Design for interest: Exploratory study on a distinct positive emotion in human-product interaction (original) (raw)

Design, Emotions, and Theories of Product Emotion. A Review

Blucher Design Proceedings, 2023

In the design process, aspects of form and aesthetics are always thought of carefully, along with technical functionality. If only functionality were the requisite aspect of the design, there would be only one design of each product. People demand variation in product design to satisfy their emotional needs. Moreover, market research has shown that consumers who decide only based on pure facts are extremely small, and mostly they decide with their emotions. As consumers are becoming more and more aware, functionality and usability are more and more taken for granted in products, and consumers are eyeing for the attainment of higher-level needs, i.e., emotional needs. Therefore, the emotional aspect of design has gained significance in design education, practice, and research in the recent past. In this regard, it is essential to understand what emotions are and how design affects consumer emotional responses. This paper explores the fundamental terminologies in emotion research to understand and develop a perspective exploring relationships between design, emotion, and consumer responses. It involves reviewing and critically analyzing seminal studies, theories, and models previously proposed in this domain (viz. Emotional Design, Appraisal Theory, Pleasure Model, Technology as Experience Framework, and Product Personality Assignment). Based on the review insights, we enlist the advantages and limitations of each of the reviewed theories. It is expected that design practitioners, cognitive scientists, and ergonomists would find the insights drawn in the current study helpful while designing products that elicit the intended emotional response.

Understanding and designing pleasant experiences with products

2014

This thesis reports an investigation to develop new understanding of pleasant experiences resulting from human-product interaction, which is then used to inform the development of a process and tools to support designers. The key argument of this research is that pleasant experiences can be designed. The thesis starts by providing a foundation of user experience. A new framework of user experience is proposed based on the analysis and synthesis of previous literature (Chapter 1). The interest then shifts from user experience to characterising pleasant experi- ences. Four empirical studies are presented focusing on aspects such as experiences with great products and the role of positive emotions in those experiences. The first study, investigating how users experience great products, identifies and characterises pragmatic and significant experiences (Chapter 2). Great products were studied as people understood and experienced them. In the second study, a set of twenty-five positive emotions are ranked by users and designers to understand what emotions they prefer to experience and elicit through their designs (Chapter 3). Highly-pre- ferred emotions by users were: satisfaction, inspiration, confidence, joy, amusement and relaxed. Highly-preferred emotions by designers were: curiosity, joy, surprise, confidence, inspiration, fascination, satisfaction, and pride. In the third study, the twenty-five positive emotions are researched to understand their differences in pleasantness and arousal (Chapter 4). Three levels of arousal and pleasantness of emotions were identified and these are: exciting, neutral and calm emotions, and pleasant, quite pleasant, and very pleasant emotions. In the fourth study, anticipa- tion, confidence, inspiration, and sympathy are investigated in depth to create rich profiles of the emotions (Chapter 5). The profiles focus on the triggers, appraisal structures, thought-action tendencies, and thematic appraisals of the emotions. Building on the understanding of pleasant experiences emerged from the re- search above, the thesis then presents evaluative research. In the fifth study, a design process and tools to support designers in the elicitation of pleasant experiences are proposed and tested. The process shows how emotional profiles can be used by designers as a means to create pleasant experiences through emotions (Chapter 6).

Human factors for pleasure in product use

Applied Ergonomics, 1998

Traditionally, human factors have tended to concentrate on making products 'usable'-focusing on utilitarian, factional product benefits. This paper reports an interview-based study looking at the issue of 'pleasure' in product use. The study was a 'fust pass' at addressing the hedonic and experiential benefits and penalties associated with product use, and at identifying the properties of a product that influence how pleasurable or displeasurable it is to use. Feelings associated with using pleasurable products included security, confidence, pride, excitement and satisfaction. Displeasurable products, meanwhile, were associated with feelings that included annoyance, anxiety, contempt and frustration. The properties of products that were salient in terms of influencing the level of pleasure/displeasure with a product included features, usability, aesthetics, performance and reliability. Responses to questions investigating behavioural correlates to pleasure in product use suggested that pleasurable products were used more regularly and that future purchase choices would be affected by the level of pleasure in product use. It is concluded that the issue of pleasure in product use involves more than usability alone. As the user's representative in the product creation process, the human factors specialist should consider many other factors in order to ensure that the user's experience of product use is maximised.

Appraisal and Mental Contents in Human-Technology Interaction

International Journal of Technology and Human Interaction, 2015

User experience has become a key concept in investigating human-technology interaction. Therefore it has become essential to consider how user experience can be explicated using psychological concepts. Emotion has been widely considered to be an important dimension of user experience, and one obvious link between modern psychology and the analysis of user experience assumes the analysis of emotion in interaction processes. In this paper, the focus is on the relationship between action types and elicited emotional patterns. In three experiments including N = 40 participants each, it is demonstrated that the types of emotions experienced when people evaluate and use technical artefacts differ based on the stances they take toward these artefacts. One cannot approach user experience irrespective of the careful analysis of the situation-specific emotional themes. It is essential to any theory of user experience to consider the nature of the situation and relevant actions.

DIFFERENTIATING POSITIVE EMOTIONS ELICITED BY PRODUCTS; AN EXPLORATION OF PERCEIVED DIFFERENCES BETWEEN 25 POSITIVE EMOTIONS BY USERS AND DESIGNERS

The 19th Conference on Engineering Design

This paper reports semi-qualitative research on emotions from the perspective of users and designers. Twenty-five positive emotions were ranked regarding four relevant issues for product design: frequency of experience, preference for experience, preference for elicitation, and difficulty in elicitation. Based on the results from this research the emotions that users frequently experience and prefer are: satisfaction, inspiration, confidence, joy, amusement, and relaxed. These emotions ranked high also among those that designers prefer to elicit. Emotions that are infrequently experienced and not preferred by both users and designers are: lust and worship. In relation to the difficulty of eliciting positive emotions through durable products, the conclusion is that it is a challenging task and little knowledge exists to support designers. The knowledge developed through this project is expected to be useful for designers and researchers to understand the role of positive emotions in product design.

Measuring emotional states and behavioral responses to innovative design

Because it is often what people see first, design is a particularly relevant feature for evaluating objects especially those with an innovative design. Research has shown that perceived visual appeal and perceived prototypicality generate cognitive and affective states which give direction to users’ behavior. Using the Stimulus-Organism-Response model, this study investigates how design triggers emotions and emotional behaviors, in this case approach-avoidance and action readiness. Participants observed two objects of innovatory design – an interactive terrestrial globe and a non-touch tablet – and rated their visual and haptical experience with a questionnaire measuring visual appeal and prototypicality and evaluating their emotions and action readiness. Results indicate that the perception of an innovation is very complex. On the one hand innovation focuses attention and interest but in the other side it triggers avoidance behavioral intentions. These findings highlight the ambiva...

Pleasantness and arousal in twenty-five positive emotions elicited by durable products

This study reports quantitative research into two basic dimensions of emotions: pleasantness and arousal. Fifty-nine participants evaluated these two dimensions for a set of twenty-five positive emotions in relation to human-product interactions. Three levels of arousal were iden- tified: ‘exciting’, ‘median’ and ‘calm’. Nine emotions were found to be exciting, namely energetic, euphoria, amusement, desire, joy, love, inspiration, lust and surprise. Ten emotions were found to be median in arousal, namely fascination, satisfaction, confidence, pride, anticipation, enchant- ment, courage, hope, worship and admiration. Six emotions were found to be calm, namely relaxation, relief, kindness, dreaminess, respect and sympathy. Three levels of pleasantness were also identified: ‘very pleasant’, ‘mildly pleasant’ and ‘pleasant’. Six emotions were found to be very pleasant, namely amusement, joy, satisfaction, inspiration, euphoria and love. Thirteen emotions were found to be mildly pleasant, namely relief, relaxation, kindness, dreaminess, con- fidence, fascination, pride, enchantment, anticipation, energetic, desire, lust and surprise. Finally six emotions were found to be pleasant, namely respect, sympathy, admiration, courage, hope and worship. The results of this study can guide designers to define the emotional tone of the user experience that they are aiming for.

Emotional Arousal by Product: Effect of Visual Stimulation and Product Experience

Bulletin of Japanese Society for the Science of Design, 2016

How designers effectively create pleasant products by using visual stimulation and product experience has become the mainstream of consumer market for users. This study aimed to explore the relationship between emotional design and emotional arousal as well as the effect of different product shapes on emotional arousal. In user–product interaction, Norman proposed that the aroused emotion includes three design levels: visceral, behavioral, and reflective dimensions. This study applied this theory to examine the thinking of users and to explore users’ usability, emotion, and purchase intentions toward products. This study used the PrEmo scale and performed a user experience study to analyze the effect of different products on the perception, attitude, and emotional arousal of users in the visual stimulation and product experience stages. 42 subjects were asked to perform assigned tasked and fill out the questionnaires before and after the experiencing processes. The assigned tasks required subjects to make a cup of lemonade using high and low emotional arousal product groups, including whistling kettles, squeezers, and glass cups. The findings were summarized from the following aspects: (1) Product experience could greatly affect user satisfaction; (2) Only the high emotional arousal products generated a significant effect on users after the product experience; (3) In the visual stimulation stage, the users were more attracted by and were more willing to buy high emotional arousal products than low emotional arousal products.

Sensory modalities and mental content in product experience

Contemporary research in human-technology interaction emphasises the need to focus on what people experience when they interact with technological artefacts. Understanding how people experience products requires detailed investigation of how physical design properties are mentally represented, and the theorisation of how people represent information obtained through different modalities still needs work. The objective of this study is to investigate how people experience modality-related affective aspects of products, using the psychological concept of mental content. For this purpose, we adopt the framework of user psychology, which is the sub-area of psychology involved with investigating cognitive processes implicated in human-technology interaction. In an experiment, N = 36 participants either looked at, touched, or both looked at and touched drinking glasses. The data was collected with thinking aloud protocols and analysed with inductive content analysis. Frequencies of key affects were observed to differ between the sensory modality groups. The differences are explained with the concepts of mental content. Different modalities involve differing content-based rules, which leads to variance in the feelings associated with the products. The theoretical framework and method utilised reveal the emotional values users associate with technologies, which can be used to inform experience driven design processes. The affective categories extracted in the study can be used in constructing evaluation frameworks, which in turn may serve as an effective tool for evaluation in the future. The method of experimentally separating modalities will also be useful when considering evaluation of products with emphasis on multiple modalities.

Aesthetic appraisal of product designs: Independent effects of typicality and arousal

British Journal of Psychology, 2012

Theories differ on how typicality and arousal influence aesthetic appraisal and whether these processes together interact or have independent effects on aesthetic appraisal. This research investigates the simultaneous effects of typicality and arousal on aesthetic appraisal for product designs by manipulating both processes separately: typicality by prototype deviation and arousal by colour saturation levels. We demonstrate that typicality has a curvilinear relationship with aesthetic appraisal. Additionally, arousal has a positive linear relationship with aesthetic appraisal of product designs. Moreover, arousal can influence aesthetic appraisal independent from typicality.