 | |
| Author | Donald Norman |
|---|---|
| Country | United States |
| Language | English |
Publication date | 2003 |
| ISBN | 0-465-05135-9 |
Emotional Design is both the title of a book by Donald Norman and of the concept it represents.
| | |
| Author | Donald Norman |
|---|---|
| Country | United States |
| Language | English |
Publication date | 2003 |
| ISBN | 0-465-05135-9 |
Emotional Design is both the title of a book by Donald Norman and of the concept it represents.
The main topic covered is how emotions have a crucial role in the human ability to understand the world, and how they learn new things. In fact, studies show that emotion influences people's information processing and decision-making [1] For example: aesthetically pleasing objects appear to the user to be more effective, by virtue of their sensual appeal. This is due to the affinity the user feels for an object that appeals to them, due to the formation of an emotional connection with the object. Consequently, It is believed that companies and designers should not rely on pricey marketing; they should link their services to customers’ emotions and daily lives to get them “hooked” on a product. [2]
Norman's approach is based on classical ABC model of attitudes. However, he changed the concept to be suitable for application in design. The three dimensions have new names (visceral, behavioral and reflective level) and partially new content .
The first is the “visceral” level which is about immediate initial reactions people unconsciously do and are greatly determined by sensory factors (look, feel, smell, and sound). Norman argued that attractive products work better because they can engage multiple senses to evoke emotional responses and bonds through use of visual factors of color, texture, and shape. He contends that beautifully designed products make people feel good. This is where appearance matters, and first impressions are formed, and the texture and surface of an object become important in evoking a specific emotional reaction. Thus, viscerally well-designed products tend to evoke positive emotions and experiences in the consumers.
The second is “behavioral” level which is all about use; what does a product do, what function does it perform? Good behavioral design should be human centered, focusing upon understanding and satisfying the needs of people who use the product. This level of design starts with understanding the user’s demands, ideally derived from conducting studies of relevant behavior in homes, schools, places of work, or wherever the product will be used.
The third is “reflective” level at which the product has meaning for consumers; the emotional connections which are formed over time using the product and are influenced by cultural, social, and personal factors. Via good reflective design, people will feel a sense of personal bond and identity with an object, and it will become a part of their daily lives. It is how we remember the experience itself and how it made us feel. [3]
In summary, the visceral level concerns itself with the aesthetic or attractiveness of an object. The behavioral level considers the function and usability of the product. The reflective level takes into account prestige and value; this is often influenced by the branding of a product. [4]
In the book, Norman shows that design of most objects are perceived on all three levels (dimensions). Therefore, a good design should address all three levels. Norman also mentions in his book that "technology should bring more to our lives than the improved performance of tasks: it should be richness and enjoyment." (pg 101) He stresses the importance of creating fun and pleasurable products instead of dull and dreary ones. By mixing all three design levels and the four pleasures by Patrick W. Jordan, the product should evoke an emotion when the user is interacting with the product. The interaction of these three levels of design leads to the culmination of the “emotional design,” a new, holistic approach to designing successful products and creates enduring and delightful product experience. [5]
Emotional design is an important element when generating ideas for human-centered opportunities. People can more easily relate to a product, a service, a system, or an experience when they are able to connect with it at a personal level. Rather than thinking that there is one solution for all, both Norman's three design levels and Jordan's four pleasures of design can help us design for each individual's needs. Both concepts can be used as tools to better connect with the end user that it is being design for. This viewpoint is gaining a lot of acceptance in the business world; for example, Postrel argues that the “look and feel” of people, places, and things are more important than we think. In other words, people today are more concerned with the look and feel of products than with their functionality. [6]
The front cover of Emotional Design showcases Philippe Starck's Juicy Salif, an icon of industrial design that Norman heralds as an "item of seduction" and the manifestation of his thesis. [3]
Emotions are a fundamental aspect of human experience, and our emotional responses to people, places, and objects are shaped by a complex interplay of factors. As Peter Boatwright and Jonathan Cagan point out, “emotion is human, and its reach is vast". In the current marketplace, successful companies are not just creating good products, but also producing captivating ones that not only attract consumer attention, but also influence their demands and increase their engagement based on both the product's performance and how it makes them feel. [7]
Emotional design is also influenced by the four pleasures, identified in Designing Pleasurable Products [8] by Patrick W. Jordan. In this book Patrick W. Jordan builds on the work of Lionel Tiger to identify the four kinds of pleasures. Jordan describes these as “modes of motivation that enhance a product or a service. Life is unenjoyable without appreciating what we do, and it is human intuition to seek pleasure.” The idea of incorporating pleasure into products is to provide the buyer with an added experience. Patrick W. Jordan points out in his book that a product should be more than something functional and/or aesthetically pleasing and it should evoke an emotion through the use of pleasures. Although it is hard to achieve all four pleasures into one product, by simply focusing on one, it might be what can bring a product from being chosen over another. The four pleasures that could be implemented into products or a service are:
Physio-pleasure deals with the body and pleasure derived from the sensory organs. This includes taste, touch, and smell, as well as sexual and sensual pleasure. In the context of products, these pleasures can be associated with tactile properties (the way interaction with the product feels) or olfactory properties (the leather smell in a new car, for example).
Socio-pleasure is the enjoyment derived from the company of others. Products can facilitate social interaction in a number of ways, either through providing a service that brings people together (a coffee-maker enabling a host to provide their guests with fresh coffee) or by being a talking point in and of itself.
Psycho-pleasure is defined as pleasure which is gained from the accomplishment of a task. In a product context, psycho-pleasure relates to the extent in which a product can help in task completion and make the accomplishment a satisfying experience. This pleasure may also take into account the efficiency with which a task can be completed (a word processor with built-in formatting decreasing the amount of time spent on creating a document, for example).
Ideo-pleasure refers to pleasure derived from theoretical entities such as books, music, and art. It may relate to the aesthetics of a product and the values it embodies. A product made of bio-degradable material, for example, can be seen as holding value in the environment which, in turn, may appeal to someone who wishes to be environmentally responsible. [9]
People mostly know film as an entertainment but film can do more than that. Gianluca Sergi and Alan Lovell cite a study in their essays [10] on cinema entertainment that the film users (the viewers) see films as an escape from reality and a source of amusement, relaxation and knowledge, meaning films also function as an educational tool and a method of stress relief. Specifically, comparing to emotional design, film fulfills the requirements it needs. Firstly, movies have an attractive appearance. Whether movies start with a black and white concept like in Oz the Great and Powerful or an oddly colorful, but serious theme as in Suicide Squad, they usually capture the audiences’ attention, who then want to continue watching the whole show. The “wow” reaction that viewers have is the visceral reaction, according to how Don Norman explains the three levels of design in his book Emotional Design: Why We Love (or Hate) Everyday Things, [11] “[w]hen we perceive something as “pretty,” that judgment comes directly from the visceral level.” (65–66) Secondly, the behavioral level: in a literal sense, the only function of movies is to be watched. With the advancement of technology, movies now have high resolution, as well as various lighting dynamics and camera angles. Lastly, applying Don Norman’s statement [11] on how products can add positively to the self-image of the users and how good the users feel after owning the products, film does influence its viewers greatly and affect the way they act. Trice and Greer indicate that “we identify with characters on the screen who are like us in terms of age, sex and other characteristics; we also identify with people we would like to be like.[...] We tend to imitate “good” characters” (135). [12] That being said, movies do not label any of their characters good or bad in a straightforward manner; the viewers only learn about the characters through the narrative, which production design is a part of.
Emotional design is one of the important aspects of creating a successful and enjoyable experience for customers in a physical space such as Starbucks. [13] Emotional design refers to the ability of design elements to evoke certain emotions or feelings in customers. [13] One example of emotional design at Starbucks is the use of warm lighting, comfortable seating, and relaxing music to create a cozy and inviting atmosphere. This creates a sense of comfort and relaxation, which can be particularly appealing to customers who are looking for a place to unwind or catch up with friends. Another example of emotional design at Starbucks is the use of distinctive and recognizable branding elements, such as the green logo, the mermaid icon, and the signature cup design. These elements create a sense of familiarity and loyalty among customers, who often associate the Starbucks brand with a certain lifestyle or personality. [13]
Emotion and design are intricately linked in the field of emotional design, which is concerned with creating products, interfaces, and experiences that engage users on an emotional level. Emotions design involves the intentional use of design elements to evoke specific emotional responses in users.
The relationship between emotion and design in emotional design is rooted in the idea that emotions are a key driver of human behavior. People are more likely to engage with products and interfaces that evoke positive emotions such as joy, excitement, and delight, while negative emotions such as frustration and anger can lead to disengagement and avoidance. [14]
In emotional design, designers use a variety of techniques to evoke emotions in users. These may include the use of color, typography, imagery, sound, and motion, among others. For example, a website might use bright, cheerful colors and playful animations to create a sense of fun and whimsy, while a meditation app might use soft, calming colors and soothing sounds to create a sense of relaxation and tranquility. [14]
Appeal to emotion or argumentum ad passiones is an informal fallacy characterized by the manipulation of the recipient's emotions in order to win an argument, especially in the absence of factual evidence. This kind of appeal to emotion is irrelevant to or distracting from the facts of the argument and encompasses several logical fallacies, including appeal to consequences, appeal to fear, appeal to flattery, appeal to pity, appeal to ridicule, appeal to spite, and wishful thinking.
Usability can be described as the capacity of a system to provide a condition for its users to perform the tasks safely, effectively, and efficiently while enjoying the experience. In software engineering, usability is the degree to which a software can be used by specified consumers to achieve quantified objectives with effectiveness, efficiency, and satisfaction in a quantified context of use.
User-centered design (UCD) or user-driven development (UDD) is a framework of process in which usability goals, user characteristics, environment, tasks and workflow of a product, service or process are given extensive attention at each stage of the design process. These tests are conducted with/without actual users during each stage of the process from requirements, pre-production models and post production, completing a circle of proof back to and ensuring that "development proceeds with the user as the center of focus." Such testing is necessary as it is often very difficult for the designers of a product to understand intuitively the first-time users of their design experiences, and what each user's learning curve may look like. User-centered design is based on the understanding of a user, their demands, priorities and experiences and when used, is known to lead to an increased product usefulness and usability as it delivers satisfaction to the user.
Interaction design, often abbreviated as IxD, is "the practice of designing interactive digital products, environments, systems, and services." While interaction design has an interest in form, its main area of focus rests on behavior. Rather than analyzing how things are, interaction design synthesizes and imagines things as they could be. This element of interaction design is what characterizes IxD as a design field, as opposed to a science or engineering field.
Contempt is an attitude towards individuals, social groups and eventually ideologies, that evokes a sense of superiority and the right to judge, amid feelings of disgust and anger. This set of emotions generally produces maladaptive behaviour. Other authors define contempt as a negative emotion rather than the constellation of mentality and feelings that produce an attitude. Paul Ekman categorises contempt as the seventh basic emotion, along with anger, disgust, fear, happiness, sadness and surprise. Robert C. Solomon places contempt on the same emotional continuum as resentment and anger, and he argues that the differences between the three are that resentment is anger directed towards a higher-status individual; anger is directed towards an equal-status individual; and contempt is anger directed towards a lower-status individual.
Pathos appeals to the emotions and ideals of the audience and elicits feelings that already reside in them. Pathos is a term used most often in rhetoric, as well as in literature, film and other narrative art.
The user experience (UX) is how a user feels while interacting with a product, system or service. It includes a person's perceptions of utility, ease of use, and efficiency. Improving user experience is important to most companies, designers, and creators when creating and refining products because negative user experience can diminish the use of the product and, therefore, any desired positive impacts; conversely, designing toward profitability often conflicts with ethical user experience objectives and even causes harm. User experience is subjective. However, the attributes that make up the user experience are objective.
Servicescape is a model developed by Booms and Bitner to emphasize the impact of the physical environment in which a service process takes place. The aim of the servicescapes model is to explain behavior of people within the service environment with a view to designing environments that does not accomplish organisational goals in terms of achieving desired behavioural responses. For consumers visiting a service or retail store, the service environment is the first aspect of the service that is perceived by the customer and it is at this stage that consumers are likely to form impressions of the level of service they will receive.
Salience is the state or condition of being prominent. The Oxford English Dictionary defines salience as "most noticeable or important." The concept is discussed in communication, semiotics, linguistics, sociology, psychology, and political science. It has been studied with respect to interpersonal communication, persuasion, politics, and its influence on mass media.
Emotional contagion is a form of social contagion that involves the spontaneous spread of emotions and related behaviors. Such emotional convergence can happen from one person to another, or in a larger group. Emotions can be shared across individuals in many ways, both implicitly or explicitly. For instance, conscious reasoning, analysis, and imagination have all been found to contribute to the phenomenon. The behaviour has been found in humans, other primates, dogs, and chickens.
Affective design describes the design of user interfaces in which emotional information is communicated to the computer from the user in a natural and comfortable way. The computer processes the emotional information and adapts or responds to try to improve the interaction in some way. The notion of affective design emerged from the field of human–computer interaction (HCI), specifically from the developing area of affective computing. Affective design serves an important role in user experience (UX) as it contributes to the improvement of the user's personal condition in relation to the computing system. The goals of affective design focus on providing users with an optimal, proactive experience. Amongst overlap with several fields, applications of affective design include ambient intelligence, human–robot interaction, and video games.
User experience design defines the experience a user would go through when interacting with a company, its services, and its products. User experience design is a user centered design approach because it considers the user's experience when using a product or platform. Research, data analysis, and test results drive design decisions in UX design rather than aesthetic preferences and opinions. Unlike user interface design, which focuses solely on the design of a computer interface, UX design encompasses all aspects of a user's perceived experience with a product or website, such as its usability, usefulness, desirability, brand perception, and overall performance. UX design is also an element of the customer experience (CX), and encompasses all aspects and stages of a customer's experience and interaction with a company.
Visual merchandising is the practice in the retail industry of optimizing the presentation of products and services to better highlight their features and benefits. The purpose of such visual merchandising is to attract, engage, and motivate the customer towards making a purchase.
The Tamagotchi effect is the development of emotional attachment with machines, robots or software agents. It has been noticed that humans tend to attach emotionally to things which otherwise do not have any emotions. For example, there are instances when people feel emotional about using their car keys, or with virtual pets. It is more prominent in applications which reflect some aspects of human behavior or characteristics, especially levels of artificial intelligence and automated knowledge processing.
Desires are states of mind that are expressed by terms like "wanting", "wishing", "longing" or "craving". A great variety of features is commonly associated with desires. They are seen as propositional attitudes towards conceivable states of affairs. They aim to change the world by representing how the world should be, unlike beliefs, which aim to represent how the world actually is. Desires are closely related to agency: they motivate the agent to realize them. For this to be possible, a desire has to be combined with a belief about which action would realize it. Desires present their objects in a favorable light, as something that appears to be good. Their fulfillment is normally experienced as pleasurable in contrast to the negative experience of failing to do so. Conscious desires are usually accompanied by some form of emotional response. While many researchers roughly agree on these general features, there is significant disagreement about how to define desires, i.e. which of these features are essential and which ones are merely accidental. Action-based theories define desires as structures that incline us toward actions. Pleasure-based theories focus on the tendency of desires to cause pleasure when fulfilled. Value-based theories identify desires with attitudes toward values, like judging or having an appearance that something is good.
Emotional branding is a term used within marketing communication that refers to the practice of building brands that appeal directly to a consumer's emotional state, needs and aspirations. Emotional branding is successful when it triggers an emotional response in the consumer, that is, a desire for the advertised brand that cannot fully be rationalized. Emotional brands have a significant impact when the consumer experiences a strong and lasting attachment to the brand comparable to a feeling of bonding, companionship or love. Examples of emotional branding include the nostalgic attachment to the Kodak brand of film, bonding with the Jim Beam bourbon brand, and love for the McDonald’s brand.
Affective haptics is the emerging area of research which focuses on the study and design of devices and systems that can elicit, enhance, or influence the emotional state of a human by means of sense of touch. The research field is originated with the Dzmitry Tsetserukou and Alena Neviarouskaya papers on affective haptics and real-time communication system with rich emotional and haptic channels. Driven by the motivation to enhance social interactivity and emotionally immersive experience of users of real-time messaging, virtual, augmented realities, the idea of reinforcing (intensifying) own feelings and reproducing (simulating) the emotions felt by the partner was proposed. Four basic haptic (tactile) channels governing our emotions can be distinguished:
Experiential interior design (EID) is the practice of employing experiential or phenomenological values in interior experience design. EID is a human-centered design approach to interior architecture based on modern environmental psychology emphasizing human experiential needs. The notion of EID emphasizes the influence of the designed environments on human total experiences including sensorial, cognitive, emotional, social, and behavioral experiences triggered by environmental cues. One of the key promises of EID is to offer values beyond the functional or mechanical experiences afforded by the environment.
Sensory branding is a type of marketing that appeals to all the senses in relation to the brand. It uses the senses to relate with customers on an emotional level. It is believed that the difference between an ordinary product and a captivating product is emotion. When emotion flows in the marketplace, your product shines. When there is no emotion from the product, customers lack the enthusiasm and passion that launches a product to success. Brands can forge emotional associations in the customers' minds by appealing to their senses. A multi-sensory brand experience generates certain beliefs, feelings, thoughts and opinions to create a brandgon image in the consumer's mind.
Behavioural design is a sub-category of design, which is concerned with how design can shape, or be used to influence human behaviour. All approaches of design for behaviour change acknowledge that artifacts have an important influence on human behaviour and/or behavioural decisions. They strongly draw on theories of behavioural change, including the division into personal, behavioural, and environmental characteristics as drivers for behaviour change. Areas in which design for behaviour change has been most commonly applied include health and wellbeing, sustainability, safety and social context, as well as crime prevention.
