Beruflich Dokumente
Kultur Dokumente
Nurazlina bt Jamalludin1
Dr. Azhari bin Md Hashim2
Dr. Abd Aziz bin Zalay@Zali3
1,2
Lecturers of Faculty of Art and Design
Universiti Teknologi MARA Kedah, Peti Surat 187, 08400 Merbok, KEDAH
3
Lecturer of Faculty of Art, Computing & Creative Industry
Universiti Pendidikan Sultan Idris, 35900 Tg. Malim, PERAK
Email: 1nurnania@kedah.uitm.edu.my,2azhari033@kedah.uitm.edu.my,
3
ariz9000@yahoo.com
Abstract
The increasing market of product design is competing in a mature markets. This
features refers to consumer buying power particularly as how they respond to design,
brand or how appearance responses are formed. Product design appeareance is
essential to consumer and the concept itself is often related to the nice looking shape
of the product, a trendy colour, or physical of the product. Appearance in this research
scope is reflected to colour. However, based on academic reading there is no
concrete evidence shows that colour determines product appealing, particularly in
brand and physical product context. Visual recognition of brands and products has
become a central competitive factor within various product categories. In regard of
this, the objective of this study intends to investigate if colour characteristics of
physical product on selected brand influences the consumer choices in the selection
of product design. The other objective is to determine what is meant by colour and
product physical in product design. The research were conducted by collecting data
via questionnaires given to the target consumers which are chosen from the range of
age between 18-50 years old, where the correspondents are divided into 3 groups
with different selective profession categories. The data were analyzed and presented
through chart and bar graph in order to provide a clear figure and information
(descriptive statistic) and inferential statistic. Findings were proposed to assist
designers and practising designer with a better understanding specifically in
designing and developing a product design that emphasizes on its appearance.
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1.0 Introduction
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there is lack scientifically comprehensive theory evidence devotes to
constitutes an aesthetic experiences (Leder et al. 2004).
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consistenly over their product line-ups. Through design consistency, brands
can become solid and unmistakeable (Karjalainen 2007).
Product emotion basically is about what people or users feel towards products.
Feelings for product and a set of abstract concepts, for example like love,
fear, happiness, sadness are referring to a particular set or pattern of feelings
(Anders & Nabo 2002). Different people feel different emotions towards a
product, and emotions can influence the behaviour of the user and make
attractive things easier and more satisfying to use. Currently, many products
have practically reached their limits of technical functioning; they can no longer
be differentiated by means of their functionality. As a result, emotional aspects
of product design are becoming more and more important.
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attractiveness ( or not ) of the product; 2) semantic: concerned with evaluating
qualities like function and mode-of-use; and 3) symbolic: what the product
says about the owner/user. In regard of this research, colour element is
considered as an important aspect to be investigated in the relation to its
influences towards consumer choices.
3.0 Methodology
Data were collected using questionnaire that contains three colour elements
as to achieve the research objectives. The questionnaire then were divided
into five sections with 30 questions focusing on impresion, emotion, and
appreciation and four questions about respondents’ gender, age, occupation
and experience. The questionnaire includes pictures of of mobile phone from a
particular brand. The brands consists Motorola, Nokia and Sony Ericson in
different colours. The intention of these questions is to understand whether the
appareance of physical elements of colour affected the respondents
responses. Respondents are required to provide their responses for all the
product based on the scales to matrix questions which indicate the perception
level of the consumers.
This study uses cluster sampling as the selected sampling design. Since it is
known that product judgement can be influenced by background factors such
as age, education and socio economic status, students are selected to form a
relatively homogenous group (Babbie 1990). The respondents are chosen due
to its simple access and consume less time in gathering the required
information. Furthermore, a complete sampling frame is not required to
perform this technique. To employ cluster sampling in this study, the group is
first divided into sub-group called clusters. By having a set of similar
respondents, it is hoped that the results of the survey could be more easily
interpreted.
Students 10 6
(university/college)
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Staff of Academic 10 2
(university/college)
Practitioner (company) 10 6
Others 20 16
Total 50 30
3
The study was conducted in three different groups of profession manner and
range of age between 18-50 years old. In this case, different groups of
respondents represented the cluster such as random consumers, practising
designer and designer. Each cluster consists of approximately 5 to 10 people.
The frequency data are represented using a pie chart for an easy reference
analyzed from the SPSS and Microsoft Excel as to describe the analysis
gathered from the survey. The tables indicated the analysis from the
respondents. The demography questions regarding gender, age, occupation
and experience in design then were elaborated.
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Figure 2 above describes the frequency distribution of age. The respondents
are divided into four groups with different status of occupations. From the
chart, 15% of the respondents are aged below 20 and most of the
respondents are students. Most respondents are from the age of 20-30 with
55% and 30% is coming from the age of 31-40, which is most of them is
practitioner.
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experience falls in the third place with 19% and 14% of the respondents with
only 3 years of experience falls in the fourth place.
Descriptive Analysis
It can be seen from the above table 2 that the respondents have selected
‘size’ as an important characteristic of a product with the highest mean score
of 3.20. This is followed by the second highest ‘style’ with mean score of 2.90.
The third place of the perception goes to ‘texture’ with mean score of 2.80.
Then, the fourth is ‘attractiveness’ with mean score of 2.70. The fifth, sixth and
seventh are the perception towards ‘shape’, ‘look’ and ‘function’ with mean
score of 2.65, 2.40 and 2.30 respectively. ‘Ease of use’ and ‘appearance’ are
both with mean score of 2.25. The details are translated into the below chart
as to give a better and clearer picture.
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Table 3: Mean Scoring in Emotion
It can be seen from the above table 3 that the respondents have selected
‘size’ as an important aspect in emotion when selecting a product with the
highest mean score of 3.15. This is followed by the second, third and fourth
place of the perceptions towards ‘shape’, ‘texture’ and ‘easy to use’ with mean
score of 2.65 each. Further the fifth and sixth are ‘function’ and ‘colours’ with
mean score of 2.50 each. The seventh and eight are the perception towards
‘style’ and appearance both with mean score of 2.40 and 2.30. The details are
translated into the below chart as to give a better and clearer picture.
Descriptive Analysis
This study has taken a position that respondents have to evaluate their
opinions about the products based on three primary colours which are blue,
red and yellow. This is to show an appreciation towards the product appeals.
This is to show the closely matches to what people like and how the products
appeal.
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Score is divided to five numbers: 1 indicates not important, 2 indicates less
important, 3 indicates important, 4 indicates very important and 5 indicates
extremely important. Respondents perceived the colour as chosen and as an
appreciatition aspect of product appeals. Yellow colour shows 50% important
to respondents and it is the most attractive colour in products appeals.
Table 4: Attractive
The table below shows that respondents think that line is an important factor in
product appeals. 65% of respondents selected yellow and red in second place
with 45%. An additional 40% mentioned that line of the physical product did
not reflect their choice on it because other aspects are more important to
them.
Table 5: Line
The table below shows that respondents think aesthetic is important factor in
product appeals. 65% of respondents chose yellow and 35% chose blue and
red in second place with 45%.
Table 6: Aesthetic
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The table below shows that respondents think elegant is an important factor in
product appeals. 55% of respondents selected yellow and blue at second
place with 40% and shows that respondents think red colours is important and
very important with 35% each.
Table 7: Elegant
The table below shows that 45% of respondents think feminine in blue colour
is less important and red is important factor in product appeals. 65% of
respondents choose yellow and put a place between important to extremely
important.
Table 8: Feminine
Feminine Blue Red Yellow
Not important 10 15 15
Less important 45 15 15
Important 30 45 35
Very important 15 10 20
Extremely important 15 15
Table 9: Masculine
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The table below shows that respondents have to choose which brands are
more likeable. From the three brands listed, respondents chose Sony Ericsson
with mean score of 3.10, Nokia is the second highest with mean score of 3.00
and Motorola is the lowest to be like with mean score of 2.75.
From the table below shows the Impression and Emotion aspect, Nokia is the
most likely selected by respondents with mean score 3.70 and 3.65. While
Sony Ericsson is the most likely In Appreciation aspect by respondents with
the highest mean score of 3.75.
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The results indicate that young respondents are more pronounced to be
openness to the experiment with colour rather than older respondents,
reflecting an age’s effects. Yet, it is still possible to distinguish levels of
importance when it comes to how people appreciate colour. In conclusion we
can say that colour is important towards the physical appearance of the
product because we found that in appreciation towards product appeals
aspect where most of the respondent chose yellow in most of the categories
regardless masculine where red is more attractive. These findings are
supported by the research of Brunswick (1952), which indicated certain
combination of colours, material and other physical aspect give a product look
that can be described in different appearance attribute.
The results also show that the most trusted brand is ‘A‘ namely Sony. It was
rated favorably by respondents considering their experience with the product,
and found that Brand A is having the most attractive colour and they highly
appreciate the overall physical of the product. This indicated that consumers
choose brands that they like, make them feel good, and trusted. A good brand
will win customer loyalty and give negotiating power to the supplier and
therefore an expression of competitive advantage.
As indicated above, the main finding is that colour element is a major influence
on our views and emotions when perceiving a product highlighting the brand
impressions on how the product stands out. For designer, it is necessary for
them to build a good understanding of their users and explore what it is that
attracts them to a particular product. Supported by Nathan (2005), which
stated that the designers use their skill, training and experience to produce
products that induce a positive aesthetic impression. In regards, colours carry
as much symbolic power as the specific objects of the design. As stated, the
appearance of a product influences consumer product choice in several ways
(Schumacher 2007).
This research concludes that the understanding of color choice and responses
of consumers for various products has become very complicated because
consumers have developed a wide range of colour associations for various
products. Great product design is essential in today's competitive marketplace.
It determines the aesthetic properties of a product, including the colour, the
shape and indeed, the entire form. Careful design is essential for fuelling a
product with the qualities it will take to sell.
References/Bibliography
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