by tina.bergmann -

Character Design in Sequential Art and Comics

In this blog post, I will elaborate on the role of character design as well as character expressions in sequential art and comics and gather some tips on what to consider when creating such characters.

Depicting Characters

Eisner explains that one of the most important things about comics, or art that has characters in general, is the specific way in which characters are depicted. Due to our experiences, we can recognize the emotions and feelings of others based on many different factors. Not only facial expressions signal us what someone may be feeling – whether they are sad, angry, happy, etc. We can also recognize the emotions someone may be feeling at the moment by their postures and gestures: the way someone is standing, sitting, or lying down, the way someone is bending their body, positioning their arms, whether they have a visible tense body posture or are posing in a relaxed way. Artists should understand and make use of these common expressions of feelings through not only facial expressions but also body language, posture, and gestures in order to further clarify for the readers what the characters are feeling. (cf. Eisner 1985: 100) Eisner gives examples of different emotions expressed through gestures and postures:

Figure: Eisner, Will (1985). Comics and Sequential Art, p. 102

Eisner points out that what we see about a character strongly influences the meaning of the text surrounding the character: the emotion we recognize in the character through their expressions dictates how we interpret the text or speech around the character. (cf. Eisner 1985: 103)

Figure: Eisner, Will (1985). Comics and Sequential Art, p. 103

Designing Characters

Making the story comprehensible by depicting the emotions and therefore body language of the characters correctly is one thing, but what is there to consider when designing characters in general? Mateu-Mestre explains that to enjoy a story, the reader should always be able to tell apart the different characters, of course. He suggests that compared to seeing real people in movies, for example, drawn characters are inherently harder to recognize to us and that is why we should focus on designing each character to be very distinctive. It can be helpful to make each character have a certain “shape” that is easily recognizable, whether this concerns their head from the front, their side profile, or their whole silhouette from afar. It is common in comics and graphic novels to exaggerate character designs for them to be easily recognizable. According to a character’s personality, we can design one character to have a round silhouette and features and design a different character to appear somewhat triangular or rectangular. We also can make our characters more distinct by adding details to their clothes or armor, for example. Of course, color is another way to make our different characters truly different from one another. (cf. Mateu-Mestre 2010: 96-98)

Figure: Mateu-Mestre, Marcos (2010). Framed Ink: Drawing and Composition for Visual Storytellers, p. 98

Generally, soft or rounded shapes will seem more relaxed and friendly than harsh, angular shapes, which will seem tenser. This can be applied to the general facial or bodily features a character has, but also to the facial expression a character has at a certain moment in the story. A generally grumpy or unfriendly character can have straight or angular-looking face details like angry, harsh eyebrows, or straight wrinkles, while a friendly character could have rounded hair details. By mixing different, conflicting shapes, we can make our character look conflicted or confused, for example. (Mateu-Mestre 2010: 102-103)

Figure: Mateu-Mestre, Marcos (2010). Framed Ink: Drawing and Composition for Visual Storytellers, p. 103

Bibliography:

Eisner, Will (1985). Comics and Sequential Art. Tamarac, FL: Poorhouse Press.

Mateu-Mestre, Marcos (2010). Framed Ink: Drawing and Composition for Visual Storytellers. Culver City, CA: Design Studio Press.

Further Literature:

Eisner, Will (2008). Graphic Storytelling and Visual Narrative: Principles and Practices from the Legendary Cartoonist. New York, NY: Norton.

Mateu-Mestre, Marcos (2020). Framed Ink 2: Frame Format, Energy, and Composition for Visual Storytellers. Culver City, CA: Design Studio Press.

Mateu-Mestre, Marcos (2016). Framed Perspective: Technical Perspective and Visual Storytelling. Culver City, CA: Design Studio Press.

McCloud, Scott (1993). Understanding Comics: The Invisible Art. New York, NY: HarperCollins.

by vera.kogelnik -

Illustrationstrends 2023

Einer der wichtigsten Illustrationstrends für das kommende Jahr ist Nostalgie. Das Gefühl der Nostalgie wird geweckt, indem die retro Farbpalette, Elemente der 90er Jahre und retro Schriftarten effektiv eingesetzt werden. Diese Illustrationen weckt positive Emotionen und Gefühle der Betrachter.
Der Trend beruht auf dem Prinzip, Emotionen aus der Kindheit zu wecken. Er spielt mit unseren Erinnerungen und hinterlässt einen starken Eindruck.

warme, stimmungsvolle Farben

For the past few years, designers have been occupied with bright and saturated color palettes. But recently, the usage of pastel and moody colors have become trending. This trend will create a sense of Nostalgia and a warm feeling that can make the design more welcoming and appealing.

Vintage und retro Schriftarten

Der Retrotrend hält sich auch vor Schriften nicht in Acht. Der Hauptgrund für den Einsatz von alten Schriften, ist es nostalgische Gefühle zu wecken. Dabei werden Designer hauptsächlich von der klassischen Werbung aus den 1920ern, sowie Science Fiction Filmplakaten der 70er inpspiriert.

Erdtöne

Mit dem Aufschwung von organischem Design, schaffen es auch erdige, natürliche Farbtöne und Abstufungen wieder in die Trends der Illustrationen. Hier findet man zum Beispiel, Beigetöne, Terra Cotta und Salbei- und Dunkelgrün.

starke Farben

Der Trend nach starken, knalligen Farben ist wieder klar im Kommen. Vor allem Pink, Grün und Blau sind 2023 in vielen Bereichen zu finden.

limitierte Farbpalette

Bei diesem Trend werden statt mehreren Farben, nur eine Farbe in verschiedenen Abstufungen benutzt. Das Design wirkt daher minimalistischer und cleaner.

geometrische und abstrakte Formen

Geometrische und abstrakte Formen können oft verwirren, sin aber effektiv um Verspieltheit und Kreativität auszudrücken.

atmosphärische Farbverläufe

Einer der populärsten Trends im Jahr 20234 sin atmosphärische Farbverläufe. Sie kommen vor allem im Logo Design vor und geben den Illustrationen mehr Tiefe, wirken aber nicht zu verspielt.

Handgezeichnete Illustrationen

Handgezeichnete Illustrationen kommen oft in digitalen Bereichen wie Apps, Websites oder Online-Werbung zum Einsatz. Sie geben einen verspielten, beruhigenden Kontrast zur überfüllten digitalen Welt.

by laura.weixler -

Tiefdruck – Radierung 

Die Radierung zählt zu den Tiefdurckverfahren, bei welchen die zu druckenden Teile vertieft im Druckmedium liegen. Der Name der Radierung leitet sich vom lateinischen »radere« – kratzen, entfernen, ab. Man kann zwischen zwei besonders bekannten Radierungen unterscheiden: die Ätzradierung (chemische Technik) und die Kaltnadelradierung (mechanische Technik). 

Kaltnadelradierung 

Die Kaltnadelradierung ist eine mechanische Technik, bei welcher mit einer Radiernadel, aus sehr hartem Metall, das Motiv direkt auf die Druckplatte übertragen wird. Die Druckplatte ist meist eine dünne Kupferplatte, in welcher verschieden tiefe Linien mechanisch eingeritzt werden können. Dieses Verfahren ist besonders schwierig, da man relativ viel Kraft für das Ritzen der Linien aufbringen muss.  Wichtig ist zu bedenken, dass das Motiv spiegelverkehrt gedruckt wird. Anschließend wird die Druckfarbe aufgewalzt und die überschüssige Farbe von den nicht zu druckenden Stellen abgewischt. Mit hohem Druck wird die Farbe, die sich in den Einkerbungen befindet, auf das Papier übertragen. Somit können feine Motive dargestellt werden.

Kaltnadelradierung von Wolfram Gothe; 1995

Ätzradierung 

Für die Ätzradierung wird ebenso eine Platte aus Kupfer verwendet. Seltener kommt es zum Einsatz von Zink- oder Messingplatten. Anschließend wird diese mit einer speziellen säurebeständigen Schicht überzogen. Diese Schicht wird ebenso mit einer Radiernadel eingeritzt damit das Motiv im Ätzgrund freiliegt. Sobald das darunterliegende Material freigelegt ist und das gesamte Motiv übertragen wurde, wird die Platte in ein Säurebad gelegt welches mit den freigeritzten Linien reagiert. Die Tiefe und Ausprägungen der Linien ergeben sich aus Art und Dauer der chemischen Reaktion im Säurebad. Somit nimmt die Ätzradierung Form einer chemischen Technik an, welche mit wesentlich weniger Kraftaufwand im Prägeprozess verbunden ist. Der Druckvorgang selbst ist mit dem der Kaltnadelradierung ident.

Ätzradierung von Wolfram Gothe; 1989 

Quellen:

Was ist eine Radierung? In:

https://artcube21.at/wissen-und-technik/was-ist-eine-radierung/

Die Radierung – Eine alte Drucktechnik. In: 

https://www.art4public.com/die-radierung-eine-alte-drucktechnik/

Alles geritzt! Die Kunst der Radierung. In:  

https://www.boesner.com/kunstportal/material-und-inspiration/praxis/alles-geritzt-die-kunst-der-radierung-ina-riepe/

Kaltnadelradierung. In: 

https://wp.radiertechniken.de/trockene-techniken/kaltnadelradierung/

Ritzen, Ätzen, Drucken – Die Radierung. In: 

https://www.gerstaecker.de/blog/ratgeber/ritzen-ätzen-drucken-die-radierung/

by anine.hallen -

Design philosophies of Northern Playground and H&M Group

In this blog I will look into two design philosophies from two very different companies. What are the benefits of these strategies, and what are the challenges?

Northern Playground, “Our job is to make it easier and more fun to own less.”

Two main principles:

  • Duration (physical and non-physical)
  • Multi functionality (for all occasions and adventures)

Looks and functionality:

Northern Playground mainly uses one design strategy. This is designing with simple designs, multi functionality and keep-worthiness. Their design process is slow and never puts looks over functionality. Northern Playground never launch something new unless they belive it fills a hole in their collection and that it will stay a classic “forever.”

Quality:

The clothes from Northern Playground should have long lifetime and high quality through repairability, less chemicals, needing less washing and designing the garment first and then setting an appropriate price. The clothes should also be possible to recycle.

Supply chains:

Employees in their supply chain should have more than a living wage. They should have good lives and good working conditions. In addition there is full transparency in who Northern Playground partner with.

Read more:

Read more about Northern Playgrounds design strategy here: https://www.northernplayground.no/en/content/design-philosophy, and more about their buisness models, processes etc. here: https://www.northernplayground.no/en/environment

H&M Group, “…guide to designing more circular products.”

Three pillars, designing products to be:

  • used more
  • made to be made again
  • made from safe and recycled or renewable inputs

Looks and functionality:

According to H&M Group’s “Circulator Guide” they try to place each product in a “Frequency and Lifespan” diagram before they decide on materials etc. The default before they as themselves a few questions is wear monthly and lasting for 3 years. This is not particualary ambitious.

If we wear 6 garments (pants, undershirt, shirt, sweater, jacket + underwear/socks etc.) every day, one new outfit every day in the month, for 12 months a year that would mean you would have to buy and toss 2160 garments in 3 years. This is excluding pyjamas, home wear, workout clothes etc. If most of these clothes are then placed in H&M Group’s “Mid” category they are not that designed well for recyclability, and most will end up outside of that system anyways as recycling clothes is a very overwhelmed industry.

Quality

H&M Group has a different approach than Northern Playground when it comes to the quality of their clothes. They argue that clothes which are designed for being in the “Extensive” product category should have physical and some non-physical (eg. lovability) durability. However, products in the “Mid” and “Light” category should NOT be designed for durability, but rather recyclability. They at best put medium pressure on repairability and avoiding waste.

Supply chains:

Ad H&M Group is a giant in fashion is hard to get the overview of all the suppliers and working conditions. They are part of the Transparency Pledge.

Read more:

Design strategy of H&M Group: https://hmgroup.com/wp-content/uploads/2021/11/Circulator_Guide_v1.0.pdf

What to take from this?

  • Northern Playground is designing for “timelessness,” but will probably struggle to target people who want to express themselves through fashion with their muted colors and simple silhouettes.
  • Northern Playground designs every piece in the same spirit. This leads to transparency and trust for the customer
  • H&M Group design with different strategies for how to reduce the overall environmental impact. For as long as we produce clothes ment to only last a short while this is probably a good thing as it reduces emissions. ““Focusing on developing all products to be more durable could potentially lead to us using more resources than a garment requires.” However, this makes it more unclear for the customer what type of garment they are buying. It also drives prices down which lead to overconsumption.

by andrea.hurtadotorres -

Environments that make sense.

Did you know that one in every eight people are neurodivergent? Around 50% of them don’t even know about it.  Neurodivergents tend to be high energy, out of the box thinkers and bold problem solvers, but when it comes to working in the typical modern workplace the challenges arise. 

The main problem these days is distractions, having immediate entertainment one click away, makes it even harder to focus and complete tasks effectively. Distractions lead to a loss of productivity, taking double the time it takes non neurodivergent people to complete activities. 

To mitigate distractions, we should not only improve graphic tools for learning performance, but also spaces that empower people to concentrate and focus.  Spaces with controlled sensory stimulation, where every user can decide the amount of stimulation in need, we need to remember that for some it’s easier to focus while having multisensory inputs as for others is way more challenging, giving the users the ability to choose will encourage them to find focus easier. 

Another important aspect in creating spaces for neurodivergent users is the wayfinding systems. Environments, digital and analog, need to make sense. Having easier and more intuitive ways of mapping areas or browse through a digital space, makes helps the user complete tasks in an easier and more successful way. 

by andrea.hurtadotorres -

GREAT MINDS THINK UNALIKE

Humans, we’re so many similar qualities between us; nevertheless, each and one of use has a unique skillset and set of neurological patterns which differentiate us from each other. As addressed on the last post, the term neurodiversity refers to diverse array of brains and minds which impacts the way we learn and process information. 

Some of the most common difficulties neurodivergent brains face include difficulty retaining information if it’s presented only in an auditory form, as well as a difficulty of processing written information quickly, and concentration while having multisensory inputs at the same time.  It is important to consider certain aspects while designing to reduce the risk of stress and overwhelming people, affecting their work, and learning performance. 

Simple tools we can implement are:

  • Avoiding big blocks of texts. It’s easier to grasp important information when you can get a quick snapshot of key concepts. 
  • Create learning content with visual and auditory aids. Having two inputs of information might reinforce memorizing information, just be careful you don’t add too many inputs or that they might become a distraction instead of an aid. 
  • Give clear and concise instructions. A huge part of designing for neurodiversity is making sure your user understands the instructions properly. This means, creating some extra space in your process in case the user needs to skip some steps without causing them to get stuck. 

Remember that great minds think unalike. This also means they learn and gather information differently, in fact most of us learn in multiple ways at different times, depending on our environment and the type of task we need to complete. 

by georg.kiraly -

Good Practices Vol.1

The issue of education being able to create conditions for peaceful attitudes in young people is on the agenda of Governments, educators and communities. Although good practices, good-willing thematic networks and institutional programmes exist at local, national and international levels, not enough is done to connect these initiatives and to develop a more structured, systemic approach to what actually works well, in which situation and why. There are some projects, supportet by the European Union, I’d like to share here:

– CITIZED: It addresses four categories of target groups: policy makers and other stakeholders participating in the policy making process at the different institutional levels, teachers’ training organisations, school teachers and schools as organisations. The project started in December 2020 and will last until November 2023.

The innovative approach is based on three main aspects:
1) Integration of existing elements and development of “missing elements” that will facilitate policy implementation.
2) Process innovation by bringing the issue of teachers training for democratic citizenship competences in a multi-stakeholder transnational debate involving policy makers, teacher training institutions, teachers and families and reviewing international good practices in view of its potential transferability;
3) Co-creation of innovative instruments and approaches to contextualise existing models.

– PEACE GAMES: The Peace Games consortium aims to contribute to the development of citizenship, democratic and social competences by using the full potential of creativity through game-based learning in formal and informal learning. Creativity stands at the core of this project as it is considered both as a way to acquire civic and social key competences, and as a competence to acquire and develop in itself via the use and the development of “self-made” games oriented toward Peace Education. Co-founded by the Erasmus+ Programme, Peace Games aims at diffusing these competences in learners and at helping teachers to make good educational use of games. This is organised through the identification, assessment and support to the use of relevant games (online or in face-to-face) oriented to civic competences, intercultural communication and conflict transformation already existing and provide guidelines and advices for the development of new “self-made” games relevant for particular contexts.

Children playing the world peace game together

– PERFECT: The Project has the ambition to propose and experiment a holistic method to develop key transversal competences (cultural awareness and expression, citizenship, multilingual, digital, entrepreneurship, personal, social and learning) through a transnational experience of developing a cultural product (a piece of theatre, a musical, an exhibition including students’ performance, a multimedia work, etc.) including historic research, literature and art history, music, performing arts and digital skills. Teachers of different disciplines will concur to the design and development of these projects/products involving two classes in each partner school. Therefore, the core set of activities will be implemented within, around and between the partner schools with the methodological and management support of the other partners (European Networks like FREREF, OBESSU, IPA, the IIHL with its hosted Education Inspiring Peace Lab, the Ministry of Education of Malta).

Source: http://eiplab.eu/

by georg.kiraly -

How can I affect this situation as a designer?

In general, this topic is ideal for illuminating it from different sides and disciplines. After a short socio-demographic introduction, I will devote myself to the design aspect of this topic. How can I as a designer tackle the problem already described and contribute to a positive change with my skills/mindset?

One of the most famous techniques or tools of Designer is “Design thinking”. It is concerned with solving problems through design. The idea being that the future output of the process will provide a better answer than the one already available or if nothing is available – something entirely new. It is an unconstrained methodology where it is possible that the designer (or design team) will work on many possible solutions at once. It enables designers to consider the problem in many different ways and speculate on both the past and future of the problem too. This is in contrast to the scientific method of problem solving which requires a highly-defined problem which focuses on delivering a single solution.
So design has moved more into the problem solving space. It’s not like designers weren’t solving problems before, but this was limited to “design problems”. Design problems are problems one would traditionally call a designer to solve: graphic design, interface design, interaction design, industrial design, architectural design. I don’t want to over-generalize, but the focus had been on solving problems around form, esthetics, interaction, space. Design thinking created an opening for designers to move from the more esthetically focused space to the problem solving space. Designer solve problems in a certain way and that way could now be transported to other fields of problem solving.

The famous double diamond shows the a general technique of adressing issues.

So whatever the outcome might be, I’m aware that there can be various solutions – analogue and digital – for this problem. This research is the start of a maybe even bigger project. So I’ll try to articulate a vision. An answer to the question: “Why am I working on this topic?” My response would be:

“I want to find a way to strengthen the awareness of younger people to politics and their democratic environment.“

But let’s focus again on the research. What are similar projects that already worked on that topic? You can read about that in my next blog post.

Source: https://medium.com/design-leadership-notebook/design-is-more-than-problem-solving-7e290535927c

by georg.kiraly -

Whats the actual status of awareness of younger people?

The renowned institute for opinion polls “Gallup” conducted a detailed survey among about 1000 young people (< 30 years) on behalf of the State Secretary for Youth Claudia Plakolm (ÖVP). The results were interesting and are summarised below.

It should be emphasised that this study aimed at a broad cross-section of the population. This means that demographic diversity and balance were taken into account among the respondents of this study. Although 56% of the 14 to 30 age group are interested in political life, only 16% are very interested, a figure that clearly has room for improvement.

  • The internet is clearly the first place to go for political information; TV and social media follow at a certain distance. The value for TV is surprising here, since TV consumption in this age group has been declining for years in favour of streaming offers; however, the use of TV counters may also have been subsumed here. Daily newspapers clearly lag behind TV, but still achieve a usage share of 39%.
  • In the area of social media, Instagram dominates very clearly ahead of Facebook and YouTube; TikTok, Instagram and Snapchat are, as expected, in the youngest group.
    TikTok, Instagram and Snapchat are, as expected, very significant in the youngest group aged 14 to 19. To what extent do such media, which are primarily used for
    entertainment, are actually used for political information.
  • Not surprisingly, people consider their own parents to be the most credible source of political information. Statistically, TV, daily newspapers, school/teachers, radio and friends follow at a certain distance. The internet is already lagging behind somewhat here, with social media and influencers at the bottom. This shows that despite intensive use of social media in this age group, people are aware of the credibility problems of these media (44% of users consider them to be less or not credible).

In my opinion, the following three graphs are the most interesting ones. It shows which topics are the most famous ones for people under 30, which channels are used to consume information about politics and which ones are the most credible ones:

Through which channels is political content received most? (by age)
How is the credibility of these sources assessed?
How should the focus of policy change in the future?


Quelle: https://www.bundeskanzleramt.gv.at/bundeskanzleramt/nachrichten-der-bundesregierung/2022/11/demokratiemonitoring-zeigt-interesse-der-jugend-an-politik.html , am 24.1.2023

by rabia.hombauer -

Beispiele und Analyse von Milchverpackungen

Da Verpackungsdesign gekoppelt mit Neurodesign ein sehr breit gefächertes Thema ist, habe ich beschlossen, mich in meinem letzten Blogpost auf eine Kategorie bzw. Produkt zu beschränken und diese zu analysieren, um mein gewonnenes Wissen anzuwenden.

Im Folgenden werden gute Verpackungen von Milch dargestellt und analysiert.

Beispiel 1: Unblackit

Unblackit spielt mit einer besonderen Art der Verpackung. Wenn man das Papier herunterreißt, befindet sich darunter eine Glasflasche. Da die Verpackung nicht einheitlich aufgebaut ist, sondern schwarze Stellen durch Einkerbungen bleiben, hat man eine gefleckte Glasflasche. 

Schwarz & Weiß sind beides Farben, die als schlicht & elegant wahrgenommen werden. Durch die schwarze Verpackung wird Dominanz ausgestrahlt und es zieht die Aufmerksamkeit direkt auf sich, da man eine Milchverpackung nicht in schwarz erwartet. Durch die besondere Art der Verpackung bleibt die Aufmerksamkeit erhalten und weckt Neugierde. 

Beispiel 2: Milkin’it

Bei Milkin’ it werden verschiedene Geschmacksorten im Sortiment angeboten. Wie man hier im Bild sehen kann ist das beispielsweise Strawberry Banana (rosa) oder Blueberry Pineapple (blau).

Auf den Deckel kann der Name von der Person, die es trinkt, geschrieben werden. Somit bekommt es einen persönlichen Touch.

Im Deckel befindet sich ein Witz, um den Tag zu heitern und noch ein besseres Erlebnis zu schaffen.

Der Träger der Glasflaschen ist so gestaltet, dass er wie eine Kuh aussieht, die man mit nach Hause nehmen, mit einem Namen versehen und im Kühlschrank aufbewahren kann.

Durch die äußere Aufmachung der Glasflaschen und die fleckige Gestaltung wird auch hier sehr viel Aufmerksamkeit auf das Produkt gezogen. In Andenken an die Kuh, wird hier weiß als Farbe gewählt, was auch für Eleganz & Reinheit stehen kann. Durch die verschiedenen Sorten bekommt die Milch gleich eine ganz andere Bedeutung und ist nicht nur quasi „geschmacklose“ Milch. Durch die Trägerverpackung kann es ideal transportiert werden. Somit ist dieser Art der Verpackung nicht nur ein „Eye-Catcher“, sondern erweist sich auch als sehr nützlich.

Beispiel 3: Gewöhnliche Milchverpackungen im Supermarkt

Als Grundlage zur Analyse muss man natürlich nicht nur „exotische“ Verpackungen in Betracht ziehen, sondern auch die gewöhnlichen Verpackungen, welche man im Supermarkt findet.

Wie man in dem Milchregal im oberen Bild sehen kann, sind Milchverpackungen für gewöhnlich Blau, Weiß oder Grün und eher schlicht gestaltet. Sie sind meistens im Tretrapack zu finden. Blau zählt zu den beliebtesten Farben und ist von vielen Menschen die Lieblingsfarbe. Vermutlich wird aus diesem Grund verstärkt zu dieser Farbe gegriffen. Des Weiteren wirkt Blau sehr vertrauenswürdig, was einem bei einem Produkt des täglichen Bedarf von Bedeutung sein könnte. Weiß wird vermutlich verwendet, da der Inhalt Weiß ist und es so zum Produkt passt. Mit Grün wird Natur & Bio verbunden, daher ist auch bei Milch diese Farbe sehr passend.

Beispiel 4: Pflanzliche Milchsorten

Das obige Foto zeigt die Verpackungen von pflanzlicher Milch. Da vermehrt Menschen zur veganen Lebensweise umschwenken, gewinnen jene Produkte immer mehr an Bedeutung. Die Verpackungen hier sind lebhafter und moderner gestaltet. Es wird überwiegend auch hierbei zu Blau & Weiß gegriffen, jedoch gibt es auch andere Farbvariationen. Zum Beispiel Grau, Braun oder eine Mischung aus Gelb & Orange. Gelb & Orange sind warme Farben und stellen Vergnügen da. Orange steht für Modernität – was zum Image von pflanzlicher Milch passt. 

Im nächsten Schritt wäre eine qualitative oder quantitative Forschung von Interesse. Kann man das Kaufverhalten zu einem großen Teil generalisieren und Rückschlüsse auf die Mehrheit ziehen? Was genau ist den Konsumenten beim Kauf wichtig, worauf achten sie bewusst & unbewusst?