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S.F. Fokkinga
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1
The emotion typology is a systematic classification of emotions according to their differences and similarities. It is a resource for emotional granularity – its goal is to inspire you with rich information on the nuances of emotions and encourage you to explore these nuances in your own work or life. The typology can be used by anyone interested in nuanced information on emotion: a scientist, a student, a coach, or anyone else who is interested in human emotion.
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The emotion typology is a systematic classification of emotions according to their differences and similarities. It is a resource for emotional granularity – its goal is to inspire you with rich information on the nuances of emotions and encourage you to explore these nuances in your own work or life. The typology can be used by anyone interested in nuanced information on emotion: a scientist, a student, a coach, or anyone else who is interested in human emotion.
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.
Beyond Maslow’s pyramid
Introducing a typology of thirteen fundamental needs for human-centered design
This paper introduces a design-focused typology of psychological human needs that includes 13 fundamental needs and 52 sub-needs (four for each fundamental need). The typology was developed to provide a practical understanding of psychological needs as a resource for user-centered design practice and research with a focus on user experience and well-being. The first part of the manuscript briefly reviews Abraham Maslow’s pioneering work on human needs, and the underlying propositions, main contributions and limitations of his motivational theory. The review results in a set of requirements for a design-focused typology of psychological needs. The second part reports on the development of the new typology. The thirteen needs were selected from six existing typologies with the use of five criteria that distinguish fundamental from non-fundamental needs. The resulting typology builds on the strengths of Maslow’s need hierarchy but rejects the hierarchical structure and adds granularity to the need categories. The third part of the paper describes three examples of how the need typology can inform design practice, illustrated with student design cases. It also presents three means for communicating the need typology. The general discussion section reflects on implications and limitations and proposes ideas for future research.
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This paper introduces a design-focused typology of psychological human needs that includes 13 fundamental needs and 52 sub-needs (four for each fundamental need). The typology was developed to provide a practical understanding of psychological needs as a resource for user-centered design practice and research with a focus on user experience and well-being. The first part of the manuscript briefly reviews Abraham Maslow’s pioneering work on human needs, and the underlying propositions, main contributions and limitations of his motivational theory. The review results in a set of requirements for a design-focused typology of psychological needs. The second part reports on the development of the new typology. The thirteen needs were selected from six existing typologies with the use of five criteria that distinguish fundamental from non-fundamental needs. The resulting typology builds on the strengths of Maslow’s need hierarchy but rejects the hierarchical structure and adds granularity to the need categories. The third part of the paper describes three examples of how the need typology can inform design practice, illustrated with student design cases. It also presents three means for communicating the need typology. The general discussion section reflects on implications and limitations and proposes ideas for future research.
Chair – one of the most basic pieces of furniture. The prototype has four legs, a seat and a back. It holds your weight and supports an upright position for an extended period of time. But that is just the beginning: Chairs have been designed to serve countless additional purposes. From giving us a moment of privacy to helping us to connect. There is a chair for every need!
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Chair – one of the most basic pieces of furniture. The prototype has four legs, a seat and a back. It holds your weight and supports an upright position for an extended period of time. But that is just the beginning: Chairs have been designed to serve countless additional purposes. From giving us a moment of privacy to helping us to connect. There is a chair for every need!
This paper introduces a framework for impact-centered design that maps the direct and indirect psychological, social, and behavioral effects resulting from human-product interactions, as well as the strategic pathways that designers utilize to achieve these effects. The framework was created through a series of expert workshops in which 186 design cases were analyzed. The framework includes three basic levels. At the base, user-product interaction evokes three types of direct product experience: aesthetic experience, experience of meaning, and emotional experience. The second level describes more indirect and long-term types of impact: on behaviors, attitudes, (general) experiences, and users’ and stakeholders’ knowledge. The third and final level represents the general quality of life and society. This paper details the characteristics of and theoretical models underlying the various impact areas, provides illustrative student design cases, and describes how the impact areas relate to each other and how design can influence them. Design research can help increase the designer’s influence by contributing theoretical models that explain the various relationships in the impact areas. We propose a three-part classification of these models to get an overview of the current state of knowledge of each impact area, and to discuss the different ways in which models can guide designers. In the discussion, we offer four action points to help set a concerted agenda for impact-centered design research.
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This paper introduces a framework for impact-centered design that maps the direct and indirect psychological, social, and behavioral effects resulting from human-product interactions, as well as the strategic pathways that designers utilize to achieve these effects. The framework was created through a series of expert workshops in which 186 design cases were analyzed. The framework includes three basic levels. At the base, user-product interaction evokes three types of direct product experience: aesthetic experience, experience of meaning, and emotional experience. The second level describes more indirect and long-term types of impact: on behaviors, attitudes, (general) experiences, and users’ and stakeholders’ knowledge. The third and final level represents the general quality of life and society. This paper details the characteristics of and theoretical models underlying the various impact areas, provides illustrative student design cases, and describes how the impact areas relate to each other and how design can influence them. Design research can help increase the designer’s influence by contributing theoretical models that explain the various relationships in the impact areas. We propose a three-part classification of these models to get an overview of the current state of knowledge of each impact area, and to discuss the different ways in which models can guide designers. In the discussion, we offer four action points to help set a concerted agenda for impact-centered design research.
Mood granularity for design
Introducing a holistic typology of 20 mood states
This paper introduces a holistic typology of 20 mood states that are presented with a componential approach, describing six aspects: subjective feeling, perception, reaction, tendency, liking, and disliking. In addition, each mood is illustrated with a short example narrative and a collection of four images. The typology was generated by combining the results of two studies. With a lexical analysis and researcher introspections, Study 1 examined 135 mood words, which resulted in an initial identification of mood states and corresponding verbal and pictorial descriptions. Study 2 validated and enriched these results with a phenomenological analysis of 159 introspective mood samples that were collected by a group of nine co-researchers in a two-week mood diary exercise. The mood typology provides a fine-grained overview and a vocabulary of user moods. Designers and design researchers can use these results as a foundation for systematic mood-focused design research, as a means to develop mood sensibility and granularity (i.e., the ability to distinguish between moods and the variety of mood manifestations), and as a tool to facilitate user interviews in empathy-based design processes.
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This paper introduces a holistic typology of 20 mood states that are presented with a componential approach, describing six aspects: subjective feeling, perception, reaction, tendency, liking, and disliking. In addition, each mood is illustrated with a short example narrative and a collection of four images. The typology was generated by combining the results of two studies. With a lexical analysis and researcher introspections, Study 1 examined 135 mood words, which resulted in an initial identification of mood states and corresponding verbal and pictorial descriptions. Study 2 validated and enriched these results with a phenomenological analysis of 159 introspective mood samples that were collected by a group of nine co-researchers in a two-week mood diary exercise. The mood typology provides a fine-grained overview and a vocabulary of user moods. Designers and design researchers can use these results as a foundation for systematic mood-focused design research, as a means to develop mood sensibility and granularity (i.e., the ability to distinguish between moods and the variety of mood manifestations), and as a tool to facilitate user interviews in empathy-based design processes.
The Same Person Is Never the Same
Introducing Mood-Stimulated Thought/Action Tendencies for User-Centered Design
How people think and act is influenced by their transient mood state. Different moods stimulate different (thought/action) tendencies, such as the tendency to be attentive (when cheerful), to be cautious (whenanxious), or to be impatient (when agitated). To support an understandingof how mood can inform user-centered design, this paper reports an exploratorystudy that revealed the diverse scope of these mood-stimulated human tendencies. The questionnaire study (N = 43) examined the relationships
between 20 moods and 68 distinct tendencies. Significant moodeffects were found for all tendencies, indicating that different moods are associated with different tendencies. A Correspondence Analysis generateda visual overview of these relationships. In addition, a Factor Analysis found nine generic dimensions of mood-stimulated tendencies. In user-centered design, these results can support communications about user mood with team-members, end-users and other stakeholders. Based on the study results,
a creative design tool is introduced. It aims to enable designers and service providers to become better aware of, and adequately respond to, the dynamics of mood-stimulated user preferences, feelings, and actions during the design process. ...
between 20 moods and 68 distinct tendencies. Significant moodeffects were found for all tendencies, indicating that different moods are associated with different tendencies. A Correspondence Analysis generateda visual overview of these relationships. In addition, a Factor Analysis found nine generic dimensions of mood-stimulated tendencies. In user-centered design, these results can support communications about user mood with team-members, end-users and other stakeholders. Based on the study results,
a creative design tool is introduced. It aims to enable designers and service providers to become better aware of, and adequately respond to, the dynamics of mood-stimulated user preferences, feelings, and actions during the design process. ...
How people think and act is influenced by their transient mood state. Different moods stimulate different (thought/action) tendencies, such as the tendency to be attentive (when cheerful), to be cautious (whenanxious), or to be impatient (when agitated). To support an understandingof how mood can inform user-centered design, this paper reports an exploratorystudy that revealed the diverse scope of these mood-stimulated human tendencies. The questionnaire study (N = 43) examined the relationships
between 20 moods and 68 distinct tendencies. Significant moodeffects were found for all tendencies, indicating that different moods are associated with different tendencies. A Correspondence Analysis generateda visual overview of these relationships. In addition, a Factor Analysis found nine generic dimensions of mood-stimulated tendencies. In user-centered design, these results can support communications about user mood with team-members, end-users and other stakeholders. Based on the study results,
a creative design tool is introduced. It aims to enable designers and service providers to become better aware of, and adequately respond to, the dynamics of mood-stimulated user preferences, feelings, and actions during the design process.
between 20 moods and 68 distinct tendencies. Significant moodeffects were found for all tendencies, indicating that different moods are associated with different tendencies. A Correspondence Analysis generateda visual overview of these relationships. In addition, a Factor Analysis found nine generic dimensions of mood-stimulated tendencies. In user-centered design, these results can support communications about user mood with team-members, end-users and other stakeholders. Based on the study results,
a creative design tool is introduced. It aims to enable designers and service providers to become better aware of, and adequately respond to, the dynamics of mood-stimulated user preferences, feelings, and actions during the design process.
Human Experience Catalog
Five Typologies of Human Experiences
Book
(2018)
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Pieter Desmet, Steven Fokkinga
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.
This third issue of the Journal of Motivation, Emotion, and Personality: Reversal Theory Studies, is dedicated to design. At first glance, the links between a psychological theory and the practice of creating functional artifacts may not seem obvious. However, a closer consideration of the challenges that both fields address reveals a significant common interest. Design concerns itself with the subset of technology that ordinary people deal with in their everyday lives: phones, cars, and chairs, but also websites and hotel services. Designers have to take into account that the same product can be used in widely different contexts and mental states: the user-product relationship is essentially dynamic. For instance, a phone is
used differently on the road than at home, and people have a different frame of mind when having a conference call with colleagues than when conversing intimately with their loved ones. Reversal theory can shed light on the dynamics of motivation in product usage because it puts the spotlight on the dynamic nature of people’s motivation and behavior. Secondly, there is an opposition in design: on the one hand it operates in an industry that favors mass-produced products and standardized services, on the other hand users should experience these products and services as highly personal and meaningful. This contrast necessitates a holistic understanding of what people want and feel. Reversal theory favors a holistic approach that models human motivation, emotion, and behavior as intrinsically linked.
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This third issue of the Journal of Motivation, Emotion, and Personality: Reversal Theory Studies, is dedicated to design. At first glance, the links between a psychological theory and the practice of creating functional artifacts may not seem obvious. However, a closer consideration of the challenges that both fields address reveals a significant common interest. Design concerns itself with the subset of technology that ordinary people deal with in their everyday lives: phones, cars, and chairs, but also websites and hotel services. Designers have to take into account that the same product can be used in widely different contexts and mental states: the user-product relationship is essentially dynamic. For instance, a phone is
used differently on the road than at home, and people have a different frame of mind when having a conference call with colleagues than when conversing intimately with their loved ones. Reversal theory can shed light on the dynamics of motivation in product usage because it puts the spotlight on the dynamic nature of people’s motivation and behavior. Secondly, there is an opposition in design: on the one hand it operates in an industry that favors mass-produced products and standardized services, on the other hand users should experience these products and services as highly personal and meaningful. This contrast necessitates a holistic understanding of what people want and feel. Reversal theory favors a holistic approach that models human motivation, emotion, and behavior as intrinsically linked.
Designers increasingly make use of psychological theory to understand a product’s user and to support their design efforts. This paper considers how insights from reversal theory have informed and inspired design research and practice. We identify two key benefits of reversal theory over other theories: it oers a dynamic rather than static, and a holistic rather than fragmented model of human functioning. Based on different aspects of reversal theory, six design opportunities were formulated: Products that are inspired by motivational states, products that make use of users’ motivational states, products that reverse motivational states, products that provide a variety of experience through psychodiversity, products that communicate and surprise through cognitive synergies, and products that offer emotionally rich experiences through parapathic emotions. Each of these opportunities is illustrated with examples of existing products and conceptual design.
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Designers increasingly make use of psychological theory to understand a product’s user and to support their design efforts. This paper considers how insights from reversal theory have informed and inspired design research and practice. We identify two key benefits of reversal theory over other theories: it oers a dynamic rather than static, and a holistic rather than fragmented model of human functioning. Based on different aspects of reversal theory, six design opportunities were formulated: Products that are inspired by motivational states, products that make use of users’ motivational states, products that reverse motivational states, products that provide a variety of experience through psychodiversity, products that communicate and surprise through cognitive synergies, and products that offer emotionally rich experiences through parapathic emotions. Each of these opportunities is illustrated with examples of existing products and conceptual design.