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The Design Journal VOLUME 15 ISSUE 1PP 9ndash32

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Emotion Design Emotional Design Emotionalize Design A Review on Their Relationships from a New Perspective

Amic G HoCommunity College of City University Hong Kong

Kin Wai Michael SiuThe Hong Kong Polytechnic University

ABSTRACT Many design researchers and scholars have focused on different aspects of design and emotion in recent years Various studies models and theories have been proposed and adopted in order to explore the relationship between design and emotion and its responses and to explain how emotion could be applied in design effectively Researchers have also developed different perspectives to understand

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Amic G Ho and Kin Wai Michael Siu

+

what emotional design should be and the role of emotion in design Some of them have considered emotion design as a tool that designers can use to deliver their messages and emotions while others have believed that it is a kind of experience and response when an individual is using an object Meanwhile some researchers have regarded emotional design as a means to establish consumer expression and as a representation of the usersrsquo identity or personality The relationships between lsquodesign and emotionrsquo and lsquousersrsquo responsesrsquo were preliminarily explored Another similar term emotionalize design has been used to explain how emotions play an explicit role in design reflection rationality and feeling Few studies however have been carried out to explore the relationship between these terms what they actually mean in their own role and how they interact with each other in the big picture of design and emotion This paper aims to explore and illustrate the basic concepts and definitions of emotion design emotional design and emotionalize design to help us further understand how these are closely related to human-oriented design activities It will introduce and review these concepts and explore their relationships from a new perspective Based on these insights and analysis a new model concept will be described to identify their differences by defining their meanings in which both designers and users play an important role

KEYWORDS emotion design emotional design emotionalize design

IntroductionFollowing Desmet (1999) and Normanrsquos (2004) research theories regarding the aspects of emotion and design different studies on emotion design and emotional design

were rapidly explored under the same umbrella of design and emo-tion a topic which became an important one in the field of design during the last decade Many scholars have raised different theories as well as methodologies in order to investigate how emotion could change or even shape the nature of designs Design educators designers from different disciplines and even design students have also tried to include emotion in their designs and studies rather than focusing only on functional and ergonomic aspects However even though the topic has continuously developed in a progressive

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Emotion Design Emotional Design Emotionalize Design

direction there are still few studies which investigate the basic defini-tion and perceptions of emotion design and emotional design Terms in design and emotion are not clearly defined and there is confusion as to what these terms mean and how they are to be applied what does emotion design mean What is emotional design What is the relationship between these two terms What are the relationships between the emotions of designers and their designs All of these concerns are worth investigating and exploring in order to give a better understanding on the topic

Origin of emotionIn order to reveal the relationships between terms in design and emotion and understand their differences a theoretical review was conducted to discover the origin of the topic It is believed that the term lsquoemotionrsquo was first introduced by Plato (1955[c 390 bc]) but it did not get much attention from scholars until the development of modern psychological concepts when more and more scholars began to explore the topic Darwin (1872) was the first one to point out that emotion is an important factor in shaping social behaviours like human communication and the concept was the foundation of his theory of evolution Based on this theory Dewey (1934) argued that emotion would be influenced by experience hence emotion may not only be a direct response to the external stimuli

James (1884) in disagreement with Darwinrsquos theory introduced the peripheral theory that emotion is a bodily reaction caused by an external stimuli or environment Arnold and Gasson (1954) re-viewed previous studies including the concepts of Plato Darwin and James then introduced the appraisal theory whereby emotions are evaluations of an event in terms of a goal (that is adjustments)

Tomkin (1995) learnt from Jamesrsquos peripheral concept and com-bined it with the facial expression research described by Darwin He found emotion to be an affect programme that involved both feed-back from the body and conscious feeling and therefore determined our urges Later Frijda (1986) amplified the peripheral theory of Tomkin and connected it with Arnold and Gassonrsquos appraisal theory Frijda proposed that since the goal of appraising an event would elicit an emotion emotion is an lsquoaction-readinessrsquo that determines priority among concerns

In the same period more surveys and investigations were con-ducted into whether specific emotions have specific peripheral phys-iological response patterns Scherer (1984) studied cross-cultural universalities of emotional manifestation and proposed evidence for the conceptual frameworks of his basic-emotion theories He suggested that emotion is best treated as a psychological construct consisting of several aspects or components

There now seems to be a growing consensus among emotion theorists that emotion is best treated as a psychological

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construct consisting of several aspects or components a) the component of cognitive appraisal or evaluation of stimuli and situations b) the physiological component of activation or arousal c) the component of motor expression d) the motivational component including behaviour intentions or behavioural readiness and e) the component of subjective feeling state (p 294)

After Schererrsquos study other psychologists came to regard emotion as an important factor in understanding human behaviour and emo-tion was recognized as critically important in understanding many core phenomena in some sub-disciplines of psychology

To explore new developments in emotion research the precur-sor of the McDonnellPew Program in Cognitive Neuroscience held a small meeting on 7ndash9 October 1990 (Davidson and Cacioppo 1992) Most studies commonly regarded emotion as a self-organiz-ing and integrative state coherent across several different response systems The meeting concluded that the future direction of emotion research would emphasize the relationship between emotion and social psychobiological behavioural and information-processing variables As the topic developed Tassinary and Cacioppo (1992) explored how consumersrsquo emotions would be affected by a product (that is design outcomes) while the product influenced the percep-tions of the consumers (self-referencing) in the information process-ing between users and the product After Tassinary and Cacioppo Creusen (1998) further emphasized that emotion may be a key factor in the purchasing process of consumers as it affected their decision-making in choosing goods and services From previous studies it was recognized that emotion is not only a response to those external and internal stimuli but it also serves functions including evaluation of objects and events system regulation preparation and direction of action communication of reaction and behavioural intention and monitoring of the internal state of an organism As a result emotion influences human behaviours including information processing and decision-making

Study of emotion in other areasFollowing inspiration from psychological studies the study of emotion spread into different areas such as philosophy sociology economic science and so forth from the 1970s Scholars mainly related emo-tion to topics such as information processing and decision-making From a psychological and symbolic perspective to understand why people would like to find meanings in objects Csikszentmihalyi and Rochberg-Halton (1981) studied how emotion could help humans to understand the world They realized that the different states of human emotions and mood would affect the method used for seek-ing information

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From the philosophical perspective Baudrillard (1981) studied how emotion affected human behaviour in information processing related to consumerism He stated the changes of emotions would affect the unconscious desires of consumers To retain the competi-tive advantage of the product (that is design outcomes) there would be a need to improve the appeal of consumer products to fulfil the unconscious desires of consumers

Picard (1997) presented her point of view on the relationship between emotion and information processing in her book on media studies Affective Computing While she explored ways to optimize computerized systems she found that emotions were subjective experiences which influenced the information processing ability of humans as well as their reaction to an event Based on her investi-gation Picard argued in order to improve the information processing among users in relation to computerized systems the design of computerized systems should include emotional competencies Picardrsquos concept prompted more and more scholars to think about the application of emotion theories For example in economic stud-ies economists found that it was difficult to promote their products as there were few product differentiations Thackara (1997) realized that many products in the current market were similar in respect of their technical characteristics quality and price In order to increase the attractiveness and market competitiveness new products would have to be innovative in design to enrich the usersrsquo experiences Pine and Gilmore (1999) studied emotion theories and proposed that products have to provide memorable events to users in order to gain market share Similarly Jensen (1999) pointed out that human emo-tions could be a link between users and products Consumers would no longer only focus on the function of the products they would shift from buying products to the experiences and emotions conveyed by the products Schmitt (1999) further emphasized that emotions are key to developing new designs and communicating with consumers

From economic studies on how emotion influences the economy and products some design professionals began to consider what consumers may want in the future and to investigate emotion in design

Studies on the relationship between emotion and designThe focus on emotions in previous studies inspired design profes-sionals to explore the relationship between design and emotion From the 1950s design primarily focused on functional utilitar-ian ethics and aesthetics Facing the challenge of rising interest in emotion from the studies mentioned above lsquoform follows functionrsquo in modernism could no longer satisfy the consumersusers They found that functional designs were too boring Such discontent with the products of a consumer society drove designers to try a new

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approach in the 1990s Cooper (1999) was the first design profes-sional to study emotion and design He argued that the majority of available technological devices (such as videocassette record-ers car alarms software applications and so on) made users feel inadequate and frustrated by poorly designed user interfaces After Cooper more and more design scholars explored aspects of emo-tion in design Overbeeke and Hekkert (1999) were the first to coin the phrase lsquodesign and emotionrsquo Their objective in studying this area was to develop lsquotools and methods that support a designer to create an emotionally valuable product ndashuser relationshiprsquo (Overbeeke and Hekkert 1999) As more and more studies developed a network for discussing design and emotion was needed among design scholars Therefore the Design and Emotion Society was established in 1999 (Desmet and Hekkert 2009) It took the role of an international net-work for researchers designers and companies sharing their interest and experience in design and emotion

As more studies developed around the discipline of design and emotion researchers tried to focus on the aspects related to users design outcomes and designers Based on different perspectives on design and emotion studies several types of categorizations on the theories and research were suggested One of the most compre-hensive and contributive approaches was suggested by Desmet and Hekkert (2009) in the International Journal of Designrsquos lsquoSpecial Issue Editorial Design amp Emotionrsquo that marked the tenth anniversary of the International Design and Emotion Society They started to systemize different perspectives on design and emotion studies They analysed the previous research and stated that the userndashemotion relationships extended beyond the product to retail service and brand issues They found that the methods of some studies incorporated the userndashemotion relationships and related tools to help designers to design for emotion They also categorized the studies on design and emotion by their approaches that is user-based designer-based research-based and theory-based The studies with a lsquouser-based approachrsquo focused on the emotion and experience of users and used their feelings and aspirations as the creative driving force With the lsquodesigner-basedrsquo approach the role of designers was seen as authorial communicating ideas with their designs lsquoResearch-basedrsquo approaches required emotion measurement to reveal the relation-ships between design decisions and emotional responses whilst lsquotheory-basedrsquo approaches were the studies which provided usersrsquoconsumersrsquo insights to optimize the designs However not many design and emotion studies further reveal the actual relationships between designers usersconsumers and the design outcomes and how the function of emotion influences the design process consumption and the interaction between designers and usersconsumers

Inspired by Desmet and Hekkert this paper has categorized dif-ferent research studies and theories into the three main types based

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on the roles of designers design outcomes and usersconsumers in the design process and design consumptions (that is lsquouserconsumer-drivenrsquo lsquodesigner-drivenrsquo and lsquorelationship among usersconsumers designers and design outcomesrsquo) The reason for this approach is to understand the functions of emotion in the relation-ships between the roles of designers design outcomes and usersconsumers The following section contains further review of the literature relating to these categories

Different Types of Focus in Design and Emotion Studies

Research on userconsumer-driven studiesAmong the studies on the three main types of research based on the roles of designers design outcomes and usersconsumers in the design process and design consumptions scholars of lsquoDesign and Emotionrsquo first explored the research on userconsumer-driven studies (that is relationships of the usersconsumers and design outcomes) They believed that if designers understood the userconsumer experience more it would be easier for them to lsquodesign betterrsquo (Desmet and Hekkert 2009)

Design scholars used emotion theories to develop concepts on improving design outcomes (products) According to the appraisal theories Desmet and Hekkert (2002) proposed that consumersrsquo appraisal is a key factor in determining if the design outcome evokes an emotion and what emotion is being evoked (Desmet 2003 Frijda 1986)1 In order to facilitate their point of view on emotional responses to consumer products Desmet and Hekkert proposed an experimental model that classified product emotions into five classes surprise emotions instrumental emotions aesthetic emo-tions social emotions and interest emotions Each class was il-lustrated with an example interview with users for their emotional responses The result of the model revealed that a product could elicit several emotions The process that evokes an emotion in users to a design outcome is universal but the emotional responses were rather complex and personal

Different to the concept of Desmet and Hekkert Norman (2004) analysed the information processes between users and design out-comes He introduced the lsquothree levels of designrsquo concept (that is visceral level behaviour level and reflective level) in his book Emotional Design Why We Love (or Hate) Everyday Things (2004) to describe designs that associated with emotion and provided pleasurable experiences in order to establish emotional relationships with their usersconsumers The visceral level refers to usersrsquo first impressions of the design outcomes and the emotional responses institutively given The behavioural level refers to usersrsquo consumption actions based on the emotions raised by the design outcomes The reflective level refers to usersrsquo reflection on the consumption

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experiences Hakatie and Ryynaumlnen (2006) verified that the lsquothree levels of designrsquo could be linked to the attributes of different products by a simple experiment From their study they found a productrsquos selection criteria were clearer on the visceral and behavioural levels than on the reflective level Since users usually get emotional mes-sages and experience from the visceral and behavioural level it was realized that Emotional Design could be consumed by the users and was more likely to appear in the real market

While inspired by the theory raised by Norman and based on Desmet and Hekkert Lo (2007) defined Emotional Design with the focus on the usersrsquo needs and experience She emphasized that emotional concerns would enrich the user experience through the function form and usability of the design outcomes Different from previous studies Chitturi (2009) stated that an effective design should provide benefits to users in the overall consumption ndash that is in the real market the users not only have emotional changes when consuming the design outcomes but also after the consump-tion as well The quality of the benefits in the overall consumption would allow the users positive or negative emotions Both positive and negative emotions would influence the usersrsquo evaluation of the product and their decision-making in the next purchasing process Therefore changes in the positive and negative emotions of users in the overall consumption would affect the customersrsquo loyalty to the product (design outcome)

There were limited definitions regarding the term Emotional Design More studies should be proposed and conducted From those theories mentioned above it appears that Emotional Design referred to a product that could elicit emotions Emotional Design fo-cused on the usersrsquo needs and experience In summary key criteria and conditions for Emotional Design can be shown in the following

bull Theuserprocessevokinganemotiontoadesignoutcome isuniversal but the emotional responses were rather complex and personal

bull Therewerethree levelsof informationprocessingaccordingtothe situation and response visceral behavioural and reflective

bull EmotionalDesignwas not only communicated through the style of design function form and usability but also built up experience for the user on their needs and demands

bull EmotionalDesign should be consumed by the users and was more likely to appear in the real market

bull Changesto thepositiveandnegativeemotionofusers in theoverall consumption would affect the customersrsquo loyalty to the product (design outcome)

Although there were a number of studies that explored the concept of Emotional Design a more concrete definition for Emotional Design has not yet been proposed Hence the above theories from different

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scholars were discussed and analysed in this paper in order to obtain a more comprehensive understanding on what Emotional Design should be

Research on designers-driven studiesIn addition to research on userconsumer-driven studies some scholars have focused upon designer-driven studies looking at the relationships between designers and design outcomes Based on the approaches to emotion and experience presented by scholars from other fields Dewey (1934) Csikszentmihalyi and Rochberg-Halton (1981) and Forlizzi et al (2003) unified existing theories and described aspects of emotion that are relevant to designers They believed that changes to external environments like social changes interactions between people and objects and so on would influ-ence the designersrsquo goal setting of their design and their reflective emotional responses (lsquoemotional experiencersquo) Those reflective emo-tional responses would influence their decision-making in the design process

Similar to Forlizzi and his team Ben-Peshat (2004) claimed that designersrsquo emotion changes would help them to retain a sensitive awareness towards the changes in society and cultural issues They could then use their professional skill or even more emotional and intuitive methods in the design process Designers would be more ready to make changes and try more alternative design methods as well as vary the structures and functions of the design outcomes Hence the design outcomes inspired by usersrsquo emotion changes would enrich the usersrsquo experience as well as establish a close rela-tionship between the designers and the public (the usersaudience)

Besides changes to the external environment the approaches of the design process would influence the relationships between designers and the design outcomes as well Different from previ-ous studies Aken (2005) focused on the management aspect in the design process He pointed out that designers who have more experience and strong emotions would have better management in the design process As a result they would avoid the possibility of unmanaged process-design which may lead to coordination and time problems

Desmet (2008) put the focus on the effect of emotion changes on design practice and found that pleasant emotions would be helpful in the design process In order to find out how the different emotions of designers would influence the manner of the design process taken he took a photo journal study and included some discussion with the designers on their design practices From the study he found that different design processes would generate different outcomes that will hence elicit different emotion responses from the users From the information provided by the designers he found that positive emotions would help designers to become more creative Most of the designers tended to keep pleasant emotions in the process as

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keeping positive emotions in the design process would be helpful in generating a good outcome

The early research failed to reveal much evidence for the way emotion could affect the design process Recently based on the development of research on the design process Ho (2010) revealed the function of emotions in the design process and proposed the E-Wheel model to explain the relationships between designers emotions and internal factors (such as information processing mate-rial allocation and so forth) and external factors (that is those not under the predictable control of designers such as technological so-cial cultural economic and so on) of the design process According to Scherer (1984) emotion is a pattern of reactions that respond to external stimuli and also a process to engender evaluations of stimuli and of onersquos situation Ho (2010) adopted the concept of Scherer and proposed that when designers bring their emotional concerns to the decision-making process it will affect their decision-making ability He explored how these internal and external factors affect the whole design External factors would affect the designersrsquo emotions and cause them to make different decisions which affect those internal factors and hence the design process will then be affected and changed eventually This concept gives some insights into un-derstanding how designers can realize their emotions to develop corresponding responses for optimizing their design process that can achieve the required design outcome

Although the effects of a designerrsquos own emotions are not obvi-ously recognized some studies have revealed the role of a de-signerrsquos own emotions in relation to the design process There have been some studies that investigated if the designers would apply their own knowledge in the concept of the design instead of being focused only on the usersrsquo point of view Based on the above design studies several criteria and conditions related to the relationship between designers and design outcomes (emotionalize design) can be summarized

bull Achangetotheexternalenvironmentwouldinfluencedesignersrsquoemotional changes

bull Designersrsquo emotion changes would influence the designprocesses as well as the structures and functions of design outcomes

bull Themanagementof thedesignprocesswouldbe improvedif designers introduced more personal experience and strong emotion in the process of design

bull Designoutcomes(includedbothmaterialandvisualexpressions)that included emotion aspects can establish a closer relationship between the designers and users

bull Designerstendtousemoreemotionalandintuitivemethodsinthe design process

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Research on the relationship among the usersconsumers and designers via design outcomesOther studies have emphasized the communication between the usersconsumers and designers through design outcomes Funke (1999) studied how emotions work with products (that is design outcomes) to satisfy subjective expectations and proposed that design acted as a semiotic instrument in an experience market He found that emotion concerns that were transformed into a product (that is design outcomes) offered in terms of its function to fulfil the usersrsquo personal expectations and enrich their experience Hence the consideration of the emotional aspect in the usage and design process should be more important than function

Jordan (2000) studied the relationship between people (including designers and usersconsumers) and products holistically as well as the criteria on judging the quality of designs He pointed out that a thoughtful designer would be sensible to listen to the usersrsquo needs and then use his skill and judgement to design the product and thus empower users and give them pleasure The users would get the emotional benefits while they are using the product as the product would affect a personrsquos mood

Suri (2003) studied how design influences the quality of experi-ence that people enjoy From the research on lsquoDesign Expressionrsquo (designer-driven studies) and lsquoUser Experiencersquo (user-driven studies) she found that emotional concerns affected both designers and users in designingconsuming the design outcomes As the prod-ucts (or design outcomes) became more similar in many aspects or features including technological functionality price and quality de-signers were required to design different outcomes to fulfil the usersrsquoconsumersrsquo needs (Suri 2003) In other words designers were invited to influence peoplersquos behaviours and perceptions through their design outcomes Emotional concerns affected the approaches of both design process and design consuming by understanding the usersrsquo experience exploring design concepts to contribute to usersrsquo experience and communicating the experiential ideas (between the users and designers) Based on a similar concept to Suri Cupchik (2004) drafted out the idea of lsquoDesigning for Experiencersquo which could be a more familiar description of the interactive relationship among the designers design outcomes and users Within the process of experience design the design object was given meanings or mes-sages by the designer in the design process The usersconsumers used the design with the planned function and thus were influenced by the designerrsquos planned creative message From the above de-signing with emotion could satisfy both the needs of what the usersconsumers expected and what the designers could plan and offer in the interaction of experience

The design studies that specifically included the term Emotion Design with a clear and comparatively concrete definition were indeed limited It is only possibly to summarize and find out the basic

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concept of Emotion Design raised by the different scholars men-tioned above while some key criteria and conditions for Emotion Design are shown in the following

bull Designactedasa semiotic instrument thatusuallydeliversdesignersrsquo messages to the users

bull Theusersconsumersandthedesignerswouldhaveinteractionthrough the planned function or design

bull Emotionalconcernsaffected theapproachesofbothdesignprocess and design consuming by understanding the usersrsquo experience exploring the design concept to contribute to usersrsquo experience and communicating the experiential ideas between the users and designers

After almost a decade of development on the research of emotion and design not many terms of Emotion Design could be found in the research papers Scholars preferred to use the term Emotional Design instead to describe all the designs that contain or were related to emotion In order to have a better understanding of what Emotion Design means some concepts and related theories raised by different scholars have been investigated to clarify its possible definition

Other design and emotion studiesBesides the afore-mentioned studies that were focused on the roles of designers usersconsumers and design outcomes there were some other studies that emphasized other aspects of design and emotion Some design scholars focused upon doing experiments on the existing design and emotion theories To investigate the re-lationship between emotion and the different aspects of design that include the design process and the design objects Enders (2004) investigated the application of emotion theories in the design pro-cess by an experimental design process model named Leonardo Others explored how the past experience of users influenced their current perceptions and emotions Demirbilek and Sener (2002) stated that story-character features could be integrated into de-signed products to achieve positive emotional effects on consumers Similar to Demirbilek and Sener Spillers (2004) aimed to understand how product usability influenced the user experience attitudes ex-pectations and motivations (emotions) He concluded that emotion played a valuable role in the sense of making an impact on how the usersconsumers interpret explore and appraise the implications of design

From the above theoretical review much confusion and mis-understanding on the application of terms relating to emotion and design has been found The studies discussed and analysed above were among the few which have attempted to define and explore the basic definitions natures and the characteristics of Emotion Design

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and Emotional Design Most of the studies applied these terms to represent designs that contain or were related to emotion Hence a new model presenting clear definitions and nature as well as the relationships between these related terms is proposed below

New Model for Emotionalize Design Emotional Design and Emotion Design

Framework for the new modelThe definitions of the emotional aspects of design Emotional Design and Emotion Design were not well defined from the studies men-tioned above Emotional expressions serve important communica-tive functions and affect information processing while the ways of communication could be stated clearly with terms such as infor-mation encoding and decoding (Wogalter et al 1999) Designers encoded the information consumers decoded it The amount of information processed was dependent on the level of consumer un-derstanding Hence the system of communication (information and decoding) can be used as the framework to build the new model to illustrate the three key terms Emotionalize Design Emotional Design and Emotion Design

Proposed new modelFirst of all before we begin to propose a new model to explain the relationships between these terms it is essential to redefine the role of emotion in the normal design cycle From the theoretical review mentioned above emotion in the whole design process should con-tain three main components designers design outcomes and the usersconsumers this will become the framework of our proposed model While most other theories proposed by scholars (such as Desmet 2002 Norman 2004) focus primarily on the relationship between design outcomes and usersconsumers it has been sug-gested that emotion is a crucial aspect in affecting the designers who design the outcome

Based on this a new 3E model could be introduced as a frame-work to explain the close relationships between designers design outcomes and the users under the umbrella of emotion and design to explain the concepts and principles behind it This 3E model focuses on explaining the close relationships between Emotionalize Design Emotional Design and Emotion Design These three key core elements ndash designers design outcomes and users ndash are always included in the normal design cycle and create an important frame-work The relationship between emotions designers and design outcomes (that is the core element of Emotionalize Design) and the relationship between emotions users and design outcomes (that is the core element of Emotional Design) are illustrated in Figure 1

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Emotionalize designBefore the final design outcome appears in the market designers undertake the design process In many cases designers usually in-clude or introduce various emotion concerns in their design process to reach the final design outcome In doing so the design outcome possesses certain types of the designerrsquos emotion In this situation designers introduce their own emotions into the design process for designing a design outcome which could be called Emotionalize Design from the view of designers

A typical example could be the case of the RMX Extended Mix book Rinzen Presents RMX Extended Play (Figure 2) The book was designed by Rinzen (2001) a group of Australian artists Clifford one of the members stated everyone in the group produced an initial piece for one of eight themes The files were then passed progres-sively to each designer being modified augmented and erased each step of the way In this case designers may express their own per-spectives on the issues that they are interested in with professional skill As a result their emotions own interests and intuitive evaluation can be introduced into the design process however this does not initially take the consumersrsquo perspective into much consideration

Another example is student design assignments student design-ers introduce certain kinds of their own emotions into their assign-ments that aim to achieve the learning objectives to complete their projects Although the design outcome may be able to motivate the usersrsquoconsumersrsquo emotional responses this outcome will not be consumed directly by the usersconsumers in a real market under normal circumstances Therefore design student assignments could be regarded as Emotionalize Design

Figure 1 Model illustrating the relationships between Emotionalize Design and Emotional Design

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In reality it is not easy to recognize examples of Emotionalize Design Since designers may introduce certain kinds of emotions into the design process to design the outcome most of them are likely to transform into Emotional Design once they appear in the market It may carry certain kinds of emotions to communicate and interact with the usersconsumers to motivate them into the next emotional response by its appearance or function In the case of the RMX Extended Mix book the book finally appeared in the market for the consumer to read and induce their emotional responses Hence the book could be eventually regarded as Emotional Design depending on the stage of the design in question

Emotional designWhen the design outcome has been designed and appears in the market it may possess the ability to motivate the emotions of the usersconsumers by their consumption This kind of emotion at-tributemotivation mainly comes from the style of design function form usability and the experience that the outcome could be built for the usersconsumers In other words the design outcome may initiate the usersrsquoconsumersrsquo emotions and cause some emotional

Figure 2 Graphic designs from Rinzen Presents RMX Extended Play (Rinzen 2001) Source Rinzen

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responses that may make them happy annoyed excited frustrated and so on In this situation the design outcome can motivate usersrsquoconsumersrsquo emotion and is called Emotional Design from the view of usersconsumers

A typical example is the signage designed for the Umeda Hospital in Tokyo by the Japanese designer Kenya Hara (Mollerup 2005) Figure 3 shows the signage (outcome) which is made of cotton and cloth it provides a comfortable soft feeling to soothe the patientrsquos mind Hence this signage can motivate the usersrsquo into a certain kind of emotion response and this is said to be Emotional Design

Emotion designIf we look into the whole process of emotion flow that is from the designers who introduce their emotion(s) in designing the outcome (Emotionalize Design) to the users who are motivated to certain emotional responses due to the consumption of the design outcome (Emotional Design) there are interactions between the designers and the users through the design outcome Hence a strong relationship among these three roles is established This becomes the grounding for Emotion Design

Usually in Emotion Design design reflection will attach itself Designers can obtain the design reflection (for example in the form of usersrsquo feedback after their consumption) directly from the users while users can also give indirect design reflection to the designers as well

Figure 3 Signage system for the Umeda Hospital 1998 Graphic designers Kenya Hara Yukie Inoue The signs are made of cotton cloth and provide a soft gentle feeling to the patients rather than a cold alienating atmosphere (Mollerup 2005) copy Lars Muumlller Publishers

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Case studies to illustrate the theory of Emotion Design are shown in Figure 4 This shows an example of some typical emoticons On MSN emoticons are used when you message with friends and show them how you feel

Emoticons are Emotion graphics ndash visual ways to express the way you feel when words alone just arenrsquot enough (MSNcom nd)

As clearly defined by MSN an important emoticons developer these icons possess emotions for the users Users can pick any of these icons based on appearance form and style for their own use in order to represent their own feelings This is Emotional Design where the design outcomes (emoticons) represent a certain kind of emo-tion to motivate the usersrsquo response However if we consider how these icons are designed we discover that it is actually Emotionalize Design as well Since the icons are designed based on the designerrsquos emotions emotion(s) are introduced into the design process In this case both Emotionalize Design and Emotional Design exist and the designers can interact with the users via the emotion flow hence this becomes an example of Emotion Design

Visceral behaviour and reflective levelsThe concept of Emotion Design could also be explained by using the three levels of processing the visceral level behavioural level and reflective level introduced by Norman (2004) The first level of Emotion Design is mainly at the visceral level as shown in Figure 5

Figure 4 Examples of EMOTICONS (Icons-Land 2006) Copyright copy 2006ndash2009 Icons-Land (wwwicons-landcom)

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At this first level the brains of the consumers receive signals by way of the first impression of the design outcome (that resulted from the designersrsquo design experience) and then the consumers give their initial reactions

The second level of Emotion Design is called the behavioural level as shown in Figure 6 where design experience and usersrsquo consumption actions take place from both designers and users

Figure 5 3E model of the visceral level

Figure 6 3E model of the behavioural level

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Designers introduce their emotions in the design process for the design outcome while the consumers consumed the design based on the emotions raised by the design outcome2

At the third level of Emotion Design the reflective level people thought about their experiences Hence in daily application design-ers get feedback and indirect reflections from the users This could provide insights for further developments on their design and there-fore the reflections (both direct and indirect) could also be found in this third level of Emotion Design as shown in Figure 7

ConclusionsSince the first Conference of Design and Emotion in 1999 various concepts and terms under the topic of lsquodesign and emotionrsquo have been suggested This preliminary study has aimed to provide a better understanding of the interactive relationships between emo-tion designers usersconsumers and design outcomes so as to compose a more comprehensive and dependable definition for the three key terms Emotionalize Design Emotional Design and Emotion Design which used to appear in studies of Design and Emotion In most cases people used the term Emotional Design based on English grammatical usage to describe design which is emotional ndash either the design carried some sort of emotion or the form and appearance elicited or motivated emotions to the users However most studies adopted the term as a generic keyword to describe something that related to emotion yet few had engaged with investigating the detailed meaning behind and support for such theories

Figure 7 3E model illustrating the relationships between Emotionalize Design Emotional Design and Emotion Design (including visceral level behavioural level and reflective level)

The

Des

ign

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nal

28


The proposed model is intended to introduce a new theoreti-cal concept as the indicative guideline on how to use these three key terms It can also be valuable in making clear differentiations between the terms in order to avoid any further confusion on the topic More case studies and applications could be suggested and proposed in the next stage to make the terms more practical

Due to limitations in material and time this paper provides some understanding of the current literature relating to design process emotion and designers but a much more coherent and critical literature review surrounding Design and Emotion is needed A more extensive review of the definitions of the terms and concepts related to Design and Emotion used in the study may be helpful to further understand how design students or designers at an early level asso-ciate the relationship between emotion with the fundamental design concepts such as design process design consumption and so forth

Notes1 According to Frijda (1986) emotions are intentional and essen-

tially involve concerns and concern would be regarded as a point of reference in the appraisal process

2 According to Norman (2004) emotion is the conscious experi-ence of affect complete with attribution of its cause and identifi-cation of its object

ReferencesAken J E V (2005) lsquoValid knowledge for the professional design

of large and complex design processesrsquo Design Studies 26(4) 379ndash404

Arnold M B and Gasson J A (1954) The Human Person An Approach to an Integral Theory of Personality New York Ronald Press

Baudrillard J (1981) For a Critique of the Political Economy of the Sign St Louie MO Telos Press

Ben-Peshat M (2004) lsquoPopular design and cultural identities - emotional exchange Study cases in Israelrsquo Proceedings of the 4th International Conference on Design and Emotion Ankara Turkey 12ndash14 July 2004 [online] Available at httpwwwdesignandemotionorg [accessed 30 May 2009]

Chitturi R (2009) lsquoEmotions by design A consumer perspectiversquo International Journal of Design 3(2) 7ndash17

Cooper A (1999) The Inmates Are Running the Asylum Indianapolis IN Sams

Creusen M E H (1998) Product Appearance and Consumer Choice Delft The Netherlands Delft University of Technology

Csikszentmihalyi M and Rochberg-Halton E (1981) The Meaning of Things Domestic Symbols and the Self Cambridge Cambridge University Press

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ign

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Cupchik G C (2004) lsquoThe design of emotionrsquo In McDonagh D Hekkert P and van Erp J (eds) Design and Emotion The Experience of Everyday Things London Taylor amp Francis pp 3ndash6

Darwin C (1872) The Expression of the Emotions in Man and Animals London John Murray

Davidson R J and Cacioppo J T (1992) lsquoNew developments in the scientific study of emotionrsquo Psychological Science 3 21ndash22

Demirbilek O and Sener B (2002) lsquoEmotionally rich products The effect of childhood heroes comics and cartoon charactersrsquo In McDonagh D Hekkert P and van Erp J (eds) Design and Emotion The Experience of Everyday Things London Taylor amp Francis pp 278ndash283

Desmet P M A (1999) lsquoTo love and not to love Why do products elicit mixed emotionsrsquo Proceedings of the 1st International Confer ence on Design and Emotion Delft The Netherlands 3ndash5 November 1999 [online] Available at httpwwwdesignandemotionorg [accessed 30 May 2009]

Desmet P M A (2002) Designing Emotions Delft Delft University of Technology

Desmet P M A (2003) lsquoA multilayered model of product emotionsrsquo The Design Journal (Special Edition on Design and Emotion) 6(2) 4ndash13

Desmet P M A (2008) lsquoInspire and desirersquo In Desmet P M A van Erp J and Karlsson M A (eds) Design and Emotion Moves Newcastle upon Tyne Cambridge Scholars Publishing pp 108ndash127

Desmet P M A and Hekkert P (2002) lsquoThe basis of product emotionsrsquo In Green W S and Jordan P W (eds) Pleasure with Products beyond Usability London Taylor amp Francis pp 61ndash67

Desmet P M A and Hekkert P (2009) lsquoSpecial issue editorial Design amp emotionrsquo International Journal of Design 3(2) 1ndash6

Dewey J (1934) Art as Experience New York Penguin PutnamEnders G (2004) lsquoDesign practice presentation on tools and methods

for emotion-driven designrsquo Proceedings of the 4th International Conference on Design and Emotion Ankara Turkey 12ndash14 July 2004 [online] Available at httpwwwdesignandemotionorg [accessed 30 May 2009]

Forlizzi J Disalvo C and Hanington B (2003) lsquoOn the relationship between emotion experience and the design of new productsrsquo The Design Journal (Special Edition on Design and Emotion) 6(2) 29ndash38

Frijda N H (1986) The Emotions Cambridge and New York Cambridge University Press

Funke R (1999) lsquoEmotions The key to motivation in the experience societyrsquo Proceedings of the 1st International Conference on Design and Emotion Delft The Netherlands 3ndash5 November

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ign

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1999 [online] Available at httpwwwdesignandemotionorg [accessed 30 May 2009]

Hakatie A and Ryynaumlnen T (2006) lsquoProduct Attributes and the Model of Emotional Design How the Product Development Engineers Perceive Product Featuresrsquo Proceedings of the 5th International Conference On Design And Emotion Gothenburg Sweden 27ndash29 September 2006 [online] Available at httpwwwdesignandemotionorg [accessed 30 May 2009]

Ho A G (2010) lsquoExploring the relationships between emotion and design process for designers todayrsquo Proceedings of the 1st International Conference on Design Creativity ICDC 2010 Kobe Japan The Design Society

Icons-Land (2006) lsquoVista style emoticonsrsquo Icons-landcom [online] Available at httpwwwicons-landcomproductvistastyleemoticonsphp [accessed 30 May 2009]

Lo K P Y (2007) lsquoEmotional design for hotel stay experiences Research on Guest Emotions And Design Opportunitiesrsquo International Association of 50 Societies of Design Research [online] Available at International Association of 50 Societies of Design Research Ondisc Database [accessed 30 May 2009]

James W (1884) lsquoWhat is emotionrsquo Mind 9 188ndash205Jensen R (1999) The Dream Society The Coming Shift from

Information to Imagination London McGraw-HillJordan P (2000) Designing Pleasurable Products An Introduction

to the New Human Factors London Taylor amp FrancisMollerup P (2005) Wayshowing A Guide to Environmental Signage

Principles and Practices Baden Lars Muumlller PublishersMSNcom (nd) lsquoUse emoticons in messagesrsquo Microsoft Corp-

oration [online] Available at httpmessengermsncomResourceEmoticonsaspx [accessed May 30 2009]

Norman D A (2004) Emotional Design Why We Love (or Hate) Everyday Things New York Basic Books

Overbeeke C J and Hekkert P (eds) (1999) Proceedings of the 1st International Conference on Design and Emotion Delft The Netherlands 3ndash5 November 1999 [online] Available at httpwwwdesignandemotionorg [accessed 30 February 2010]

Picard R W (1997) Affective Computing Cambridge MA MIT Press

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Rinzen (2001) Rinzen Presents RMX Extended Play Berlin Gestalten Verlag

Scherer K R (1984) lsquoOn the nature and function of emotion A component process approachrsquo In Scherer K R and Ekman P (eds) Approaches to Emotion Hillsdale NJ Lawrence Erlbaum pp 293ndash317

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ign

Jour

nal

31


Schmitt B H (1999) Experiential Marketing New York The Free Press

Spillers F (2004) lsquoEmotion as a cognitive artifact and the design implications for products that are perceived as pleasurablersquo Proceedings of the 4th International Conference on Design and Emotion Ankara Turkey 12ndash14 July 2004 [online] Available at httpwwwdesignandemotionorg [accessed 30 May 2009]

Suri J F (2003) lsquoThe Experience of Evolution Developments in Design Practicersquo The Design Journal (Special Edition on Design and Emotion) 6(2) 39ndash48

Tassinary L G and Cacioppo J T (1992) lsquoUnobservable facial actions and emotionrsquo Psychological Science 3 28ndash33

Thackara J (1997) Winners How Successful Companies Innovate by Design Amsterdam BIS

Tomkin S S (1995) lsquoEvolution of the affect systemrsquo In Demos E V (ed) Exploring Affect The Selected Writings of Silvan S Tomkins New York Cambridge University Press pp 66ndash77

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BiographiesAmic G Ho is currently a teaching faculty in the Community College of City University and responsible for teaching two design pro-grammes Associate of Arts in Digital Visual Design and Associate of Arts in Media and Publication Design He graduated from the School of Design The Hong Kong Polytechnic University where he received his formal design training and studies in the Master of Design programme BA (Hons) in Design (Visual Communication) and Higher Diploma in Multimedia Design (Distinction) His research interests are in design and emotion design education typography and information design Before he started his teaching career he worked in several brand consultancy firms and design communica-tion groups for different clients His designs have received awards including Innobrand ndash Young Design Talent Award and ICOGRADA International Logo Biennial Award Visual Identity System

Kin Wai Michael Siu is Professor in the School of Design The Hong Kong Polytechnic University He has been Visiting Professor of Tsinghua University and the Central Academy of Fine Arts (long-term) and was a Visiting Scholar of the University of Cambridge Fulbright Scholar of the Massachusetts Institute of Technology ASIA Fellow of the National University of Singapore and Visiting Scholar of the University of California Berkeley He is a Council Member and Fellow of the Design Research Society and a Panel Member of the Hong Kong Research Grants Council His research interests are in design culture public design inclusive design and user-reception

The

Des

ign

Jour

nal

32


Addresses for CorrespondenceAmic G Ho Division of Language Studies Community College of City University Tat Chee Avenue Kowloon Tong Hong KongTel +852 9279 4194Email amicghocityueduhk

Professor Kin Wai Michael Siu School of Design The Hong Kong Polytechnic University Hung Hom Kowloon Hong KongTel +852 2766 5455Email msiupolyueduhk

AcknowledgementsWe would like to acknowledge the copyright permissions granted from Rinzen Lars Muumlller Publishers and Icons-Land The illustrations and photographs that they have kindly permitted are essential in explaining the theories in a clear and detailed way that facilitates the understanding of the concepts We thank the Community College of City University and The Hong Kong Polytechnic University for their support during the study We must also thank the editors and anonymous reviewers of The Design Journal for their comments and suggestions

The

Des

ign

Jour

nal

10


+

what emotional design should be and the role of emotion in design Some of them have considered emotion design as a tool that designers can use to deliver their messages and emotions while others have believed that it is a kind of experience and response when an individual is using an object Meanwhile some researchers have regarded emotional design as a means to establish consumer expression and as a representation of the usersrsquo identity or personality The relationships between lsquodesign and emotionrsquo and lsquousersrsquo responsesrsquo were preliminarily explored Another similar term emotionalize design has been used to explain how emotions play an explicit role in design reflection rationality and feeling Few studies however have been carried out to explore the relationship between these terms what they actually mean in their own role and how they interact with each other in the big picture of design and emotion This paper aims to explore and illustrate the basic concepts and definitions of emotion design emotional design and emotionalize design to help us further understand how these are closely related to human-oriented design activities It will introduce and review these concepts and explore their relationships from a new perspective Based on these insights and analysis a new model concept will be described to identify their differences by defining their meanings in which both designers and users play an important role

KEYWORDS emotion design emotional design emotionalize design

IntroductionFollowing Desmet (1999) and Normanrsquos (2004) research theories regarding the aspects of emotion and design different studies on emotion design and emotional design

were rapidly explored under the same umbrella of design and emo-tion a topic which became an important one in the field of design during the last decade Many scholars have raised different theories as well as methodologies in order to investigate how emotion could change or even shape the nature of designs Design educators designers from different disciplines and even design students have also tried to include emotion in their designs and studies rather than focusing only on functional and ergonomic aspects However even though the topic has continuously developed in a progressive

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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ign

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