The literature shows that the visual appearance of a product can influence consumer product evaluations and choice

in several ways. Several authors considered the role of product or package appearance in consumer product evaluation or choice (Bloch, 1995; Garber, 1995; Garber et al., 2000; Veryzer, 1993; Veryzer, 1995). However, they did not discuss explicitly the different ways in which appearance influences consumer choice and their respective implications for product design. In addition to these more recent contributions to the literature, the functions of a product in consumerproduct interaction are described in earlier industrial design literature (Lo bach, 1976; Pilditch, 1976; Schu rer, 1971). Several of these functions concern product appearance. There are differences between authors in the number of roles (i.e., functions) of product appearance they distinguish and the terms they use. For example, communication of ease of use was mentioned by Bloch (1995) and was described as part of the aesthetic function by Lo bach (1976), while Veryzer (1995) called it the communicative function of a product appearance. If all the roles mentioned in the literature are considered as a whole, the following six roles of product appearance for consumers can be distinguished: (1) communication of aesthetic, (2) symbolic, (3) functional, and (4) ergonomic product information; (5) attention drawing; and (6) categorization. A description of these six roles and their implications for product design follows. The aesthetic value of a product pertains to the pleasure derived from seeing the product, without consideration of utility (Holbrook, 1980). A consumer can value the look of a product purely for its own sake, as looking at something beautiful is rewarding in itself. When product alternatives are similar in functioning and price, consumers will prefer the one that appeals the most to them aesthetically (see, for example, Figure 1). Aesthetic responses are primarily emotional or feeling responses, and as such they are very personal (Bamossy et al., 1983). Consumer goods carry and communicate symbolic meaning (McCracken, 1986). Symbolic value even can be the key determinant for product selection (Hirschman and Holbrook, 1982) and can account for the selection of products that clearly are inferior in their tangible characteristics (Levy, 1959). An example of the latter is Philippe Starcks Juicy Salif lemon squeezer (Lloyd and Snelders, 2003). The choice for a specific product or brand may convey the kind of person someone is or wants to be; consumers use products to express their (ideal) self-image to themselves and to others (Belk, 1988; Landon, 1974; Sirgy, 1982; Solomon, 1983). Symbolic meaning can be attached to a product or brand on the basis of, among other things, advertising (McCracken, 1986), country of origin, or the kind of people using it (Sirgy, 1982). But the product itself also can communicate symbolic value in a more direct way, namely by its appearance. A products appearance communicates messages (Murdoch and Flurscheim, 1983), as it may look cheerful, boring, friendly, expensive, rude, or childish (see, for example, Figure 2). In addition, a certain style of appearance may evoke associations with a certain time or place (e.g., the Fifties). Furthermore, the product or package appearance can reinforce the image of a brand, as the identity of a brand is expressed visually in the appearance of products (Schmitt and Simonson, 1997). Consumers may attach the to different kinds of products (see the section about categorization). Many companies therefore make consistent use of certain design elements, such as a color combination, a distinctive form element, or style. For example, car manufacturers often try to keep different car models recognizable as belonging to the same brand. The distinctive radiator grill of BMW automobiles is an example of a recognizable design element. The linking of brand meaning to elements of the product appearance will be easier when the associations these elements engender by themselves (e.g., because they are innate

or are determined by culture) correspond to the desired brand image. For example, use of bright colors and a large size, which is associated with aggression (Murdoch and Flurscheim, 1983), will make it easier to position a car brand as aggressive.

Barang konsumen membawa dan mengkomunikasikan makna simbolik (McCracken, 1986). Nilai simbolis bahkan dapat menjadi penentu utama untuk pemilihan produk (Hirschman dan Holbrook, 1982) dan dapat menjelaskan pemilihan produk yang jelas lebih rendah dalam karakteristik nyata mereka (Levy, 1959). Contoh yang kedua adalah Juicy Philippe Starck Salif lemon pemeras (Lloyd dan Snelders, 2003). Pilihan untuk produk tertentu atau merek dapat menyampaikan jenis orang seseorang atau ingin menjadi, konsumen menggunakan produk untuk mengekspresikan (ideal) citra diri mereka kepada diri mereka sendiri dan orang lain (Belk, 1988; Landon, 1974; Sirgy, 1982 , Solomon, 1983). Makna simbolik dapat dilampirkan ke sebuah produk atau merek atas dasar, antara lain, periklanan (McCracken, 1986), negara asal, atau jenis orang yang menggunakannya (Sirgy, 1982). Tapi produk itu sendiri juga dapat mengkomunikasikan nilai simbolik dengan cara yang lebih langsung, yaitu dengan penampilannya. Sebuah penampilan produk mengkomunikasikan pesan (Murdoch dan Flurscheim, 1983), karena mungkin terlihat ceria, membosankan, ramah, mahal, kasar, atau kekanak-kanakan (lihat, misalnya, Gambar 2). Selain itu, gaya tertentu dari penampilan mungkin menimbulkan asosiasi dengan waktu tertentu atau tempat (misalnya, Fifties). Selain itu, penampilan produk atau paket dapat memperkuat citra merek, sebagai identitas merek dinyatakan secara visual dalam penampilan produk (Schmitt dan Simonson, 1997). Konsumen dapat melampirkan untuk berbagai jenis produk (lihat bagian tentang kategorisasi). Banyak perusahaan karena itu membuat penggunaan konsisten dari elemen desain tertentu, seperti kombinasi warna, elemen bentuk yang khas, atau gaya. Sebagai contoh, produsen mobil sering mencoba untuk menjaga model mobil yang berbeda dikenali sebagai milik merek yang sama. Panggangan radiator khas mobil BMW adalah contoh elemen desain dikenali. Yang menghubungkan makna merek untuk unsur penampilan produk akan lebih mudah ketika asosiasi unsur-unsur menimbulkan sendiri (misalnya, karena mereka bawaan atau ditentukan oleh budaya) sesuai dengan citra merek yang diinginkan. Misalnya, penggunaan warna-warna cerah dan ukuran besar, yang dikaitkan dengan agresi (Murdoch dan Flurscheim, 1983), akan membuat lebih mudah untuk memposisikan merek mobil agresif.
For example, angular forms are associated with dynamism and masculinity, while roundness evokes softness and femininity (Schmitt and Simonson, 1997).