色彩營(yíng)銷理論英文文獻(xiàn)翻譯

1、Abstract. 摘要This article explores the role that color can play in building brand meaning with two experiments. 本文通過兩個(gè)實(shí)驗(yàn)，來探討顏色在構(gòu)建品牌意義方面所發(fā)揮的作用。Without prior conditioning, we demonstrate how an appropriately chosen color for a brand name (logo) can bring inherent and immediate value to a brand. 我們論證了，在

2、沒有前提條件的情況下，為一個(gè)品牌（商標(biāo)）選擇一個(gè)合適的顏色，能帶來內(nèi)在和直觀的品牌價(jià)值。Experiment 1 explores the notion of congruity, showing that it is more appropriate for functional products to be presented in functional colors, and sensory social products in sensory-social colors. 實(shí)驗(yàn)1探討了一致性的概念，表明功能型產(chǎn)品的商標(biāo)更適合使用功能型色彩，而社交感知型產(chǎn)品則適合使用社交感知型的色彩。E

3、xperiment 2 examines the effect of red and blue on brands of products that can be classified as both functional and sensory-social, and the ability of color to enhance a brands desired image. 實(shí)驗(yàn)2則證明了紅色和藍(lán)色在品牌形象的構(gòu)建中，可以同時(shí)起到功能型和社交感知型的作用。此外，顏色還能提升品牌的期望值。When people know how brands are attempting to posit

4、ion themselves, people consider colors congruent with those positions to be more appropriate. 當(dāng)人們了解到品牌是如何試圖定位它們自身的時(shí)候，人們便會(huì)考慮與這些定位更接近和一致的顏色來搭配它們。Key Words brand identity color connotative meaning關(guān)鍵詞：品牌識(shí)別；顏色；內(nèi)涵Consumers associate certain brands with certain colors, such as Marlboro with red, Guinness w

5、ith black, and Cadbury with purple (Grimes and Doole, 1998).消費(fèi)者將某些品牌和某些顏色聯(lián)想起來，例如紅色的萬寶路，黑色的吉尼斯黑啤還有紫色的吉百利（Grimes and Doole, 1998）。Collectively, color, symbol, shape and lettering contribute to what Lightfoot and Gerstman (1998) define as visual equity. 一般來說，顏色，符號(hào)，形狀和字母決定了萊特福特和格斯特曼所定義的視覺平衡。Visual equit

6、y is the value derived from visual form, that is the look and feel of the brand. Visual equity contributes towards brand recognition, enabling a brand to stand out on the supermarket shelf (e.g. the iconic shape of the Coca Cola bottle). 視覺平衡是從視覺形式中衍變來的價(jià)值，即品牌的“外形和感覺”。視覺平衡有助于品牌認(rèn)知，使一個(gè)品牌可以從市場(chǎng)貨架上脫穎而出（例如

7、：可口可樂瓶子的圖標(biāo)形狀）。It also helps to communicate a brands desired image (e.g. Prudentials Rock of Gibraltar logo with associations of strength; Keller, 1998). 他也能夠幫助傳達(dá)一個(gè)品牌的圖像要求（例如：用力量的結(jié)合作為直布羅陀的保誠(chéng)巖石的標(biāo)志; Keller, 1998）.We focus here on the intrinsic meaning of color, that if appropriately selected may bring,

8、 inherent and immediate value to the brand (Kohli and LaBahn, 1997: 67), like a carefully chosen name.本文主要致力于顏色的內(nèi)在意義，若選擇合適的顏色會(huì)帶來品牌的內(nèi)在與及時(shí)價(jià)值（ Kohli and LaBahn, 1997: 67），和細(xì)心地選擇名字一樣重要。But what makes a color appropriate for a product or conveying a brand identity, for instance in a logotype? Turning to

9、the marketplace for guidance as to what constitutes an appropriate color-product combination may prove unhelpful on at least two counts. First, grocery store audits suggest that a packages primary color is often used to denote flavor (Garber and Hyatt, 2003). Second, based on a survey of 82 product

10、categories, over 50 percent of store brands from two US supermarkets were found to imitate leading national brands visual equity in terms of color, size and shape (Scott Morton and Zettelmeyer, 2000). While imitation may be the greatest form of flattery, the color selection decision for these copyca

11、t brands was essentially preordained, hence providing limited guidance regarding the color selection decision beyond follow the leader.但究竟是什么決定一個(gè)產(chǎn)品的合適顏色或是傳達(dá)品牌的一致性，是由商標(biāo)決定？轉(zhuǎn)向市場(chǎng)為了指導(dǎo)構(gòu)成了以適當(dāng)?shù)念伾a(chǎn)品組合可能無益于證明于至少兩點(diǎn)。首先，食品雜貨店的審計(jì)員建議產(chǎn)品外包裝的首選顏色一貫影響并直接指示著味道（Garber and Hyatt, 2003）。其次，基于對(duì)82項(xiàng)產(chǎn)品類別的分析，發(fā)現(xiàn)兩大美國(guó)超市中多于50%的商品品

12、牌模仿主導(dǎo)國(guó)家品牌的視覺平衡在顏色，形狀及外形方面（Scott Morton and Zettelmeyer, 2000）。雖然模仿可能是最大的奉承形式，這些山寨品牌的顏色選擇的決定基本上是注定的，因此提供有限的指導(dǎo)關(guān)于顏色的選擇決定超越“跟隨主導(dǎo)品牌”。This article investigates the role of color in brand image creation with two experiments. The first study explores the issue of congruity, showing that it is more appropria

13、te for functional products to be presented in functional colors, and sensory-social products in sensory-social colors. The second study extends the first by exploring the ability of color to enhance or dilute brand identity and considers the interplay of visual (color) and verbal (benefit propositio

14、n) information.本文以兩個(gè)實(shí)驗(yàn)探究顏色在品牌形象中的角色。第一個(gè)實(shí)驗(yàn)探討了一致性的概念，表明功能型產(chǎn)品的商標(biāo)更適合使用功能型色彩，而社會(huì)感知型產(chǎn)品則適合使用社會(huì)感知型的色彩。第二個(gè)實(shí)驗(yàn)對(duì)第一個(gè)實(shí)驗(yàn)進(jìn)一步延伸，通過探討顏色的能力來增強(qiáng)或削弱品牌的一致性，并且考慮到了視覺上（色彩）和語言上（利益方面）信息之間的相互作用。Finally, while prior studies have concentrated on single products, we use multiple product categories to empirically test, rather than

15、 merely speculate about, the generalizability of our findings.最后，雖然以前的研究集中于單一產(chǎn)品，我們使用多個(gè)產(chǎn)品類別進(jìn)行實(shí)證測(cè)試，而非僅僅是推測(cè)，我們的研究的結(jié)果仍具有普遍性Discussion and conclusions 結(jié)論Together, these studies respond to Garber and Hyatts (2003) call for guidelines to assist marketing managers with the color selection decision. 這些研究的結(jié)果，

16、為Garber和Hyatt在2003年所提出的協(xié)助營(yíng)銷經(jīng)理在選擇適合的顏色進(jìn)行推銷方面，提供了指導(dǎo)意見。The initial study established that colors that are connotatively congruent with products are considered more appropriate. Specifically, functional colors are more appropriate for functional products, and sensory-social colors more appropriate for s

17、ensorysocial products. 第一個(gè)研究表明，與產(chǎn)品的內(nèi)涵潛在一致的顏色是適合入選的。更確切地說，功能型產(chǎn)品更適合使用功能型色彩，而社交感知型產(chǎn)品則適合使用社交感知型的色彩。Even red, the least sensory-social of our set of sensory-social colors, and blue, the least functional of our set of functional colors, supported this notion. 即使是紅色和藍(lán)色，這兩種分別在社交感知類型和功能型色彩系統(tǒng)里，所起到相應(yīng)作用最小的兩種顏色，

18、都也符合這一觀點(diǎn)。The second study addressed within-product category heterogeneity, acknowledging that brands can adopt a variety of positioning strategies, and thus products may be more color tolerant than initially observed. 第二個(gè)研究對(duì)應(yīng)處理產(chǎn)品內(nèi)部類別的異構(gòu)性問題，確認(rèn)了品牌可以采用多種定位策略，因而產(chǎn)品比起最初評(píng)述的標(biāo)準(zhǔn)來講，具有更高的顏色容忍度。Brands promoting

19、a functional image were better received in blue, while brands promoting a sensorysocial image were better received in red.功能型形象的品牌推廣使用藍(lán)色收效更好，而提升感覺社交型的品牌形象則是使用紅色收效更好We have shown that colors and products have connotative meanings that are sufficiently shared by people to produce a systematic pattern

20、of results consistent with our hypothesis, namely that congruent combinations will be judged more appropriate. 研究表明，人們對(duì)顏色和產(chǎn)品所具有的內(nèi)涵意義所持有的共同觀點(diǎn),會(huì)產(chǎn)生一種系統(tǒng)模式的結(jié)果, 而其恰恰與我們的假設(shè)相符合，即意義一致的顏色和產(chǎn)品組合起來更合適。However, these observed effects may have been amplified given: (1) the within-subjects nature of the task (multi

21、ple comparisons), (2) explicit instructions to rate appropriateness, and (3) color being the main distinguishing feature among a set of nearly identical logos. 當(dāng)然,這些觀察到的結(jié)果有可能是被放大描述的，因?yàn)榭紤]到以下幾點(diǎn):(1)此任務(wù)中，實(shí)驗(yàn)對(duì)象存在的內(nèi)在差異(多個(gè)比較),(2)對(duì)于比率的明確指示, (3)顏色是用以區(qū)分一組幾乎相同的商標(biāo)的主要特征。To assess the actual relevance and size of

22、the congruity effect requires further study, ideally using downstream variables, such as brand attitude or brand choice, under conditions of incidental exposure, with richer stimuli, and a between-subjects design to minimize the extreme focus on color that characterizes the current tasks. 評(píng)估實(shí)際的關(guān)聯(lián)和一致

23、性效果的大小需要做進(jìn)一步研究,最好使用下游變量,比如受試者對(duì)品牌態(tài)度和品牌的選擇,在偶然接觸的條件下,運(yùn)用更強(qiáng)烈的刺激，以及受試者之間的設(shè)計(jì)來減少對(duì)顏色的極端關(guān)注來描述當(dāng)前的任務(wù)。Nevertheless, Doyle and Bottomley (2004) found that people chose chocolate truffles in a ratio of 3:1 from a box displaying an appropriate font for chocolates, rather than an inappropriate font. 不過, Doyle和Botto

24、mley通過 2004年的研究中發(fā)現(xiàn),人們從有著適當(dāng)字體的盒子中取出的巧克力松露是從字體不適當(dāng)?shù)暮凶永锶〕龅牧康娜丁hus, we are mildly confident that our results will have practical implications beyond our sterilized world.因此，我們有自信說我們的實(shí)驗(yàn)結(jié)果有著實(shí)際意義，而不只是在單純的，嚴(yán)格控制的實(shí)驗(yàn)條件下得出的。To date, we have examined logos presented in a single color on a white background, yet

25、many brands are associated with color combinations, such as FedEx with purple and crimson, BP with yellow and green. 到目前為止,我們已經(jīng)查閱了很多以白色為背景，而用單一顏色設(shè)計(jì)的商標(biāo)；當(dāng)然也有許多品牌使用了相關(guān)的顏色組合,例如聯(lián)邦快遞與紫色和深紅色,英國(guó)石油公司的則是黃色和綠色。Work on the inherent meaning of color combinations has produced conflicting findings.關(guān)于顏色組合的內(nèi)在意義的實(shí)驗(yàn)得到

26、了不一樣的結(jié)果。For instance, Madden et al. (2000) asked people to select a color to partner a logo that consisted of a red, blue or green square. 例如，馬登在2000年的實(shí)驗(yàn)中讓受試者選擇一個(gè)色彩，來搭配含有紅色，藍(lán)色或綠色等方塊的商標(biāo)。Colors with complementary meanings were paired with red; colors with consistent meanings were paired with blue; whi

27、le green exhibited no obvious pattern across cultures. 帶有互補(bǔ)含義的顏色都被搭配了紅色；一致性含義的顏色被搭配了藍(lán)色;而綠色沒有顯著的特殊搭配傾向。Having identified a color combination, the impact of foreground and background color might be explored using theories of color harmony (Morriss and Dunlap, 1987) that focus on issues of spatial bala

28、nce and relative area to refine the meaning. 確定了一個(gè)顏色組合后,在使用哪個(gè)顏色來做前景和背景以產(chǎn)生更好效果的選擇上，應(yīng)該運(yùn)用色彩和諧理論(Morriss and Dunlap, 1987),因?yàn)檫@一理論關(guān)注空間平衡以及如何運(yùn)用相對(duì)面積達(dá)到意義的細(xì)化等問題。While both Shell and McDonalds are associated with red and yellow, the colors are combined in different proportions. 盡管殼牌和麥當(dāng)勞都使用紅色和黃色這一組合,但這兩種顏色在不同商

29、標(biāo)中所占比例不一樣。Do these differences contribute to subtle variations in connotative meaning? 這些差異會(huì)導(dǎo)致它們?cè)趦?nèi)涵意義上的微妙變化嗎?From an international perspective, more research is required on colors cross-cultural meaning. 從國(guó)際角度來看,我們需要進(jìn)行更多關(guān)于顏色的跨文化意義的研究。For instance, Madden et al. (2000) suggested that blue, green, red

30、, white, black, and brown are culturally invariant, while purple, yellow and orange are not. 例如，馬登（2000）認(rèn)為藍(lán)，綠，紅，白，黑及棕這些顏色不會(huì)因?yàn)閲?guó)度或文化差異而有不同的意義；而紫色黃色及橘黃色則恰恰相反。Hupka et al. (1997) distinguished between primary emotions (anger, fear) that are genetically based with roots in evolution, and culturally based

31、 compound emotions (envy, jealousy). Hupka et al(1997)區(qū)分了基本情感和復(fù)合情感。即便經(jīng)歷了進(jìn)化，基本情感(憤怒、恐懼)在人類基因上也是一成不變的,而復(fù)合情感(妒忌,嫉妒)等會(huì)因?yàn)槲幕系牟町惍a(chǎn)生變化。Colors associated with primary emotions were held more consistently across countries than colors with compound emotions, suggesting that brand images based on primary emotio

32、ns offer more opportunities for standardization across countries.在不同的國(guó)度及文化里，比起與復(fù)合情緒相關(guān)的色彩，與基本情緒相關(guān)的色彩有著更強(qiáng)的穩(wěn)定性,這表明基于基本情感的品牌形象能夠在不同國(guó)家提供更多標(biāo)準(zhǔn)化服務(wù)。Consequently, we might expect IBMs logo (Big Blue) to convey a culturally invariant meaning, while FedExs purple and orange trade-dress to be culturally variant,

33、 and requiring customization to ensure a consistent image in the global marketplace. Further, Tavassoli (2001) found that Chinese students had better memory for the color of logographs than American students did for the color of alphabetic words. With greater reliance placed on visual processing whe

34、n reading logographs rather than words, the connotative meaning of color may be more important in communicating a desired brand image in eastern rather than western cultures.因此,我們可以推測(cè)IBM的標(biāo)志(大藍(lán)色)傳達(dá)的文化意義,而聯(lián)邦快遞的不變的紫色和橙色貿(mào)易服飾是文化變體,和要求定制,確保一致的形象在全球市場(chǎng)。進(jìn)一步,Tavassoli(2001)發(fā)現(xiàn),中國(guó)學(xué)生有更好的記憶logographs的顏色比美國(guó)學(xué)生做顏色的字

35、母單詞。更信實(shí)放在視覺處理當(dāng)閱讀logographs而不是單詞,內(nèi)涵意義的顏色可能是更重要的在溝通所需的品牌形象在東方而不是西方文化。From a methodological perspective, we treated connotative meaning as a uni-dimensional construct (functional vs. sensory-social), although multidimensional perspectives are popular within color psychology. For instance, Adams and Osg

36、ood (1973) measured color meaning in 23 countries using Osgood et al.s (1957) three dimensions of connotative meaning (Evaluation, Potency and Activity). Extending our notion of congruity, we might infer that potent products should be displayed in potent colors, active products in active colors, and

37、 good products in good colors. But, color is only one element of a brands projection endowed with inherent meaning (Childers and Jass, 2002; Henderson and Cote, 1998; Keller et al., 1998). Future research should clarify whether the proposed approach for selecting colors for products and brands can b

38、e used in parallel fashion for selecting non-alphabetic logos (symbols), typefaces and names. We are confident it can be. While the relative effectiveness of our functional sensorysocial measure compared to Osgood et al.s (1957) framework remains a moot point, the latter is known to be robustly portable, having been successfully used to assess words, simple pictures and other non-verbal communications (Valdez and Mehrabian, 1994). What is clear is tha