Visual merchandising

vasantkothari@gmail.com
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Department features
fashion on hangers, to
try and buy.

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Sr No Topic Slide #
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13 Fixtures 346
14 Lighting 376
15 Mannequins 404
16 Signage and Graphics 424
17 Common Errors in display 448
Introduction to Visual Merchandising 4
Exteriors and Window Structures 8
Principles of Design 36
Merchandise Display 82
Elements of Design 132
Lines 134
Form, Shape and Space 164
Colors 180
Patterns 241
Interiors 248
Store Design Layout 291
Material and Props 330

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Introduction
Visual Merchandising is the actual selling of Merchandise through a
Visual Medium

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The presentation of the entire store and its
merchandise in ways that will attract potential
customers and motivate them to make
purchases.

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Everything the customer sees, both exterior and interior, that
creates a positive image of a business and results in attention,
interest, desire, and action.

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► Visual Merchandising can
Improve business’s productivity
Boost sales per square foot
Generate a faster turnover rate
Sell more of most profitable merchandise
Decrease markdown rates
Increase the amount of average
transaction
Convert the shopper a “stopper” and a
walk-in rather than a walk -by.

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Exteriors and Window Structures
Essential to the success of every operation that deals with consumers is
the ability to motivate potential customers to come inside.

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Exterior Store DesignExterior Store Design
► Store design involves formulating and structuring all
elements of the physical environment.
► The storefront includes all aspects of the front/exterior of
the store.
► Elements include the marquee (or exterior sign),
entrances, windows, banners, planters, awnings and
lighting.
► Three other important functional aspects of exterior
design are customer visibility, store security, and potential
for efficiency among staff and associates.

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Signs and EntrancesSigns and Entrances
► A sign is a silent salesperson, and part of a shopper’s
first impression of a store. In less than 10 seconds the sign
must attract attention, tell who the business is and what it
has to sell.
► Retail entrances are designed to draw customers into
the store through visual appeal and physical convenience.
► The number, and type of entrances used depend on the
location, the type and density or traffic, and security
considerations.
► Doors may be revolving, electric, or regular push pull.

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► The store’s sign, on the outside of the building, makes
the first impression on the shopper. It sets the look and
image of the store.
► The sign should be the store’s “signature”-personal,
original, and recognizable. It should make a statement.

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MarqueesMarquees
► The marquee, a permanent awning for protection from
the elements, is an integral part of the building facade.
► It is often cantilevered out over the street, in front of the
main entrance to the store.
► The marquee can be an exciting place to start the
display of a storewide event or promotion.

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Store FrontStore Front
► Store front can be categorized as below
Arcade,
Straight, and
Angled.

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Arcade FrontArcade Front
► Arcade fronts are usually spacious.
► They allow the window merchandise closely.
► They seem to be more relaxing to the shopper and often
take on highly surrealistic shapes, with concave or slanted
panes of glass and beautifully decorated windows.

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Straight FrontStraight Front
► This type of front parallels the sidewalk, with its
monotony broken only by entrances.
► The entrances may be recessed into the main floor area,
but all the lines are identical.

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Angled FrontAngled Front
► The angled front is much like the straight front in that it
follows a true line, but the monotony is relieved by angles
away from the sidewalk contour.
► The design of the doors or windows in an angled-front
store may be asymmetrical or symmetrical.
►These entrances have deep lobbies to allow traffic to
slow down without being pushed or pressured by other
pedestrians.

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Window StructuresWindow Structures
► The following are the basic storefront and window designs
that allow for many variations
Angled windows
Parallel to side walk windows
Corner windows
Enclosed windows
Open back windows
Half – Open windows
Arcades
Windowless windows
Live or demo windows
Circular windows
Shadow box windows
Interactive or Through-glass windows
Islands

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Angled WindowsAngled Windows
► In order to give more exposure to the viewer, there are
windows that are similar to the parallel to the sidewalk type
but can feature more displays in less space.
► By angling the windows, the display space can be
elongated to form a vestibule that leads the shopper into
the store.

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Parallel to side walk windowsParallel to side walk windows
► The windows that run parallel to the sidewalk and are
generally back closed to separate them from the rest of the
store.

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Corner WindowsCorner Windows
► Windows at the corners provide view from each of the
two converging streets.
► It can have variations like- entrances from both the
sides or entrance in the center, with two windows flanking
it.

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Enclosed WindowsEnclosed Windows
► These are ones which have walls on three sides and
glass on one side to view the window display.

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Open back windowsOpen back windows
► Retailers who believe that the entire store should be
visible to the consumer from the outside, yet feel the need
to feature conventional window displays, often choose the
open-back window structure.

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HalfHalf –– Open windowsOpen windows
► Half open windows use
partitions or architectural
dividers of some kind to
separate the display from the
store proper.
► E.g., Dividers: rail fencing or
artificial evergreens.

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ArcadesArcades
► In arcade windows there are set back doors/entrances
thereby increasing the size of display windows.
► Stores with limited frontage whose merchandising
philosophy requires a large window display space get
benefited from such a design.

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Windowless windowsWindowless windows
► The thought behind these windows
is that with the ample open frontage,
the shopper can get the impression of
the store’s merchandise and will enter
the premises without being enticed by
a window.

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Live or demo windowsLive or demo windows
► Live or demo windows have caused many shoppers to
stop and notice when they suddenly waved or wrinkled at
an unsuspecting passerby.

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Circular windowsCircular windows
► In order individualize their images, some companies
develop window structures that are quiet different from the
traditional ones.
► These do not provide space for retailing.

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Shadow box windowsShadow box windows
► Stores that feature small items such
as jewelry require window structures
that enable close inspection of the
merchandise.
► Windows of such nature are
elevated so that comfortable, clear
viewing is possible.

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Interactive or ThroughInteractive or Through--glassglass
windowswindows
► They can literally communicate with shoppers day and
night.
► Viewers can virtually design their own window displays
by calling up brands and images that interested
them from a programmed menu.

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IslandsIslands
► It’s a display that can be viewed
from all the sides.
► Deep vestibules (arcade or
angled windows) and wide
frontage results in an excessive
amount of space at the store’s
entrance.
► Some stores wishing to better
use the lobby area and gain
additional display space build
islands in the center of the
vestibule.
► Sometimes these displays are
also set inside the store.

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Window Lightning RulesWindow Lightning Rules
► Show merchandise in
true colors

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► Focus on merchandise

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► The window’s proscenium (fore ground) and side turns
should conceal most lighting fixtures unless they are a part
of the presentation’s design.

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► Visual merchandising is comprised of five
components
Store Image
Storefront
Store Interior
Store Layout
Interior Displays

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Principles of Design
The principles of design guide the organization of the design elements
for an effective visual impression.

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Principles of DesignPrinciples of Design
► The five principles to be considered are
Balance,
Emphasis,
Proportion,
Rhythm, and
Unity/Harmony

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BalanceBalance
► Balance may be defined artistically as the state of
equipoise between the two sides of an entity.
► The word balance describes equality of weight,
something distributed evenly or on two sides of an
imaginary line.
► Balance refers to the displaying of merchandise “in such
a manner that a pleasing distribution of weight occurs.
Weighing, to determine balance, involves estimating and
comparing the values and importance of the two sides of
the display.”

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BalanceBalance
► Balance is a sense of equilibrium that provides a feeling
of stability. When things are unbalanced, people have an
uneasy feeling.
► Balance has to do with the relationship of the elements
within the composition (advertising, display, etc.).
► Balance results when the parts of the design have equal
visual weight.
► Balance is a state of equilibrium––the equality of two
things in weight, force, and quantity.

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Types of BalanceTypes of Balance
► Generally, there are two types of balance:
Formal or Symmetrical
Informal or Asymmetrical.

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Symmetrical/Formal BalanceSymmetrical/Formal Balance
► Balance achieved through the use of identical objects or
very similar objects on either side of the center is known as
► Symmetrical or formal balance and produces a sense of
dignity, calm, and repose. Symmetrical balance is effective
in promoting classic goods for important occasions; such
as confirmation dresses or business suits for a job
interview.
► This can be effective where
Expensive and Quality
Merchandise Is being
Presented.

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► Formal balance occurs when
each object on the right side
has an exact counterpart on the
left side relative to size,
placement, shape, and color.
► Therefore, each side has
equal power to attract attention
and is equally forceful in
demanding the customer’s
action.

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► Formal balance produces a
feeling by the total unit of
dignity, restraint, and
conservatism.
► This type of balance is
usually used to depict tradition,
store image (or other
institutional examples), and so
on and denotes less activity
than the informal type.

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Asymmetrical / Informal BalanceAsymmetrical / Informal Balance
► Informal balance in display also achieves component
equality to the viewer’s eye, but it does so by using
varieties of color, placement, size, and shape of the objects
on opposite sides of the display.
► Using this type of balance to create a display can result
in more subtle and imaginative arrangements.
► It is used in merchandising
when the designer wishes to
provide activity, excitement,
and variety.

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► Informal balance creates flow or rhythm
and a feeling of excitement.
► The two sides of the display appear to
be of equal weight, but hey are not replicas
of each others.
► Something large can be balance by
several small items or an expense of empty
space, a bright color or a shot of light.
► Several soft colors in a large space can
be balanced by one bright color because
the intensity of the bright color will
compensate for its small size.

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► In the case of objects of different weight, the heavier one
could be moved closer to the center to achieve balance.
► Dark values of colors appear heavier than light values.
► Dull textures appear heavier than smooth textures and
should be placed closer to the center to balance the
design.

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Points to consider for BalancingPoints to consider for Balancing
► If colors are too light, they will overwhelm pastels.
► If several small objects are more exciting than the large
object, they will overpower the large item.
► A large expanse of empty space will call attention to a
single object placed within it.
► If an item is placed at an angle or to one side (off
center), the space on either side of that piece becomes
important.
► If an object is centered, the empty space loses
importance because its shape is predictable and therefore
has less recognition as its own element.
► A pleasing distribution of weight using merchandise of
similar value will provide importance to both sides.

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How to determine balance in a display?How to determine balance in a display?
► Use exact objects in both parts of the display.
► Draw an imaginary line down the center of the display.
► To achieve formal balance, place objects, weight for
weight, on either side of the line. To achieve informal balance,
place merchandise and props so that more weight occurs on
one side than on the other.
► Place heavier objects and stronger colors closer to the floor
or base of the display to avoid top-heaviness. For example, a
small item place in the foreground will balance a larger item
placed in the background.
► Balance objects of a brighter hue (color) with larger objects
that have less intensity of color.
► Balance smaller objects with larger objects by the
frequency with which they appear. For example, one large
item can be balanced with two or more smaller items.

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EmphasisEmphasis
► Emphasis is the point of initial eye contact. From this
spot all other eye movements flow.
► Emphasis is therefore the formulation of a focal point,
with all else in the display subordinate.
► The focal point is the dominant or central point of a
display, with everything else playing a secondary or
subordinate role.
► The Merchandise must be the focal point in a majority of
displays.

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Methods of creating emphasis pointsMethods of creating emphasis points
► The display person must keep in mind t hat the eye must
have a point of beginning and that this point has to be
planned and created. Emphasis can be achieved in a
number of ways:
Repetition
Contrast
Elements of design

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► Repetition
A frequently used method is the repetition of an
element.
A display created totally in purple would be difficult to
ignore. The shopper’s eye is attracted by the sheer
amount of the color.
Size is an obvious means of creating a focal point.
The largest figure in an advertisement will draw attention
and hold it longer than small figures.
Repetition creates emphasis by calling
attention to the repeated element
through sheer force of numbers.

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► Contrast
This can create emphasis, intensifying visual
perception. Great embellishment prolongs the visual
involvement and thus provides a point of focus.
By contrast, an area devoid of pattern directs the eye
to the object. This is the reason an advertisement with a
large amount of white space captures the eye and
focuses it on the figure.
This concept of space providing
emphasis works equally well in
a display. Less merchandise in a
window means more emphasis on
the few items that are there.

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► Elements of design
Generally, a composition needs one major point of
emphasis that holds the viewer’s visual attention longer
than any other point.
This is achieved in part by subordinating all other
elements (color, texture, line, form, space, etc.) to the
major one.

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► A display needs to emphasize a theme or mood, such
as the use of sports equipment, work equipment or leisure
equipment set up in a lifelike situation. Themes may also
depict seasons, anniversaries, celebrations, holidays, and
other special store events. All elements in a display must
then reinforce one other and emphasize th mood created.
► An isolated item can be emphasized when surrounding
by blank space.
► Shiny surface emphasize and enlarge objects.
► Dull surface absorb light and help to de emphasize area.
► Color is powerful medium for creating emphasis. Small
amount of advancing color, bright intensities, extreme tints
or shades contrasts in the right places will provide striking
accents.

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► Unusual textures highlight an area.
► Emphasis is diminished with receding variations such as
thin, fuzzy lines; non descript shapes; regular spacing;
even light absorption, cool hues; dull intensities; medium
tints or shades; dull opaque textures; and small, all over or
no pattern.
► Repetition usually means something is important; so
repeated shapes, colors or motifs grouped together
reinforces their importance, creating emphasis. Make sure
if goods are used in repetition that these goods are
emphasized for sale.

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ProportionProportion
► The principle of proportion involves the comparative
relationship of the design elements to each other.
► Proportion is the ratio of the parts to the whole display.
► It is comparative relationship of distances, sizes,
amounts, degrees or parts.
► When each element is in proportion, the whole will have
a pleasing effect to the eye.
► The merchandise along with props and mannequins
should be planned such that they are proportionate to each
other as well as to the provided display area.

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► Proportion and contrast are important elements of good
composition. Drastically changing the proportions between
items and dramatic contrasts of color and texture can work
wonders in attracting attention to a display and in helping to
promote an idea or a look.
► There are four commonly used space divisions or types
of arrangements by which the display person achieves
proportion:
Pyramid,
Step,
Zigzag, and
Repetition

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► Pyramid
The pyramid is a triangular arrangement with a broad
base rising to a center peak.
It is a common device to achieve proportion and may
be used with any type of merchandise.
It tends to give a display a stiff and formal feeling.

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► Step
The step is a level elevation within the display area. It
is effectively used as a side unit facing the center of
attraction.
It is more informal than the pyramid and is most
effective when only three steps are used.
When steps extend evenly from either side to a
midpoint within the display, the
appearance is of an inverted pyramid.
This aspect of proportion may
therefore be easily combined with
the illusion of the pyramid.

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► Zigzag
The zigzag is based on the principle of the double
reverse curve and is particularly adaptable to wearing
apparel, owing to the flexibility and ease of draping most
fabrics.
The zigzag requires equidistant spacing and precision.
It may be especially effective when small accessory
steps are used, thereby eliminating vacant areas.
An easily achieved zigzag effect is
created by using material like yarn,
rope, or ribbon to lead the eye
throughout the zigzag line.

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► Repetition
Repetition, as a type of proportion, is simple in form.
It makes use of steps of the same general nature. It
aligns all items in the same manner by height, spacing,
and the angle at which they are placed.
This type of repetitive arrangement requires
deviations to break the monotonous effect that may
evolve.

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► Do not use all large objects, because there is nothing to
break the monotony and sameness of that large feeling.
► Adding an odd number of smaller, related items to large
pieces creates more interest and balance.
► Proportions take on more meaning when items define
one another. For example the size of dinosaur is defined
when it is standing next to a two story house.
► Proportion and balance can best be accomplished when
articles within the display play off each other through their
size, shape and color.

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► Ratio of merchandise to space is critical:
Each piece of merchandise must be considered in
relation to others.
The ratio of Props and show cards to merchandise
must be in proportion to avoid the appearance of
stressing or selling your props rather than merchandise.
Each object should not be too large or too small, nor
too heavy or too light in proportion to other items in
display areas.
Proportion and contrast are important elements of
good display.

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RhythmRhythm
► When all the elements are properly located so that the
eye travels smoothly from one part to another, then flow,
movement, or rhythm have been achieved. Rhythm can be
achieved through various means like
Repetition
Continuous line
Progression
Radiation

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RhythmRhythm
► Rhythm may be broken up or continuous; clearly stated
or subtly suggested; repeated or vaguely similar.
► Rhythm entails an arrangement of organized motion and
does not necessarily need repetition. However, it does gain
impact from repetition.
► A flow exist if the eye travels from one area of a display
to another, covering the entire display. The eye should
travel easily through the entire design.
► A display can lead the eye with color, repetition,
shadows created by light placement, lettering or texture.

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► Repetition
It gives regularity to the movement of the eye, as if it
knows what is coming next.
This produces an impression of constancy and
stability.
These impressions are helpful in promoting classic
styles of clothing, especially for professional wear.

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► Continuous Line Movement
The simplest method for directing the eye is a
continuous line, either straight or curved.
In an advertisement, the reader’s eye enters the ad in
the upper left corner. It may proceed from left to right in
a straight line.
The eye starts at the top left quarter of the
arrangement and proceeds downward to the lower right
corner.

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► Progression of Sizes
Progression of sizes refers to using similar shapes
and varying their sizes by consistently increasing or
decreasing them along the visual path.
The eye is made to move rapidly over the display,
and this swift eye movement is in keeping with the
immediate, quick viewing that is essential to the
successful display of merchandise.
It is a more dynamic means of achieving eye
movement than is repetition.
It employs the sequential evolution of
an element for example, using light,
medium, and dark colors sequentially
in a design.

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► Radiation
Another way to create rhythm is by radiation, that is,
use of a circular arrangement that guides the eye from a
central point around the parts of the design.
Designs that employ radial rhythm or movement are
often dramatic. However, this method of creative rhythm
offers less variety than the other two methods.

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► English reading people read from left to right. A left to
right reading should be created in the display.
► Use element that mean something together and relate to
the merchandise.
► Create a pattern through the use of light and dark, either
with color or light.
► Overlapping of objects placed together in the display
area can prevent the blank space that could exist with an
even number of items in a display. Overlapping is one of
the most effective tools for creating good flow.

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► It is usually recommended to use an odd number of
items when displaying multiples.
► Use a fabric or color that unifies the themes.
► Use props that are repetitious either in form or theme.
► Use the technique of flying merchandise to create flow.
► Use lettering with repetition of similar items or with
dominance by using oversized items to create flow.
► It is important that the eye is led throughout the display
and does not leave until all parts have been seen.

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Unity/HarmonyUnity/Harmony
► When all the elements in a design properly blend to form
a unified picture, the principle of harmony has been
achieved.
► Harmony is a coordinating
umbrella principle that can cover
and incorporate every other
principle.
► Harmony is agreement in
feeling and consistency in mood
► Without Harmony, the
observer is uncomfortable and
will not be enticed to purchase
merchandise.

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Unity/HarmonyUnity/Harmony
► Harmony may be achieved through use of the artistic
devices of
Line,
Shape,
Size,
Texture, and
Idea.

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Functional HarmonyFunctional Harmony
► It deals with how something works physically, which
means it must be realistic and must work.
► An example of kitchen counter used in a display that is
the appropriate height and depth for working.

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Structural HarmonyStructural Harmony
► It is correctly fitting together all the pieces; merchandise
should not be out of place in the display.
► For example, an electrical appliance is not structurally
consistent in an outdoor or camping device.
► A good window display may have pots and pans, fishing
gear and outdoor furniture all mixed together because
these items truly would be used on a camping trip; hence a
camping theme is carried out.
► All the merchandise is brought together as part of the
trip and harmony would be created or a mood would be set.

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Decorative HarmonyDecorative Harmony
► It includes the parts of display that are included only for
decorative purpose.
► If an atmosphere of spring is being developed,
butterflies and/or flowers may be used as props. These
items are attractive and add to the theme.

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Merchandise Display
Merchandise display is the arrangement and organization of display
materials and merchandise to produce a stimulus that leads to the sale
of merchandise and services.

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Outcome of a good displayOutcome of a good display
► It sells products and services
► Publicizes the business.
► Lays a foundation for the future sales
► Builds prestige
► Educates the public
► Builds up the goodwill of the public
► Offers the public useful, practical demonstrations.
► Familiarizes the public with the operations of the
business.
► Harmonizes business interests with esthetics.

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Rules for Display PlanningRules for Display Planning
► Help the eye in finding the focal point of the display easily.
► Limit the number of competing elements in the display.
► Give the display one dominant theme.
► Use contrast and rhythm to add life to the colors and
proportion.
► Select display props and material having some connection
with the exhibited product.
► Do not allow the display props and materials to take up most
of the best space in the window.
► Avoid anything that conflicts with the sales message.
► Use colors appropriate to the season.
► Do not mix the styles.
► Relax and see if the display sells.

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Purpose of DisplayPurpose of Display
► The purpose of Display in a store is to attract customers
to the store, and ultimately convince them to buy the
merchandise. The main purposes of a display can be
discussed as under:
Sell by show
Encourage the shopper to enter the store
Establish, promote & enhance the store’s visual
image.
To enhance the customer’s shopping experience
Introduce & explain new products
Educate customers by answering to their queries
regarding the use & accessorization of a product.

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Functions of a DisplayFunctions of a Display
► The display in a store functions in the following three
ways:
It presents the selection of merchandise in a manner
that will maximize both space and visibility to
customers.
To allow store sales associates to interact with
customers more effectively.
To enhance the visual appeal of a product to
encourage customer’s interest and subsequent
purchase.

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Points to Enhance the DisplayPoints to Enhance the Display
► Create a strong entrance.
► Allow front-to-back sightlines.
► Take advantage of the highest profile location and place the
best selling merchandise in this area.
► Direct and redirect common customer traffic patterns, which
will encourage them to zigzag through the store.
► Wrap it all up at the cash-wrap stand, to enable the
customer to reach that point after seeing the merchandise.
► Maintain an active feeling in your store so that the sales
associates do not congregate in one location and do not
make the store look static.

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Types of DisplayTypes of Display
► Approaches to merchandise presentation vary according
to the type of display- from special, or feature, areas to
regular freestanding assortments and wall units.
► Special display areas include end-of-aisle end caps,
windows and point-of-sale and demo areas.
► A display is at its best when it simply shows a color, an
item, a collection, or just an idea.

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► Types of displays include the following:
One Item Display
Line-at-goods Display
Related Merchandise Display
Variety or Assortment Display
Promotional Display
Institutional Display
Seasonal Display
Holidays Display
Creative Display

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One Item DisplayOne Item Display
► A one-item display is just the showing and advancement
of a single garment or any single item. It features only one
piece of merchandise-designer gown, automobile, piece of
jewelry etc.

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LineLine--atat--goods Displaygoods Display
► It is a kind of display in which only one type of merchandise is
shown, (viz; all blouses, all skirts, pots etc.) although they may
be in a variety of designs and colors.
► They could be designed by the same designer, or created
with the same fabric or print, or they could all feature a common
theme.
► However, for more effective presentation, and for better
comprehension and acceptance by the shopper, there should be
some connection or relevance indicated as to why these three or
four articles are being shown together.

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Related Merchandise DisplayRelated Merchandise Display
► When the store wants to deliver a message that says, “I’
am a complete outfit, buy me,” it often chooses to feature
the outfit or ensemble in a setting by itself.
► The intention is to entice the customer to buy a total
package rather than one or two items.
► The main merchandise of purchase is set along with all
other complimenting merchandise tempting the shopper to
but all of them altogether.

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Variety or Assortment DisplayVariety or Assortment Display
► It is a potpourri of anything and everything.
► It is a collection of unrelated items that happen to be
sold in the same store.
► It can be work shoes, silk stockings, teakettles, Hawaiian
print shirts, nightgowns etc.
► It is a mélange of odds and ends, a sampling of the
merchandise contained within.

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Promotional DisplayPromotional Display
► This kind of display advances concept, trend and an
item. The basis of this kind of display is often the sales.
► It has a very low margin of profit and thus needs a large
sales volume to exist.
►These display stores generally advertise prices.

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Institutional DisplayInstitutional Display
► This display promotes an idea and not an item. It
promotes the institutional services.
► This display presents the store as member of the
community which helps further in building the image of the
store.
► In this kind of display only incidental mention is made of
merchandise; service, special features, or facilities of the
store are featured.
► These displays create customer loyalty and goodwill.
They do not produce direct sales of merchandise.
► The concept of institutional display is more subtle than
other concepts, concentrating on building an image for the
store in the minds of the customers

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► Whatever the event, the store wants to say that here is
retailer with pride in its country and community, with
interests beyond just making sales.

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Seasonal DisplaySeasonal Display
► Each season brings with it particular merchandise to
feature, and nature suggests general settings in which to
show it.
► The cold of winter, the budding and blooming of flowers
in the spring, the warmth of summer, and the chill of fall
each provide a unique opportunity to encourage customers
to start thinking about what they need for the next season,
and try to buy it now.

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Holidays DisplayHolidays Display
► While Christmas or Diwali is unquestionably the major
holiday of the year for the majority of the retailing world,
other holidays play a major role in the achievement of the
year’s total volume.
► The selling period for each holiday varies, as does the
number of departments served by the holiday promotions.

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Creative DisplayCreative Display
► While four seasons and major holidays provide a
framework for planning merchandise presentations, much
of the work visual merchandisers produce does not fall
under these categories.
► These are the visual presentations that result from the
ingenuity of the display persons and their inherent
creativity.
► There are no real guidelines except that they must not
overpower the merchandise.

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Display SettingsDisplay Settings
► In the presentation of any display, there are some basic
approaches that any visual merchandiser will make to set
the scene for the merchandise or the concept to be sold.
These approaches can be summed up as under:
Realistic Setting
Environmental Setting
Semi-Realistic/ Vignette Setting
Fantasy Setting
Abstract Setting

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Realistic SettingRealistic Setting
► A realistic setting is essentially the depiction of a room,
area, or otherwise recognizable locale, reinterpreted in the
allotted display area, either in the windows or inside the
store.
► A realistic setting requires the careful blending of color,
textures, shapes, and the proper lighting to keep the
background at a proper distance.

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Environmental SettingEnvironmental Setting
► This is a merchandise presentation that shows an
assortment of various related items in a setting depicting
how and where they may eventually be used.
► In this form of realistic setting, the “background” is
actually the “foreground” because the details that make up
the realistic set are actually the merchandise being
promoted in the display.
► Everything on display in this setting is for sale in the
store.

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SemiSemi--Realistic/ Vignette SettingRealistic/ Vignette Setting
► When space and budget do not allow the time or effort
for a fully realistic presentation, the display person may opt
for the very popular, semi-realistic or “vignette” setting.
► The visual merchandiser presents the essence, and
leaves the rest to the active imagination of the shopper.
► This is a more effective but simpler approach to
merchandise settings.

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Fantasy SettingFantasy Setting
► A fantasy setting can be as detailed or as suggestive as
the display person, budget, and time permit.
► It is creative, requires thought, energy, and lots of
planning, but it can be very rewarding.
► It can be surrealistic or just completely off-the wall.

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Abstract SettingAbstract Setting
► An abstract setting might seem as if it would be the
easiest to do, but it is often the most difficult.
► The least amount of display often makes the biggest
statement. In an abstract setting, the merchandise is the
dominant feature and the setting supports and reinforces
the message.
► The abstract setting is predominantly an arrangement of
lines and shapes, panels, cubes, cylinders, triangles,
curves, arcs, and circles.
► The design does not really represent or look like
anything in particular, but it does evoke certain responses
from the viewer.

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Merchandise PresentationMerchandise Presentation
PlanningPlanning
Methods of Merchandise Presentation:
•Shelving
•Hanging
•Pegging
•Folding
•Stacking
•Dumping

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Merchandise PresentationMerchandise Presentation
PlanningPlanning
Psychological Factors to Consider When
Merchandising Stores:
• Value/fashion image
• Angles and sightlines
• Vertical color blocking

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4545--Degree Customer SightlineDegree Customer Sightline

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Vertical Color BlockingVertical Color Blocking

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ELEMENTS OF DISPLAYELEMENTS OF DISPLAY
► There are few attributes, which contribute to the display
process in a store. These attributes are known as the
“elements of display”. These include six elements that are
necessary components in the production of successful
display units. They are:
Theme
Merchandise
Shelf or Display Area
Props
Lighting, and
Copy Cards (Show Cards).

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The ThemesThe Themes
► A display or merchandise presentation should convey a
specific theme or idea. This theme is the framework for
creating a visual presentation.
► Lack of a theme is the most common display error;
therefore a theme needs to be properly planned and
developed.
► A store’s promotional policy dictates the appropriate
theme of a display.

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► The following are guidelines as to the correct use of
themes in visual merchandising:
Over all themes should be selected after the bulk of
the merchandise has been bought for the season.
Overall themes must relate to the merchandise in
both color and concept.
Overall themes must create an image
instantaneously––and it must be the correct image.
Overall themes can be achieved by the use of
hanging banners or signs; floor signs; flowers or props
that relate to the signs and banners; matching urns;
merchandise coordination; and valance colors.

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The MerchandiseThe Merchandise
► The most important element of a display is the
merchandise.
► Props are useful but should never be the focus and
become more important than the merchandise.
► To create a good display requires the use of the art
principles involving-line, form, balance, color, and light. The
eye appeal of the display is responsible for most impulse
sales.

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The MerchandiseThe Merchandise
► The merchandise is that element that supports the
theme of the display and, ultimately, the final value of the
display in the light of the merchandising goal.
► All other elements are intended to support and promote
the goal that this initial selection of merchandise or idea
produces-special promotion, holiday, seasonal, high
fashion, and so on.

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Shelf or Display AreaShelf or Display Area
► Shelves and display areas provide the actual physical
framework for the display.
► Before the props, lighting, or show-cards are
considered, this physical facility must be analyzed to
determine what, if any, problems could arise involving the
use of the area.
► During such analysis, it is important to keep in mind that
the viewer’s eye must move easily throughout the display,
regardless of the direction from which he or she
approaches.

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► The type of merchandise that will be displayed (or in the
case of an institutional display the idea, the service or
benefit offered) influences the selection of a display area.
► A small item such as jewelry will require a case to be
properly displayed, whereas linens may require cube units
and a floor display to promote the merchandise effectively.

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► Areas and fixtures used for optimal merchandise
presentation and as display areas include:
End caps- located at the end of an aisle.
Promotional aisle - used to promote seasonal or
special sale merchandise.
Freestanding fixtures
POP area
Bulk of stock – contains a full assortment of
merchandise.
Walls

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PropsProps
► Props (properties) are special elements, which help to
sell the concept of a company image as well as add an
accent to the environment, which are created.
►

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PropsProps
► A prop is anything used in
the display to help decorate
the area and accent the style
of the fashion.
► The props in a display
enhance the fashion
message, help to tell the
story, and should not
compete with the
merchandise.
► They should be interesting
and relevant to the
merchandise.

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PropsProps
► Display props include all physical objects within the
display area that are not considered salable merchandise;
namely, floor coverings, wall treatments, backgrounds,
mannequins, shelves, steps, and other objects involved in
creating settings for the merchandise.
► Display props, however, must not overshadow or
dominate the salable items.
► The major purpose of display must always be kept in
mind: to present and sell merchandise to the consumer.

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PropsProps
► A prop could be a
Chair,
Table,
Platform,
Plant,
Flower
Colorful backdrop
Santa Claus mannequin,
Stuffed animal,
Tinsel or Glitter.

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PropsProps

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LightingLighting
► Lighting within the display is used to draw attention to a
part of the area or a specific item in the display, or to
coordinate parts of the total area.
► Lighting emphasizes items or areas: it also may be used
to bring motion into the various segments of the display
and to direct the viewer’s eye.
►Types of lights, in addition to usual indoor lighting
arrangements, include floodlights, revolving lights, black
lights, colored lights, flashing lights, and spotlights.

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Signage/Copy CardsSignage/Copy Cards
► Copy cards or show cards, (lettered cards or signs)
provide the viewer with information concerning the
displayed items and their benefits to the consumer, Copy
cards are that additional incentive so important to visual
selling.
► Copy cards are designed appropriately in lettering style,
content, emphasis, size, and placement, so that the
message they convey to the viewers will be in agreement
with the purpose of the total display.

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► Signs do the talking for a display. They give significant
details about the article, such as size, styles, and colors.
Thus, as silent salespeople, signs answer customer’s
questions about price and features and tell where the
goods are located in the store.

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► Signs must be informative. The wording should be compact
and, when possible, sparkling.
► Strive for a professional look.
► Signs must be clean. Nothing spoils merchandise quicker
in the customer’s eyes than a soiled sign.
► Keep signs timely by changing them often.
►Try to make signs sell customer benefits rather than things.
Signs for clothes, for example, should sell neat appearance,
style, and attractiveness rather than utility. For furniture, they
should sell home life and happiness rather than just lamps
and tables.

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Elements of Design
The elements are components or parts, which can be isolated and
defined, in any visual design or work of art. They are the structure of the
work, and can carry a wide variety of messages.

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Elements of DesignElements of Design
► Line
► Form, shape and space
► Color
► Pattern
► Texture

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Line
It is a major part of composition and second only to color in creating a response
to the merchandise in a display.

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LineLine
► A line is a mark made by a moving point and having
psychological impact according to its direction, weight, and
the variations in its direction and weight.
► It is an enormously useful and versatile graphic device
that is made to function in both visual and verbal ways.
► It can act as a symbolic language, or it can communicate
emotion through its character and direction.
►Line is not necessarily an artificial creation of the artist or
designer; it exists in nature as a structural feature such as
branches, or as surface design, such as striping on a tiger
or a seashell.

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► Lines can be combined with other lines to create
textures and patterns.
► The use of line in combination results in the
development of form and value, which are other elements
of design.
► However, line is not always explicit. It can exist by
implication, as the edge of forms.
► As young children we usually begin drawing landscapes
by making outlines for earth, sky, and other objects.
► Gradually we learn that objects do not have such
outlines and we let color changes define the edges of
shapes, creating implicit lines. Thus we can speak of a
horizon “line,” or the “lines” of a car or a fashion silhouette,
even though we know there is no literal line present.

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Different types of LinesDifferent types of Lines
► Line also communicates emotion and states of mind
through its character and direction. The variations of
meaning generally relate to our bodily experience of line
and direction.
► The way in which these lines are utilized and combined
determines the effectiveness of the merchandise
presentation.
► Each line suggests something else and, as letters
combine to form words, lines are arranged to make selling
“pictures.”

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Horizontal lineHorizontal line
► They tend to widen the surface on which they are used
and seemingly decrease the height of the area.
► Horizontal lines create a feeling of rest, relaxation, and
repose, as in the restful line of the horizon.
► Objects parallel to the earth are at rest in relation to
gravity.
► It is perfectly compatible with robes, loungewear, or
nightwear.

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Vertical linesVertical lines
► It expresses strength and stability and is
inherent in many types of merchandise
constructed of rigid materials.
► Its application naturally gives the viewer
an up-and-down eye movement.
► Dominant use of vertical lines in a
display tends to heighten the area, giving
the illusion of increased space in this
direction.

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► Horizontal and vertical lines in combination
communicate stability and solidity.
► Rectilinear forms stay put in relation to gravity, and are
not likely to tip over.
► This stability suggests permanence, reliability and
safety. In the case of the man in this family group, the lines
seem to imply stability to the point of stodginess.

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Diagonal lineDiagonal line
► This type of diagonal line especially connotes action and
movement to the viewer and is quite effective in the
informal display arrangement.
► It tends to give the illusion of instability.
► An expert must use it with care and precision.
► The diagonal line is a line of action; it is forceful, strong,
and dynamic.

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Curved linesCurved lines
► Curved lines do vary in meaning, however, Soft, shallow
curves suggest comfort, safety, familiarity, relaxation.
► They also tend to give a display a feminine atmosphere.
► The curved line personifies grace, charm, and femininity.
► It is soft and enveloping.
► They recall the curves of the human body, and therefore
have a pleasing, sensual quality.

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Deep, Acute CurvesDeep, Acute Curves
► Deep Curves suggest confusion, turbulence, even
frenzy, as in the violence of waves in a storm, the chaos of
a tangled thread, or the turmoil of lines suggested by the
forms of a crowd.

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Zigzag linesZigzag lines
► Zigzag lines are angular and counter roundness.
► They enlarge the figure and are eye-catching.
► These lines are a series of connected diagonals and
give a feeling of being erratic, intense, abrupt and non –
serious.

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Perpendicular LinesPerpendicular Lines
► These lines attract attention because of their disturbing
nature.

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Textured LinesTextured Lines
► These lines ad weight and attract attention. They are
decorative and busy.

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Alternating LinesAlternating Lines
► These lines are generally eye-catching, dominant and
may be too violent. Psychologically these lines are
associated with sharpness, movement, speed, confusion
and excitement.

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Crossover linesCrossover lines
► These lines create a focal point at the point of
intersection because of their contrasting nature.

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Converging LinesConverging Lines
► These lines emphasize direction and are psychologically
associated with weight and youthfulness.

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Full CurveFull Curve
► Full curves emphasize body curves, counters thinness
and sharp angles and are better suited on thin figures.
Psychologically these lines are associated with activeness,
roundness, forcefulness, feminity and exuberance.

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Soft CurveSoft Curve
► Soft curves gently emphasize the body curves and are
flattering. Psychologically these lines are associated with
passive nature, gentleness, feminity, smoothness and
youthful nature.

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Undulating LinesUndulating Lines
► These lines give roundness and soften the angles.
Psychologically they are associated with feminity,
sensuousness, gentleness, fluidity and gracefulness. The
structural use of these lines is for the flowing fabric edges,
fabric patterns, frills and ruffles.

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OgeeOgee
► These lines soften the angles and are more flattering
and give a feeling of sensuousness, feminity,
seductiveness and gracefulness.

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Spiral LinesSpiral Lines
► The lines have a focal point and are eye catching. They
are natural, continuous and feminine

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Thin LinesThin Lines
► These lines give a visual effect, lightweight ness and
have a receding nature. Psychologically they create a
feeling of delicacy, calmness, fragility, subtleness and
weakness.

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Thick LinesThick Lines
► These lines are heavy, add weight, visually move
forward and attract attention. These are forceful, assertive,
masculine and confident.

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Even LinesEven Lines
► These lines are smooth and flattering and give a feeling
of firmness, certainty, steadiness and regularity.

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Uneven LinesUneven Lines
► These lines emphasize bulges and add interest. They
are wobbly, unstable and indecisive.

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Long LinesLong Lines
► These lines emphasize direction, length or width and are
continuous, graceful, free flowing and smooth.

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Short LinesShort Lines
► These lines divide the space and adds interest. They
give a feeling of abruptness, efficiency and blindness.

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Broken LineBroken Line
► These lines are rhythmic and attract attention.
Psychologically they are associated with interruption,
uncertainty, casualness.

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Form, Shape and Space
Form and shape are areas or masses, which define objects in space. Form and
shape imply space; indeed they cannot exist without space.

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► Shape
The shape of an object refers to the visual form of
that object. For our purpose, shapes are discussed not
in their variations, but as being similar or dissimilar.
For the creation of perfect harmony in a display,
shapes that correspond exactly to one another are used
exclusively.
Inharmonious or dissimilar shapes may be used in a
display to create contrast and, in some instances, a
point of emphasis.

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►Form
When lines connect they create form, which is the
shape of the object.
Straight lines produce angular forms, and curved
lines create circular forms.
Forms express moods similar to the lines that define
them.
In advertisements and displays the merchandise and
props are the forms and should be chosen for the
appropriateness of their shape for the particular
promotion.
Display forms come in different sizes and can be
arranged in a variety of positions.

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► An element of art that is three dimensional (height,
width, and depth) and encloses volume.
► For example a triangle, which is two dimensional, is a
shape, and a pyramid, which is three dimensional is a form.
► Examples of forms include; Cubes, Spheres, Ovoids,
Pyramids, Cones, and Cylinders.

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Categories of FormsCategories of Forms
► There are various ways to categorize form and shape.
Two-dimensional
Three dimensional.
Geometric / Organic
Realistic / Naturalistic
Abstract
Caricature

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TwoTwo--dimensionaldimensional
► Two-dimensional form is the foundation of pictorial
organization or composition in painting, photography, and
many other media.
► It is created in a number of ways:
Line
Value
Change in texture

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22--D forms giving illusion of 3D forms giving illusion of 3--DD
► Two-dimensional forms can create the illusion of three
dimensional shapes and spaces
► Whenever we look at a flat surface (a picture, a
television screen) and assume we are looking at spaces
and objects that have depth, we are accepting a set of
visual signals that create an illusion of three-dimensional
space.

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Three DimensionalThree Dimensional
► Three-dimensional shape has an expressive vocabulary
similar to that of line.
► For example,
Rectilinear shapes suggest stability.
Angular shapes placed diagonally in relation to
gravity suggest instability.
Shapes that exhibit softly curving surfaces suggest
quiet, comfort and sensuality.

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Geometric / OrganicGeometric / Organic
► Geometric
Shapes that are created through use
of mathematics. These shapes include
Circle, Oval, Triangle, Square,
Rectangle, Hexagon, Octagon and
Pentagon.
► Organic
An irregular shape, or one
that might be found in nature,
rather than a regular
mechanical shape.

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Realistic / NaturalisticRealistic / Naturalistic
► If we can recognize every day objects and
environments, we refer to the images as being realistic, or
naturalistic.

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AbstractAbstract
►If the images are difficult or impossible to identify in terms
of our normal, daily visual experience, we may refer to the
images as abstract.
► There are several kinds of abstract images.
Objective image - it is derived from an actual object.
Non-objective image - do not refer to any real-world
object or scene

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CaricatureCaricature
► Caricature is a special instance of abstraction, in which
realistic images are distorted to make a statement about
the people, places, or objects portrayed.

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► Space
Space is the two-dimensional equivalent of volume. It
is the illusion of three-dimensional spatial relationships
on a flat, two-dimensional surface.
A drawing or painting may appear to have a flat
sense of space or a deep sense of space.
Space is the distance between forms. It is the
expanse between objects. That is, the background upon
which a figure is placed.
The amount of space given to background helps to
create mood and emphasis. Blank background in an
advertisement is termed white space.

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► An element of art that refers to
the distance or area between,
around, above, below, or within
things. It can be described as two-
dimensional or three-dimensional;
as flat, shallow, or deep; as
positive or negative; and as actual,
or illusory.
Since the viewer has to look up to
view the sculpture, Michelangelo
carved the hands, torso, and head
larger so his body would look
correctly.
An example of how artist use
actual space to manipulate the
viewers perspective, can be
seen in Michelangelo’s stone
sculpture of “David”.

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► Size
Size refers to the physical magnitude, extent, bulk,
and dimension of something.
To achieve harmony within a display, sizes should be
kept consistent.
Objects of the sizes in which they appear in reality
should constitute an entire area rather than being used
in conjunction with objects that are miniatures.
Sizes should also be kept in proportion, so that large
objects do not minimize smaller ones that appear with
them in a display.

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► Idea
In the area of merchandise display, one basic rule is
to allow one idea to dominate.
This tends to enhance the selling message of the
window. Here, more than in other areas of design, we
emphasize the importance of the display area as a
selling tool.
A display is not an artistic creation stimulating
speculation and interpretation concerning its intent.
The viewer must clearly and quickly receive the idea
of a window. Its details must be in keeping with the
central idea or theme in order to enhance and
immediately clarify the idea that prevails.

180
Color
Using color is the best way to add excitement to a visual presentation
without the cost of the installation.

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► Typically, color is the first element we see when looking
at an object or scene. It affects us physically and
psychologically and is one of the most important elements
in creating response, especially to display.
► Color is one of the most powerful of elements. It has
tremendous expressive qualities. Understanding the uses
of color is crucial to effective composition in design and the
fine arts.
► Color is an inexpensive, versatile means of creating
mood and drama in the presentation of fashion
merchandise. Much of the color comes from the
merchandise itself, which requires no additional expense.

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►The color combinations of ceiling, walls, floor coverings
and overall décor can affect the atmosphere of a store.
► Research shows that the proper choice of color in store
windows and store interiors has significant drawing power.
► Color used properly can attract the eye of the potential
customer, create the desired mood, and stimulate the
viewer to make a purchase decision.
► Changing a color scheme can change people’s attitudes
and perceptions of a store, and increase (or decrease)
business.

185
Color and DisplayColor and Display
► The average pedestrian sees a window
display as a flashing picture that is
approached, observed, and responded to
all in less than 11 seconds.
► This picture must be magnetic to bring
customers into the store.
► A window display should represent the
store, and it should help sell goods.
► To do this, it must attract the eye and
turn walkers into stoppers-people who stop
to examine the goods.

186
► One of the strongest forces in stopping the pedestrian
and making him or her want an item is the effective use of
color in a display.
► It is an invaluable selling tool, because people are color
conscious.
► Color helps to create interest in new merchandise and
the desire for it.
► Color is critical to an ambiance that projects a store’s
image and attracts customers.
►

187
► The psychological effects of color have been well
documented.
► For example, blue, green and violet project elegance;
orange, yellow, and red convey intimacy.
► Appropriate lighting, in turn, enhances the effects of
interior color.
►The use of colors in a store communicates various things
to the customers who walk in while passing by. Some of
the major impacts of color on customers are:
Color sets the mood
Emphasizes features
Highlights a product
Conveys the seasonal look

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The Impact of ColorThe Impact of Color
► Color can convey and induce a variety of emotions.
► The effects of color can also be applied to merchandise
presentations and displays.
► A bright color may attract a customer into the store, but
warm colors in general make customers feel uneasy; cool
colors in a display create a calm atmosphere and may
prolong the customer’s stay in the store.
► Colors also convey the seasonal look; e.g.,
Red & Green – Christmas
Black & Orange – Halloween
Red & Pink – Valentine’s Day

191
Warm ColorsWarm Colors
► Warm colors (reds, oranges, and yellows) physically
attract customers to shop are stimulating and Cherry.
► It makes room feel warm and intimate.
► Warm colors makes a room seem smaller while making
objects in the room appear larger.
► A warm color on the end of the walls of a long narrow
room will appear to shorten the room.

192
Cool ColorsCool Colors
► On the other hand, cool colors (blues, greens, and
violets) are more appropriate for areas where customers
will be deliberating over a big-ticket purchase such as a fur
coat.
► These colors helps by creating a relax atmosphere.
► Rooms decorated primarily in cool colors tend to appear
larger and more specious.
► Cool colors are especially pleasing
in smaller rooms.

193
Dimensions of ColorDimensions of Color
► Skillful use of color begins with an understanding of its
three dimensions-
Hue,
Value, and
Intensity.

194
HueHue
► In simple terms hue is the
name of the color. Yellow, red,
brown, grey are hues.
► Theoretically all hues can be
mixed from three basic hues,
known as primaries. When
pigment primaries are all mixed
together, the theoretical result is
black.

195
ValueValue
► When describing the lightness or darkness of a hue, we
are speaking of its value.
► Adding white to a hue, we lighten it and achieve a tint.
► With the addition of lack, a darker variation is produced,
know as shade.

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Intensity orIntensity or ChromaChroma
► The saturation or purity of a color is referred to as its
intensity.
► A color’s intensity is actually its brightness or dullness.
► The intensity is varied by adding middle grey or
complement of the color.
► These intense colors catch the eye and stop the
customer long enough for her to notice the merchandise.
► High-intensity colors are active and stimulating.
► Low-intensity colors are grayed or dull in appearance,
for example, maroon. Dull or low-intensity colors tend to
create a calm and restful mood

200
Low Value High Value

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Color SchemesColor Schemes
► Colors often occur in various combinations, referred to
as color schemes.
► Combining colors attractively is an art marked by
individual style and preference. Although there are no laws
for combining colors, there are some formalized methods
for producing harmonious color schemes.
► These methods are illustrated on a wheel of 12 colors.
► The two major categories of color scheme in terms of
hue are related and contrasting.
► The second category is referred to as contrasting
because there are no common hues in these color
schemes. Contrasting color schemes are often bold and
dramatic.

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Related Color SchemesRelated Color Schemes
► The first category is referred to as related because this
type of color scheme utilizes one or more hues in common,
that is, colors that are adjacent on the color wheel.
► Related color schemes tend to produce a stable feeling
and allow the mood of the hue of the color scheme to be
expressed clearly.
► The principal types of related color schemes are
Monochromatic and
Analogous.

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MonochromaticMonochromatic
► A single color on the color wheel is
used with three to five tints and shades
of that single true color in this scheme
► Several pieces of blue merchandise
each consisting of a different value
ranging from baby blue to navy blue, is
an example of Monochromatic color
scheme.
► If texture is a selling point, a
monochromatic color scheme may be a
good choice for highlighting textures,
which would be more apparent when the
colors are all the same or similar.

205
AnalogousAnalogous
► Analogous color schemes comprise three colors that are
adjacent on the wheel, which means they contain a common hue.
► An example is yellow-orange, yellow, and yellow-green. Another
example, from the cooler side of the color wheel, is blue, blue-violet,
and violet.
► An analogous color scheme offers more variety in colors than a
monochromatic scheme and avoids the possibility of clashing colors
since there is a common hue to provide harmony.
► This can be used to create a soft and subtle décor and warm or
cool effect.
► This color scheme needs to be used with
caution so as not to end up with an over
stimulating nor depressing atmosphere.

206
Contrasting Color SchemesContrasting Color Schemes
► Contrasting color schemes are subdivided as follows:
Complementary
Double-complementary
Split-complementary
Triad
Tetrad
Tone on Tone

207
ComplementaryComplementary
► A complementary color scheme is represented by two
colors that are exactly opposite to each other on the color
wheel, such as Yellow and Purple or Red and Green.
► It can result in a very pleasing combination of warm and
cool colors.
► Avoid using opposite colors in equal amounts of light
and dark combinations.

208
DoubleDouble--complementarycomplementary
► These schemes are based on two adjacent colors
combined with their complementary or opposite colors,
such as yellow orange and yellow with violet and blue-
violet, or red-orange and orange with blue and blue-green.
► This scheme incorporates both contrast by means of
opposite hues and similarity by means of related hues.
► The related hues give a sense of unity, making this
scheme slightly easier to produce than a simple
complementary scheme.

209
SplitSplit--complementarycomplementary
► Split-complementary color scheme is composed of any
hue plus the two hues on either side of its complement,
such as yellow with red-violet and blue violet, or blue-green
with red and orange.
► It is a popular color scheme to create interest and
richness.

210
TriadTriad
► Every fourth color on the color wheel for a total of three
colors make a triadic color scheme.
►It is built on three hues equidistant from each other, such
as red, yellow, and blue; or orange, green, and violet.
► The combination of unrelated hues is lively, but harmony
may be difficult to create because of the variety generated.
► This is a good combination of colors
that can create muted, traditional look as
well as more vibrant color characteristics
of modern color scheme.

211
TetradTetrad
► Tetrad scheme combines four hues equidistant from
each other on the color wheel, such as orange, yellow-
green, blue, and red-violet.
► The various hues provide the contrast and interest.
► The merchandise itself can provide the color schemes
for the display.
► In a merchandising grouping, a multicolor item such as a
figured blouse can establish the color scheme. When an
item comes in several colors, that range, of hues can
become the color scheme.

212
Tone on ToneTone on Tone
► Two colors that are next to one another on the color
wheel with a very little space between them, make up a
tone on tone scheme.
► Generally no change in either intensity, such as degree
of brightness, in tints or shades is used in a tone on tone
scheme.
► A display of blue and blue-violet silk flowers is an
example of this scheme.

215
Psychological Implications of ColorPsychological Implications of Color
► Market researchers have done extensive studies exploring
the emotional responses of people to color.
► Some of these responses seem to be powerful and fairly
universal. However, much of this information is culturally
biased.
► We know that cultural traditions endow colors with powerful
meanings that can differ greatly from place to place.
► For example, in Europe and the United States, black is the
color of mourning.
► In many tropical countries and in East Asia white is the
color of death.
► On the other hand, white is the color worn by American
brides, while brides in much of Asia wear red.

216
BlueBlue
A cool Color (makes room seem cooler).
Clams and Relaxes excited people.
Makes time seem to pass quickly.
Tends to stimulate thought processes and
Encourage conversation.

217
GreenGreen
Easy on the Eyes.
A cool Color
Restful and Tranquil
Stimulates Conversations
Makes time seem to pass quickly.

218
RedRed
Excites and Stimulates.
Induces Aggression
Makes time seem to pass Slowly

219
OrangeOrange
Friendly, Warm and Vibrant
Exhilarating

220
YellowYellow
A cheerful Color.
Creates a feeling o Warmth and Happiness
Draws attention
Boosts Morale

221
Violet and PurpleViolet and Purple
A cool color
Tends to lend elegance and sophistication
Royal

222
BrownBrown
Relaxing and Warm

223
GreyGrey
Depressing
Cool
Sophisticated Color

224
BlackBlack
Depression
Richness
Sophistication when used Elegantly

225
WhiteWhite
Cold
Elegant
Adds a balance to any Color Scheme

226
Color CombinationColor Combination
► Colors must be considered in view of their surroundings,
as color can change dramatically when viewed under
different circumstances.
► For Example, A red chair will appear
Yellower next to Blue wall
Purer and brighter next to Green wall
Lighter and Brighter next to White wall
Brighter next to Grey wall.
► A dark color placed near a lighter color will appear
deeper while light color will appear lighter yet.
► Colors are also radically altered by differences in pattern
and texture.

228
► A comfortable background color choice for leather goods
is the mid value range, such as a beige or grey.
► This selection also works well for intimate apparel and
ready to wear.
► A painted background color will not reflect as much light
fabric, so even if the merchandise is the same color as the
background it will still stand out.

229
► Light colors such as pinks, yellows, blues and whites
should not be used as background colors in the infant and
toddler areas, since they are the colors used in much of the
merchandise sold.
► The small size of the garments and the generally light
tones make the merchandise invisible.
► Brighter, sharper colors help these pastels stand out.

230
► Background colors in girls departments should be kept
neutral because of the extensive range of colors sold there,
and boys departments go with bright because the clothes
tend to be in bright or deep tones.
► Junior departments utilize various color backgrounds
depending on current fashion vogue.
► When neon colors are popular, white is a very suitable
background.
► However, when more subtle colors are in fashion, the
whites are too cold and overpowering.

231
► Dark Green or dark Blue colors, with neutrals used for
accents, have been effectively used in menswear areas.
► Primary, Secondary, Peach, Light Blue and Green
colors should be avoided.

232
► Stores that carry china and glass can effectively use
grays, browns and blues as background colors.
► Browns work especially well with bone china and Blues
are attractive with porcelain; grays can be utilized with
either type of china.
► Silver should not be shown on a brown background
because the reflection will make the silver appear tarnished
► However, browns and burgundies are great for
displaying brass goods.
► Gift areas can be use black and white with bright
accents.

233
► Bright Orange, Bright Red and Blue are appropriate
colors to select for hardware store, as they provide the best
contrast with the wood handles and metals of hardware
items.
► Sky Blue and Tennis court Green enhance sporting
goods and equipments because of their outdoor
associations.
► White is widely used color in packaging and on printed
surfaces because it is a basic paper color and less
expensive than solid printed colors.

234
Guidelines Regarding Color in DisplayGuidelines Regarding Color in Display
► Use strong contrasts and loud color with care:
Although very bright hues command attention at first,
they disturb immediately afterward and distract attention
from the merchandise.
The more intense a hue, the smaller the area it
should cover.
The more intense a hue, the softer should be the
second hue used in combination with it. Do not combine
two or more strong colors that have not been changed
in value or intensity.
Do not paint large surfaces in strong colors.

235
► Make your color scheme suit the merchandise on
display:
The color of floors, walls, and background should be
either one of the main colors in the merchandise or a
neutral shade
Generally, soft tints should be given preference over
saturated hues.

236
► The type of merchandise displayed has a bearing on the
selection of colors:
Low-priced goods are usually displayed in a color
scheme of vivid hue.
The more exclusive types of merchandise, on the
other hand, are usually displayed in a refined color
scheme and in color combinations used in the current
fashion

237
► Light tints are always a treat for the eye:
They appear to deepen the window space.
Therefore, they seemingly increase the size of the
window.

238
► The opposite is true of dark shades
They seem to bring the background closer.
Therefore, they shorten the window space in the eyes
of the spectator.

239
► Most colors can be classified as warm or cool:
Warm colors include yellow, orange, red, and their
combinations with white or black. All these hues
impress the eye, enhance the appearance of the
merchandise, and optically push it to the front of the
display.
Cool colors include blue and green. They appear
calm, soothing, and balanced, and they create the
illusion of enlarging the window.

240
► Contrasts are welcome but dangerous:
Beware of clashes.
Confine strong contrasts to small accessories.
Audacious combinations are permissible if taste is
preserved.
► More than two principal colors can be grouped in one
display But proportionately; more care must be taken to
achieve harmony most pastels go well together.

241
Pattern
Pattern can be described as a repeating unit of shape or form.

242
► Pattern is an underlying
structure that organizes
surfaces or structures in a
consistent, regular manner.
► Pattern can be described as
a repeating unit of shape or
form, but it can also be thought
of as the “skeleton” that
organizes the parts of a
composition.

243
Texture
Texture is the quality of an object, which we sense through touch.

244
► Texture
Texture is the aspect of harmony that relates to the
sense of touch.
This sense may be stimulated either physically or
visually, as when one senses the roughness of
sandpaper without feeling it or the softness of satin
without handling it.
Textures may be divided into two categories:
• those materials that appear rough or smooth to the
touch and
• those textures that reflect light as opposed to those
that absorb light.

246
► Color catches the eye, texture draws the customer to the
merchandise for close examination.
► Texture is subtler than color but is nevertheless
important in gaining a positive response from the customer.
► As a visual element, texture is the result of light being
reflected or absorbed by the surface of the object or
material. Satin reflects light, and velveteen absorbs light.

247
When a majority of the textures in a display area tend
to be smooth, rough, reflective, or absorbent, we may
consider the display to have consistency and harmony.
When a combination of visual impressions prevails,
the display will have contrast.
If all textures are of one type with the exception of
one item of a different texture, a point of contrast, or
emphasis, has been created.

248
Interiors
Interior design involves all components of the store interior, including fixtures,
graphics, flooring, ceiling, lighting; and other visual elements.

249
Interior Store DesignInterior Store Design
► Of all the elements of store design and visual
merchandising, interior design has the greatest capacity to
convey store image and create certain moods and
emotions in buyers.
► Basic interior design begins with such items as the width
of aisles, the treatment of pipes and vents, the decoration
of walls, and the style of lighting fixtures.
► All these elements contribute to customers’ perceptions
of and responses to the store.
► Displays inside the store should relate to the displays
seen in the windows.

250
► Good display effects should continue inside the store to
move customer traffic through the store.
► The aisles, the signs that direct the customer, the walls,
and the interior displays are most important to the total
visual concept of the store.
► Each department, shelf, counter, ledge, case, and
furnishing in addition to the display areas requires analysis
in executing display techniques.
► The furnishings of the store should be attractive and
placed so as to enhance the visual impact on the customer.
► There should be updating and improvements in fixtures
to avoid a stagnant, dated effect.
► For example, the seasons of the year usually dictate
visual changes.

251
Display AreasDisplay Areas
► Display fixtures include racks, stands, tables, shelves, and
other devices for physically presenting merchandise.
► They may be floor fixtures-round, rectangular, or box-
racks, cubes – or wall fixtures such as brackets, shelves, etc.
► In addition to holding merchandise and displaying it, store
fixtures influence a store’s interior design, from its traffic flow
to the image it projects to customers.
► All furnishings of the store should be placed to enhance
the visual impression each floor presents.
► They should be arranged both to sell the most
merchandise and to be pleasing to the customer.

252
► Floor cases
It is located away from the walls of the store and, a
floor case enables individuals to view the merchandise
at close range and provides the sales associate with a
counter on which to show merchandise.

253
► Multipurpose merchandise systems/ Grid walls
These offer a great deal of flexibility. These adapt to
almost all retailer’s needs. Some utilize brackets that
can have shelves or hangers, some use grooved panels
into which fittings can be inserted to get shelves or
hangers

254
► Island display cases and tables
These fixtures encourage self-service. They come in
variety of designs, some with storage areas below and
others merely serving as places for the display of items.

255
► Corner Shops
These shops, as well as other marked-off areas with
distinctive décor, are employed by store engineers to
relieve the monotony of departmental furnishings.

256
► Shelves
Obviously, shelves are
necessary to store stocked
merchandise. They are poor
display areas, however, and
should be hidden whenever
possible by walls, curtains, and
so on.

257
► Counter and Table Display
These sell merchandise more readily than do shelf
displays, because they are located in front of the stock
areas, bringing the goods nearer to the customer and
allowing the customer to touch the merchandise.
Square and rectangular shapes are the usual design
for counters and cases.
However, rounded, oval, and surrealistically shaped
counters not only ease the flow of traffic through a
store, they appear less regimented and do not present
hazardous sharp edges to the customer.
They are a pleasant change from the square design.

259
► Shadow Boxes
A shadow-box display is often located behind the
counter area.
This location makes it easy to display and maintain
an arrangement of merchandise that is beyond the
reach of anyone who might otherwise remove it from
the store without paying for it.
A more dramatic presentation of merchandise is
required however, to compensate for the customer’s
inability to handle and examine the goods.

261
► Ledges
The tops of shelves sometimes serve as areas for
display.
Ledge areas may be made very attractive with the
addition of decorative pieces for seasonal promotions.
Because ledges with shelf space below them are
above the comfortable range of vision, constant care
must be exercised in the placement of merchandise.
Unsightly portions of it, such as chair seats, shoe
soles, wrong sides of materials, or unfinished backs of
stoves or refrigerators, should not be visible to the
customer’s eye and must be camouflaged with
decorative effects.

263
► Kiosks or Island Areas
As their name implies, these are isolated display
places amid the pattern of shelves and counters that
constitute the principal selling spaces of a store.
They are forceful merchandising agents when placed
strategically near elevators, by entrances to departments,
and at stairway landings.
Island displays catch the customer’s fancy and attract
the eye. They are not stock areas, nor should they be
crowded with boxes and signs.
They are concerned exclusively with showing
merchandise and items related to that merchandise.
Kiosks may be built from 5 to 28 inches above the floor

265
► Platform Displays
These are
usually used to
raise mannequins
off of the floor at.
Light is usually
from above

266
► Museum Cases
These are display cases with flat surfaces on top.
They are usually a rectangle with the top part made of
glass and lighted.
Expensive and special merchandise is secured in
museum cases.
► Demonstration Cubes
These are cubes made of many different materials
and in many different sizes.
The display props are inexpensive, versatile, and
extremely flexible.
They can be clustered to form island-type displays in
traffic aisles.

267
► Fascia
These are boards approximately 7 feet above the
selling floor that hide lighting fixtures and provide space
for flat-pinned displays, which help tie an area together
and / or define a particular department.
The lighting that is covered by fascia is used to
emphasize merchandise and is lower than normal
ceiling lights.

268
► Structural Columns
These columns hold up the ceilings and roofs of
buildings. They must be a part of a structure.
Utilized for the store through attaching ledges, using
a variety of wall coverings, and attaching flexible
signage, thereby helping to define the beginning and
ending of a department.
Also can use them to carry out a simple “all-store”
theme as is often done at Christmas.

269
► Ceiling
The ceilings in the window areas of older stores and
even in some of the newer ones are often quite high
and made of concrete or some other impenetrable
material.
The window lighting equipment is often set into the
ceiling.
It may be an electrified track on which the lamp
housings can be moved back and forth to target the
light where it is needed. In some operations, the track
may be installed directly above the front glass, and
lighting poles on either side of the window may
supplement it.

270
Merchandise wallsMerchandise walls
► Imagine a customer standing in the entrance to a store,
taking in the “view.” Wherever that customer looks the
background will be a merchandise wall. Merchandise walls
form the total background of the store.

271
Types of Merchandise WallsTypes of Merchandise Walls
► Those that house merchandise and display that
merchandise using face-outs
► Those that house merchandise and display that
merchandise using grids. (Face-outs show apparel hanging
from the display with the front of it facing the viewer.)
But these walls can be treated in many ways to
create a strong store “look” and provide an interesting,
colorful background for the store’s other fixtures and
displays.

272
Purpose of Merchandise WallsPurpose of Merchandise Walls
► To house and display basic as well as non-basic
merchandise (e.g., exceptionally long items such as
nightgowns and jumpsuits),
► To help backup merchandise “stories” that are being
featured on the selling floor.

273
► Fixtures and hardware used on merchandise walls
Bars and hardware,
Waterfall face-outs,
Straight-arm face-outs,
Shelving (on brackets),
Slat board, and
Display grid and adjustable rod

275
► Ways to present merchandise walls
With regard to the design plan for the walls, there are
different ways to present merchandise walls, each
depending on the stock level:
• Totally faced out
• Faced out with barred
• Barred with faced-out merchandise
• Heavily barred

276
► Totally faced-out walls should, whenever possible,
exhibit a formal balance; that is, if a line is draw in the
middle of the wall, the placement/presentation of
merchandise on the right should be exactly like the
placement/presentation of the merchandise on the left
► A faced-out wall with barred merchandise
(predominantly facedout) has the position face-outs on
primary visual areas of the wall––the area the customer
sees first. As noted earlier, all faceouts should be above
the level or the racks and totally visible to the customer.

277
Use a face-out of the best style to lead into barred
merchandise.
Whenever possible, choose a face-out style of the
same color as the barred merchandise it leads into.
Vary height and type of face-outs for visual interest.

278
► Barred walls with faced-out merchandise (more
merchandise needs more bars) should be arranged as
follows:
Place face-out-related merchandise on primary visual
area before bar.
Make the face-outs of best-selling items that attract
customers to the wall.
merchandise.

279
Barred merchandise should be grouped according to
store directives, which can be based on:
• Merchandise classifications.
• Color or colors within each classification.
• Sleeve or garment length.
• Fabrication.
Use shelf over long barred areas to tie in related
merchandise.

280
► Heavily barred walls should be put in using these basic
guidelines;
Plan for heavy barring with very large stock
quantities.
merchandise.
Vary the height and length of bars to create a visually
interesting presentation.
Bar regular-price merchandise.
• By classification.
• By color within classification.
• By sleeve length (sleeveless, short sleeve, long
sleeve).
• By fabrication.

281
Hang all merchandise on bars facing the front of the store.
Arrange top hooks of hangers over the bar in the same
direction.
If quantity of sale merchandise is insufficient to make
proper colorized presentation, have it sized.
Keep merchandise 8 to 12 inches from ceiling to allow
better visibility and easier access to customer.
Provide a visual “break” from one classification to another
in heavily barred wall with face-outs. Always face out the best
style of the barred classification.
Use different length bars (24 inches, 30 inches, 48 inches,
60 inches) to provide breaks and variety when wall is heavily
barred.
Wherever possible, use same-length face-outs in one
section of a wall.

282
Wall DisplaysWall Displays
► Wall displays can take several different forms: face-outs
above barred merchandise, merchandise displayed on a
grid or a ledge display above barred merchandise with
face-outs on either side (optional).
► Guidelines for Merchandise Walls Sales associates who
will be involved in setting up a wall or floor display should
have certain criteria to follow to insure a proper
merchandise presentation.

283
The Selling FloorThe Selling Floor
► The flooring used in an interior setting serves as an
indicator of store image, inviting customers to make inferences
relating to many characteristics of the business.
► Plush, textured carpeting, for example, suggests high-
quality merchandise, an emphasis on service, and relatively
high costs.
► Flooring options include ceramic tile, hardwood, parquet,
marble, cement, linoleum, and other types.
► Flooring is also important for functional reasons; Flooring
delineates departments and selling areas, service
departments, and customer and employee lounges.
►

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