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The rapid growth of m-commerce and mobile marketing has flooded the users with homogeneous contents that raise little user interest making the users' browsing pattern on these contents aimless free browsing. However, the interface that presents the mobile marketing contents triggers much user attention, especially the layout. Without significant usability defects, the layout poses influences on the user's aesthetic experience. Identifying the layout attributes that affect user aesthetic preference is critical to the design of mobile marketing interfaces since they influence users' interaction intention, cognitive process, and decision-making.

In this paper, 6 layout attributes that quantify the aesthetic design of the interface layout and 3 eye-movement indicators that connect to human aesthetic preference were identified through literature research. An eye-tracking experiment measuring the 3 eye-movement indicators on 6 pairs of interface layout materials corresponding to the 6 layout attributes was conducted. The experiment was designed to mimic the free browsing context in mobile marketing. The materials were divided into Liked/Disliked preference groups according to the response of the subjects. Analysis of indicators on materials between the L/D groups shows that the attributes of balance, centricity, density, simplicity, and symmetry affect user aesthetic preferences.

Analysis of the attribute value levels shows that balance, centricity, and density are responsible for addressing users' aesthetic preferences for a disliked interface layout. The study suggests an attribute set for quantitatively optimizing the aesthetic design of mobile marketing system interfaces and provides evidence for the visual attention and cognitive process under the free browsing context.

The study contributes to the field both theoretically and practically: (1) it provides support for optimizing the interface layout of mobile marketing systems quantitatively from the aesthetic perspective. (2) It promotes the cognitive attention theory by providing evidence for the cognitive process of interacting with mobile marketing interfaces from the perspective of visual attention and cognitive fluency. (3) It expands the objects of visual perception from traditional or symbolic artworks (such as logos) to the abstract visual stimuli of interface layout. (4) It suggests an optimization tool of five quantification layout attributes for mobile marketing businesses and platforms to aesthetically improve their marketing interfaces to improve user experiences.

There are numerous design principles that can guide strategic decisions and determine good product design. One principle that has received considerable attention in the literature is the MAYA principle, which suggests that consumers seek a balance of typicality and novelty in products. The purpose of this paper is to test the MAYA principle specific to various categories of apparel. By drawing from the MAYA principle as a two-factor theory, the effects of specific aesthetic properties (i.e. typicality and novelty) of apparel products on consumer response were examined.

An experimental design in three phases was implemented.

Results revealed that typicality is the primary predictor of aesthetic preference relative to pants and jackets, while both typicality and novelty are significant predictors of aesthetic preference relative to shirts, suggesting that the MAYA principle better explains aesthetic preference relative to shirts.

Understanding consumers’ reactions to product design provides potential value for academics as well as practitioners.

Consideration of both aesthetic properties is needed when implementing the MAYA principle in apparel design.

Although studies have examined the MAYA principle relative to consumer products, few have examined how the principle operates relative to apparel products. The definition of a design principle, such as the MAYA principle, assumes that the logic proposed should apply to all types of products. Yet, this empirical study reveals that this is not the case when applied across different apparel categories.

This study examines whether design typicality and the communication of the zero-waste concept as a sustainable practice impact consumers’ aesthetic preferences and purchase intentions for zero-waste apparel.

The study employed a 2 (dress design: typical vs atypical) × 2 (dress length: long vs short) × 2 (zero-waste concept communication: present vs absent) mixed factorial experimental design with an online survey of 137 female consumers, ages 19–34.

Respondents rated typical zero-waste design dresses significantly higher than atypical dresses for aesthetic preferences and purchase intentions. Further, the zero-waste design concept did not affect this typicality-based preference or purchase intention for zero-waste dresses. They also demonstrated greater overall aesthetic preferences for long than short zero-waste dresses. Design typicality moderated this effect such that aesthetic preferences and purchase intentions were greater for long than short-length dresses when the zero-waste dress design was typical. When the design was atypical, purchase intentions were greater for short than long dresses.

Typicality is critical in consumers’ aesthetic preferences and purchase intentions for zero-waste apparel.

The study focused on zero-waste dress typicality as a critical factor in consumers’ preference formation and purchase intentions. Additionally, it investigated dress length preferences within typical and atypical designs.

The objective of this research is to understand how children develop their aesthetic sensibility. This question will be examined using modern art pictures and logos.

The study refers to a qualitative method based on interviews with children aged 7 to 12. A total of 24 children were questioned. In order to reinforce the corpus, the authors tried to even out the proportion of girls and boys and to vary their social origins. The study was conducted during the summer of 2007 in three activity centers situated in the west of France.

The paper indicates clearly a strong aesthetic sensibility in children. Visual beauty is the first criterion used for ranking in the scale of preference. The research also brings to light three individual characteristics that can be taken into account to understand how children develop their aesthetic judgment: involvement, age, and gender.

The study confirms the need to combine the methods of gathering data when dealing with children. The interviews raised a number of interesting points. However, an obstacle presented itself in the shape of the silence of a few children who were apparently troubled by the difficulty of the questions they were asked or by their lack of verbal skills to formulate their preferences clearly.

Concerning the managerial aspect, the three individual characteristics of a child aesthetic sensibility (involvement, age, and sex) could bring important indications to manufacturers who trade on the markets for children.

Regarding the academic aspect, it is the first research that deals with the influence of aesthetic judgment of a child on the choice of products.

This paper aims to examine how visual elements used in packaging design relate to diasporic consumer identity and influence aesthetic appreciation.

Drawing on social identity theory, research on aesthetic principles and using a mixed methods approach, two studies are conducted. Study 1 involves a qualitative exploration of the nature of diasporic consumer identity and its relation with visual design in packaging. Study 2 involves quantitative testing and calibration of this relationship and its subsequent influence on aesthetic appreciation.

Diasporic consumers from the Middle East appreciate hybrid visual designs and prefer packaging that strikes an optimum balance of visual elements (colour, shapes, patterns) from the heritage aspects of their ancestral homeland and more contemporary aspects from their culture of living. Preference for balance elicits an overall positive diasporic identity feeling that mediates the relationship with aesthetic appreciation of visual design in packaging.

These findings offer new knowledge about the role of visual design in packaging in delivering symbolic value to diasporic consumers, evidencing how diasporic consumers’ dual identities shape aesthetic appreciation and preferences for hybrid visual designs.

Provides marketing practitioners and packaging designers with a concise and contextual directive for creating visual designs that appeal to a growing segment of diasporic consumers.

This research draws on social identity theory to uncover an aesthetic cultural precept – heritage, yet contemporary – that can inform the development of packaging designs targeting diasporic consumers.

The purpose of this paper was to investigate how attention to wine labels related to preference by using quantitative measures of gaze and of the diameter of the eye pupil. We assessed whether eye fixations could predict choices and willingness to pay and whether pupil size could index the aesthetic value of wine labels. More specific goals were to identify which elements of a wine label captured attention the most and to assess whether an authentic label would be preferred by naïve consumers over other alternative labels, also designed by the same studio but excluded from the market.

Infrared eye-tracking was used to measure the amount of time spent on a specific label among four that were simultaneously shown on the computer screen. Participants also made explicit decisions about preferred labels and provided price estimates. Pupillometry was used for labels shown in isolation to obtain a physiological index of their arousing effect and aesthetic appeal. Eye fixations provided an index of what was selected by attention, whereas changes in the pupillary diameter indexed how intensively attention was focused on an item.

A strong positive relationship was found between the dwelling of gaze over a specific label and the degree in which a wine bottle was preferred and (virtually) chosen. The pictorial elements of the labels were fixated the most, whereas verbal information was looked at the least. Attractiveness scores of each bottle collected with one independent group of observers were able to predict the willingness to pay in another group. Moreover, pupil size changed non-linearly in relation to the hedonic values of the wine labels, indicating greater responses to the most as well as least attractive labels (i.e. for the most arousing labels).

A limitation of the present experiments was that only choices and behavior of wine “novices” were probed; hence, the present findings might not be generalized to other segments (e.g. wine connoisseurs). Moreover, the present study could not specify which visual properties of a label affect preference, aesthetic value and estimates of price, as the study of these effects would require a large number and variety of label stimuli.

Eye monitoring methods could assist marketing studies of preferences and decision-making. Both wine label designers and wine producers could benefit from eye-tracking methods to improve label selection and optimize the design process of a wine label.

Although both eye-tracking and pupillometry have been used to the investigate aesthetic preferences for at least the past 50 years, the measurement of pupil diameter and eye movements to study attributes of (authentic) wine labels and their effectiveness is entirely novel. The present study confirms that measures based on eye-tracking combined to explicit choices or ratings provide complementary types of market-relevant information. Both methods provide objective, quantitative, information of the effect of the labels on consumers that is independent but predictive of actual choices and verbally reported preferences. Moreover, they appear to index different processes, pupillometry being a proxy of aesthetic value and gaze a reliable index of choice. Thus, the present findings can be of value to the academic researcher as well as industry and design practitioners.

This paper aims to introduce subjective dimensions of appraising visual servicescape aesthetics and to empirically test their influence on the consumer’s affective responses and preference, thus providing a holistic model to evaluate visual servicescape aesthetics from consumer’s viewpoint. It also tests the moderating role of service contexts in the modelled relationships.

Data was collected from 350 respondents using a laboratory-like experimental design, with one-shot treatment using photographic surrogates of services capes in four different service contexts.

Results indicate the visual servicescape aesthetics dimensions significantly and positively influence consumers’ affective states of arousal and pleasure. Also, service context moderates the relationship between servicescape aesthetics and affective responses.

As the subjective dimensions of visual servicescape aesthetics are borrowed from environmental psychology and introduced in marketing literature, it is likely to trigger a stream of research in service marketing domain.

Findings provide marketing practitioners insights into servicescape design, evaluation and selection decisions to improve return on such investments.

The study contributes to theory by introducing more appropriate holistic servicescape aesthetics variables borrowed from environment psychology and empirically establishing relationships between them, consumers’ affective responses and preference to the servicescape.

The infill design approach for heritage settings is a challenging task, and it draws the attention of design professionals and residents. The extant literature has advocated for a contextual design approach for new buildings in heritage sites. However, the degree of contextualism for a new building in heritage sites is subjective, and it varies between exact replication and contrast scales. This study aims to evaluate an appropriate design approach for historic precincts of Odisha, an eastern state of India.

Two prime eastern heritage sites (Puri and Ekamra Kshetra) are selected as cases in this study. This research methodology involves identifying key architectural elements from both sites and a questionnaire (prepared by design experts) based on interviewing 400 residents and 36 design professionals on their aesthetic preferences for the different architectural styles and elements. The questionnaire was prepared by the design experts based on the identified architectural styles and elements of both sites. Descriptive statistics and correlation analysis are used to measure the significance of design approaches and elements.

This study's outcome confirms that most of the respondents (design professionals and residents) prefer the replication design approach with traditional architectural elements of Odisha. Also, documentation of the chronological development of architectural styles and elements of heritage sites of Odisha is done in this research.

This study has a few limitations: first, the land use characters (mixed, residential, commercial, etc.) of buildings in the heritage precinct are not considered in this research; second, this research has not included the financial aspect of infill design and last, the impact of respondents' socioeconomic factors on their aesthetic perceptions is not considered in this research.

The development authorities can use the outcomes of this research to implement a design strategy for infill buildings in the historical sites of Odisha.

This research article has documented traditional architectural elements of two prime heritage sites of India.

To date, no quantitative research has been done on infill design approaches in any Indian heritage precincts. This is the first quantitative research on the perception of stakeholders and users on the infill design in historical settings of Eastern India. This research has identified key architectural styles, elements and materials of the heritage sites.

The purposes of this study were twofold: (1) to develop a scale for measuring consumers' perceived problems of finding a good fit (PFGF) and (2) to provide evidence of several types of scale validities including nomological validity through examining the relationship between PFGF and body esteem based on attribution theory.

Scale development took place in three steps: (1) An initial pool of items was generated based on a previous study; (2) preliminary quantitative tests of reliability and validity of items were performed, including confirmatory factor analyses (CFAs); and (3) final scale validation through a discriminant and nomological validity test was conducted using CFA and the structural equation model (SEM). CFAs and SEM with the mediation effect were performed using Preacher and Hayes' (2008) bootstrap procedure in Mplus.

Of the 20 items (four items for physical, eight items for aesthetic and eight items for functional) generated in Step 1, a total of 14 items (four items for physical, five items for aesthetic and five items for functional) were remained through preliminary tests of reliability and validity of the scale in Step 2. In Step 3, the 14 items were finalized and validated through testing the hypothesized mediating effect of internal attribution of fit problems between the PFGF scale and the measures of body esteem. The results of consumers' internal causal attribution process of fit problems supported attribution theory.

The study contributes to understanding consumer fit perceptions by developing a scale to assess PFGF that may be a key factor influencing multiple apparel shopping behaviors. The multidimensional scale of perceived PFGF should be useful to provide solutions to PFGF based on information from customers. Better understanding of perceived PFGF will ultimately increase consumer satisfaction with apparel.

The purpose of this study is to analyze the problem of optimal product line design in marketing channels where consumers are heterogeneous in both horizontal and vertical dimensions.

This paper develops a model to evaluate when it is preferable for a firm to extend the product line in a vertical or horizontal direction. Consumers are modeled as being vertically heterogeneous with respect to their valuation of quality and horizontally heterogeneous with respect to their preference on the esthetic component of the product. These model characteristics allow us to consider a broader set of product line extension strategies. By considering both a vertically integrated channel and a decentralized channel, this study investigates how channel structure influences optimal product line design. The problem with supplemental numerical analyses is mathematically analyzed.

The analysis shows that a horizontal product line extension strategy that offers the customized product can be used as an alternative to a vertical product line extension strategy. If the fixed cost is not too high, offering the customized product with low quality may be preferred to the quality-based segmentation strategy. Furthermore, the analysis shows that the channel structure is influential as the preference for the horizontal product line extension strategy is more pronounced in the decentralized channel than in the centralized channel.

The analysis presented in this paper is limited by the consideration of full market coverage. Further research is needed to see how the results can be generalized to the case with partial market coverage.

The analysis suggests that a firm may consider product customization as part of its product line strategy. Information regarding market characteristics and channel structure is important when deciding on the optimal product line design.

The model reflects a more realistic marketing strategy and channel structure than previous studies that typically consider product line extension in only one direction and focus on the centralized distribution channel. Combining the standard product line extension and customization strategies also represents an important contribution to the literature. These extensions produce interesting new results and insights into a firm’s optimal product line design strategy.