Evaluating the orientation of design elements in product packaging using an online orientation task

Abstract We present a novel experimental paradigm designed to enable graphic designers and marketers to assess the response of consumers to changes in the orientation of various design elements (e.g., food images) on product packaging. In Experiment 1, participants (n = 305) rotated one of the visual elements on commercial examples of product packaging (three examples taken from the dried pasta category and one from the wine aisle). In Experiment 2, we assessed how much participants (n = 301) would be willing to pay for stimuli oriented in a more versus less preferred orientation. The results of Experiment 1 revealed that participants have distinct, systematic, preferences when it comes to the orientation that specific stimuli should be presented at on product packaging. In certain cases, multiple preferences were observed in the data, while in others, the participants tended to agree on a single preferred orientation. Interestingly, these preferences do not always align with the orientation of the image as it currently appears on the supermarket shelf. Intriguingly, in Experiment 2, the preferred orientation did not always elicit the highest willingness to pay. These results therefore highlight the complex relationship that exists between liking and willingness to pay, and raise a number of questions concerning the role of orientation in visual aesthetics, preference, and perceived value. Importantly, the orientation task is presented here as a potentially helpful new tool for assessing visual aesthetics and preference for product packaging.

[1]  L. Wright,et al.  Gaining competitive advantage from packaging and labelling in marketing communications , 1998 .

[2]  Charles Spence,et al.  The multisensory packaging of beverages , 2012 .

[3]  A. Torralba,et al.  The role of context in object recognition , 2007, Trends in Cognitive Sciences.

[4]  J. Aronoff,et al.  The recognition of threatening facial stimuli. , 1988, Journal of personality and social psychology.

[5]  C. Spence,et al.  Rotating plates: Online study demonstrates the importance of orientation in the plating of food , 2015 .

[6]  David C. Zhu,et al.  Recognizing Threat: A Simple Geometric Shape Activates Neural Circuitry for Threat Detection , 2009, Journal of Cognitive Neuroscience.

[7]  Carlos Velasco,et al.  Conducting perception research over the internet: a tutorial review , 2015, PeerJ.

[8]  Isabell Tapia León,et al.  Smiles over Frowns: When Curved Lines Influence Product Preference , 2015 .

[9]  Kees Mulder,et al.  Circular Statistics in R , 2015 .

[10]  Edward Shih-Tse Wang The influence of visual packaging design on perceived food product quality, value, and brand preference , 2013 .

[11]  Ulrich R. Orth,et al.  Holistic Package Design and Consumer Brand Impressions , 2008 .

[12]  Jan P.L. Schoormans,et al.  The effect of new package design on product attention, categorization and evaluation , 1997 .

[13]  Fernando Marmolejo-Ramos,et al.  Predictive packaging design: Tasting shapes, typefaces, names, and sounds , 2014 .

[14]  Simone Mueller,et al.  The relative influence of packaging, labelling, branding and sensory attributes on liking and purchase intent: Consumers differ in their responsiveness , 2010 .

[15]  Charles Spence,et al.  Sensory expectations based on product-extrinsic food cues: An interdisciplinary review of the empirical evidence and theoretical accounts , 2015 .

[16]  Christine L Larson,et al.  The shape of threat: simple geometric forms evoke rapid and sustained capture of attention. , 2007, Emotion.

[17]  Bo Rundh,et al.  Packaging design: creating competitive advantage with product packaging , 2009 .

[18]  J. Zaichkowsky,et al.  Aesthetic package design: A behavioral, neural, and psychological investigation , 2010 .

[19]  A. T. Poffenberger,et al.  The Feeling Value of Lines. , 1924 .

[20]  T. W. Leigh,et al.  Mapping the Procedural Knowledge of Industrial Sales Personnel: A Script-Theoretic Investigation , 1989 .

[21]  Sylvie Issanchou,et al.  Impact of the information provided to consumers on their willingness to pay for Champagne: comparison with hedonic scores , 2002 .

[22]  A. Toet,et al.  Look out, there is a triangle behind you! The effect of primitive geometric shapes on perceived facial dominance , 2013, i-Perception.

[23]  Steve J. Westerman,et al.  The design of consumer packaging: Effects of manipulations of shape, orientation, and alignment of graphical forms on consumers’ assessments , 2013 .

[24]  Alan D Castel,et al.  Rapid Communication: The Apple of the mind's eye: Everyday attention, metamemory, and reconstructive memory for the Apple logo , 2015, Quarterly journal of experimental psychology.

[25]  Karen B. Schloss,et al.  Visual aesthetics and human preference. , 2013, Annual review of psychology.

[26]  Geoffrey L. Collier,et al.  Affective synesthesia: Extracting emotion space from simple perceptual stimuli , 1996 .

[27]  Julia Mueller,et al.  Can science account for taste? Psychological insights into art appreciation , 2011 .

[28]  Carlos Velasco,et al.  The context of colour-flavour associations in crisps packaging: A cross-cultural study comparing Chinese, Colombian, and British consumers , 2014 .

[29]  Charles Spence,et al.  Searching for triangles: An extension to food & packaging , 2015 .

[30]  Peter H. Bloch Seeking the Ideal Form: Product Design and Consumer Response: , 1995 .

[31]  C. Carbon The cycle of preference: long-term dynamics of aesthetic appreciation. , 2010, Acta psychologica.

[32]  C. Spence,et al.  Can you find the golden ratio in your plate? , 2014, Flavour.

[33]  D. Romano,et al.  Consumer expectations, liking and willingness to pay for specialty foods : Do sensory characteristics tell the whole story? , 2006 .

[34]  B. L. Driver,et al.  Contingent value measurement: On the nature and meaning of willingness to pay , 1992 .

[35]  Mariëlle E. H. Creusen,et al.  The Different Roles of Product Appearance in Consumer Choice , 2005 .