Acknowledgments | p. ix |
Author Bios | p. xi |
Foreword | p. xiii |
Introduction | p. xv |
Why Design for Emotion? | p. 1 |
Useful, Usable and Desirable | p. 1 |
Prioritizing Emotional Needs | p. 3 |
Emotion, Personality and Meaning | p. 4 |
Five Reasons to Design for Emotion | p. 6 |
The Creation of Meaning | p. 14 |
Conclusion | p. 15 |
References | p. 17 |
What Is Emotion? | p. 19 |
Understanding Emotion | p. 21 |
Experiencing Emotion | p. 21 |
Expressing Emotion | p. 22 |
Mental Models | p. 23 |
The Anatomy and Influence of Emotion | p. 25 |
Emotion Is Both Conscious and Unconscious | p. 26 |
Emotions Originate in Different Parts of the Brain | p. 28 |
Emotion Combines the Mental and the Physical | p. 31 |
Emotion, Attention and Information | p. 39 |
Emotion Contributes to Flow | p. 41 |
Emotion, Motivation and Intention | p. 43 |
Emotions, Moods, Sentiments and Personality Traits | p. 45 |
Conclusion | p. 47 |
References | p. 49 |
When Do We Design for Emotion? | p. 51 |
Measuring Success Through Flow | p. 53 |
Goals and Meaning | p. 53 |
Association and Meaning | p. 54 |
Status, Values and Meaning | p. 55 |
Attention and Flow | p. 57 |
Goals and Attention | p. 57 |
Defining Attention | p. 58 |
Types of Attention | p. 58 |
Measuring Attention | p. 60 |
The Limits of Attention | p. 61 |
The Senses and Attention | p. 62 |
The Tactile (Touch) | p. 63 |
The Visual | p. 64 |
The Auditory | p. 65 |
Emotion, Attention and Behavior | p. 66 |
Emotion and Attention | p. 66 |
Emotion and Behavior | p. 67 |
Motivation and Arousal | p. 69 |
Emotion and Flow | p. 71 |
Causes, Characteristics and Consequences of Flow | p. 72 |
Conclusions | p. 79 |
References | p. 81 |
Where Do We Design for Emotion? | p. 83 |
Product Personalities | p. 83 |
Personality and Identity | p. 85 |
Perceiving Emotion and Personality | p. 85 |
Aesthetics and Interaction | p. 86 |
Responses, Experiences and Relationships | p. 89 |
Emotional Design Models | p. 91 |
How Do I Love Thee? | p. 94 |
The Types of Love | p. 97 |
Three Brains, Three Levels | p. 100 |
Personality Traits and Design | p. 101 |
The Traits of a Good Design | p. 102 |
Gender and Stereotypes | p. 109 |
Masculine and Feminine | p. 110 |
Gender in Products | p. 113 |
The Evolution of Emotion and Personality | p. 115 |
Dominance in Nature | p. 115 |
Dominance and Friendliness | p. 116 |
Dominant or Submissive? | p. 117 |
Friendly or Unfriendly? | p. 119 |
Lines Have Feelings, Too | p. 120 |
The Influence of Color | p. 121 |
Do Opposites Attract? | p. 123 |
The Right Personality for Your Product | p. 124 |
Conclusions | p. 125 |
References | p. 126 |
How Do We Design for Emotion? | p. 129 |
Designing Relationships | p. 129 |
Cutting Through the Jargon | p. 130 |
A Passion for Desirable Aesthetics | p. 130 |
The Intimacy of Usable Interaction | p. 132 |
A Commitment to Useful Function | p. 132 |
The A.C.T. model | p. 132 |
Attract | p. 135 |
Converse | p. 135 |
Transact | p. 136 |
Persuading with A.C.T. | p. 137 |
Using the A.C.T. Model | p. 138 |
Get to Know Your Users | p. 139 |
Define Design Goals | p. 140 |
Understanding the Dimensions of Emotion | p. 141 |
Guidelines for Emotion | p. 141 |
What Personality Do I Design? | p. 146 |
Gender and Personality | p. 147 |
Communicating Emotion Through Affordances | p. 148 |
A.C.T. Guidelines | p. 149 |
Attract | p. 149 |
Converse | p. 161 |
Transact | p. 169 |
Conclusions | p. 170 |
A.C.T. Model | p. 171 |
References | p. 173 |
interviews and Case Studies | p. 175 |
Interviews | p. 175 |
An Interview with Patrick W. Jordan | p. 175 |
Reference | p. 178 |
An Interview with Stephen P. Anderson | p. 178 |
Reference | p. 184 |
An Interview with Aarron Walter | p. 184 |
References | p. 192 |
An Interview with Trish Miner on the Desirability Toolkit | p. 192 |
Reference | p. 195 |
An Interview with Marco van Hout on the LEMtool | p. 195 |
References | p. 199 |
Case Studies | p. 200 |
Windows Phone 7 Reference Designs for Metro UI | p. 200 |
The Emotional Elements of PICO | p. 205 |
Conclusions | p. 210 |
Trademarks | p. 211 |
Index | p. 213 |
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