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With the rapid development of technology, 360° panorama on mobile as a very convenient way to present virtual reality has brought a new shopping experience to consumers. Usually, consumers get product information through virtual annotations in 360° panorama and then make a series of shopping behaviors. The visual design of virtual annotation significantly influences users' online visual search for product information. This study aims to investigate the influence of the visual design of virtual annotation on consumers' shopping experience in the online shopping interface of 360° panorama.

A 2 × 3 between-subject design was planned to help explore whether different display model of annotation (i.e. negative polarity and positive polarity) and different background transparency of annotation (i.e. 0% transparency, 25% transparency and 50% transparency) may affect users' task performance and their subjective evaluations.

(1) Virtual annotations with different background transparency affect user performance, and transparency has better visual search performance. (2) Virtual annotation background display mode may affect the user operation performance; the positive polarity of the virtual annotation is more convenient for the users' visual searching for product information. (3) When the annotation background transparency is opaque or semi-transparent, the negative polarity display is more favorable to the users' visual search. However, this situation is reversed when the annotation background transparency is 25%. (4) Participants preferred the presentation of positive polarity virtual annotations. (5) Regarding the degree of willingness to use and ease of understanding, participants preferred the negative polarity display for 0% background transparency or 50% background transparency. However, the opposite result was obtained for 25% background transparency.

The findings generated from the research can be a good reference for the development of virtual annotation visual design for mobile shopping applications.

1. Virtual annotation background transparency and background display mode are two essential attributes of 360° panoramas.

2. This study examined how virtual annotation background transparency and background display mode influence user performance and experience.

3. It is recommended to use a translucent or opaque annotation background with a negative polarity display.

4. Virtual annotation presentation with 25% background transparency facilitates consumer searching and comparison of product information.

5. Users prefer a positive polarity annotation display.

Virtual annotation background transparency and background display mode are two essential attributes of 360° panoramas.

This study examined how virtual annotation background transparency and background display mode influence user performance and experience.

It is recommended to use a translucent or opaque annotation background with a negative polarity display.

Virtual annotation presentation with 25% background transparency facilitates consumer searching and comparison of product information.

Users prefer a positive polarity annotation display.

Virtual Reality (VR) emerged as a technology when Ivan Sutherland created the ‘Sword of Damocles’, the first visual display enabling users to be immerse themselves in a 3‐dimensional environment (Sutherland 1968). This virtual 3‐dimensional visual display profoundly changes the relationship between the user and the computer. With this virtual interface, the user is placed inside the computer‐generated environment. This concept has revolutionized information displays. For the first time, the user interacts with a spatial display. The virtual display is engineered to fit how we, as humans, perceive things intuitively. Humans are spatial beings and virtual interfaces evolved from the desire to make machines more human‐like (Furness 1986). The paradigm shift in information displays lies in the inclusiveness of the virtual interface. The multi‐sensory display of VR amplifies the perceptions and experiences of the user (Bricken 1991).

This paper aims to present a case study of virtual-reality-based product demonstrations featuring items of furniture. The results will be of use in further design and development of virtual-reality-based product demonstration systems and could also support effective student learning.

A new method was introduced to guide the experiment by confirming orthogonal arrays. User interactions were then planned, and a furniture demonstration system was implemented. The experiment comprised two stages. In the evaluation stage, participants were invited to experience the virtual-reality (VR)-based furniture demonstration system and complete a user experience (UX) survey. Taguchi-style robust design methods were used to design orthogonal table experiments and planning and design operation methods were used to implement an experimental display system in order to obtain optimized combinations of control factors and levels. The second stage involved a confirmatory test for the optimized combinations. A pilot questionnaire was first applied to survey demonstration scenarios that are important to customers.

The author found in terms of furniture products, product interactive display through VR can achieve good user satisfaction through quality design planning. VR can better grasp the characteristics of products than paper catalogs and website catalogs. And VR can better grasp the characteristics of products than online videos. For “interactive inspection”, “function simulation”, “style customization” and “set-out customization” were the most valuable demonstration scenarios for customers. The results of the experiment confirmed that the “overall rating”, “hedonic appeal” and “practical quality” were the three most important optimized operating methods, constituting a benchmark of user satisfaction.

The author found that it is possible to design and build a VR-based furniture demonstration system with a good level of usability when a suitable quality design method is applied. The optimized user interaction indicators and implementation experience for the VR-based product demonstration presented in this study will be of use in further design and development of similar systems.

The principal purpose of this study is to analyze the consumer emotions on virtual merchandising in the context of social consumption ecosystem driven by value and lifestyle across the big middle consumer segment.

The qualitative information has been collected from 114 respondents selected through snowballing technique within the metropolitan area of Mexico City. A semi-structured research instrument was used to conduct the in-depth interviews online.

The results of the study indicate that technology-led virtual merchandising stimulates arousal and merriment among consumers, which converges the self-image congruence and appearance similarity. The subjects of the study have endorsed that visual stimulus leading to self-image and body image congruence develop consistent arousal and merriment, which lead to positive purchase intentions and buying decisions and inculcate the perception as seeing is experiencing.

The samples drawn for this study may also limit the possibilities of generalization of the study results and map the consumer behavior in a predetermined pattern.

This study is founded on the theoretical maxims of theory of visual perceptions, cognitive theory of reasoning, theory of appearance and reality and Heider’s balance theory and contributes to these theories by explaining the relationship between the social self-concept and self-image congruence.

Firms retailing online fashion apparel should also be engaged in developing user-generated contents through communications on social media encouraging experiential videos, slogans and reviews.

This paper significantly contributes to theoretical and practical implications on virtual shopping, emotions and beliefs and consumption culture.

Virtual Reality (VR) refers to the computer generation of realistic three‐dimensional artificial worlds in which humans, typically equipped with head‐mounted 3D displays, interactive gloves and even whole‐body suits, can be ‘immersed’, and are free to explore and interact with graphical objects in real time, using such natural skills as looking from different angles, moving, pointing, grasping, listening and talking. The early history behind the emergence of VR is short and incredibly intense and characterized by a small group of familiar names. As one of the key figures, Myron Krueger has described it, ‘…Like particles in a fission reaction, personnel from one project disband and reappear with new affiliations’. That reaction continues today, with a reproduction of the American experience in Europe.

The Web 3D virtual display technology for personalized clothing based on Unity3D is studied in this paper. The framework of the technology is described. The development steps including personalized clothing design and modeling, interaction and virtual display technology based on Unity3D are given out. The purpose of this paper is to provide a feasible technical route and support for the virtual display for the customized products.

The paper opted for an exploratory study using the open-ended approach of grounded theory, including the Web 3D virtual display technology for personalized clothing based on Unity3D.

A feasible technical route for the virtual display of the customized products is provides in this paper.

This paper fulfills a software and has practical use.

This paper examines the effects of advertising type and antecedents of attitude towards advertising in general (AG) on individuals' responses to advertising in a sports broadcast setting. Both AG antecedents and advertising type were assessed using Brackett and Carr's (2001) model. Our results indicate that individual responses to advertising vary according to the type of advertising (television commercials, virtual ads by location).

Currently, the results of database acquisition are variously expressed, but it seems that users’ understanding degree will be improved by expressing some search results such as images of products of shopping sites in three dimensions rather than two dimensions. Therefore, this paper aims to propose a system for automatically generating 3D virtual museum that arranges 3D objects with various layouts from the acquisition result of relation database by SuperSQL query.

The study extended the SuperSQL to generate 3D virtual reality museum using declarative queries on relational data stored in a database.

This system made it possible to generate various three-dimensional virtual spaces with different layouts through simple queries.

It can be said that this system is useful in that a complicated three-dimensional virtual space can be generated by describing a simple query and a different three-dimensional virtual space can be generated by slightly changing the query or database content. When creating a virtual museum, if there are too many exhibitions or when changing the layout, the burden on the user will be high. But in this system, it is possible to automatically generate various virtual museums easily and reduce the burden on users.

To achieve the most intuitive display of interior design effect, the concept, characteristics, expression mode, application scope and basic types of virtual reality display design are expounded from the perspective of three dimension (3d) virtual reality technology, and the advantages and disadvantages of 3d modeling speed and panoramic visualization display are analyzed. The results show that through this research and practice, a series of 3d production techniques for interior design space, such as mapping technology, lighting technology, modeling technology, etc., are summarized. These technologies can effectively make use of ordinary computer to make and operate virtual reality and makes an exploratory attempt for the promotion of 3d technology in interior design industry in the future. In this study, it provides a design fulcrum for the development of indoor furniture display under the new economic conditions, which is of great practical significance for the healthy and sustainable development of interior design industry.

This paper aims to propose a conceptual model to examine the effect of an augmented reality (AR)–based product display (vs a picture-based product display) on interactivity, vividness, website quality and consumer responses. In addition, the moderating role of the need for touch (NFT) in the effect of AR on media features is identified.

Hypotheses are tested using a one-factor between-subjects design for both a student sample (Study 1, N = 120) and a nonstudent sample (Study 2, N = 272). Data are analyzed using a series of analyses of variance, multivariate analyses of covariance and structural equation modeling.

Study 1 shows that an AR-based product display generates greater website quality, interactivity and vividness than a picture-based product display. Moreover, an AR-based product display improves interactivity and vividness only for high-NFT consumers; however, no significant difference emerged for low-NFT consumers. Study 2 replicates and extends our findings by identifying the specific processes that consumers go through when evaluating a website.

The current research advances the understanding of how product presentation technologies can attract customers with different haptic orientations and provides practical implications for online retailers interested in improving their customers' e-commerce experience.