Window Display Targeting Adolescent Purchasers: Users' merchandising perceptual response

Visual communication design and space design is discussed in this paper the complementary relationship between, it is worth mentioning that the visual communication design can be a good blend of collision and space design, so the analysis of the blend mode in the design of visual communication design elements in space, and space visual design elements of law, more reasonable and effective use of visual communication design elements in space design activities for better design services, become a carrier capacity and environmental design in visual communication design concept, therefore, in the design of the two classify, between the two cannot be away from each other, can only promote better design complement each other. As is known to all, the most direct contact between human beings in this world is vision, also known as sight and sight, followed by hearing, smelling and tasting. Therefore, the more intuitive feelings of human beings will be conveyed by vision. In 1960, the term ＂visual communication＂ popular in the world design congress held in Japan, including printed newspapers and magazines, posters and other promotional material design, and television, movies, electronic billboards and other media, through the eyes to convey to the brain for modelling of expressive design is widely referred to as visual communication design, there's a phrase can express: show people design, design. Moreover, in the design of contemporary exhibition space, visual communication design elements are often used. These design elements not only have the function of transmitting information, but also have unlimited commercial value and propaganda effect. Left the concept of positioning, space design is only the so-called functional platter; Ignore the visual communication of visual language, no matter how good the environment will be due to graphic design style gap and left a failure. As we know, one of the most important functions of visual communication design elements is to help present the most complete visual effect in the spatial display. The organic connection between visual communication design and display space design not only harmonizes the relationship between two-dimensional plane and three-dimensional space environment, but also expands the cooperation between subjects and strengthens the research space between the two design disciplines. Only in this way can designers solve complex and comprehensive problems and help designers make full use of their advantages to create better works.

This study proposes methods to enhance the efficiency of setting and executing personal life goals by applying visual information design principles to life planning. Through theoretical exploration based on the conceptual model of the “Life Roadmap,” the study suggests that the following elements can effectively structure complex and abstract life goals in a clear and systematic way in the life planning process: 1) a linear hierarchical representation of intermediate goals based on a geometric sequence, 2) an integrated visual framework that arranges intermediate goals and bucket lists in a vertical parallel structure, and 3) incorporation of visual narrative design elements. Among these, a novel method of integrating bucket lists into the “Life Roadmap” was found to significantly maximize motivation and a sense of achievement in the goal attainment process. Additionally, it was confirmed that visual design elements stimulating prospective memory positively impact long-term goal achievement by clarifying the relationship between goals and actions. In conclusion, the “Life Roadmap” applying visual information design principles presents potential as a practical tool for enhancing goal setting and achievement capabilities, with broad applications in the fields of self-development and goal management.

Purpose This research purpose was to explore the meaning of historicism, architectural historicism, the architectural attributes, design principles, elements and ornamentations of churches in medieval Western architecture, and how they were reflected in contemporary churches' design in Jordan. Design/methodology/approach This research used the historical descriptive–interpretive qualitative research method. Around 24 Western medieval churches were selected, studied and analyzed to explore the common design attributes of each historical era. The design attributes of each era were segmented under three categories: Design principles (plans' typology, facades, shapes, details, composition and building form), design elements (openings, towers and entrances) and ornamentation (sculptures, paintings and interior decoration). Additionally, three modern Jordanian churches were analyzed using the same method to compare with the historical churches through personal observations, field trips, researchers' memories, site visits, archival records, plans, images, books, slides, details and note-making. Different types of evidence were used, such as determinate, contextual and inferential. In addition, different tactics for analysis were used in analyzing the historical churches: site familiarity, use of existing documents, virtual and visual inspection and comparison with conditions elsewhere. Credibility was achieved when the results were reviewed and compared with the original and similar information. Findings Early Christian design principles, elements and ornamentations were reflected in Jordanian churches more than in Byzantine, Renaissance, Romanesque and Gothic. The design principles of Western medieval architecture were reflected in the selected Jordanian churches more than in ornamentation and design elements. Moreover, this research found that the highest reflection of Western medieval architecture on Jordanian churches was in designing the plans, which is a basilica with a central nave and aisles followed by opening styles, façade, shapes, entrances design, composition, painting and the minimum reflection was in sculptures. Additionally, there was no reflection on tower design and interior decoration. Practical implications This research encourages architects to enhance architectural historicism by focusing on historical styles in contemporary designs and using design elements, principles and decorations of historical styles in medieval architecture to enrich the variety and originality of architectural design and create new modern stylistic architecture. Architectural historicism increases historical self-awareness and helps a generation of architects to answer the question: In what style should be built. Originality/value Learning the design principles, not copying the past, is becoming a trend for most architects. Architectural historicism introduces new temporal elements, gives a new meaning and primary function to architecture to become socio-temporal and contextual contrast and reflects the essential points of references of the past through design methodology to express the present. The advantage of this research is to put an end to architects' role in syncretism and subjectivism. Instead, historicism architects equipped with the necessary knowledge and supported by the published research and inventors of historical architecture, can choose, imitate, adapt, borrow and use the correct historical forms that originated in a given period.

This research was undertaken applying the “stimulus-organism-response” theory with two objectives: to ascertain determinants of window display intertwined with product messages and strategies; to study perceptions on window display conveying positioning, value, and quality of products creating customer’s desire to visit and purchase. Significant findings are for fashionable products to employ a single merchandising approach with large window size; accessories to utilize warm background color and not showing in-store; eyewear, jewelry, and watch products to showcase through images of presenters wearing them; luggage to use accent-lighting to brighten itself. Additionally, the effects of visual stimuli affected consumers’ cognitive and affective reactions.

In order to create more attractive graffiti works, the Internet of Things technology is used to collect people’s preference information data, and then cloud computing and big data analysis are applied to calculate and analyze the data, so as to get more design elements in line with people’s preferences, providing more material for the creators of graffiti art and facilitating their further creation of graffiti. In recent years, graffiti art, as a kind of postmodern marginal cultural art, has great expressiveness and creativity, which makes graffiti art widely used. Particularly in visual communication design, graffiti art has more characteristics and is deeply loved by the people. With the continuous development of science and technology, Internet of Things technology and cloud computing have acquired more information for many fields, thus assisting the field to complete deeper analysis and research. However, there are few applications in the field of graffiti art. Therefore, this paper combines cloud computing and Internet of Things to obtain more visual communication design elements to provide material for the creator, which is conductive for their continuing creation.

Nigerian newspapers have adopted several visual design elements in their bid to appeal to consumers. These elements aid the navigation of the news pages and, in turn, enhance their readability. This study sought to find out the current patterns of the visual designs of four selected national daily newspapers in Nigeria: Vanguard, Punch, Sun, and Leadership, between September 2014 and August 2015. The study was anchored on the Gestalt theory of visual perception, while visual analysis was adopted as a research methodology. The data generated was analysed using the Statistical Package for Social Sciences (SPSS) Version 20.0 with the aid of frequency, percentage score, average, and the ratio of the information obtained from the newspapers sampled. Findings revealed that, though the four newspapers had specific formats, they obeyed fundamental newspaper design principles.

There have been a lot of studies on the relationship between visual appearances of packaging—such as color, font, and illustration—and consumers’ feelings, but very few focused on touch sensation. Well-designed touch texture can attract consumers to cosmetic products and can be considered as a rarely-explored way of sensory marketing. The objectives of this study was to seek for design factors (design elements that can be associated with feeling words). Thirty-six different 3-D texture models were constructed. Their designs were produced from established 2-D visual design elements. Those models were tested by a group of participants to see whether they could clearly convey different feelings. Only 6 models were deemed valid in this sense. These 6 models were then sought for distinctive design factors. The 5 design factors that were obtained were the following: 1) structure of lines, 2) distance between lines, 3) small and large empty spaces, 4) line uniformity, and 5) number of lines. These design factors were able to elicit 16 feeling words: 1. Busy, 2. Tense, 3. Strong, 4. Confident, 5. Manful, 6. Delicate, 7. Friendly, 8. Gentle, 9. Sensitive, 10. Enjoyable, 11. Independent, 12. Natural, 13. Simple, 14. Comfortable, 15. Easy, and 16. Flexible. These design factors can be directly used by designers for constructing textured surface components of packages or products that can affect consumers’ feelings by touch.

To determine the optimal visual design mode for preschool children through the analytic hierarchy process and to establish a visual design method for early education apps. Methods: Using the English early education app as an example, the visual design elements were extracted using the focus group method, and their shapes were compared to those of existing similar apps on the market. Analytic hierarchy process was used to determine the weights of the two, and a design form suitable for early education applications was obtained. Conclusion: Analyzing the app interface design for preschool children using the analytic hierarchy process can in-crease learning efficiency and effectiveness, align the design with children’s habits, and improve the design’s usability.

The current study compared user-generated preferences of energy management visualizations to established principles of dashboard design and visual perception. Twenty subjects rated paper prototypes of seven energy web portals according to aesthetic and usability parameters and completed a forced-choice task on six visual pairs contrasting elements of feedback design. Questions addressed the look of the interface, understanding, usefulness, friendliness, level of visual clutter, and desire to explore. Results revealed robust differences between mean interface ratings across questions, and follow-up pairwise comparisons further revealed user data was found to be in line with a predetermined pattern of rankings. These results suggest that user-centered design is critical to the implementation and functionality of energy saving visual technologies and can inform future prototypes that maintain effective aesthetics as well as realistic cognition.

Research activities can run ideally when research results can be known by the public. One way to publish research results is by attending seminars or scientific conferences. The Call for Paper poster became a vehicle for disseminating information on the holding of the scientific conference. One of them is ICRAMET's CFP poster. ICRAMET has been held since 2015 and creates various poster designs for publication purposes. This poster work needs to be analyzed to determine the characteristics of the designed layout and the tendency of research institutions in carrying out work in the field of visual communication design. The aspects analyzed include design elements and principles, including assessments in terms of appearance, message, and function, as well as conducting in-depth interviews with design designers. The results of the analysis show that the poster layout design that is built seems rigid and static, there is no exploration of a more creative design. The institutions do not yet have a high level of awareness of the design field as a medium for communicating research results to the public. The recommendation for further research that can be done is to analyze the variety of other media used by research institutions as a communication tool. Keywords: layout, poster, design elements, design principle, research institutions

This contribution examines the TB- and HIV/AIDS-related health promotion materials currently in use in the Free State (South Africa) and in Lesotho. It first considersthe cultural implications of choosing various visual and verbal design elements in a health-related message. It then analyses a number of health promotion posters on the basis of research findings and the general principles of message design in a multicultural context. Finally, a visual essay approach is taken, commenting on the roadside billboards and alternative health promotion media encountered in the Free State and Lesotho.

To support effective collaborative learning, it is essential to enhance collective efficacy and provide timely, tailored feedback throughout the learning process. However, it is often difficult for a single instructor to monitor multiple groups and deliver feedback that meets the specific needs of each team in real time. This study aims to develop and validate a systematic design for an AI chatbot that enhances collective efficacy in collaborative learning environments. The design will be devised by developing and validating design principles. The design-based research methodology was conducted to develop the design principles, which were then validated by experts and evaluated for usability. This process involved a review of relevant literature and case analysis, followed by expert validation and usability test to confirm the design principles’ validity. The final design principles are composed of four design elements— (1) support for group cohesion, (2) support for affective cohesion, (3) support for collaborative learning activities, and (4) facilitation of dialogue—and ten design principles. These include the principle of belongingness formation, interdependence, positive atmosphere, empathy formation, sharing, collaborative problem-solving, social regulation, immediate scaffolding, familiarity, and personification. The design principles are further supported by 46 actionable sub-guidelines. Validation was conducted through three rounds of expert review and usability testing with educators and developers, whose diverse perspectives informed both the pedagogical soundness and technical feasibility of the principles. This study contributes to the field by offering theoretically grounded and practically applicable guidelines for designing AI chatbots in education. Importantly, the principles are designed to be usable by educators without requiring technical expertise, thus supporting scalable and accessible implementation in real classrooms.

The corporate image notion that is cared about by a number of corporates in recent years, aimed to introduce corporates visually until effects of globalization emerge. The corporate image notion which only aimed to introduce the corporates visually to target group and came up with the idea of creating logo, emblem, fond and name for corporates, starts to lose its importance by the years where consumers demand more detailed information about the corporate in a competitive market conditions. Because, it is not possible to inform target groups about the identity of corporate, mission and vision of the corporate and how it behaves consumers. Today, it has completely changed. Anymore, corporates should communicate with target groups and stakeholders directly, transparent and in a friendly manner. The aim of this study is to investigate the direction of effects of the public relation practices on corporate image and also examine the possibility of creation of a strong corporate image by managing target groups’ perception.

Design development is an expensive process and time consuming. A design language system assists design development. The system is highly used to investigate design characteristics in many design studies. The high volume of research interprets it as design elements and principles analysis to deliver consistent visual aesthetics. The absences of meaning and context significantly impact the quality of visual design communication and create design ambiguities. To fulfil the mentioned issues, this research extends harmonised shape grammar (HSG) to develop a context-based visual design language (CVD). The proposed framework provides semantics and pragmatics levels of analysis to bring meaning and context to a visual design communication. Visual communication and language communication share the similarity in fundamental concepts. A context-based visual design language adopts grammatical design and natural language processing approaches to analyse visual communication requirements. Grammatical design provides generative design development when natural language processing analyses levels of language communication. In linguistics, morphological units (morphemes) form a vocabulary. Vocabularies construct a sentence following a grammar structure. A semantically well-formed sentence provides meaning. Meaningful sentences combine pragmatically to achieve a successful communication. In the design aspect, one must speak a language of design. However, speaking does not guarantee a successful communication. This research aims at defining a framework to create a set of meaningful visual design language in order to achieve a visual communication correspondingly to the way natural language can in linguistics.

Though aesthetics is generally acknowledged as an important aspect of website design, extant information systems (IS) research on web user experience has rarely studied what affects website aesthetics and how aesthetics influences users’ perceptions of the website and the organization behind the website. In this paper, we synthesize prior literature from different academic domains and propose users’ perceived quality of five design elements (i.e., unity, complexity, intensity, novelty, and interactivity) as determinants of website aesthetics. We further theorize the effects of aesthetics on users’ attitudes toward the website and their perception of the corporate image. Two studies were conducted to test the research model. In Study 1, we adopted a card sorting method and the results provide substantial support to the determinants of website aesthetics. In Study 2, we conducted a survey using ten company portal websites that were unknown to survey respondents. Our analysis further confirms the effects of users’ perceived quality of the five design elements on the perception of website aesthetics. The findings of Study 2 also show that users’ perception of aesthetics has significant impacts on perceived utility and their attitudes toward the website, which further affects the corporate image exhibited via the website. In addition, we find that in users’ first interaction with a website, perceived aesthetics has a larger impact on their attitudes toward the website than perceived utility.