The degree to which a person believes that a brand's products are modern and visually appealing is measured using three, seven-point Likert-type items.
The extent to which a person views an object as being contemporary and stylish is measured in this scale with three, seven-point unipolar terms.
Three, seven-point unipolar items are used in this scale to measure the degree to which a person describes an object as being natural rather than artificial.
A consumer’s pattern of acknowledging and defining needs/wants for clothing is measured using eight, seven-point Likert-type items.
The extent to which a communication event at a website is characterized by information other than in verbal form is measured using four, seven-point items.
The scale is composed of four bi-polar adjectives that are intended to measure the degree to which a person describes an object as being streamlined and rarefied rather than raw and rugged.
Nine items with a five-point Likert-type response format are used to measure a person's attitude regarding the quality of a car brand based upon beliefs about specific attributes.
Five, seven-point items are used to measure the perceived beauty and stability in a stimulus. As used by Raghubir and Greenleaf (2006), the respondents were describing concerts based upon printed invitations. Thus, the scale has more to do with visual proportion and concordance than it does with the aural enjoyment of music.
The scale is composed of eleven Likert-type statements intended to assess the degree that the look and beauty of a product play an important role in a consumer's purchase decisions and product usage. The scale was called centrality of visual product aesthetics (CVPA) by Bloch, Brunel, and Arnold (2003).
The scale has three, seven-point semantic differentials that are intended to measure the degree to which a person believes that the parts of a particular stimulus fit together well.
