Amd 245

Front 1

Space

Back 1

Is all the available area within a given two or three dimensional boundary

Front 2

Space (importance to 5 P's)

Back 2

two dimensional space includes the area within the boundaries of a building facade, a landscape floor plan, a wall, a ceiling, a floor,

Front 3

Space (importance to 5 P's)

Back 3

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

Front 4

composition

Back 4

arrangement of elements within space

Front 5

human density

Back 5

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

Front 6

spatial density

Back 6

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

Front 7

retail density

Back 7

vary by consumer, the effect of loss or control from retail density is particularly for costumers who have high desire for control.

Front 8

filled or unfilled

Back 8

describes the love of occupation of the visual ground (e.g. background) of a two dimension space or of the available physical space

Front 9

two dimensional filled space

Back 9

very little ground is visible

Front 10

two dimensional unfilled space

Back 10

much ground is visible

Front 11

three dimension filled space

Back 11

has little room for physical moving or maneuvering

Front 12

three dimensional unfilled space

Back 12

allows easy movement or maneuvering

Front 13

body primary

Back 13

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

Front 14

clothing primary

Back 14

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)

Front 15

grid layout

Back 15

long parallel aisles (e.g grocery store)

Front 16

freeform layout

Back 16

asymmetrical arrangements of displays and aisles (e.g. boutiques)

Front 17

racetrack layout

Back 17

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)

Front 18

formal qualities of music

Back 18

a pleasurable and satisfying experience is derived from sensory, emotional, and symbolic responses to music

Front 19

sensory responses

Back 19

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

Back 20

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)

Front 21

symbolic qualities of music

Back 21

when using music to develop a brand identity, a variety of mechanisms may be implemented to create symbolic messages

Front 22

articulation

Back 22

is how a sound is made determining the length of a time a note sounds

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staccato

Back 23

notes sound for a short period of time

short lines, small, sharp shapes, crisp textures

Front 24

legato

Back 24

notes sound for a long period of time and until the next note

long lines; large, curved shapes, extended movements of the body

Front 25

rhythm

Back 25

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

Front 26

Firm rhythm

Back 26

with clear patterns of pulses and rests

Front 27

flowing rhythm

Back 27

with less articulation between pulses and rests (i.g. lullabies)

Front 28

harmony

Back 28

is a group of notes of two or more pitches sounded simultaneously

Front 29

density

Back 29

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

Front 30

tempo

Back 30

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

Front 31

harmony

Back 31

consonant- blending lines, shapes, colors and textures; analogous colors; coordinated

dissonant- disjointed lines; irregular shapes unrelated color combinations

Front 32

mode

Back 32

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

Front 33

melody

Back 33

simple- few, straight lines, simple, geometric shapes, ordered patterns

complex- meandering lines; complex shapes, random pattern, inter determinate surface, mixture of surface designs

Front 34

number of units

Back 34

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.

Front 35

Degree of interest

Back 35

some units are more interesting than other because of the amount of stimulation provided by the nervous system

Front 36

cohesion of units

Back 36

refers to the sameness of units and the regularity of arrangement of these units

Front 37

increase in complexity

Back 37

increase the number of units

increase the degree of interest of units

decrease the cohesion of units

Front 38

Gestalt Principles of perceptual organization

Back 38

explain the process through which the brain interprets certain patterns of visual info, leading to decrease in complexity

Front 39

design principles of organization

Back 39

refer to the arrangements of design units that produce cohesion, which lease to a decrease in complexity

Front 40

similarity

Back 40

of units refers to the grouping of units by their sameness

Front 41

proximity

Back 41

of units refers to the grouping of units by the sameness and closeness in space

Front 42

closure

Back 42

the perception of implied shape from connecting points, lines, or shapes

Front 43

continuation

Back 43

is the following of a direct path or line through and interruption or break

Front 44

rhythm

Back 44

eye movement across a relating pattern of units

Front 45

pattern of a rhythm

Back 45

is the sequence of units

Front 46

alternating rhythm

Back 46

is created through repetition of regular, predictable sequence

Front 47

progressive rhythm

Back 47

also includes the repetition of units but the sequence includes a gradual change of units or placement of the units

Front 48

balance

Back 48

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)

Front 49

symmetrical balance

Back 49

consists of the same units in the same position on each side of a felt axis

Front 50

asymmetrical balance

Back 50

is an equal distribution of visual weight in relation to the felt axis , using different units or placement of units, or both

Front 51

Radial balance

Back 51

is the arrangement of units radiating from an encircling a central focal point

Front 52

proportion

Back 52

is the relative size relationship among the units within a composition such as a store environment or web page

Front 53

scale

Back 53

is the size relationship between a standard measure (eg bodysize) and compositional unit of the 5ps for example the relationship betweenthe body and apparel

Front 54

emphasis

Back 54

isan area of strong visual interest that attracts viewers’ attention and become afocal point

Front 55

Contrast

Back 55

of any elements of design may help a unit stand out and becomethe emphasis in a composition

Front 56

isolation

Back 56

is the opposite of proximity because the isolated unit instead of the amassed group becomes the unit of attention

Front 57

Placement

Back 57

of a unit in a prominent position within the form helps create apoint of emphasis