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The purpose of this study is to investigate how the positioning of textual and pictorial design elements on a package affects visual attention (detection time) toward these element types.

The study has a 3×2 (stimulus×location) between‐subjects design. One pictorial and two textual package elements, located on the top right‐ or top left‐hand side of a package, were used as stimuli. Visual attention was measured by eye‐tracking. A total of 199 university students participated. The data were analysed using a two‐way ANOVA and a Pearson's chi‐square analysis with standardised residuals.

The results show that in order to receive the most direct attention, textual elements should be on the left‐hand side of a package, whereas pictorial elements should be on the right‐hand side. This is inconsistent with previous design directions (based on recall), suggesting the opposite element organisation.

Previous research has focused on recall (whether respondents remember having seen package elements) or preference (whether respondents prefer a package based on element positioning). The focus of the present study determined whether respondents actually saw the different elements on a package, and how long it took them to detect such elements. Detection time for certain element types can be viewed as a new and complementary way of evaluating the position of package elements. The paper also addresses whether preference is a result of easy information acquisition.

This study is about the expression of sketches in Steven Holl's architectural works. Holl shares his architectural ideas as watercolors with his staff, and he has established an original notational expression for the design process. This study investigates the elements of sketches as a notation method and examines the timeline changes.

Classification will be conducted using KJ method (Kawakita Jiro method), a method for organizing information developed by the Japanese cultural anthropologist Kawakita Jiro. Using the KJ method, this study compiled a list as a table about the pictures, letters, etc. in the sketches and grouped them together in the same attributes. The attributes that were grouped together were identified as elements of the sketches.

As a result, in the early 1970s, Holl used only line drawings for sketches, but since the 1980s, watercolor sketches have been increasingly used. Extracting the elements of sketches, it can divide them into drawing and describing expressions and classify them into three main types of pictorial expressions: Overview, Plan and Concept.

This study has shown that the closer the sketches were to the present, the more they combined elements of a more complex sketch with letters and symbols as well as pictorial expressions. This is the first study to investigate about sketch representations established as notations by Steven Holl. This study identified the elements that make the architectural concept visible through sketches.

The purpose of this paper is to present an experimental study which aims at assessing the potentially misleading effect of graphic elements on food packaging. The authors call these elements potentially misleading elements (PMEs) as they can give customers false expectations. They are either highlighted numerical information (30 per cent fibre, 8 per cent fat, 100 per cent natural […]) or pictorial information with no relation to the product (e.g. images of happy people).

In a combined decision task monitored by eye-tracking and a subsequence survey, the authors tested the impact of PMEs on common products. Combining different pairs of products, where one product had a PME, whereas the other did not, the authors could evaluate if preference correlated with the presence of a PME.

The authors found both types of PMEs to have analogous effects on participants’ preferences and correlate with participants’ visual attention. The authors also found evidence for a positive influence on a later explicit justification for the specific choice.

This study was conducted in a lab environment and solely related to health-related decisions. The authors still need to know if these findings are transferable to real in-store decisions and other needs such as high quality or low price. This calls for further research.

The topic is important for food companies, and it might become a priority in managing brand equity, combining consumer preferences, loyalty and communicative fairness.

Using eye-tracking and retrospective interviews brings new insights to consumer’s decision-making and how misleading potentially occurs.

This paper examines a user categorisation of documents related to a particular literary work. Fifty study participants completed an unconstrained sorting task of documents related to Charles Dickens’ A Christmas carol. After they had finished the sorting task, participants wrote descriptions of the attributes they used to create each group. Content analysis of these descriptions revealed categories of attributes used for grouping. Participants used physical format, audience, content description, pictorial elements, usage, and language most frequently for grouping. Many of the attributes participants used for grouping already exist in bibliographic records and may be used to cluster records related to works automatically in online catalogue displays. The attributes used by people in classifying or grouping documents related to a work may be used to guide the design of summary online catalogue work displays.

The objective of this study is to explore general cross‐cultural differences in corporate visual identity between the USA and Korea, and to apply Trompenaars' specific versus diffuse dimension to brand‐logos and taglines in the two countries.

A sample of the brand‐logos and taglines from the top 100 companies in each country were content analysed for research objectives.

The results indicate that Korean brands are generally more diffusive than those in the USA. Specifically, Korean brand‐logos tend to use more abstract and symbolic creative designs than those of the US, and the contents of Korean brand taglines contain more additional values than those in the USA.

The findings suggest the explanation power of new cultural dimensions for academic researchers and the importance of localised corporate identity strategies for international marketers.

Because little is known about the differences between company brand designs across cultures, this study fills a gap in the literature by examining company brand designs and taglines. In addition, this study proved the usability of the newly developed Trompenaars' specific versus diffuse dimension.

It is estimated that 73 percent of purchase decisions are made at point of sale. In scanning packs at point of sale, perception is rapid, and quick recognition is important for inclusion in the decision process. Under conditions of rapid perception, there is an advantage for verbal stimuli perceived from the right‐hand side, and for non‐verbal stimuli perceived from the left‐hand side. This advantage probably derives from the laterality of the brain, with word processing generally being handled by the left hemisphere, while the right hemisphere generally processes pictorial matter. This asymmetry of perception implies that to maximise recall, words should be on the right‐hand sides of packs, pictures should be on the left. We tested this, using a tachistoscope to measure difference in recall. The results confirm the asymmetry of perception of elements of packaging.

Visual merchandising has a direct impact on shopping experience, making it pertinent for the retailers to ensure that their store environment has an effective design. This study blends fuzzy numbers and Analytical Hierarchy Process to create a fuzzy evaluation model prioritizing the relative weights of visual merchandising dimensions of online fashion apparel store. This study will help the fashion retailers in creating more engaging and informative online stores leading to subsequent increase in online retail sales.

Visual merchandising dimensions and sub dimensions used by retailers for online stores were identified through review of literature and discussion with experts. Twenty experts were interviewed and their responses captured. The responses were analyzed using Fuzzy AHP technique resulting in prioritizing the dimensions according to the weight. For testing the stability of the results, sensitivity analysis was conducted.

Four key dimensions and sixteen sub dimensions were extracted. Weights were calculated using FAHP. “Pictorial Presentation” has the highest weight followed closely by “Product Information” dimension. Amongst the sub-dimensions “Number of Product Images” scored highest followed by “Product Presentation mode”. “Alterable Background” scored the least weight.

Previous studies have identified Online Visual Merchandising dimensions and have also studied the impact of some of these dimensions on consumer buying behavior, but the relative significance has not been determined yet. This study fills the gap.

Although findings have been inconsistent, there is some evidence from both experimental studies and field research that prices set just below the nearest round figure produce higher than expected demand at that level. Other research has demonstrated that the organization of verbal and/or pictorial elements of a print advertisement can influence the persuasive impact of that ad. The author combines these two streams of research in examining preference for brands associated with 0‐ versus 9‐ending prices that are displayed in different advertising layouts. Results indicate that the higher than expected demand associated with 9‐ending prices is more likely when prices are placed to the left of attended verbal information contained in an ad, due to the more positive evaluations of price that occur with more efficient subconscious processing.