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1、文献出处Orth, Ulrich R., and Keven Malkewitz. Holistic package design and consumer brand impressions. JJournal of Marketing，2015，12(3): 64-81.原文Holistic Package Design and Consumer Brand ImpressionsUlrich R. Orth & Keven MalkewitzPackage design involves several considerations ranging from protecting pac
2、kage contents to articulating and communicating desired brand impressions. Because of this wide range, package design is a broad term spanning engineered functional attributes (e.g., ergonomics, durability, recyclability) and a packages visual attributes (Bloch 1995). Although we do not want to mini
3、mize the importance of other characteristics, the focus of this article is on design elements that create a packages visual appearance. This appearance is o ften an integral part of a brands image, such as the hourglass shape of the Coca-Cola bottle and its logo in Spenserian type or the round-shoul
4、dered Bordeaux-style wine bottles that bear ornate labels and flourish typography.Following Bloch (1995) and Gestalt psychologists (Koffka 1922; Wertheimer 1925), we define “package design” as the various elements chosen and blended into a holistic design to achieve a particular sensory effect. Desi
5、gners choose design elements, decide how to mix them, and determine the desired level of congruity among them (Lawson 1983). For example, the design of the trademark Coca-Cola bottle includes the fluted surface with parallel vertical grooves, the hourglass shape, the greenish-hued glass, and the ico
6、nic Spencerian script s pelling “Coca-Cola” on the face of the bottle. Similarly, the design of a Bordeaux-style wine bottle may include a slender bottle silhouette, an ornate label with elaborate typography, and a natural color scheme. In both cases, the overall effect of the package comes not from
7、 any individual element but rather from the gestalt of all elements working together as a holistic design.Package Design LiteratureThere is both theoretical and empirical support for generalizable, prototypical, holistic package designs and their relationship to generalizable response dimensions. Fi
8、rst, drawing from Gestalt psychology (Koffka 1922; Wertheimer 1925) and work on nonconscious preference formation (Kunst-Wilson and Zajonc 1980; Lewicki 1986), classification (Berlyne 1971), and type (Pepper 1949), current design processing theory suggests that specific design elements are perceived
9、 and organized into more complex components (Veryzer 1999). Second, several studies have directly explored fundamental factors that capture differences among key types of designs (Henderson and Cote 1998; Henderson et al. 2003; Henderson, Giese, and Cote 2004). Third, a significant amount of literat
10、ure attests to package designs ability to generate a variety of impressions (e.g., Aaker 1991; Batra and Homer 2004; Batra, Lehmann, and Singh 1993; Keller 1993; Schmitt and Simonson 1995; Underwood 2003; Underwood and Klein 2002; Underwood and Ozanne 1998). Thus, we put forward the idea of generali
11、zable holistic package designs, which are systematically related to generalizable brand impressions. Next, we review the supporting literature in greater detail.Factors Underlying Holistic Package DesignsIn addition to Gestalt psychology, recent design theory and empirical evidence suggest that cons
12、umers perceive “constitutive” elements (e.g., colors, textures, surfaces) and organize them into more complex components (Veryzer 1999). Such a hierarchical processing explanation draws from studies on nonconscious preference formation (e.g., Kunst-Wilson and Zajonc 1980; Lewicki 1986) and from find
13、ings that more abstract, multidimensional design characteristics are determined by more basic and measurable design elements (Geistfeld, Sproles, and Badenhop 1977). Design elements are combined into more complex (cognitive) components or factors of design, which are then aggregated during perceptio
14、n and convey particular characteristics (i.e., of a brand) to consumers. This interpretation is consistent with fluency-based attributions (Janiszewski and Meyvis 2001) and perceptions of beauty (e.g., Grammer and Thornhill 1994).Package Design and Consumer ImpressionsThe design of a package elicits
15、 various responses from consumers （for a review, see Bloch 1995）. Different from previous work that addresses the aesthetic aspects of design （e.g., Hirschman 1986; Holbrook 1986; Veryzer and Hutchinson 1998） or focuses on global cognitive evaluations and their effects on consumer behavior （e.g., Fo
16、lkes and Matta 2004; Garber, Burke, and Jones 2000; Rahgubir and Krishna 1993; Schoormans and Robben 1997）, our research focuses on generalizable consumer brand impressions inferred from package design.整体包装设计和消费者对品牌的印象乌利奇奥尔特；凯文马克威兹包装设计需要全面考虑很多的因素，比如：要保护好包装里的物品，这也是 其最基本的功能以及包装设计的应有之意；另外，就是通过包装设计，要让消费 者对本商品的品牌产生一个较好的感官印象；此外，还有很多其他的因素需要考 虑。由于包装设计需要考虑的因素很多，并且比较广泛，因此，包装设计本身就 是一个比较宽泛的术语 （涉及到其对商品的保护功能属性、人体工程学、耐用性 以及可回收性等），除此之外，还有包装的视觉形象属性（布洛赫，1995）。尽管我 们不想忽视包装设计元素中
