From: Visual communication via the design of food and beverage packaging
 | Abstract visual design cue in product packaging | |||
---|---|---|---|---|
Colour | Shape (orientation) | Texture (and material properties) | Stripes (and position/elevation) | |
Crossmodal correspondences | Colour-taste mappings (e.g. pinkish-red = sweet; blue and white = salt; Spence et al., 2015b); Colour-pairs = taste (Woods et al., 2016) | Shape-taste mappings (e.g. round = sweet; sour = angular; Spence & Deroy, 2013; Turoman et al., 2018; Velasco et al., 2016a, b) | Textures incorporating rounded elements = sweet (Barbosa Escobar et al., 2020) but more research needed | Elevation-taste mappings (e.g. sweet higher than bitter: Velasco et al., 2019a, b; cf. Sunaga et al., 2016) |
Connotative meaning | Hue-connotative meaning (e.g. black = passive, bad, and strong; grey = passive, bad, and weak; white = good and weak; red = strong; yellow = weak; green and blue = good; Adams & Osgood, 1973) | Shape-connotative meaning (e.g. round = pleasant; triangle = strong; Cheskin, 1981). Linear element ascending to right = success (see Spence et al., 2019, for a review) | Data not available though presumably shiny/ metallic associated with premium (see Spence, 2021b, for a review) | Vertical stripes = luxury (Van Rompay et al., 2012, 2019; Wang & Basso, 2021) |
Symbolic meaning | Purple = funereal in Japan; Orange = cheap; Black = luxury/premium (Jacobs et al., 1991; Spence & Velasco, 2019; Tham et al., 2020; Wheatley, 1973) | Tall and thin packaging = diet product (Raghubir & Greenleaf, 2006) cf. Cheskin, 1951, p. 110–111); Line ascending to right = success (cf. Spence et al., 2019) | Data not available; though presumably shiny/metallic associated with premium (Spence, 2021b) | Elevation and power (Sundar & Noseworthy, 2014); Laterality and healthiness (Romero & Biswas, 2016) |
Semantic meaning | Signature brand colours (e.g. Dairy Milk purple; Baxter et al., 2018; Bowcott, 2013); Crisp packet colours signifying flavour/brand (Piqueras-Fiszman & Spence, 2012) | Image mould (e.g. Coke contour bottle (Anon., 1994); Wishbone salad dressing (Meyers, 1981); Listerine (Parise & Spence, 2012); or bamboo bottle (Visser, 2009) | Product texture (e.g. packaging with fruit-like texture; or Velvety toilet paper prime associated semantic meaning; Spence, 2019b) | When combined with colour, stripes take on semantic meaning (e.g. Cornishware; LGBQ Rainbow stripes; Yates, 2021) |
Evolutionary account | Red = sexually receptive and arousing (e.g. Changizi et al., 2006; Humphrey, 1976; Pazda et al., 2011), but colour cues also key in foraging (Foroni et al., 2016; Sumner & Mollon, 2003) | Shape of danger (e.g. snake/spider-like; LoBue, 2014; Spence, 2021a); Seemingly innate affective response to orientation (see Karim et al., 2016) | Certain (slimy) textures associated with off-food therefore avoided; shiny textures look like water and so liked (Spence, 2021b) | When combined with colour may indicate natural danger (e.g. bees, snakes, etc.; (Coborn, 1991; Lieske & Myers, 1994), or camouflage |