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57 Cards in this Set
- Front
- Back
Space |
Is all the available area within a given two or three dimensional boundary |
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Space (importance to 5 P's) |
two dimensional space includes the area within the boundaries of a building facade, a landscape floor plan, a wall, a ceiling, a floor, |
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Space (importance to 5 P's) |
three dimensional space related to the 5 p's includes the area within architectural structure, the landscape, products form, packaging, window displays, and other subdivisions of the store |
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composition |
arrangement of elements within space |
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human density |
number of people in a space "sometimes the presence of many others may be experienced as exciting and reassuring, and may enhance the "fun" experience |
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spatial density |
which involves the level of crowdedness caused by displays, furnishings and layout of the space, may have stronger negative consequences on consumer behavior than human density |
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retail density |
vary by consumer, the effect of loss or control from retail density is particularly for costumers who have high desire for control. |
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filled or unfilled |
describes the love of occupation of the visual ground (e.g. background) of a two dimension space or of the available physical space |
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two dimensional filled space |
very little ground is visible |
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two dimensional unfilled space |
much ground is visible |
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three dimension filled space |
has little room for physical moving or maneuvering |
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three dimensional unfilled space |
allows easy movement or maneuvering |
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body primary |
effects entails visual focus on body shapes, surfaces, or contours. this effect is created when the product is unfilled two dimensionally and filled three dimensionally |
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clothing primary |
effect entails visual focus on the product, in this case the product is filled two dimensionally and unfilled three dimensionally (e.g. a loose fitting garment with a bold print may focus on the product) |
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grid layout |
long parallel aisles (e.g grocery store) |
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freeform layout |
asymmetrical arrangements of displays and aisles (e.g. boutiques) |
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racetrack layout |
has major and minor arteries, providing multiple sight lines; it is organizes into semi separate areas, such as shoes, suits and updates sports wear (e.g. department stores) |
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formal qualities of music |
a pleasurable and satisfying experience is derived from sensory, emotional, and symbolic responses to music |
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sensory responses |
are affected by the formal qualities of or elements of music, which can be divided into three categories: time or duration, pitch, and texture |
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Expressive qualities of music |
the pleasure produced by music is similar to pleasure produced by other forms of stimulation such as texture or movement (e.g. sensations all produce chemical and electrical changes in the body) |
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symbolic qualities of music |
when using music to develop a brand identity, a variety of mechanisms may be implemented to create symbolic messages |
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articulation |
is how a sound is made determining the length of a time a note sounds |
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staccato |
notes sound for a short period of time short lines, small, sharp shapes, crisp textures |
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legato |
notes sound for a long period of time and until the next note long lines; large, curved shapes, extended movements of the body |
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rhythm |
is a recurring pattern of pulses(notes) and rests (silences) firm- hard edge lines, and shapes;distinct movements of the body pattern- patterns of surface and layout design |
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Firm rhythm |
with clear patterns of pulses and rests |
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flowing rhythm |
with less articulation between pulses and rests (i.g. lullabies) |
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harmony |
is a group of notes of two or more pitches sounded simultaneously |
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density |
thick- thick irregular, opaque surfaces; dark, rich colors, many units in a small area thin- thin regular, transparent, light colors few units in a small area |
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tempo |
fast- fast movements of the body; rapid changes of color, shape, or line. slow- slow blended change of color slow repeat of shapes or lines |
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harmony |
consonant- blending lines, shapes, colors and textures; analogous colors; coordinated dissonant- disjointed lines; irregular shapes unrelated color combinations |
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mode |
major- upturned or wavy lines; clear colors; freedom or movement minor- down turned or straight lines, somber colors and movement fullness at bottom of silhouette |
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melody |
simple- few, straight lines, simple, geometric shapes, ordered patterns complex- meandering lines; complex shapes, random pattern, inter determinate surface, mixture of surface designs |
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number of units |
refers to the number of indetifiable parts of the form - in apparel a unit can be a color or shape in a print design or a shape created by garment layout structure. |
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Degree of interest |
some units are more interesting than other because of the amount of stimulation provided by the nervous system |
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cohesion of units |
refers to the sameness of units and the regularity of arrangement of these units |
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increase in complexity |
increase the number of units increase the degree of interest of units decrease the cohesion of units |
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Gestalt Principles of perceptual organization |
explain the process through which the brain interprets certain patterns of visual info, leading to decrease in complexity |
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design principles of organization |
refer to the arrangements of design units that produce cohesion, which lease to a decrease in complexity |
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similarity |
of units refers to the grouping of units by their sameness |
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proximity |
of units refers to the grouping of units by the sameness and closeness in space |
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closure |
the perception of implied shape from connecting points, lines, or shapes |
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continuation |
is the following of a direct path or line through and interruption or break |
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rhythm |
eye movement across a relating pattern of units |
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pattern of a rhythm |
is the sequence of units |
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alternating rhythm |
is created through repetition of regular, predictable sequence |
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progressive rhythm |
also includes the repetition of units but the sequence includes a gradual change of units or placement of the units |
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balance |
is the distribution of visual weight within the composition components such and for an ensemble(product), storefront (property), store display(product presentation), catalog layout (promotional activity), and body stance (people) |
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symmetrical balance |
consists of the same units in the same position on each side of a felt axis |
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asymmetrical balance |
is an equal distribution of visual weight in relation to the felt axis , using different units or placement of units, or both |
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Radial balance |
is the arrangement of units radiating from an encircling a central focal point |
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proportion |
is the relative size relationship among the units within a composition such as a store environment or web page |
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scale |
is the size relationship between a standard measure (eg bodysize) and compositional unit of the 5ps for example the relationship betweenthe body and apparel |
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emphasis |
isan area of strong visual interest that attracts viewers’ attention and become afocal point |
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Contrast |
of any elements of design may help a unit stand out and becomethe emphasis in a composition |
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isolation |
is the opposite of proximity because the isolated unit instead of the amassed group becomes the unit of attention |
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Placement |
of a unit in a prominent position within the form helps create apoint of emphasis |