Perception of typefaces elicits emotions
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Slides from Beth E. Koch's presentation, "Perception of Typefaces: A Quantitative Visual Methodology" at SOTA's TypeCon, Milwaukee, Wisconsin, USA, August 5, 2012
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Perception of typefaces elicits emotions
- 1. Perception of typefaces:! A quantitative visual methodology Beth E. Koch, Ph.D.! Assistant Professor of Design! University of Minnesota Duluth
- 3. Brain
- 4. “Ultimately the key to understanding ! all visual communication lies in the ! neurological workings of the brain” (Barry, 2005).
- 5. Not much is empirically known ! about how people comprehend ! visual systems such as ! graphic design and typography.
- 6. People seem to intuitively decipher ! the meaning of typefaces (Van Leeuwen, 2005)
- 7. Designing Emotions! ! Pieter Desmet, Industrial Design Professor ! Delft University of Technology
- 8. ”I wonder if we need to temporarily ! put aside our talk of brand, strategy ! and execution, and consider ! our power to influence emotion.” ! Eric Karjaluoto smashLAB !
- 9. People respond emotionally … to art (Wittgenstein, 2005), to design (Norman, 2004), and to products (Desmet, 2002). ! To begin to understand how people respond emotionally to individual design features, this ! study investigated how people interpreted different typestyles (alphabet designs).
- 11. 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)?
- 12. C M O
- 13. STUDIES ABOUT THE ! MEANING OF TYPEFACES
- 14. What are we studying? Congeniality (adjectives) Personality characteristics Emotional connotation Connotative messages Emotional meaning Dress Descriptions
- 15. Product emotion research ! Desmet (2002) ✔ ✔ ✔ ✔ ✔
- 16. 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 wid oteren bo” — Weaver (1949) Format to approximate English — Wendt (1968) Alphabets (ABC… abc… ?+!@...) — Kastl &Child (1968), ! Tannenbaum et al. (1964), Benton (1979) “Lorem ipsum” greek —Morrison (1986) Typeface sampler — Koch (2011)
- 23. Participants
- 24. Analysis! Paired t-Tests α = .05 and! Findings People respond to type designs ! with emotion. ! Certain emotions are associated ! with the formative design features ! of typefaces. !
- 25. 1. People responded to type designs ! with emotion rather than indifference. 2. People agreed about the emotions ! associated with specific typefaces. 3. Certain emotions were associated with! the formative features of typefaces. 4. Of the six positively-valenced emotions, ! no significance was found for pride or hope. 5. Of the six negatively-valenced emotions,! no significance was found for shame.
- 26. 1. People responded to type designs ! with emotion rather than indifference. 2. People agreed about the emotions ! associated with specific typefaces. 3. Certain emotions were associated with! the formative features of typefaces. 4. Of the six positively-valenced emotions, ! no significance was found for pride or hope. 5. Of the six negatively-valenced emotions,! no significance was found for shame.
- 27. 1. People responded to type designs ! with emotion rather than indifference. 2. People agreed about the emotions ! associated with specific typefaces. 3. Certain emotions were associated with! the formative features of typefaces. 4. Of the six positively-valenced emotions, ! no significance was found for pride or hope. 5. Of the six negatively-valenced emotions,! no significance was found for shame.
- 28. IMPORTANCE OF THE METHOD Avoids problems of self-report! Allows report of multiple feelings and! co-occuring feelings! Avoids problems with cognition of ! language and reading! Forms keystone with emotion research
- 29. IMPLICATIONS For individuals For practitioners For society
- 30. 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.
- 31. IMPLICATIONS For design researchers
- 32. CONCLUSION