User-Centered Design / 7.5 /
Designing for pleasure and emotion
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Usability is not the only factor for a designer to consider; products can be designed to evoke pleasure and emotion. A designer’s ability to provide satisfaction through aesthetic appeal and pleasure can greatly influence the success of a product, service or system. Understanding the attitudes, expectations and motivations of consumers plays a significant role in predicting product interaction. Designers need to be empathetic and sympathetic to user emotion, which acts as a critical component to determine how he or she interprets and interacts with a product, service or system.
7.5.1 | The four-pleasure framework
7.5.1 | The four-pleasure framework
The four-pleasure framework was identified by Professor Lionel Tiger from Rutgers University in New Jersey, USA. It includes the following areas.
Socio-pleasure can be derived from social interaction. Products and services can facilitate social interaction in a number of ways. Email, internet and mobile phones, for example, facilitate communication between people. Other products may promote social interaction by being conversation starters, for example, jewellery, artwork or furniture. Clothing can communicate social identity and indicate that a person belongs to a particular social group.
Physio-pleasure can be derived from the feel of a product during use (for example, wearing a silk garment or the smooth feel of an iPod), its taste (for example, eating chocolate) or its smell (for example, the smell of leather, a new car, coffee or freshly baked bread).
Psycho-pleasure can be derived from the cognitive demands of using a product or service and the emotional reactions engendered through the experience of using it. For example, it might be expected that a mobile app that facilitated the quick and easy accomplishment of tasks would provide a higher level of psycho-pleasure than one with which the user was likely to make many errors. The outcome may also be more emotionally satisfying and less stressful.
Ideo-pleasure can be derived from products that are aesthetically pleasing by appealing to the consumer’s values. Values could be philosophical or religious or may relate to some particular issue such as the environment or a political movement. These values can be embodied in products. For example, a product made from biodegradable materials might be seen as embodying the value of environmental responsibility.
Designing for emotion can increase user engagement, loyalty and satisfaction with a product by incorporating emotion and personality into product design.
7.5.2 | Design for Emotion
7.5.2 | Design for Emotion
Don Norman breaks down emotional responses to design into three levels that are applicable to everyone. The definitions of the levels or characteristics come from:
Within our own instincts.
Through the use of the product.
Our own behaviour with the product.
Outside influences.
Our own aspirations.
Reflective behaviours.
Designing for emotion can increase user engagement, loyalty and satisfaction by incorporating emotion and personality into the design of a product.
Emotionally pleasing objects appear to the user as more effective, for instance by virtue of their sensual and sensory appeal. This is due to the affinity (a natural liking for) the user feels for a product, system or service. If they ‘like’ the product, or they relate to it on an emotional level, they will subconsciously make more effort to use it effectively, therefore it ‘seems’ easier to use.
Comparing Apple products with other computer manufacturers is a common example of how a company has integrated design for emotion into their products. Are other computers really any different?
The three characteristics of visceral design, behaviour design and reflective design are quite clear and easy to understand with Apple products. Is there any other company you can think of doing this?
Visceral Design: Relates to deep internal feelings - when something triggers an emotion at a visceral level, it has an immediate, unknown impact on a person. When someone looks at a product and says ‘I want it’, before asking, ‘What does it do’, or ‘How much does it cost’. At the visceral level, physical features - look, feel and sound dominate.
Behavioural Design: At the behavioural level, design is entirely about the use of the product. Appearance is less relevant. However, the appearance in the context of its use can be a contributing factor, as its appearance may give clues to how it is expected to be operated. What matters here are the function, usability, understandability, and physical feel.
Reflective Design: At the reflective level, design relates to our culture. It gives a product or its use meaning beyond functionality. It is how we see the product reflecting our self-image and aspirations to others. It can also evoke personal remembrance or special memories. For example, choosing to buy a certain car because it is a hybrid, as you want others to know you are environmentally conscious.
Products can bring about a number of emotions at one time. Think about the Alessi juicer, its unusual design can trigger a visceral reaction, and people want to own it to show they have specific tastes (reflective). However, most people would agree that it is not very good at doing its job as a juicer, conflicting and creating a negative behavioural reaction.
Amusement parks have a good relation between reflection and visceral reactions. The ride may look scary and dangerous, but the reflective levels tells you that ‘it’s safe, nothing is going to happen’; its calming you down, where as the visceral is operating at full force. Before getting on the ride the visceral level wins, but after you safely finish it, the reflective level wins.
7.5.3 | The ACT model
7.5.3 | The ACT model
The Attract/Converse/Transact (ACT) model* is a framework for creating designs that improve the relations of users with a product and intentionally trigger emotional responses.
The attract part of the model is aesthetics oriented.
The converse part of the model is interaction oriented.
The transact part of the model is function-oriented.
When all three elements are addressed, products can become desirable, usable and useful.
For products to become successful they must be desirable to attract the user’s attention. The users then approach and converse (interact) with it. At this point, it becomes important that your product is usable. After your product has consistently performed to your user’s expected standards, the user will find it useful and will be willing to commit to transact (work with) the product.
*Van Gorp, T and Adams, E. 2012. Design for Emotion. Waltham, Massachusetts, USA. Morgan Kaufman.
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