Cognition and Product Design Features of Emotional Branding

Hui Yun Yen
Department of Advertising, Chinese Culture University, Taipei, Taiwan

Po-Hsien Lin
Graduate school of creative industry design, National Taiwan University of Arts, Taipei, Taiwan

Rung-Tai Lin
Graduate school of creative industry design, National Taiwan University of Arts, Taipei, Taiwan

Ladda ner artikel

Ingår i: KEER2014. Proceedings of the 5th Kanesi Engineering and Emotion Research; International Conference; Linköping; Sweden; June 11-13

Linköping Electronic Conference Proceedings 100:123, s. 1475-1485

Visa mer +

Publicerad: 2014-06-11

ISBN: 978-91-7519-276-5

ISSN: 1650-3686 (tryckt), 1650-3740 (online)


Companies try to employ shapes that are both emotionally appealing and compatible with the brand’s image of aesthetics in generating favorable consumer responses. Existing research on branding and product design have demonstrated the importance of emotions. Consumers may base their evaluations of a brand extension on their subjective affective reactions toward the products. In this research; the authors choose products from the emotional branding survey to be the stimulus samples for investigating the product design features. The purpose of this study is to discover the relationship between the brand and the product; and to generate specific guidelines for a product’s emotional design characteristics (Attractiveness; Beauty and Creativity) in the future. There were three steps in this study. They are listed as follows: The first step involves the selection of sixteen brands from fifty public brands by the experts to survey brand awareness. The second step was finding the five tops emotionally appealing brands from the above sixteen brands through a consumer survey to understand brand preferences. The third step was finding products from the four tops emotionally appealing brands to analyze the product design features. The findings are listed as follows: (a) Most of the emotionally appealing brands have over 50 years of brand history. (b) Emotionally appealing brands benefit more strongly from user recommendations and repurchase. (c) Product design features of emotional brand are the following: attractiveness; beauty and creativity. The results from this study can provide a guide for future product design development endeavors and growth of an aesthetic economy.


Emotional Branding; Product Design; Emotional design characteristics.


Alba; Joseph W; & Hutchinson; J Wesley. (1987). Dimensions of consumer expertise. Journal of consumer research; 411-454.

Bergkvist; Lars; & Bech-Larsen; Tino. (2010). Two studies of consequences and actionable antecedents of brand love. Journal of Brand Management; 17(7); 504-518.

Blijlevens; Janneke; Creusen; Marielle EH; & Schoormans; Jan PL. (2009). How consumers perceive product appearance: The identification of three product appearance attributes. International Journal of Design; 3(3); 27-35.

Carroll; Barbara A; & Ahuvia; Aaron C. (2006). Some antecedents and outcomes of brand love. Marketing Letters; 17(2); 79-89.

Gobé; Marc. (2007). Brandjam: humanizing brands through emotional design: Allworth Pr.

Holt; Douglas B; Quelch; John A; & Taylor; Earl L. (2004). How global brands compete. harvard business review; 82(9); 68-75.

Ko; Yu-Yuan; Lin; Po-Hsien; & Lin; Rungtai. (2009). A study of service innovation design in cultural and creative industry Internationalization; Design and Global Development (pp. 376-385): Springer.

McLoone; Hugh; Jacobson; Melissa; Goonetilleke; Ravindra S; Kleiss; James; Liu; Yili; & Schütte; Simon. (2012). Product Design and Emotion: Frameworks; Methods; and Case Studies. Paper presented at the Proceedings of the Human Factors and Ergonomics Society Annual Meeting.

Norman; Donald A. (2004). Emotional design: Why we love (or hate) everyday things: Basic books.

Park; C Whan; Jaworski; Bernard J; & Maclnnis; Deborah J. (1986). Strategic brand concept-image management. The Journal of Marketing; 135-145.

Pawle; John; & Cooper; Peter. (2006). Measuring emotion-lovemarks; the future beyond brands. JOURNAL OF ADVERTISING RESEARCH-NEW YORK; 46(1); 38.

Rahinel; Ryan; & Redden; Joseph P. (2013). Brands as Product Coordinators: Matching Brands Make Joint Consumption Experiences More Enjoyable. Journal of Consumer Research; 39(6); 1290-1299.

Rahman; Osmud. (2012). The influence of visual and tactile inputs on denim jeans evaluation. International Journal of Design; 6(1); 11-25.

Roberts; Kevin. (2005). Lovemarks: PowerHouse Books.

Sheth; Jagdish N; Mittal; Banwari; & Newman; B. (1999). Consumer behavior and beyond. NY: Harcourt Brace.

Tractinsky; Noam. (1997). Aesthetics and apparent usability: empirically assessing cultural andmethodological issues. Paper presented at the Proceedings of the ACM SIGCHI Conference on Human factors in computing systems.

Yen; Hui-Yun; Lin; Christopher; & Lin; Rungtai. (2013). Analysis of cognition difference of visual and imagined Haptic inputs on product texture Cross-cultural design. Methods; practice; and case studies (pp. 157-164): Springer.

Lin; D.-G.: Emotional value innovationtouching products. The Center of Corporate Synergy Development; Zhongwei report; 2012No.1 (2012).

Citeringar i Crossref