Design and emotion

McDonagh, Deana; Denton, Howard G.; Chapman, Jonathan

doi:10.1080/09544820902915300

Cited by 9 publications

(7 citation statements)

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“…Affect is important in an ambient context, the result of how an experience or environment feels. Attaining the right affective balance is considered core to user experience [Norman 2002;Peter and Beale 2008;Forlizzi and Battarbee 2004;McDonagh et al 2009] and is becoming an important aspect of information visualization [Acevedo and Laidlaw 2006;Lau and Vande Moere 2007;Kosara 2007]. Visual designers and artists carefully manipulate visual elements such as colour, form and motion to evoke affect [Collopy 2000], but empirical evidence on how such elements in motion textures should be manipulated to invoke affective impressions is still scarce and an emerging research area.…”

Section: Introductionmentioning

confidence: 99%

Evaluating affective features of 3D motionscapes

Feng

Bartram

Riecke

2014

Proceedings of the ACM Symposium on Applied Perception

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motion textures are widely applied in visual design and immersive environments such as games to imbue the environment or presentation with affect. While visual designers and artists carefully manipulate visual elements such as colour, form and motion to evoke affect, understanding what aspects of motion contribute to this still remains a matter of designer craft rather than validated principle. We report an empirical study of how simple features of motion in 3D textures, or motionscapes, contribute to the elicitation of affect. 12 university students were recruited to evaluate a series of 3D motionscapes. Results showed basic motion properties including speed, direction, path curvature and shape had significant influence on affective impressions such as valence, comfort, urgency and intensity, suggesting further directions for applications and explorations in this design space.

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Section: Introductionmentioning

confidence: 99%

Evaluating affective features of 3D motionscapes

Feng

Bartram

Riecke

2014

Proceedings of the ACM Symposium on Applied Perception

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“…This framework allows us to keep the student at the center of the design process and facilitate meaningful learning experiences. McDonagh, Denton and Chapman [10] state "Excellence in design is about more than the final product itself. It is about creating positive, rich and meaningful user experiences."…”

Section: Know|feel|domentioning

confidence: 99%

“…Microlearning is built directly into the document to facilitate the design process. The microlearning topics are on ways to design in inclusion and other key features necessary to design courses that help a student to thrive in the university environment [10]. The microlearning videos on creative assessment IS available at [9].…”

Section: Solutionmentioning

confidence: 99%

LAPU Learning Model: Know|Feel|Do Framework

Hanshaw¹,

Dawson²

2021

IJDS

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Los Angeles Pacific University is a 100% online university with a mission to create a fully mobile classroom experience. Over the past ten years, we have continually researched, tested, and developed what it means to offer fully online courses. Creating a mobile-first experience required much more research and divergent thinking. Through interdepartmental collaboration, learner experience mapping, and application of the know/feel/do framework within the LAPU learning model, the eLearning led cross-functional team designed a mobile classroom that sets up our students for success, evokes emotions, and boosts retention. The eLearning team decided early in the process that we must design emotion into the course. This decision was largely based on Cavanagh's argument [3] that designing courses for emotional impact better captures students' attention, improves both short and long-term memory of the subject, and improves students' motivation and efficacy. This paper is a case study of how we approached the creation of mobile learning and specifically applied strategies to design in an emotional context to the courses.

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“…The act of experience insinuates a sense of exploration and Tuan (1997, p8) says to experience something "requires that one venture forth into the unfamiliar", the word is the cover-all term for explaining how a person constructs a reality. Suri (in McDonagh et al, 2004) stated that "experiences and emotional responses are dynamic and occur in time and space" but this active response of the experience doesn't have to be unknown to the designer, who may be able to provide a narrative within this scope for the individual's journey with the tool of use here being the human senses through which "peoples emotions are triggered" along with knowledge and expectations (Givechi & Velasquez, in McDonagh et al, 2004).…”

Section: Literature Reviewmentioning

confidence: 99%

“…Crossley (in McDonagh et al, 2004) highlighted the goal of ID should shift to creating an emotional story and experience, not just an artefact, where the role of a "narrative" within product design offers a new strategy for emotionally driven experiences not just the trends of the moment. Guidelines that are able to not just "minimise discomfort" as does the field of ergonomics but can enable designers to create cohesive narratives for experience-driven product experiences, and also to consider how the use of ambiguous or "mixed signals" may affect evaluations of products.…”

Section: Literature Reviewmentioning

confidence: 99%

Surface Theory

Askey¹

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Surfaces readily communicate visual and tactile cues about adesign’s purpose and identity. An intrinsic knowledge of physicalcharacteristics of products has been established through existingresearch that relates product shape to semantic descriptors, buthas not yet addressed how a material’s surface texture mightcontribute towards a product identity. The advent of additive manufacturing enables a new mindsettowards production and the high fidelity of these processesoffer unprecedented control over the designed identity; as suchthere is a gap for research that helps designers understand theinfluence of detailed textures on sensitive body parts, such asthe fingertip. With greater understanding that the experiencedesign and emotional acuity of a physical product is an importantdifferentiator in the market it is necessary to provide designersa more concrete understanding of how their designs could beperceived. A great range of emotional affects can be elicited throughtangible 3D-printed form. In exploration of this a process wascreated to generate surfaces from a script-based modellingsoftware that provides strict control of 3D models. Utilisingparameter-based design a large variety of complex geometrieswere made from a shared scaffold; and in taking advantage ofthis statistical base, user studies were conducted to identifycorrelations between geometric features and emotional affects. Novel natural language processing tools were used to analyseopen-ended questionnaires and contrasted with results fromconfirmatory questions on a series of designed textures. Furtherinquiry into these results enabled extraction of statisticallysignificant factors and their corresponding parameters to informa set of guidelines on how to elicit certain emotional responsesusing only changes in surface geometry. The results of this research show that innovative visual andtactile textures can evoke a desired emotional response. Usingspeculative design, emotive textures are applied within theconsumer electronics industry to create a series of experimentswith unique surfaces that suggest how greater customisationfor consumers could be provided, enabling a greater productattachment and to allow products to be designed with greaterempathy. More emotional designs can be created using 3D printingthat might contribute to a more ethical and sustainable cultureof production, made possible with aesthetic changes of the nexttechnological revolution.

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Design and emotion

Cited by 9 publications

References 0 publications

Evaluating affective features of 3D motionscapes

Evaluating affective features of 3D motionscapes

LAPU Learning Model: Know|Feel|Do Framework

Surface Theory

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