensitivity to establish real-time estimation of driver's affinitive evaluation using noninvasive sensors.

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In “Cool Japan,” the government has been trying to promote the internationalization of the fashion business by Japanese companies as a national policy since 2005. The aim has mostly failed, and only partially completed efforts have been confirmed. Consequently, the presence of the Japanese fashion business remains weak in the global fashion market. The purpose of this paper is to explain the cause.
While the domestic fashion market has experienced rapid growth over the 50 years following World War II, fashion companies have not shown an interest in foreign markets. Designers of ready-to-wear apparel have followed the fashion styles of Paris and Milan. As long as fashion companies were realizing growing revenues, top management of large-scale fashion companies supported these trends. Top management did not delegate significant discretion for designs to the chief of design, and chief or creative directors had uncertain roles.
As a result, designers may have lost their creativity in a commercial sense, and the chief of design is no longer responsible for sales. Top management has given more priority to modelisme than stylisme. Much interest was focused on mistakes in the product details rather than customer profiles. Senior management understood that we had efficiently conducted our fashion business in this manner.
It became impossible to assume the risk associated with international market expansion. In the 1990s, the price of the property price in Tokyo decreased after collapse of the bubble economy. It attracted the famous fashion houses of Europe to the burgeoning commercial areas of Tokyo. On the other hand, Japanese entrepreneurs were unable to recover markets lost to the Europeans, even by expanding into foreign markets.
Despotic leadership is necessary for the success of the fashion business. As for the company form, possession and management should be the same one. The entrepreneur should delegate the necessary discretion to the chief of design. The chief's discretion will depend on the decision premise, which precedes the first stage of fashion design. The design of fashion clothing will be added according to going through the manufacturing process. The virtual “design chain” is determined by the chief of design.
The manufacturer of ready-to-wear is to “make to stock.” If nobody buy it, ready-to-wear would not exist, and the values are not found. The defects are caused at the design of the first stage. The cheif should owe its responsibility.
This business depends on the sensibility or affection of humans, which is difficult to understand. However, the design chiefs of the textile manufacturers have promoted abduction about the decision premise of the chief designer at Maison. Therefore, marketing activities are being conducted aggressively. The role of a fashion designer of ready-to-wear clothing is different from that of an artist.
From a large chaotic space, a “subset” is extracted. Subset is action space that is shared by certain people. It is assumed that a subset of these is represented by several people, model. Therefore, the task of the chief gives silhouette in this model. If we assume that the silhouette is supported by action space, sellable products can be designed. Action space may exist globally across the border. In many cases, global properties for global markets are lurking among these.

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