A Study on the Impact of Scent Imagery Visualization in Packaging Graphic Design on Chinese Consumer Purchase Intentions Based on Crossmodal Correspondences : Focused on the Graphic Design of Traditional Chinese Incense Products Packaging = 크로스모달 대응관계 기반의 패키지 그래픽 디자인에서 냄새 이미지의 시각화가 중국 소비자의 구매의도에 미치는 영향 연구 : 중국 전통 향 제품 패키지의 그래픽 디자인을 중심으로

다국어 초록 (Multilingual Abstract)

In recent years, the global consumer landscape has undergone profound changes, giving rise to the “olfactory economy” as a new consumption trend that is rapidly gaining momentum in the Chinese market. As consumer culture and sensory economics increasingly converge, scent, as a non-verbal and emotionally charged symbol, is becoming a vital perceptual medium in brand communication and product design. Traditional Chinese incense, with its deep cultural roots and distinctive sensory qualities, is emerging as a key growth sector within this trend. With a history spanning centuries, Chinese incense culture permeates various aspects of life, embodying aesthetics, spirituality, and cultural identity. Its unique scent imagery fosters multisensory connections and emotional resonance. In the post-pandemic era, consumers’ growing demands for emotional healing, physical and mental well-being, and personalized experiences have made traditional incense products, with their unique olfactory experiences and cultural significance, well-positioned to meet the pursuit of “self- pleasure” value and quality of life, demonstrating significant market potential. This is particularly evident under the influence of the revival of national cultural trends and the widespread adoption of wellness concepts, which have brought traditional incense products back into the public eye, positioning them as key vehicles for emotional marketing and olfactory consumption. However, despite the notable cultural value and market potential of traditional incense products, they still face numerous challenges in market promotion. Many incense brands lack distinctive marketing strategies, which results in product homogenization and diminished consumer interest. Packaging design, as a vital medium connecting products with consumers, plays an essential role in influencing purchasing decisions through visual communication. Nevertheless, current packaging for incense products tends to prioritize superficial aesthetics, without establishing a systematic visual language that reflects olfactory qualities. Consequently, the packaging often fails to accurately convey the sensory attributes of the scent, leading to a disconnect between visual design and the actual olfactory experience. This misalignment not only affects consumer decision-making but also hinders the broader development and market expansion of traditional incense products. Crossmodal correspondences, an emerging focus in perceptual psychology and design, provide a theoretical framework for addressing this challenge. This theory suggests that there exists a stable tendency for associations between different sensory channels, such as linking specific scents with colors, shapes, or textures. These associations are shaped by cognitive and emotional mechanisms, as well as by cultural, semantic, and individual perceptual factors. By visualizing scent imagery through design, it is possible to enhance consumer perception, foster deeper emotional engagement, and strengthen brand identity. Although existing research has confirmed the existence of such correspondences, particularly between the senses of scent and vision, most studies remain at a theoretical level and lack practical design strategies or analytical models for understanding consumer behavior. This gap is particularly evident in the field of traditional Chinese incense, where the cultural metaphors, emotional imagery, and aesthetic cognition embedded in scents constitute a highly promising design resource. There is an urgent need to visualize and structure these elements through interdisciplinary approaches and integrate them into modern packaging design processes. In this context, this study aims to systematically explore the associations and mapping mechanisms between the scents of traditional Chinese incense products and visual elements, based on the theory of crossmodal correspondences. It seeks to develop a design method for scent imagery visualization and empirically validate its impact on consumer satisfaction and purchase intention, thereby optimizing sensory experiences, enhancing the market competitiveness of traditional incense products, and addressing the research gap in this field. To achieve the objectives, this study first conducted a literature review to systematically examine theories related to crossmodal correspondences, the crossmodal relationship between olfaction and vision, and packaging design and consumer behavior. This process clarified the association patterns between scents and visual elements as well as their influencing factors, and through case analysis, identified five methods for expressing scent imagery visualization, laying a theoretical foundation for subsequent design. Secondly, the study employed focus groups and questionnaire surveys to construct a scent evaluation language system for traditional Chinese incense, analyzing the dimensions of scent imagery perception evaluation for traditional Chinese incense. Thirdly, experiments were conducted to evaluate the scent imagery of ten representative scent types, exploring the crossmodal correspondences between different scent types and colors, shapes, and associated imagery. Fourthly, a consumer survey was conducted to assess the purchase intention for the existing packaging designs of 10 sample products, identifying the target for optimization. Subsequently, based on the experimental results and scent visualization strategies, five design proposals were developed for the optimization target. Finally, based on the S-O-R model, research hypotheses were proposed, and a questionnaire survey was conducted. Structural Equation Modeling (SEM) and repeated measures analysis of variance were used to validate the impact of the optimized designs on consumer satisfaction and purchase intention. The main findings based on the research questions are as follows. Firstly, the study confirms the existence of stable crossmodal correspondences between scents and visual elements (including color, shape, and associated imagery), which are influenced by multiple factors such as perceptual consistency, emotions, cultural background, and individual experiences. Through case analysis, the study identifies five methods for expressing scent imagery visualization: realistic representation, abstract symbols, abstract graphics, situational imagery, and cultural symbol integration. These methods not only provide theoretical guidance for the packaging design of traditional incense products but also offer new perspectives for the diversified application of crossmodal design strategies. Secondly, through literature review, it was found that visual elements in packaging design significantly influence consumers’ sensory experiences and purchasing behavior through crossmodal correspondences and emotional resonance. This study, based on the S-O-R model, validates the positive impact of color, graphics, and font style in packaging design on consumer satisfaction and purchase intention, while also revealing the partial mediating role of satisfaction. This indicates that visual elements not only directly shape purchasing decisions but also exert an indirect influence through emotional responses. This finding deepens the understanding of the role of packaging design in sensory marketing and provides a new theoretical perspective for consumer behavior research. Thirdly, targeting consumers in northern China, the study evaluated the scent imagery perception of traditional Chinese incense, covering three dimensions: color, shape, and associated imagery. The experimental results reveal significant differences in visual elements across different scent types. Specifically, there is a non-random correspondence between scent types and color hues and tones. Fruity type, creamy type, and osmanthus-scented type correspond to high-brightness warm tones; oceanic type is associated with low-brightness cool tones; cypress-scented type, grassy type, tea- scented type, and woody type align with natural colors such as green; powdery type is often linked to purple, purple-red, and yellow, while herbal type exhibits warm but darker tones. Unlike previous studies, this research also measured the matching of scents with achromatic colors. Additionally, the study found significant gender differences in scent-color matching. On the other hand, different scent types also exhibit stable crossmodal correspondences in the shape perception dimension. Scents of fruity type, creamy type, osmanthus-scented type, and powdery type are more associated with rounded shapes, whereas herbal type, woody type, grassy type, and tea-scented type correspond to angular shapes. The oceanic type and cypress-scented type show no distinct shape preference. Furthermore, the correspondence between scent and shape is influenced by emotions, with more pleasant scents often linked to rounded shapes and stronger scents associated with angular shapes. Moreover, the scents of different types can evoke diverse and specific imagery, including natural imagery, cultural symbols, concrete objects, and abstract emotions, reflecting the uniqueness of consumer perceptions in the Chinese cultural context. Fourthly, the analysis revealed that existing traditional incense packaging often exhibits a “perceptual disconnect.” Through a consumer survey, the study found that among the 10 sample products, the incense packaging of “Jinwanglai·Hui’an Chenxiang” (woody type) ranked the lowest in scent association, satisfaction, and purchase intention, indicating an urgent need for optimization. Based on this, the study proposed a comprehensive visualization strategy to improve the design. Finally, the results of the market consumer questionnaire survey show that the five optimized design proposals, based on scent imagery visualization, significantly enhanced consumer satisfaction and purchase intention. Among them, the strategies of cultural symbol integration and situational expression performed the best. The optimized designs, through multidimensional integration of visual elements, successfully strengthened scent association and emotional resonance, validating the effectiveness of the scent visualization design approach. This study not only deepens the application of crossmodal correspondence theory in sensory marketing but also constructs a systematic scent visualization design method through interdisciplinary integration, providing scientific guidance for innovative packaging design of traditional incense products and offering valuable insights for industry development and sensory marketing research.

목차 (Table of Contents)

• I. Introduction 1
• 1. Research Background and Purpose 1
• 2. Research Scope and Object 4
• 3. Research Questions and Methodology 7
• 3.1. Research Question 7
• 3.2. Methodology 8
• 4. Previous Research 13
• II. Theoretical Background 20
• 1. Theory of Crossmodal Correspondence 20
• 1.1. Definition of Crossmodal Correspondence 20
• 1.2. Causes and Influencing Factors of Crossmodal Correspondence 22
• 1.2.1. Causes of Crossmodal Correspondence 22
• 1.2.2. Influencing Factors of Crossmodal Correspondence 26
• 1.3. Applications of Crossmodal Correspondence 33
• 2. Research on Scent Imagery Visualization 36
• 2.1. Crossmodal Correspondences between Scent and Vision and their
• Influencing Factors 36
• 2.1.1. Scent-Color Correspondences 44
• 2.1.2. Scent-Shape Correspondences 47
• 2.2. Methods and Case Studies on Scent Imagery Visualization 50
• 3. Packaging Design and Consumer Behavior 60
• 3.1. Packaging Design and Visual Elements 60
• 3.1.1. Color 63
• 3.1.2. Graphic 64
• 3.1.3. Typography 64
• 3.2. The Impact of Packaging Design on Consumers 65
• 3.2.1. The Impact of Packaging Design on Consumer Perception 66
• 3.2.2. The Impact of Packaging Design on Consumer Emotions 67
• 3.2.3. The Impact of Packaging Design on Consumer Purchase Behavior 67
• 4. Overview of Traditional Chinese Incense 69
• 4.1. Historical and Cultural Background of Traditional Chinese Incense 69
• 4.1.1. Definitions and Core Concepts 70
• 4.1.2. Historical Development 70
• 4.1.3. Cultural Connotations and Social Value 72
• 4.2. Classification of Traditional Chinese Incense 73
• 4.3. Scent Characteristics of Traditional Chinese Incense 80
• III. Evaluation and Investigation of Scent Imagery Visualization in Traditional
• Chinese Incense Products 82
• 1. Materials and Methods 82
• 1.1. Participants 82
• 1.2. Stimuli 84
• 1.2.1. Scent 84
• 1.2.2. Color 90
• 1.2.3. Shape 94
• 1.3. Perceptual Evaluation 96
• 1.3.1. Selection of Olfactory Perceptual Adjectives Based on Cross-Language
• Commonalities 96
• 1.3.2. Collection and Selection of Perceptual Adjectives 100
• 1.3.3. Methods of Perceptual Evaluation 103
• 2. Procedure 105
• 3. Analysis of Survey Results 109
• 3.1. Scent-Color Correspondences 109
• 3.1.1. Demographic Characteristics 110
• 3.1.2. Correlations Between Different Scent Types and Color Hues 111
• 3.1.3. Correlations Between Different Scent Types and Color Tones 116
• 3.1.4. Scent Associations across the Neutral Colors 121
• 3.1.5 Gender Differences in the Association Between Scent Types and Color
• Hues 125
• 3.1.6. Gender Differences in the Association Between Scent Types and Color
• Tones 126
• 3.2. Scent-Shape Correspondences 128
• 3.2.1. Demographic Characteristics 128
• 3.2.2. Perceptual Evaluation of Different Scent Types 130
• 3.2.3. Analysis of the Relationship Between Scent Types and Shapes 133
• 3.2.4. Gender Differences in the Perception of Scent Types 137
• 3.3. Associative Images of Scents 142
• 3.3.1. General Data Characteristics and Distribution Patterns 143
• 3.3.2. Analysis of Associative Imagery Across Different Scent Types 143
• IV. Discussion on Visualization Results of Traditional Chinese Incense Scents and
• Strategies for Visual Representation 146
• 1. Discussion on the Correspondence Between Scent and Visual Elements 146
• 1.1. Discussion on Scent-Color Correspondence 146
• 1.2. Discussion on Scent-Shape Correspondence 150
• 1.3. Discussion on Scent-Associated Imagery 154
• 2. Comprehensive Strategies for Visualizing the Imagery of Different Scent Types
• 157
• 3. Sample Analysis and Consumer Feedback 161
• 3.1. Analysis of Visual Elements in Sample Product Packaging Design 161
• 3.2. Survey on Consumer Purchase Intentions and Data Collection 167
• 3.3. Survey on Consumer Purchase Intentions and Data Collection 170
• V. Packaging Redesign Based on Scent Visualization and Effectiveness Validation 173
• 1. Proposal for Optimizing Target Product Packaging Design 173
• 1.1. Optimization Strategies for Scent Visualization Design 173
• 1.2. Presentation of Design Proposals 175
• 1.2.1. Proposal 1 176
• 1.2.2. Proposal 2 183
• 1.2.3. Proposal 3 189
• 1.2.4. Proposal 4 195
• 1.2.5. Proposal 5 201
• 2. Research Model and Hypothesis Development 207
• 2.1. The S-O-R Model 207
• 2.2. Research Hypotheses and Model Construction 211
• 2.2.1. Impact of Packaging with Color and Scent Imagery Matching on
• Consumers 212
• 2.2.2. Impact of Packaging with Graphics and Scent Imagery Matching on
• Consumers 213
• 2.2.3. Impact of Packaging Font Style on Consumers 214
• 2.2.4. Impact of Consumer Satisfaction on Purchase Intention 215
• 2.2.5. Mediating Effect of Consumer Satisfaction 216
• 3. Research Design 218
• 3.1. Questionnaire 218
• 3.2. Data Collection and Sample Analysis 220
• 3.2.1. Demographic 221
• 3.2.2. Reliability Testing 223
• 3.2.3. Validity Testing 224
• 3.2.4. Correlation Analysis 230
• 4. Survey Results and Hypothesis Testing 231
• 4.1. Model Fit Analysis 231
• 4.2. Path Hypothesis Testing 231
• 4.3. Mediating Effect 233
• 4.4. Optimization Validation and Comparative Analysis of Design Proposals .. 234
• 4.4.1. Data Collection and Sample Analysis 234
• 4.4.2. Descriptive Statistics 237
• 4.4.3. Comparative Analysis of Original Packaging and Optimized Design
• Proposals 237
• 5. Discussion of Results 242
• VI. Conclusions and Recommendations 246
• 1. Conclusion 246
• 2. Research Significance 252
• 3. Research Limitations and Recommendations 256
• Reference 259
• APPENDIX 1 269
• APPENDIX 2 270
• APPENDIX 3 273
• APPENDIX 4 276
• APPENDIX 5 280
• APPENDIX 6 281
• APPENDIX 7 282
• APPENDIX 8 285
• 국문초록 289