感性设计(韩国版)

Emotional Design Principles
Attention Intention Motivation
Design for Flow
When Do We Design for Emotion?
Basic design principles that will help to encourage flow : -Clear navigation -Immediate feedback
Inanimate, but delivers negative emotion
Where Do We Design for Emotion?
Product design elements that communicate personality traits
proportion images
composition
Where Do We Design for Emotion?
The Traits of a Good Design (Ç akmakli, 2010)
Lifestyle, social class, value system Social Status Material status – expensive/cheap Cultural status – proper taste for products
Intimacy
Commitment
Aestheticoriented
Interactionoriented
Functionoriented conscious
Unconscious & infatuated
Unconscious /conscious friendship
Where Do We Design for Emotion?
Interactionoriented Unconscious /conscious friendship
Functionoriented
conscious
Where Do We Design for Emotion?
When we say we “love” products, what do we really mean?
Where Do We Design for Emotion?
Types of Appraisals (Desmet, 2002)
Type
as Objects
as Agents
as Events

Does it appeal to my attitudes? How aesthetically appealing it is – love/disgust/ indifference
Where Do We Design for Emotion?
The Traits of a Good Design (Ç akmakli, 2010)
Loyal, safe, trusting Trustworthy Important part of relationships Influence credibility (believability)
fonts
layout
feedback sounds
color
user prompts
contrast
navigation
Where Do We Design for Emotion?
Design Goals & Product Elements (Sanders, 1992)
Capacity to be understood, learned & utilized Accomplishes what it was designed for
Self-image, personal satisfaction, memories
Where Do We Design for Emotion?
Types of User Benefits from products (Jordan, 2000)
Type
Hedonic
(쾌락)
Practical
Experience of using a product to fulfill needs – usability & performance
Affected by culture, education, experience
Aesthetic and Tactile qualities
Effectiveness and ease of use
Intelligence
Trustworthy
Empathy
Exciting
Ambitious
Where Do We Design for Emotion?
The Traits of a Good Design (Ç akmakli, 2010)
Sexy, Cute, Beautiful, Graceful Attractiveness Symmetry, body proportion from an evolutionary standpoint Golden Ratio (approximately 1.62) in nature
-Reduce distractions
-Balance the perception of challenge with the user’s skill levels
Where Do We Design for Emotion?
Products are living objects with which people have relationships rather than mere instruments. (Jordan, 2000) People automatically and unconsciously perceive emotion in the form and content of things. (Trevor & Edie, 2012)
Where Do We Design for Emotion?
The Traits of a Good Design (Ç akmakli, 2010)
Innovative, forward thinking, aspiring, motivated Ambitious Products embracing new technology More useful, usable and desirable arrangement
Where Do We Design for Emotion?
The Traits of a Good Design (Ç akmakli, 2010)
Understanding, adaptive, communicative Empathy Research and understanding user needs
Does it meet my standards? appreciation/ admiration/ disappointment/ contempt
Does it help reach my goal? How well the product helps us to realize our future goals
Passion
aesthetic
Intimacy
Interaction
Commitment
function
Where Do We Design for Emotion?
The Traits of a Good Design (Ç akmakli, 2010)
Attractiveness
Social Status
Where Do We Design for Emotion?
The Traits of a Good Design (Ç akmakli, 2010)
Good sense of humor, positively surprising, creative Exciting Excitement through the use of positive surprise that draws attention and reinforces positive memories
What the product does
Where Do We Design for Emotion?
Levels of Emotional Processing (Norman, 2004)
Level
Visceral
(본능)
Behavioral
(행위)
Reflective
(반영)
Translate sensory information into instant, unconscious judgments
When we say we “love” products, what do we really mean?
Passion
aesthetic
Looks good & easy to use But poor function Looks good & easy to use with proper function Intimacy
Where Do We Design for Emotion?
Gender & stereotypes Gender has become associated with the physical and behavioral characteristics of each sex. (Dutton, 2003) Each product is a complex mix of both masculine and feminine traits that are interconnected and interdependent. (Tzu, 2006)