JY
J. Yoon
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This chapter introduces six insights from emotion knowledge that support a structured approach to emotion-driven design activities. In design processes, these insights can be used to structure consumer insights, to stimulate creativity, and to support communication within the design team, with clients and with consumers. The first three insights broaden the emotion repertoire by detailing how diverse, mixed, nuanced, and even negative emotions can enrich consumer experiences. The other three insights focus on the causes of consumer emotions. The fourth insight explains how emotion measurement can help understanding what people really care for. The fifth insight focuses on consumer dilemmas, indicating how these can be used to design emotionally relevant products and services. The sixth and final insight shows how opportunities for emotion-driven design can be increased with design that addresses emotions that are experienced in the context of consuming products and services.
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This chapter introduces six insights from emotion knowledge that support a structured approach to emotion-driven design activities. In design processes, these insights can be used to structure consumer insights, to stimulate creativity, and to support communication within the design team, with clients and with consumers. The first three insights broaden the emotion repertoire by detailing how diverse, mixed, nuanced, and even negative emotions can enrich consumer experiences. The other three insights focus on the causes of consumer emotions. The fourth insight explains how emotion measurement can help understanding what people really care for. The fifth insight focuses on consumer dilemmas, indicating how these can be used to design emotionally relevant products and services. The sixth and final insight shows how opportunities for emotion-driven design can be increased with design that addresses emotions that are experienced in the context of consuming products and services.
Escaping the emotional blur
Design tools for facilitating positive emotional granularity
In human-product interactions, pleasure has many different shades. We can, for example, be proud of using an eco-friendly detergent, be all aflutter in anticipation of a planned trip when looking at a calendar application or experience a feeling of cathartic relief when playing a mobile phone game. Although these experiences are all pleasurable, each is different from the other in terms of the feelings they engender, the conditions that evoke them and how they influence people’s thoughts and actions. Some people are more aware of these nuances and better able than others to articulate positive emotional states. This difference is called ‘Positive Emotional Granularity’ (PEG) (Tugade, Fredrickson, & Feldman Barrett, 2004). PEG reflects the degree to which a person is able to represent positive emotions with precision and specificity.
This thesis focuses on designers’ PEG, and proposes that having an awareness of nuances between positive emotions can be advantageous for designers in their endeavour to generate positive emotional experiences. Design research has traditionally focused on generalised pleasure or liking, paying little attention to nuances in positive emotions. Consequently, little is known of either the implications of differentiating positive emotions in design processes or ways to support designers in this endeavour. The aim of this thesis is to develop an understanding of how designers’ nuanced understanding of positive emotions can be harnessed and how doing so can contribute to design processes. The research question was, ‘how can designers be supported in developing and
applying a systematic understanding of nuanced positive emotions?’ The overarching approach encompassing the research activities was ‘research through design’, in which the act of designing new solutions and reflecting on the processes is regarded as a means of generating knowledge (Stappers, 2007). A series of design tools and techniques that explained the distinctiveness of positive emotions was conceptualised for the purpose of this research and tested by designers. This research contributes to the field of experience design by elucidating how PEG can add value to design processes, and by providing tools that support designers in developing their understanding of positive emotions and their abilities to select and design for nuanced and distinct positive emotions. Eight studies were conducted, each resulting in a set of new findings.
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In human-product interactions, pleasure has many different shades. We can, for example, be proud of using an eco-friendly detergent, be all aflutter in anticipation of a planned trip when looking at a calendar application or experience a feeling of cathartic relief when playing a mobile phone game. Although these experiences are all pleasurable, each is different from the other in terms of the feelings they engender, the conditions that evoke them and how they influence people’s thoughts and actions. Some people are more aware of these nuances and better able than others to articulate positive emotional states. This difference is called ‘Positive Emotional Granularity’ (PEG) (Tugade, Fredrickson, & Feldman Barrett, 2004). PEG reflects the degree to which a person is able to represent positive emotions with precision and specificity.
This thesis focuses on designers’ PEG, and proposes that having an awareness of nuances between positive emotions can be advantageous for designers in their endeavour to generate positive emotional experiences. Design research has traditionally focused on generalised pleasure or liking, paying little attention to nuances in positive emotions. Consequently, little is known of either the implications of differentiating positive emotions in design processes or ways to support designers in this endeavour. The aim of this thesis is to develop an understanding of how designers’ nuanced understanding of positive emotions can be harnessed and how doing so can contribute to design processes. The research question was, ‘how can designers be supported in developing and
applying a systematic understanding of nuanced positive emotions?’ The overarching approach encompassing the research activities was ‘research through design’, in which the act of designing new solutions and reflecting on the processes is regarded as a means of generating knowledge (Stappers, 2007). A series of design tools and techniques that explained the distinctiveness of positive emotions was conceptualised for the purpose of this research and tested by designers. This research contributes to the field of experience design by elucidating how PEG can add value to design processes, and by providing tools that support designers in developing their understanding of positive emotions and their abilities to select and design for nuanced and distinct positive emotions. Eight studies were conducted, each resulting in a set of new findings.
EmotionPrism
A design tool that communicates 25 pleasurable human-product interactions
The range of positive emotions experienced in human-product interactions is multifarious. Differentiating positive emotions (e.g., joy, love, hope, and interest) and having an awareness of associated expressive interaction qualities (e.g., playful, careful, persistent and focused interaction) can support designers to influence users' interactions in a favourable way. This paper introduces the development and application of EmotionPrism, a tool for designers to gain a better understanding specific positive emotions and related expressive interaction qualities. EmotionPrism is a collection of movie-sets that represents 25 different positive emotions in dynamic hand-object interactions, combined with theoretical descriptions of the emotions. Designers can use the tool to envision and discuss what kinds of interactions would be appropriate or desirable to incite and to select a set of relevant positive emotions accordingly by referring to the set of information as a repertoire to choose from. The paper first describes characteristics of positive emotions with a focus on expressive behaviour and then discusses considerations for the tool development. The second section reports the process of developing the tool. Thirdly, we present the results of a design workshop in which the tool was used and evaluated.
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The range of positive emotions experienced in human-product interactions is multifarious. Differentiating positive emotions (e.g., joy, love, hope, and interest) and having an awareness of associated expressive interaction qualities (e.g., playful, careful, persistent and focused interaction) can support designers to influence users' interactions in a favourable way. This paper introduces the development and application of EmotionPrism, a tool for designers to gain a better understanding specific positive emotions and related expressive interaction qualities. EmotionPrism is a collection of movie-sets that represents 25 different positive emotions in dynamic hand-object interactions, combined with theoretical descriptions of the emotions. Designers can use the tool to envision and discuss what kinds of interactions would be appropriate or desirable to incite and to select a set of relevant positive emotions accordingly by referring to the set of information as a repertoire to choose from. The paper first describes characteristics of positive emotions with a focus on expressive behaviour and then discusses considerations for the tool development. The second section reports the process of developing the tool. Thirdly, we present the results of a design workshop in which the tool was used and evaluated.
To design for happiness sounds like a grand undertaking. Some might even say an overly ambitious one – but we disagree. We believe that explicitly focusing on customer happiness is an indispensable part of user-centred design and, ultimately, a reliable predictor of a design’s success.
As design researchers at the Delft Institute of Positive Design (TU Delft), we seek to advance our understanding of the ways products and services can be designed to foster human happiness. We develop tools that designers and organisations can use to tap into the vast potential of lasting wellbeing.
This Design for Happiness Deck is one example of our work. Use it to break down the seemingly overwhelming phenomenon of happiness into manageable components that offer you a direct doorway to ideation and analyses of your design project.
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To design for happiness sounds like a grand undertaking. Some might even say an overly ambitious one – but we disagree. We believe that explicitly focusing on customer happiness is an indispensable part of user-centred design and, ultimately, a reliable predictor of a design’s success.
As design researchers at the Delft Institute of Positive Design (TU Delft), we seek to advance our understanding of the ways products and services can be designed to foster human happiness. We develop tools that designers and organisations can use to tap into the vast potential of lasting wellbeing.
This Design for Happiness Deck is one example of our work. Use it to break down the seemingly overwhelming phenomenon of happiness into manageable components that offer you a direct doorway to ideation and analyses of your design project.
This chapter introduces six insights from emotion knowledge that support a structured approach to emotion-driven design activities. In design processes, these insights can be used to structure consumer insights, to stimulate creativity, and to support communication within the design team, with clients and with consumers. The first three insights broaden the emotion repertoire by detailing how diverse, mixed, nuanced, and even negative emotions can enrich consumer experiences. The other three insights focus on the causes of consumer emotions. The fourth insight explains how emotion measurement can help understanding what people really care for. The fifth insight focuses on consumer dilemmas, indicating how these can be used to design emotionally relevant products and services. The sixth and final insight shows how opportunities for emotion-driven design can be increased with design that addresses emotions that are experienced in the context of consuming products and services.
...
This chapter introduces six insights from emotion knowledge that support a structured approach to emotion-driven design activities. In design processes, these insights can be used to structure consumer insights, to stimulate creativity, and to support communication within the design team, with clients and with consumers. The first three insights broaden the emotion repertoire by detailing how diverse, mixed, nuanced, and even negative emotions can enrich consumer experiences. The other three insights focus on the causes of consumer emotions. The fourth insight explains how emotion measurement can help understanding what people really care for. The fifth insight focuses on consumer dilemmas, indicating how these can be used to design emotionally relevant products and services. The sixth and final insight shows how opportunities for emotion-driven design can be increased with design that addresses emotions that are experienced in the context of consuming products and services.
'Feeling good' unpacked
Developing design tools to facilitate a differentiated understanding of positive emotions
The range of positive emotions experienced in human-product interactions is diverse, and understanding the differences and similarities between these positive emotions can support emotion-driven design. Yet, there is little knowledge about what kind of tool would be effective to leverage the differentiated nature of positive emotions in a design process. The current study explores the possibilities to develop design tools that facilitate a nuanced understanding of positive emotions and the considerations for developing such tool. Four new tools were developed that were different regarding how they described distinctiveness of positive emotions, formats, and usages. This paper introduces the tools and reports a focus group study that investigated when and how the tools would be of use in design processes, and their strengths and weaknesses.
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The range of positive emotions experienced in human-product interactions is diverse, and understanding the differences and similarities between these positive emotions can support emotion-driven design. Yet, there is little knowledge about what kind of tool would be effective to leverage the differentiated nature of positive emotions in a design process. The current study explores the possibilities to develop design tools that facilitate a nuanced understanding of positive emotions and the considerations for developing such tool. Four new tools were developed that were different regarding how they described distinctiveness of positive emotions, formats, and usages. This paper introduces the tools and reports a focus group study that investigated when and how the tools would be of use in design processes, and their strengths and weaknesses.
Positive emotions for inciting behavior
Playing with paintings to enhance museum experiences
In this paper we propose a new design approach in which positive emotional experiences are used to incite desirable behaviors, based on the insight that specific experiences can motivate particular behaviors. In the approach, designers first identify users' concerns and expectations and deduce from those the psychological needs that underlie them. Positive emotions are then sought that match the identified psychological needs. The positive emotions with their related thought-Action tendencies then inspire the designer to formulate design intentions in terms of experiences and behaviors to target for, aimed at guiding the design process. The approach was developed for, and applied to a design case for the Mauritshuis, a museum for classical art in the Hague, the Netherlands. An app was developed for engaging a new target group of young adult travelers: To enhance their art appreciation and to motivate them to explore the local Dutch culture. We explain the various phases including user studies, generating ideas and testing designs, and discuss our experiences with applying this approach.
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In this paper we propose a new design approach in which positive emotional experiences are used to incite desirable behaviors, based on the insight that specific experiences can motivate particular behaviors. In the approach, designers first identify users' concerns and expectations and deduce from those the psychological needs that underlie them. Positive emotions are then sought that match the identified psychological needs. The positive emotions with their related thought-Action tendencies then inspire the designer to formulate design intentions in terms of experiences and behaviors to target for, aimed at guiding the design process. The approach was developed for, and applied to a design case for the Mauritshuis, a museum for classical art in the Hague, the Netherlands. An app was developed for engaging a new target group of young adult travelers: To enhance their art appreciation and to motivate them to explore the local Dutch culture. We explain the various phases including user studies, generating ideas and testing designs, and discuss our experiences with applying this approach.
People can experience at least 25 different positive emotions in response to a product or a service (Desmet, 2012). This card-set demonstrates that ‘feeling good’ in humanproduct interaction has many different shades. We believe that the ability to deliberately design for such nuanced positive experiences starts with the ability to
distinguish these nuances. ...
distinguish these nuances. ...
People can experience at least 25 different positive emotions in response to a product or a service (Desmet, 2012). This card-set demonstrates that ‘feeling good’ in humanproduct interaction has many different shades. We believe that the ability to deliberately design for such nuanced positive experiences starts with the ability to
distinguish these nuances.
distinguish these nuances.