Editing Emotional Design (section)

==Content==
The main topic covered is how emotions have a crucial role in the human ability to understand the world, and how they learn new things. In fact, studies show that [[emotion]] influences people's information processing and decision-making <ref>{{cite journal |author1=Amic G. Ho |author2=Kin Wai Michael G. Situ |title=Emotion Design, Emotional Design, Emotionalize Design: A Review on Their Relationships from a New Perspective |journal=The Design Journal |date=2012 |volume=15 |issue=1 |pages=9–32 |doi=10.2752/175630612X13192035508462|s2cid=145665443 }}</ref> For example: aesthetically pleasing objects appear to the user to be more effective, by virtue of their sensual appeal. This is due to the affinity the user feels for an object that appeals to them, due to the formation of an emotional connection with the object. Consequently, It is believed that companies and designers should not rely on pricey marketing; they should link their services to customers' emotions and daily lives to get them "hooked" on a product.<ref>{{Cite book |last=Eyal |first=Nir |title=Hooked: How to Build Habit-Forming Products |publisher=Portfolio |year=2014 |isbn=978-1591847786}}</ref>

Norman's approach is based on classical [[Attitude (psychology)|ABC model of attitudes]]. However, he changed the concept to be suitable for application in design. The three dimensions have new names (visceral, behavioral and reflective level) and partially new content .

The first is the '''"visceral" level''' which is about immediate initial reactions people unconsciously do and are greatly determined by sensory factors (look, feel, smell, and sound). Norman argued that attractive products work better because they can engage multiple senses to evoke emotional responses and bonds through use of visual factors of color, texture, and shape. He contends that beautifully designed products make people feel good. This is where appearance matters, and first impressions are formed, and the texture and surface of an object become important in evoking a specific emotional reaction. Thus, viscerally well-designed products tend to evoke positive emotions and experiences in the consumers.

The second is '''"behavioral" level''' which is all about use; what does a product do, what function does it perform? Good behavioral design should be human centered, focusing upon understanding and satisfying the needs of people who use the product. This level of design starts with understanding the user's demands, ideally derived from conducting studies of relevant behavior in homes, schools, places of work, or wherever the product will be used.  

The third is '''"reflective" level''' at which the product has meaning for consumers; the emotional connections which are formed over time using the product and are influenced by cultural, social, and personal factors. Via good reflective design, people will feel a sense of personal bond and identity with an object, and it will become a part of their daily lives. It is how we remember the experience itself and how it made us feel.<ref name=":0" />

In summary, the visceral level concerns itself with the aesthetic or attractiveness of an object. The behavioral level considers the function and usability of the product. The reflective level takes into account prestige and value; this is often influenced by the [[brand]]ing of a product.<ref>{{Cite web |title=Emotional Design: People and Things |url=http://www.jnd.org/dn.mss/emotional_design_pe.html |access-date=2017-04-03 |website=www.jnd.org}}</ref>
[[File:Three levels of emotional design.jpg|thumb|Three levels of emotional design]]
In the book, Norman shows that design of most objects are perceived on all three levels (dimensions). Therefore, a good design should address all three levels. Norman also mentions in his book that "technology should bring more to our lives than the improved performance of tasks: it should be richness and enjoyment." (pg 101) He stresses the importance of creating fun and pleasurable products instead of dull and dreary ones. By mixing all three design levels and the four pleasures by [[Patrick W. Jordan]], the product should evoke an emotion when the user is interacting with the product. The interaction of these three levels of design leads to the culmination of the "emotional design," a new, holistic approach to designing successful products and creates enduring and delightful product experience.<ref>[[File:The interaction of three levels of emotional design.jpg|thumb|The interaction of three levels of emotional design leads to delightful experiences.]]
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Emotional design is an important element when generating ideas for human-centered opportunities. People can more easily relate to a product, a service, a system, or an experience when they are able to connect with it at a personal level. Rather than thinking that there is one solution for all, both Norman's three design levels and Jordan's four pleasures of design can help us design for each individual's needs. Both concepts can be used as tools to better connect with the end user that it is being design for. This viewpoint is gaining a lot of acceptance in the business world; for example, [[Virginia Postrel|Postrel]] argues that the "look and feel" of people, places, and things are more important than we think. In other words, people today are more concerned with the look and feel of products than with their functionality.<ref>{{Cite book |author=Postrel, Virginia |url=http://worldcat.org/oclc/1132392472 |title=The substance of style : how the rise of aesthetic value is remaking commerce, culture, and consciousness |date=2004 |publisher=HarperPerennial |isbn=0060186321 |oclc=1132392472}}</ref>