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Emotion in typographic design: Initial findings on gender effects

Emotion in typographic design: Initial findings on gender effects Beth E. Koch, Ph.D. Assistant Professor of Design University of Minnesota Duluth. Brain. “Ultimately the key to understanding all visual communication lies in the neurological workings of the brain” (Barry, 2005).

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Emotion in typographic design: Initial findings on gender effects

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  1. Emotion in typographic design: Initial findings on gender effects Beth E. Koch, Ph.D.Assistant Professor of DesignUniversity of Minnesota Duluth

  2. Brain

  3. “Ultimately the key to understanding all visual communication lies in the neurological workings of the brain” (Barry, 2005).

  4. Not much is empirically known about how people comprehend visual systems such as graphic design and typography.

  5. People seem to intuitively decipher the meaning of typefaces (Van Leeuwen, 2005)

  6. People respond emotionally … to art (Wittgenstein, 2005), to design (Norman, 2004), and to products (Desmet, 2002).

  7. Q1: Does viewing specific typefaces produce emotional responses? Q2: When viewing typestyle designs, do all people feel the same emotions? Q3: Are certain emotions predominantly associated with the formative design features of typefaces— differences in classification (serif or sans serif), terminal construction (angular or rounded), character width (condensed or extended), and weight (light or bold)?

  8. Designing EmotionsPieter Desmet, Industrial Design Professor Delft University of Technology

  9. C M O

  10. What are we studying? Congeniality (adjectives) Personality characteristics Emotional connotation Connotative messages Emotional meaning Dress Descriptions

  11. No common presentation format: Introduction to the Declaration of Independence— Poffenberger& Franken (1923) “Now is the time for all good men… ” — Davis & Smith (1933) Artificial languages “ere sasesuth widoterenbo” — Weaver (1949) Format to approximate English — Wendt (1968) Alphabets (ABC… abc… ?+!@...) — Kastl &Child (1968), Tannenbaum et al. (1964), Benton (1979) “Loremipsum” greek—Morrison (1986) Typeface sampler — Koch (2011)

  12. ✔ ✔ ✔ Product emotion research Desmet (2002) ✔ ✔

  13. Participants

  14. Paired t-Tests α = .05 People respond to type designs with emotion. Certain emotions are associated with the formative design features of typefaces. AnalysisandFindings

  15. People responded to type designs with emotion rather than indifference. People agreed about the emotions associated with specific typefaces. Certain emotions were associated withthe formative features of typefaces.

  16. n = 41 Disgust [Paired t(df41) = 5.4] n = 18 n = 23

  17. n = 41 Disgust [Paired t(df41) = 5.4] n = 18 n = 23

  18. n = 18 males respond to character width: condensed versus extended POSITIVE VALENCE Hope Desire HvsH Joy Satisfaction Pride Fascination

  19. n = 41 Disgust [Paired t(df41) = 5.4] n = 18 n = 23

  20. n = 23 females respond to character width: condensed versus extended POSITIVE VALENCE Hope Desire HvsH Joy Satisfaction Pride Fascination

  21. visual comparison of responses according to gender: n = 41 participants character width: condensed versus extended POSITIVE VALENCE Hope Desire HvsH Joy Satisfaction Pride Fascination

  22. visual comparison of responses according to gender:n = 41 participants character width: condensed versus extended POSITIVE VALENCE Hope Desire HvsH Joy Satisfaction females males all respondents Pride Fascination

  23. n = 23 females respond to character width: condensed versus extended NEGATIVE VALENCE Fear Disgust HvsH Sadness Dissatisfaction Shame Boredom

  24. n = 18 males respond to character width: condensed versus extended NEGATIVE VALENCE Fear Disgust HvsH Sadness Dissatisfaction Shame Boredom

  25. visual comparison of responses according to gender:n = 41 participants character width: condensed versus extended NEGATIVE VALENCE Fear Disgust HvsH Sadness Dissatisfaction Shame Boredom

  26. visual comparison of responses according to gender:n = 41 participants character width: condensed versus extended NEGATIVE VALENCE Fear Disgust HvsH Sadness Dissatisfaction females males all respondents Shame Boredom

  27. IMPORTANCE OF THE METHOD Avoids problems of self-reportAllows report of multiple feelings andco-occuring feelingsAvoids problems with cognition of language and readingForms keystone with emotion research

  28. IMPLICATIONS It is increasingly important for all people to have some degree of design understanding, not only to decipher messages, but to reciprocate with visually appropriate responses.

  29. IMPLICATIONS For design researchers

  30. CONCLUSION

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