在消費者的購買決策中，價格扮演著至關重要的角色。價格不僅是客觀貨幣價格，還包括消費者在看到產品貨幣價格之前，對該產品產生的心理定價，也就是價格認知。過去的研究已經明確指出，當貨幣價格低於消費者的價格認知時，該產品通常會更受歡迎，也就是說，價格認知越高的商品，越容易引起消費者的購買意願。並且消費者的價格認知通常與產品的外在形象有關，以此可以推論產品外觀設計對於價格認知具有顯著影響。而產品的外觀設計特徵通常包括有形的形態特徵和無形的形態意象。因此，本研究旨在探討不同造形特徵與高價感之間的關聯性，並探討不同產品造形特徵對消費者感性意象評價的影響。此外，為了規避色彩和材質的潛在影響，本研究選擇色彩和材質相對單一的玻璃香水瓶作為研究對象。
研究方法上，本研究通過焦點小組和眼動儀實驗的兩段式實驗，分別對香水瓶樣本進行質性和量化分析。其中，邀請5位擁有超過15次香水購買經驗的高涉入香水消費者，透過焦點小組的形式進行討論，並共同選取代表性的高價香水瓶7個作為實驗樣本，再通過眼動儀實驗對這些樣本進行SD語意差異法的問卷調查以得到香水樣本的感性評價，並以眼動儀進行記錄記錄注視點的位置和時長。與此同時邀請4位擁有15年以上設計經驗的專家設計師，以一對一深度訪談的形式，從上一階段所選區的樣板中進行形態特徵的萃取。最後，通過專家訪談和眼動儀的結果交叉比對，以此來提取出具有高價感的造形特徵。
研究結果顯示，給消費者帶來高價感受的形態特徵主要包括整體比例使用黃金比例，細節處理上使用磨砂後加工、模擬鑽石切面和使用精巧裝飾，使用瓶身與整體有呼應的線條，以及使用乾淨俐落的水平分隔設計或是將瓶蓋完美融入整體造形的處理方式來接合瓶蓋與瓶身。然而，對於不同產品形態特徵對消費者形態意象評價的影響，研究結果顯示了一定的主觀性，眼動儀實驗分析結果顯示，消費者的注視點大多分布在特定的形態特徵上，但卻給出了不同的形態意象評價。即使是針對同一樣本的同一特徵，消費者也有可能由於審美偏好和主觀詮釋的不同而給出完全相反的評價。由此可知，形態意象的評價可能無法單純依靠形態特徵進行分析與推斷。另外，本研究還發現，消費者在評價精緻、高貴、搶眼、經典及冶豔這一類形態意象時，主要觀察細節特徵，而在評價樸實、耐看和文雅時，則傾向於掃視整體造形。即使詞彙源自於同一組形容詞對中，在觀察模式上仍存在顯著差異，這反映了語意差異法中形容詞對是由研究者自行匹配的特性。此外，受測者在觀察細節度高的樣本時，通常先聚焦細節，再掃視整體或局部；而對細節度低的樣本則以整體掃視模式進行觀察。

In consumer purchasing decisions, price plays a crucial role. Price encompasses not only the objective monetary value but also the psychological pricing established by consumers before seeing the product's price tag, known as price perception. Past studies have indicated that when the actual price is lower than consumers' perceived price, the product tends to be more popular. This suggests that products with higher price perception are more likely to evoke purchase intentions. Furthermore, consumers' price perception is often associated with the external image of the product, indicating a significant influence of product appearance design on price perception. Product appearance design features typically include tangible shaping characteristics and intangible shaping imagery. Therefore, this study aims to explore the correlation between different shaping features and high-price perception, as well as the impact of different product shaping features on consumers' sensory image evaluations. Additionally, to mitigate the potential influence of color and material, this study selects glass perfume bottles with relatively singular colors and materials as research subjects.
Methodologically, this study conducts a two-stage experiment involving focus groups and eye-tracking experiments to qualitatively and quantitatively analyze perfume bottle samples. Specifically, five high-involvement perfume purchasing experts with over 15 purchases of perfume participate in focus group discussions to collectively select seven representative high-priced perfume bottles as experimental samples. Subsequently, eye-tracking experiments using the Semantic Differential (SD) method are conducted to obtain sensory evaluations of these samples, recording gaze point positions and durations with eye-tracking equipment. Simultaneously, four experienced designers with over 15 years of design experience are invited for one-on-one, in-depth interviews to extract shaping features from the selected areas in the previous stage's samples. Finally, the results of expert interviews and eye-tracking experiments are cross-referenced to extract shaping features that evoke high-price perception.
The results indicate that shaping features that evoke a sense of high-price perception include the use of the golden ratio for overall proportion, post-processing with matte finish, simulating diamond facets, and intricate decoration for detailed processing, coherent lines between the bottle body and the overall design, and the use of clean and neat horizontal separation design or seamlessly integrating the bottle cap into the overall shaping for connecting the bottle cap and the bottle body. However, regarding the impact of different product shaping features on consumers' sensory image evaluations, the results show a degree of subjectivity. Eye-tracking experiment analysis reveals that consumers' gaze points mostly concentrate on specific shaping features, yet they provide different sensory image evaluations. Even for the same feature of the same sample, consumers may give completely opposite evaluations due to differences in aesthetic preferences and subjective interpretations. These findings suggest that morphological imagery evaluations cannot solely rely on morphological features for analysis and inference. Additionally, this study reveals that when evaluating imagery such as delicate, noble, eye-catching, classic, and flamboyant, consumers primarily focus on detailed features. Conversely, for imagery like simple, enduring, and elegant, they tend to scan the overall shape. Even if the vocabulary originates from the same set of adjective pairs, significant differences in observation patterns exist. This reflects the characteristic of the semantic differential method, where adjective pairs are matched by researchers. Furthermore, respondents usually first focus on details and then scan the whole or parts when observing samples with high detail, while they tend to use a holistic scanning approach for samples with low detail.

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