SB2 - Book Research 'Design for Emotion'

> I decided to look at this book, as I believe that it will help interpret what steps I should take to create a design outcome with a huge impact. For this brief I want to bring awareness to colourism and give a strong impression to the viewer. 

Why Design for Emotion?

• Over the last three decades, research that examines the relationship between design and emotion has grown steadily.
• Useful, Usable and Desirable
  Useful - Performs the tasks it was designed for
  Usable - Easy to use and interact with
  Desirable - Provides feeling of pleasure and creates attraction
• Emotion is an overriding influence on in our daily lives (Damasio, 1994)
• Emotion dominates decision making, commands attention and enhances some memories, while minimalising others (Reeves & Nass, 1998)
• The emotions we feel allow us to assign meanings to the people and things that we experience in life. 
• FIVE REASONS TO DESIGN FOR EMOTION:
  - Emotion is experience
  - All design is emotional design
  - Emotion dominates decision making
  - Emotion commands attention and effects memory
  - Emotion communicates personality, forms relationships
• Emotional design is not some rare or sacred thing - it's all around us
  
  
  

• Emotions dominate decision making because they trigger and motivate behaviour. The stronger or more intense out emotional experience is, the lower the ability to consciously evaluate the pros and cons of an offer or situation.
• Negative experience tend to demand . much more attention than positive experiences. 
• Emotion demands attention and affects memory. The intensity of emotional experience has been linked with the strength and clarity of memories before, during, and after emotional events (Reeves & Nass.
• Using negative emotion to increase the strength of a memory may seem useful.
• Emotional design is about directing the users attention to the right think at the right time. 
• Objects can also become personally significant because they cultivate meaning by creating associations through time. 
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• Traits of a Good Design:
  - Attractiveness (sexy, cute, beautiful, graceful)
  - Status (lifestyle, social class, value system)
  - Intelligence (smart, adaptive, intuitive, function well)
  - Trustwothiness (loyal, safe, trusting)
  - Empathy (understanding, adaptive, communicative)
  - Ambitious (innovative, forward thinking, aspiring, motivated)
  - Exciting (good sense of humour, positively suprising, creative)
• Negative experiences how much more psychological weight than positive ones. 
• colours of higher saturation affects arousal independent of the hue (i.e. higher saturation = higher arousal.)
• Higher contrast in colour = Higher arousal 
• Red, yellow, orange are considered more aggressive, dynamic, and active colours than colours in the blue range, which are considered more calm and passive(Fehrman & Fehrman, 2000)
• Larger screens increase emotional arousal 
• close ups on small screens increase arousal levels to create a more intimate and immersive environment. 
• When invited, close inerpersonal distances can produce extremely positive reactions.
• For power, products need to strike a dynamic balance between simplicity and complexity.
  
  
  Quality: Content should be factually correct.
  
  
  Quantity: The amount of content should be appropriate for the conversation.
  
  
  Relevance: The content should be relevant to the purpose of the conversation.
  
  
  Clarity: The relevance of the content that's presented should clear. (Reeces & Nass, 1998)
  
  

> This book was extremely helpful in terms of setting goals for my project, and being able to get a better understanding for how I should approach this project. I found the fact that knowing a negative emotion towards a design is more memorable than a positive one, I will design a final outcome that is controvesial yet Ambitious (referring back to the traits of a good design).