Bajaj and Bond (2017): Beyond Beauty: Design Symmetry and Brand Personality

Question 1

Key findings
Research focus:

Answer 1

• Investigates the role of design symmetry in shaping perceptions of brand personality
• Explores how symmetry impacts brand excitement and arousal in consumers

Question 2

Central Hypotheses:

Answer 2

• H1: Asymmetry in visual brand elements is associated with increased perceptions of brand
  excitement
• H2: This effect is mediated by subjective arousal evoked by asymmetric designs
• H3: Asymmetric imagery is more effective for brands positioned as exciting, while symmetric
  imagery suits calm brands better

Question 3

Symmetry in Visual Design:

Answer 3

• Defined as self-similarity under transformation (e.g. mirror, rotational, translational symmetry)
• Frequently studied in relation to aesthetic beauty and consumer preference

Question 4

Objective:

Answer 4

• Move beyond aesthetic evaluations to assess how design influences brand personality,
  particularly excitement

Question 5

Theoretical Framework
Brand personality:

Answer 5

• Uses Aaker’s (1997) five-factor model (sincerity, competence, excitement, sophistication,
  ruggedness)
• Focuses on excitement traits such as “daring, “fun”, “youthful”, and “imaginative”

Question 6

Arousal as Mediator:

Answer 6

• Asymmetric design evoke subjective arousal - a psychological state characterised by
  increased perceptual energy
• This arousal “spills over” to influence perceptions of the brand as exciting

Question 7

Methodology and Results

Answer 7

Study 1: Logo Evaluation:
Key findings:
* Asymmetry was negatively associated with brand sincerity and positively associated with
excitement

Study 2: Subjective Arousal:
Key findings:
* Asymmetric logos evinced greater subjective arousal (M=5.41) compared to symmetric
logos (M= 4.92, p < 0.01)
* Mediation analysis confirmed that arousal partially explains the link between asymmetry and
excitement

Study 3: Artistic Imagery:
Key findings:
* Asymmetry artwork was rated more appropriate for exciting brands (M=3.62) than symmetric
artwork (M=3.34, p < 0.01)
* Symmetric artwork was deemed more suitable for calming brands (M=4.06 vs. 3.85, p <0.02)

Study 4: Product Choice:
Key findings:
* For exciting brands, participants preferred asymmetric designs in the absence of
positioning-relevant text (M=2.71 vs. 4.00, p < 0.01).
* Textual descriptions reduced the effect of visual design on brand perceptions.

=> Logos that were more symmetric and round were associated with greater sophistication

Question 8

Practical Implications:

Answer 8

• Brands should tailor design elements to align with their personality and positioning
• Asymmetric designs work well for exciting brands, while symmetric designs suit calm or
  sophisticated brands