Another solution is to apply design. While I stayed in Curitiba, Brazil, fire extinguishers always attract my attention successfully. This is because they are located inside red-yellow squares painted on the ground.
Interestingly, the same rule applies when fire extinguishers are above the ground. Red-yellow squares are painted on the ground when fire extinguishers are hung on the wall.
From beverages to consumer electronics, marketers are using color in innovative ways. Despite this, little academic research has investigated the role that color plays in marketing. This paper examines how color affects consumer perceptions through a series of four studies. The authors provide a framework and empirical evidence that draws on research in aesthetics, color psychology, and associative learning to map hues onto brand personality dimensions (Study 1), as well as examine the roles of saturation and value for amplifying brand personality traits (Study 2). The authors also demonstrate how marketers can strategically use color to alter brand personality and purchase intent (Study 3), and how color influences the likability and familiarity of a brand (Study 4). The results underscore the importance of recognizing the impact of color in forming consumer brand perceptions.
I had a business trip to Brazil and Argentina with others. We gave lectures, ran workshops, participated in walk-in tours, and made new friends.
I was impressed by the airport in Curitiba, Brazil. When our plan touched down, I noticed a fire extinguisher and two public phones were attached on a grey wall. At first, they looked like desktop icons. Then, I found that a red-and-yellow square box was painted under the fire extinguisher and a phone was placed lower than the other.
I also found that Curitiba uses color to educate and nudge people to recycle trash. Trash cans in public spaces were divided into multiple sections with different colors. Someone in this city seemed to use color, shape, height and arrangement very carefully not for embellishment but for communication.
This paper discusses consumer response to product visual form within the context of an integrated conceptual framework. Emphasis is placed on the aesthetic, semantic and symbolic aspects of cognitive response to design. The accompanying affective and behavioural responses are also discussed and the interaction between cognitive and affective response is considered. All aspects of response are presented as the final stage in a process of communication between the design team and the consumer. The role of external visual references is examined and the effects of moderating influences at each stage in the process of communication are discussed. In particular, the personal, situational and cultural factors that moderate response are considered. In concluding the paper, implications for design practice and design research are presented.
Jaewoo Joo | design thinking, behavioral economics, new product development, new product adoption