A summary of the book "Emotional Design" from Norman, chapter 2: design in practise: Three levels of design

1. THREE LEVELS OF DESIGN visceral | behavioural | reflective

2. THREE LEVELS of design Play part in shaping one’s experience Important Require a different approach by the designer visceral | behavioural | reflective

3. VISCERAL DESIGN visceral | behavioural | reflective

4. QUOTE visceral design “ Package designers and brand managers are looking beyond graphic elements or even the design as a whole to forge an emotional link between consumers and brands ” The entire success of a product PACKAGE, not content

5. BOTTLE OF WATER

6. VISCERAL DESIGN what? Is what nature does Powerful emotional signals from the environment are automatically interpreted at this level Culturally Perception of “pretty” Visceral design is all about emotional impact

7. DOMINATING FACTORS LOOK FEEL SOUND

8. DOMINATING FACTORS Physical features LOOK FEEL SOUND These principles are wired in, consistent across people and cultures

9. VISCERAL DESIGN where? Advertising Folk Crafts Children items

10. VISCERAL DESIGN: how? About initial reactions Studied Putting people in front of a design Waiting for reactions What is the reaction the visceral designer strives for? I want it What does it do? How much does it cost?

11. BEHAVIOURAL DESIGN visceral | behavioural | reflective

12. BEHAVIOURAL DESIGN “Use and performance” Four components Function Understandability Usability Physical feel

13. BEHAVIOURAL DESIGN FUNCTION

14. FUNCTION Comes first Product  To fulfil needs Tricky

15. TRICKY Question: what does a product do, what function does it perform? Answer: it has to fulfil needs Difficult: why ? People’s needs are not as obvious as might be thought Importance for designers Designers have to watch their customers to understand how they will use a product

16. PRODUCT DEVELOPMENT Enhancement = making an existing product or service better Easiest: comes primarily by watching how people use what exists today Innovation = completely new way of doing something that was not possible before Difficult to access: cannot be evaluated by asking potential customers for their views

17. CAR CUPHOLDERS

18. ? BEHAVIOURAL DESIGN UNDER- STANDING

19. UNDERSTANDING The secret = to establish a proper conceptual model Three mental images Designer’s model User’s model System image = conveyed by the product and written material (advertising and manuals) The system image of the final design conveys the proper user model

20. FEEDBACK “Component of understanding” To givecontinual feedback Computer Amazing: manyproductsgive inadequate feedback To beeffective? Enhance the conceptual model Indicatingprecisely What is happening and whatremains to bedone?

21. BEHAVIOURAL DESIGN USABILITY

22. USABILITY Complex topic “a product that does what is required and is understandable, may still not be usable” E.g. guitars, violins, piano Usage = the critical test of a product: How well does the product perform? How comfortable does it feel to use? Challenge = UNIVERSAL DESIGN

23. BEHAVIOURAL DESIGN PHYSICAL FEEL

24. PHYSICAL FEEL matters Designers worry a lot about the physical feel of their products Make huge difference in our appreciations They are critical to our behavioural assessment of a product Physical feel matters: why? We are biological creatures: interaction between our sensory systems and the environment

25. + BEHAVIOURAL DESIGN + Human-centered Understanding and satisfying the needs Observation Visceral and behavioural reactions are subconscious Make us unaware of our true reactions and their causes

26. REFLECTIVE DESIGN visceral | behavioural | reflective

27. REFLECTIVE DESIGN what? Message, culture, meaning of a product The image we present to others The essence of reflective design: it’s all in the mind of the beholder

28. QUESTION functionvsfashion

29. ATTRACTIVENESS <> BEAUTY Attractiveness Visceral level The response is entirely to the surface look of an object Beauty Reflective level It is influenced by knowledge, learning and culture Advertising  can work at either the visceral or the reflective level

30. REFLECTIVE LEVEL product Shows person’s overall impression Customer relationships play a major role A good relationship  reverse a negative experience Is about long-term customer experience Service Providing a personal touch Warm interaction

31. THE DEVIOUS SIDE OF DESIGN visceral | behavioural | reflective

32. HUMAN-CENTERED DESIGN Test product withpotentialusers Meaningfor the salespersons= reverse = anopportunity to present themselves as rescuers The solutionthroughconfusion is a pure playonemotions For fashion: emotions are key

33. SALES STRATEGY supermarkets Put the most frequently desired items at the rear of the store Why? Forcing buyers to pass by isles of tempting impulse purchases Regular rearrange the store To visit the whole store Difficult to buy the most desired items

34. DESIGN BY COMMITTEE VERSUS BY AN INDIVIDUAL

35. REFLECTIVE THOUGHTS Websites and products  no guarantee for success Conflict between the preferences of the popular audience the intellectual and artistic community The best designs come from following a cohesive theme throughout, with a clear vision and focus

36. CONCLUSION A human-centered approach works well for behavioural design, but it is not necessarily appropriate for either the visceral or the reflective side Conclusion If you want a successful product, test and revise If you want a product that can change the world: let it be driven by someone with a clear vision

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