Donald Norman Emotional Design Pdf
Su Strawderman
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 .
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]
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]
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]
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]
Finally, reflective design considers the rationalization and intellectualization of a product. Can I tell a story about it? Does it appeal to my self-image, to my pride? I love to show people how the tilting teapot works, explaining how the position of the pot signals the state of the tea.
Three different levels of the brain are: the automatic, prewired layer, called the visceral level; the part that contains the brain processes that control everyday behavior, known as the behavioral level; and the contemplative part of the brain, or the reflective level.
Just as our experiences do not come neatly divided into unique categories of visceral, behavioral, or reflective, so films cannot be stuck neatly into one of three packages: visceral, or vicarious, or voyeuristic. Most experiences, and most films, cut across the boundaries. The best products and the best films neatly balance all three forms of emotional impact.They successfully capture the viewer at all three modes, with engaging visceral spectacles, an engrossing story for the vicarious, and enough depth and hidden metaphorical allusions to content the reflective voyeur.
I predict that a conversation with real passengers will prove to be not as dangerous as one with far-away people, for the mental space we create for real passengers includes the auto and its surround, whereas the other one distances us from the auto. After all, we evolved to interact with others in the midst of other activities, but the evolutionary process could not anticipate communication at a distance.
In the human mind there are numerous areas responsible for what we refer to as emotion; collectively, these regions comprise the emotional system. Don Norman proposes the emotional system consists of three different, yet interconnected levels, each of which influences our experience of the world in a particular way. The three levels are visceral, behavioral, and reflective. The visceral level is responsible for the ingrained, automatic and almost animalistic qualities of human emotion, which are almost entirely out of our control. The behavioral level refers to the controlled aspects of human action, where we unconsciously analyze a situation so as to develop goal-directed strategies most likely to prove effective in the shortest time, or with the fewest actions, possible. The reflective level is, as Don Norman states, "...the home of reflection, of conscious thought, of learning of new concepts and generalisations about the world". These three levels, while classified as separate dimensions of the emotional system, are linked and influence one another to create our overall emotional experience of the world.
In Emotional Design: Why we love (or hate) everyday things, Don Norman (a prominent academic in the field of cognitive science, design, and usability engineering) distinguishes between three aspects, or levels, of the emotional system (i.e. the sum of the parts responsible for emotion in the human mind), which are as follows: the visceral, behavioral and reflective levels. Each of these levels or dimensions, while heavily connected and interwoven in the emotional system, influences design in its own specific way. The three corresponding levels of design are outlined below:
Here, we have introduced Don Norman's three levels of design: The visceral, behavioral, and reflective level of design. The visceral level of design refers to the first impression of a design, both in terms of how the user perceives the product and how it makes the user feel. The behavioral level refers to the experience of the product in use. We often think of this level when we think of user experience. The reflective level refers to the user's reflections about the product, both before, during, and after use. The three levels all combine to form the entire product experience.
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Create a Connection: Products designed with emotional appeal can create a deeper bond between the user and the product. When users feel an emotional connection, they are more likely to have a positive experience and develop loyalty to the brand or product.
Apple products, such as the iPhone, are a prime example of how brands can create emotional connections with their users. The sleek design, intuitive interface, and the status symbol associated with Apple products create a deep emotional bond. Many Apple users are not just loyal; they are passionate advocates of the brand.
Usability and Satisfaction: A product that evokes positive emotions is often perceived as easier to use. Emotional design can make users more forgiving of minor usability issues and can increase overall satisfaction with the product.
Google's search engine exemplifies this. Its simple and clean interface, coupled with fast and relevant results, creates a positive user experience. Even if users encounter occasional irrelevant results, the overall efficiency and user-friendly design keep satisfaction high.
Memorability: Emotional experiences are more likely to be remembered than neutral ones. If a product can evoke a strong positive emotional response, users are more likely to recall and return to it.
The classic Coca-Cola bottle design has a unique, recognizable shape that evokes nostalgia and makes it memorable. Even in a market flooded with soft drinks, the Coca-Cola bottle stands out and is instantly identifiable, often associated with positive emotions and memories.
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