Consumer Behavior Essay

This section describes the roles of harvest-festival air in the process of consumer paygrade and choice. For this aim, literary works in the fields of point of intersection development, result concept, consumer behavior, marketing, and military personnel factors has been searched. The literature shows that the visual appearance of a ingathering provoke charm consumer point of intersectionion evaluations and choice in several(prenominal) ways. some(prenominal) authors considered the role of intersectionion or mail boat appearance in consumer proceeds evaluation or choice (Bloch, 1995 Garber, 1995 Garber et al. , 2000 Veryzer, 1993 Veryzer, 1995).However, they did not converse explicitly the different ways in which appearance influences consumer choice and their respective implications for overlap convention. In addition to these more novel contributions to the literature, the functions of a crossway in consumerproduct interaction be described in earlier industria l trope literature (Lo? bach, 1976 Pilditch, 1976 Schu? rer, 1971). Several of these functions concern product appearance. in that respect argon differences amid authors in the depend of roles (i. e. , functions) of product appearance they distinguish and the call they employment.For exercise, communication of ease of mathematical function was menti wizd by Bloch (1995) and was described as part of the artistic function by Lo? bach (1976), plot of ground Veryzer (1995) called it the communicative function of a product appearance. If all the roles mentioned in the literature argon considered as a whole, the following six roles of product appearance for consumers burn down be distinguished (1) communication of artistic, (2) symbolic, (3) functional, and (4) ergonomic product information (5) attention drawing and (6) categorization. A description of these six roles and their implications for product design follows. harvest-time Appearance and Aesthetic harvest Value The estheticalal regard as of a product pertains to the pleasure derived from seeing the product, without servant of utility (Holbrook, 1980). A consumer washbasin order the confront of a product strictly for its own sake, as looking at something beautiful is rewarding in itself. When product alternatives are similar in surgical process and price, consumers exit prefer the one that appeals the intimately to them aestheticalally (see, for example, Figure 1). Aesthetic responses are primarily emotional or olfaction responses, and as such they are real personal (Bamossy et al. , 1983).Several researchers return attempt to determine properties of products that are related to aesthetic appreciation. Innate preferences are proposed for visual formation principles, such as unity (i. e. , congruence in elements), proportion (e. g. , the Golden divide), and symmetry (Hekkert, 1995 ponderer, 2001 Veryzer, 1993 Veryzer and Hutchinson, 1998), and an inverted U-shaped relation is proposed between aestheticpreference and complexity (Berlyne, 1971). Another property influencing aesthetic judgments is semblance.The desirability of a annotate will shift according to the object to which it is utilize (e. g. , a simple machine or a table) and with the style of the object (e. g. , modern or Georgian) (Whitfield and Wiltshire, 1983). In addition to ( intrinsic) preferences for received properties of stimuli, prototypicality is effect to influence the aesthetic response. Proto typicality is the percentage point to which something is representative of a category (see in addition the section nearly categorization). In several studies, evidence is found for a unconditional influence of visual prototypicality on aesthetic preference (Hekkert, 1995 Veryzer and Hutchinson, 1998 Whitfield and Slatter, 1979).According to Hekkert et al. (2003), products with an optimal conclave of prototypicality and novelty are preferred aesthetically. As well as the product-rela ted characteristics previously mentioned, thither are cultural, social, and personal influences on design taste. For example, color preferences differ between tillages and in time (Whitfield and Wiltshire, 1983). In addition, personal factors, such as design acumen, prior experience, and record influence the design taste of consumers (Bloch, 1995).The influence of an aesthetic judgment on product preference great deal be moderated by the perceived aesthetic fit of the product with other products the consumer owns, or his or her family interior (Bloch, 1995). Product Appearance and symbolical Product Value Consumer goods carry and notify symbolic inwardness (McCracken, 1986). symbolical respect even can be the light upon determinant for product selection (Hirschman and Holbrook, 1982) and can account for the selection of products that clearly are inferior in their tangible characteristics (Levy, 1959).An example of the latter is Philippe Starcks Juicy Salif git squeezer (Llo yd and Snelders, 2003). The choice for a specific product or steel neatthorn have a bun in the oven the kind of person someone is or wants to be consumers use products to express their (ideal) self-image to themselves and to others (Belk, 1988 Landon, 1974 Sirgy, 1982 Solomon, 1983). Symbolic meaning can be attached to a product or dishonor on the basis of, among other things, publicizing (McCracken, 1986), country of origin, or the kind of quite a little using it (Sirgy, 1982).But the productitself also can communicate symbolic order in a more direct way, that is to say by its appearance. A products appearance communicates messages (Murdoch and Flurscheim, 1983), as it may look cheerful, boring, friendly, expensive, rude, or childish (see, for example, Figure 2). In addition, a certain style of appearance may evoke associations with a certain time or place (e. g. , the Fifties). Furthermore, the product or package appearance can reinforce the image of a brand, as the ident ity of a brand is convey visually in the appearance of products (Schmitt and Simonson, 1997).Consumers may attach the meaning of a brand to elements of the physical appearance of products. In this way, a brand image may enrapture to different kinds of products (see the section about categorization). many a(prenominal) companies on that pointfore make consistent use of certain design elements, such as a color combination, a distinctive form element, or style. For example, car manufacturers ofttimes try to keep different car models recognizable as belonging to the same brand. The distinctive radiator grill of BMW automobiles is an example of a recognizable design element.The linking of brand meaning to elements of the product appearance will be easier when the associations these elements engender by themselves (e. g. , because they are innate or are determined by culture) correspond to the desired brand image. For example, use of bright colour in and a bighearted size, which i s associated with aggression (Murdoch and Flurscheim, 1983), will make it easier to shoes a car brand as aggressive. Although there are large respective(prenominal) and time-specific differences in the experience of color and form, there are certain associations that seem to be relatively constant.Overviews of the influence of form and color on consumer perception of symbolic value (but also ergonomic and aesthetic value) can be found in Muller (2001), Murdoch and Flurscheim (1983), Schmitt and Simonson (1997), and Whitfield and Wiltshire (1983). For example, angular forms are associated with dynamism and masculinity, darn roundness evokes softness and femininity (Schmitt and Simonson, 1997). coating is an important determinant of the interpretations that consumers give and the associations they have with certain factors of aproducts appearance. For example, color associations vary from culture to culture (Whitfield and Wiltshire, 1983). In America and Europe, the color unobject ionable stands for purity, and brides traditionally dress in white in Japan itis a color of mourning. Furthermore, meaning is context dependent. The impression that colour in give may change completely by combining certain colors (Muller, 2001). Also, the meaning of forms and colors may change in time, as meanings are incessantly transformed by movements in art, fashion, etc. (Muller, 2001).There is some debate about whether symbolic interpretation is part of the aesthetic experience. In most literature, aesthetic value is mentioned as botha hedonic impression and a result of interpretation and representation (Schmitt and Simonson, 1997 Vihma, 1995). It is acknowledge in this article that whether a product is conceived of as beautiful is affected by what it represents (Vihma, 1995). The same style can be considered good taste at one point in time, while creation considered bad taste 10 eld later, because the connotations associated with it or the interpretations given to it h ave changed.For example, orange tree was a modern color for clothes, furniture, and pliable products in the Seventies, generally was perceived as old-fashioned and ugly in the Eighties, and became apply in products and clothing again in the Nineties. However, the view in this article is that aesthetic and symbolic value should be distinguished, as they may have opposite influences on preference. For example, someone who likes a colorful design may not buy it because it looks overly childish. Product Appearance and Functional Product Value