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Communicating a clear, precise, interpretable and unambiguous visual message usually relies on a cross-disciplinary team of professionals. Their complementary visions can uncover which information matter and how it could be visually displayed to inform, sensitize and encourage people to act toward sustainability. While design studies generally claim that this team has to come to a shared vision, the authors question this assumption, which seems to contradict the benefits of cross-disciplinarity. The purpose of this study is to reveal how simple visual representations displayed in a PowerPoint actively participate in the expression of various and sometimes divergent visions. Recognizing the agency of visuals also leads this study to propose the notion of (un)shared professional vision, which shows that the richness of visual representations can only reveal itself through the capacity of professional visions to maintain their differences while confronting each other.

Over a 20-month ethnography, this study documented its own cross-disciplinary reflective design process, which aimed to design collectively an experimental environmental label, focusing on interactions occurring between professionals and visuals displayed on five key PowerPoint slides.

This study first demonstrates how, in practice, a cross-disciplinary reflective design conversation with visuals concretely unfolds through boundary-objects. This study shows how these visuals manage to ex-press themselves through the multiple visions represented in the discussions, revealing their complexity. Second, this study introduces the notion of (un)shared professional vision which underlines that unsharing a vision nurtures the team’s collective capacity to express the complexity of a design situation, while sharing a vision is also necessary to confront these respective expressions to allow the professional uncovering of what should be visually communicated.

The Communication as Constitutive of Organization lens the authors chose to understand the reflective design conversation illustrates that, even though each collaborator’s vision was “(un)shared,” their many voices expand the understanding of the situation and lead them to develop an unexpected and creative environmental information ecosystem that can positively transform society through visuals.

This study aims to investigate the effectiveness of a brand imitation strategy for the package design of male-targeted, female-targeted and gender-neutral products.

Three (2 × 2 × 2) between-subjects factorial experiments were conducted with three independent variables, namely, visual shape, color and logo, each classified as relevant/divergent. The dependent variables were participants’ attitudes toward the brand, attitudes toward the product and purchase intention.

There were no significant main effects or interactions for the male-targeted product. The results for the female-targeted product revealed no significant main effect of visual shape, a significant main effect of color and significant two-way interactions between visual shape and color and between visual shape and logo. Significant main effects were found for visual shape and color for the gender-neutral product.

A color scheme similar to that of a leading brand in the same product category more powerfully influenced participants’ attitudes and purchase intention, while a more holistically similar design had greater impact than a less holistic design. Some “divergence” or distinctive design elements of the female-targeted product positively influenced participants’ attitudes and behavior. These findings suggest that a brand imitation strategy offers a means for competing in the marketplace, but should be used with caution.

A conceptual continuum of brand imitation is proposed, incorporating visual semiotics, creativity theory and gender differences in cognitive styles to provide a more systematic method for delineating brand imitation levels.

This study aims to provide a holistic understanding of how visual storytelling influences the objective and subjective cognitive responses of consumers, namely objective aesthetic impression and subjective aesthetic association, and aesthetic judgments in response to differing levels of novelty in design innovations.

A mixed-factorial experimental study manipulating the novelty of chair designs (moderate/high) and visual design stories (present/absent) was conducted among 263 female US consumers to test the proposed research model.

With respect to the main effects of novelty and visual design stories, consumers had more positive cognitive responses and aesthetic judgments to: product designs with moderate (vs high) novelty; and products with visual design stories than without. A significant interaction effect uncovered that visual design stories particularly aided products with high (vs moderate) design novelty with respect to objective aesthetic impressions. Examination of the structural relationships between the variables revealed that subjective aesthetic associations mediate the relationship between objective aesthetic impressions and aesthetic judgments.

To mitigate risk in radical design innovations, marketers should use visual storytelling to communicate product form associations and enable consumers to successfully decode the meaning of novel designs during initial encounters.

By examining a holistic model involving both perceptual and conceptual product concepts, this study fills a critical research void to develop insightful implications on bridging the gap between novel product designs and consumer understanding.

The purpose of this paper is to explore the role and function of visuals, visual communication and information design as they relate to management control systems and visual management (VM) in lean-inspired organisations. This paper helps expand knowledge on how visual and design studies can contribute to research on VM as part of a management control system.

A study is outlined, which was conducted at a multinational manufacturing company to investigate employees’ perceptions and use of visual devices on the shop floor, including their related reactions and behaviour. The study is delimited to operation management, lean manufacturing and lean boards (i.e. daily management boards and performance measurement boards).

The findings point out the persuasive purpose of lean boards, as well as the metaphoric and persuasive functions of the visuals and information design in management control systems.

Visual research and design research are rare within studies of management control systems. There is a need to perform research that takes into account the role and function of visual communication and information design in VM. The proposed areas for future research can provide design principles, as well as insights into the complexity of visual communication and information design in VM and management control studies.

The purpose of this paper is to discuss the relationship between bra's visual impression and bra parts, and then to explore the application of visual impression in bra design.

Firstly, 82 female undergraduates are asked to answered this questionnaire online, which is about the importance of parts in bra design. In the part of data analysis, the method of principal part analysis (PCA) are used to get the relationship between bra's parts, and reduce dimension of factors that influence bra design. After that, those group of features are further discussed from the perspective of visual design. Finally, design an application based on conclusion.

To get the influence features of bra appearance and improve the visual design effect, this paper matches the bra parts with visual features (color, texture, shape and space) and presents four main features of bra design: “color,” “visual texture,” “design shape” and “spatial expression” together with corresponding bra parts and technique of expression. Moreover, user interface in bra cloud customization is designed.

The conclusion, which shows the corresponding relationship between bra visual effect and its basic parts, has an important role in bra visual design. First, it can be useful for design idea with different technique of expression, which may supply a theoretical basis for design. Secondly, the combination of bra parts and visual features can be used to evaluate the appearance.

Discussing the bra visual impression based on bra's basic parts and visual features provides a theoretical method for bra design and its appearance evaluation.

This paper aims to examine how visual and haptic package design characteristics singularly and jointly affect consumers' brand impressions.

Integrating and extending design perception with congruence and fluency theories, the paper presents three research propositions that are tested in three studies. Bottled water serves as an example category with data provided by professionals and consumers.

Study 1 identifies key types of holistic bimodal designs (Modern, Big Grip, Prototypical‐Small, Boxy Billboards, and Prototypical‐Large) based on brand visual and haptic factors. Study 2 relates these types to unique single‐modal brand impressions. Study 3 determines how consumers evaluate brands depending on the semantic congruence between haptics and visuals. Except for the excitement dimension, brand evaluations are more positive under conditions of high rather than low congruence.

The findings are obtained for a single category (bottled water) using experiments designed to highlight and focus consumer attention on the formation of impressions. The findings may thus not fully reflect consumer responses in actual retail purchase situations.

The paper provides preliminary guidelines on how to utilize visual and haptic cues in the design of brand packages for stimulating desired consumer responses.

The work presented in this paper contributes to the literature on design‐based brand inferences and semantic congruence by integrating the visual with the haptic perspectives.

This paper aims to consider the visual literacy mobilized by consumers in their use of brand aesthetics to construct and communicate a curated self.

The research surveyed a range of visual material from Instagram. Specifically, the goal was to use “compositional interpretation”, an approach to visual analysis that is not methodologically explicit but which, in itself, draws upon the visual literacy of the researcher to provide a descriptive analysis of the formal visual quality of images as distinct from their symbolic resonances. The research also incorporates 10 phenomenological-type interviews with consumers. Consistent with a phenomenological approach, informants were selected because they have “lived” the experience under investigation, in this case requiring them to be keen consumers of the Orla Kiely brand.

Findings indicate that consumers deploy their visual literacy in strategic visualization (imaginatively planning and coordinating artifacts with other objects in their collection, positioning and using them as part of an overall visual repertoire), composition (becoming active producers of images) and emergent design (turning design objects into display pieces, repurposing design objects or simply borrowing brand aesthetics to create designed objects of their own).

This research has implications for the understanding of visual literacy within consumer culture. Engaging comprehensively with the visual compositions of consumers, this research moves beyond brand symbolism, semiotics or concepts of social status to examine the self-conscious creation of a curated self. The achievement of such a curated self depends on visual literacy and the deployment of abstract design language by consumers in the pursuit of both aesthetic satisfaction and social communication.

This research has implications for brand designers and managers in terms of how they might control or manage the use of brand aesthetics by consumers.

To date, there has been very little consumer research that explores the nature of visual literacy and even less that offers an empirical investigation of this concept within the context of brand aesthetics. The research moves beyond brand symbolism, semiotics and social status to consider the deployment of abstract visual language in communicating the curated self.

Visual aesthetics are a vital aspect of environmental quality. The objective of this study is to demonstrate the implementation of visibility analysis and visual quality standards on a campus to enhance productivity and effectiveness.

This study has identified the most crucial and valuable metrics for evaluating the visual quality of open spaces through an analysis of theoretical foundations and relevant background information. To achieve research goal, a multi-method approach was employed, incorporating a survey, user satisfaction ratings and ISOVIST simulation techniques. Specifically, this study focused on assessing the quality of open spaces in three open areas located on the campus of the Iran University of Science and Technology.

Based on the study’s findings, the most significant factors that students considered when evaluating the visual quality of open spaces on the Iran University of Science and Technology campus were green areas, gathering spaces and architectural elements such as furniture, color and texture. Among the three open areas examined, “Open Space One” was identified as the most satisfactory location for students. According to the study, “sensory richness,” “complexity” and “mystery” were significant indicators of students' satisfaction in this area. This area also had the widest radius and field of view feasible, which gave it a feeling of openness and spaciousness.

This study explores the influence of students' experiences, behavioral patterns and visual analyses on their use of open spaces on university campuses, with a focus on the Iran University of Science and Technology. By assessing students' satisfaction levels with these spaces, this research provides valuable insights that can guide the initial analysis stage before the design process and facilitate design optimization during the development stages. The results highlight the importance of considering user experiences and visual analysis when planning and creating open spaces on university campuses.

Highlights

1. Conducting an initial analysis before developing a design plan can be very helpful in understanding how users think and behave.

2. The three criteria of visual quality that have the strongest correlation with students' satisfaction with “open space” are “mystery,” “sensory richness” and “complexity.”

3. Two factors, namely the “radius of vision” and the “area” index, significantly influence students' satisfaction with open spaces.

4. Outdoor designers should incorporate “green space” and “gathering spaces” into their designs since the presence of these is effective in attracting and satisfying students.

5. The number of people using an open space has little to do with how satisfied students are with it.

6. Half of the students use open areas between 11:00 and 14:00, so the provision of “canopy” and “shelter” in these spaces is essential.

Conducting an initial analysis before developing a design plan can be very helpful in understanding how users think and behave.

The three criteria of visual quality that have the strongest correlation with students' satisfaction with “open space” are “mystery,” “sensory richness” and “complexity.”

Two factors, namely the “radius of vision” and the “area” index, significantly influence students' satisfaction with open spaces.

Outdoor designers should incorporate “green space” and “gathering spaces” into their designs since the presence of these is effective in attracting and satisfying students.

The number of people using an open space has little to do with how satisfied students are with it.

Half of the students use open areas between 11:00 and 14:00, so the provision of “canopy” and “shelter” in these spaces is essential.

This study aims to investigate the effects of two visual design principles, repetition and compositional lines, in a food image on purchase intention in the context of a mobile food delivery app and test the effect of crossmodal correspondences between vision and taste as a processing mechanism.

In this study, two experiments were conducted using burgers and iced tea as stimuli.

The results demonstrate that repetition of an identical food product increases visual appeal for both burgers and iced tea. However, the optimal level of repetition was different between the two products. The findings show that different compositional lines generate different levels of visual appeal and the effects of compositional lines vary between burgers and iced tea. The results also validate the serial mediation effects of vision and taste between design principles and purchase intention.

The findings of this study add substantially to the understanding of visual information processing in food retailing by demonstrating how design principles such as repetition and compositional lines facilitate crossmodal responses between vision and taste and influence purchase decisions in a mobile platform. Also this study provides guidance as to how food retailers use design principles (e.g. repetition and compositional lines) for different products effectively when the food retailers develop visual digital content for a mobile app.

Extending research on cultural differences in aesthetic appreciation, the purpose of this paper is to show how a more interdependent self-construal, a cultural and individual difference variable related to one’s social self, impacts the influence of visual harmony on consumer evaluations of marketing artifacts’ attractiveness.

Data were obtained via three studies from a total of 1,498 consumers in Australia, Brazil, China, France, Germany, and Italy. Marketing visuals included the design of products, packages, typefaces, and logos. Self-construal was both measured and manipulated.

The results indicate that a person’s self-construal moderates the effect of visual harmony on attractiveness. Specifically, the positive effect of visual harmony on attractiveness – through self-congruity – is more pronounced with consumers possessing a more interdependent self-construal, and with products that are more hedonic than utilitarian.

Given the pivotal role attractiveness has in influencing consumer behavior, understanding what differences, at the individual and cultural levels, impact the harmony-attractiveness relationship helps marketers to better match the visual design of marketing stimuli to target audiences.

This study is among the first to show how the social-self impacts consumer response to marketing visuals. Further, value stems from adopting a holistic perspective on design, clarifying the process mechanism, and identifying boundary conditions.