商品包裝是“無聲的銷售員”，可達到自我推銷的行銷工具。面對現今青少年族群強大消費力，商品包裝設計若能抓住他們的注意力，將有可能創造無限商機。根據調查，青少年族群在便利商店中購買的宵夜首選產品為速食麵。面對年營業額上百億的市場來說，如何將包裝設計合宜以刺激青少年族群購買，將是考驗行銷人員的重要議題。消費者接觸與理解商品最直接的方法就是看外包裝品牌、廠牌或品名；以速食麵包裝而論，青少年族群對於文字設計元素所傳達給他們的意象認知為何？包裝文字的選用是否正確傳達出正面意象？以上為本研究探索興趣所在。本研究針對8種字體，分實驗組與對照組進行調查，結論如下： （a）多數青少年族群認為明體、黑體、圓體、楷書等字體具「大眾化」意象。 （b）多數青少年族群認為行書、草書、勘亭流等字體具「高雅、古典、美麗」意象，實驗組與對照組結果差異性不大。 （c）多數青少年族群認為明體與楷書在實驗組與對照組結果中，字體意象有顯著差異。 （d）透過因素分析歸納，青少年族群普遍認為圓體是具「評價高、高喜好、圓潤」的字體；黑體是「評價高、高喜好、尖銳」的；勘亭流體是具「評價高、低喜好、圓潤」的；隸書體在是具「評價低、低喜好、圓潤」的；至於其他字體特性，則意見相左。

Product packaging is a “silent salesperson” and an important marketing tool used for promotional purposes. Given the rising consuming power of youngsters at present, the appealing designs of commodity packages can create unlimited commercial opportunities. According to our survey, the first choice of youngsters when shopping for a nighttime snack in convenience stores is instant noodle. Faced with such a large market with an annual turnover of billions of NTD, designing a package that stimulates this target group’s interest has become an important topic for marketing professionals. The most direct way, by which consumers come in contact with and understand commodities, is by looking at the package and at the name of the producer or commodity. With regards package designs used for instant noodle products, how do youngsters cognize the images conveyed by certain design elements? Specifically, could the choice of package font correctly convey a positive image of the product being sold? These questions comprise the main focus of the current work. This study conducts a survey on an experimental group and a control group for eight font types. We draw the following conclusions based on the survey results: (a)Most youngsters think that Ming-style, black, circular, and regular fonts imply the concept of being “popular.” (b)Most youngsters think that cursive style, running-style, and Kantingliu-style imply “elegant, classic and beautiful.” For these fonts, the results of the experimental group and contrast group have no significant difference. (c)Among the experimental and contrast groups, most youngsters think that the font images have apparent differences when it comes to Ming-style and regular fonts. (d)Through factor analysis, we can summarize that the youngsters generally believe that the following fonts represent specific concepts: circular font: “highly spoken of, highly fond of and mellow;” black font: “highly spoken of, highly fond of and sharp;” Kantingliu-style: “highly spoken of, not fond of and mellow;” and clerical font: “lowly spoken of, lowly fond of, nd mellow.” The opinions of youngsters from either group vary when it comes to the other fonts.