Product Design and Consumers Choice

 As consumers, our visual expectations aboutdesign are conditioned by all sorts of things. Fashion, television, newspapers,magazines, movies, computer graphics, telecommunications, transport,architecture, advertising ... these and a number of other influences color ourperception of the things with which we choose to surround ourselves, and causeus to "like" or "dislike" products.

Itfollows that the consumer acceptance of a particular commodity — a chair, atable, a lamp or whatever — will to some extent be dependent upon how well itagrees with visual and conceptual prejudices already imprinted on consumers byall sorts of other imagery. For example, a young man faced with the task ofchoosing a chair to furnish his room may have already had his range of optionslimited by a range of preferences, such as his taste in cars and computers,magazines and films. The chair does not have to "go” with any of thesethings in any interior design sense, but if his preference is for sleek, black,high-performance cars, professional-looking audio components, high-techadventure films and fashionable style magazines, he is extremely unlikely toselect a chintzy look. When he narrows his choice down to three more or lesssuitable ones, he will eventually choose the one whose designer has best readhis tastes.

 That is an obvious example, but the sameforces are at work at all levels. If designers want to address consumers in aninformed way, they will have toknow a wide set of popular preferences.Of course, consumers buy things for all sorts of reasons, and products andcommodities will have to succeed o_n practical levels, too —function, price, ease of use —but these may not actually determine commercialsuccess or failure. Faced with a choice of products equally priced and offeringsimilar performance, consumers always buy the one that they “like” best.Liking, if not exactly “liking what we know", isat leastusually a process of being drawn towards something that does not openlychallenge existing preferences.

Product Design and Consumers’ Choice

 As （     ）, our visual （     ） about design are conditioned by all sorts of things. （    ）, television, （   ）, magazines, movies, computer （     ）, telecommunications, transport, architecture, （    ） ... these and a number of other influences color our （     ） of the things with which we choose to （     ）ourselves, and cause us to（     ） or （    ） products.

It follows that the consumer （    ） of a particular（    ）— a chair, a table, a （   ） or whatever — will to some extent be （  ） upon how well it agrees with （    ） and conceptual （    ） already imprinted on consumers by all sorts of other （   ）.

For example, a young man faced with the （    ）of choosing a chair to（   ）his room may have already had his range of （   ） limited by a range of （   ）, such as his （     ） in cars and computers, （    ）and films.

The chair does not have to "go” with any of these things in any （    ）design sense, but if his preference is for sleek, black, （     ）cars, professional-looking audio （    ）, high-tech adventure films and fashionable （     ） magazines, he is extremely （    ） to select a chintzy look.

When he （   ） his （   ） down to three more or less（    ） ones, he will （     ） choose the one whose designer has best（    ）his tastes.

That is an （     ） example, but the same（    ） are at work at all（   ）. If designers want to （    ） consumers in an （    ） way, they will have to know a wide set of （     ）preferences.

Of course, consumers buy things for all sorts of （    ）, and products and （    ） will have to succeed on （    ） levels, too —（     ）, （    ）, ease of use —but these may not actually determine commercial （    ） or（   ）.

Faced with a choice of products equally priced and offering similar （    ）, consumers always buy the one that they “like” best.

 Liking, if not exactly “liking what we know", is at least usually a（    ） of being drawn towards something that does not openly （    ） existing preferences.