Film Sound Design – Seeing Through Sound

Sound is an integral part of movies. What’s interesting is that our vision and hearing kind of blend into one when it comes to film sounds. If the sound design is good enough, we can almost “see” through sound, because the auditory cues give us an idea of what might be hapening in the visual department.

Sound design components include sound effects or SFX sound design, mixing, Foley sound design, dialogue, and music. Sound design is the final and most important element needed to create an immersive experience for the audience.

Examples of Sound Design:

  • Lightsaber: combination of a film projector’s motor hum, TV interference, and waving a mic in front of the speaker to create “swooshing” sabers
  • Velociraptor: mixing a dolpin’s shriek with a walrus’ roar to create the raptor’s screech
  • Saving Private Ryan — recording period artillery to maximize the authenticity of battle scenes

Oftentimes, Sound Design is a bit overlooked within the film production timeline. Most people who are not in the sound industry would say that visuals are the main part of the movie, but the thing with sound design is that when it’s really good, it’s unnoticeable. But imagine watching a movie with no sound design? It would be quite weird. Only by removing sound completely can we see how much of an important role sound plays in movies.

Sound design can be used in guiding us to focus on the most relevant elements within a movie scene. For example, a movie can be done from a 1st or 3rd person perspective when it comes to sound design. Also tension doesn’t have to be built by growing crescendos- in fact, in “Munich”, Spielberg starts removing sound elements from a scene when building tension, making us focus only on the mail element in the scene, as well as a dynamic range difference once a particular scene reaches a climax. Here is a video explainig Spielberg’s practice in detail, as well as comparing the original sound design with a remake done by this channel:

Sources:

https://www.studiobinder.com/blog/what-is-sound-design-for-film/

https://www.researchgate.net/publication/342313340_Seeing_Film_Through_Sound_Sound_Design_Spatial_Audio_and_Accessibility_for_Visually_Impaired_Audiences

Projection mapping – Relief Projektion

Als Relief Projektion bezeichnet man die Projektion eines Inhaltes, der dieselbe Form und/oder Textur besitzt wie das Trägermedium. Ein gutes Beispiel hierfür ist Displacements von Michael Naimark. Dabei wird häufig ein Bild aus der Perspektive des Projektors oder den Projektoren aufgenommen und anschließend passgenau an das Trägermedium angepasst. Eine Besonderheit bei Displacements ist, dass das Trägermedium nach der digitalen Aufnahme der Textur von eben dieser bereinigt wurde.

Eine sehr interessante und immer häufiger zu sehende Anwendung dieser Methode ist jedoch das Aufwerten bzw. Erweitern der physischen Textur von gemalten oder gedruckten zweidimensionalen Bildern. Durch spezielle Verzerrungen der Textur oder gezieltes Herausheben von einzelnen Teilbereichen eines Bildes bzw. der Textur, kann eine ausgesprochene wirksame Illusion erschaffen werden.
Eine bemerkenswerte Herangehensweise an diese Technik stellt HenGenTou dar. Anstatt ein farbiges Abbild eines Bildes auf sich selbst zu projizieren und zu animieren, wird ein animiertes Graustufenbild verwendet. Diese Methode hat den Vorteil, dass die Projektion auf das Trägermedium kaum merkbar ist und dadurch eine gesteigerte illusorische Wirkung erzielt. Außerdem stellt HenGenTou eine der wenigen PM-Installationen dar, deren Voraussetzung eine relativ gut belichtete Umgebung ist. Obwohl das Projizieren eines bewegten Graustufenbildes auf ein statisches, farbiges Bild viele theoretische Inkonsistenzen mit sich bringt, wirkt dies für unser Auge beinahe wie ein reales bewegtes Bild.

Quellen:

NTT HOME > NTT Press Releases > HenGenTou (Deformation Lamps): A magical lighting system to produce illusory movements in static photos and paintings

http://www.naimark.net/projects/displacements.html

Soundeffekte als lückenlose Loops

In meiner praktischen Studienarbeit arbeite ich aktuell an einem Sound Design für ein 3D Adventure Game. In diesem gibt es Elemente, die in einer Endlosschleife geloopt werden sollen. Klassisch zählen hierzu Atmosgeräusche, fließendes Wasser, Wind und auch der Soundtrack. In meinem Fallen handelt es sich um einen Zauber-/Lichteffekt, der um einen aufsammelbaren Stab herumschwirrt.

Zauberstab-Lichteffekte sollen in Dauerschleife klingen

Die meisten Game Engines bieten Funktionen, mit welchen Soundfiles geloopt werden können.

Loop-Funktion in Unity

Wenn die Loop-Funktion nun bei einem gewöhnlichen Soundfile aktiviert wird, fällt jedoch auf, dass ein Knacksen zu hören ist, sobald die Datei wieder von vorne abgespielt wird. Das liegt daran, dass die Wellenform am Ende der Aufnahme sich von der Wellenform am Anfang unterscheidet.

Simulierter Loop ohne Übergang
Loop ohne Übergang

Audio-Middlewares, wie Wwise, ermöglichen die interne Umsetzung von Übergängen, womit artefaktfreies Looping möglich ist.

Transition-Optionen in Wwise

Man kann aber auch Soundfiles bereits in der DAW aufbereiten, damit diese auch ohne Middleware-Programmen und somit universell loop-tauglich sind. Man schneidet dafür das Ende des Soundfiles aus und fügt den ausgeschnittenen Teil der Aufnahme am Anfang des Soundfiles ein [1]. Anschließend wird ein Crossfade zwischen den beiden Audio-Events gesetzt. Damit erklingt nun kein Knacksen mehr, wenn die Datei beim Loop wieder von Anfang abgespielt wird und er Übergang verläuft flüssig.

Simulierter Loop mit Übergang

Loop mit Crossfade

Alternativ kann auch das Audio-Event, welches am Ende ausgeschnitten wird, auf eine zweite Spur gelegt werden, womit man den Fade-In und Fade-Out unabhängig voneinander bestimmen kann. Die Länge der Fades kann je nach Bedarf angepasst werden und ist vom Material abhängig.

Crossfade auf zwei Spuren

Quellen:
[1] https://www.frontiersoundfx.com/how-to-seamlessly-loop-any-ambience-audio-file/

Wie man mit der Stimme einen “Impact”-Sound erstellt

Vor kurzem bekam ich eine eine Hausaufgabe, bei welcher ich eine Actionfilmszene aus “Mission Impossible 2” vertonen musste. Dabei durften Sounds nur mithilfe des Mundes und der Stimme erzeugt und nur mit klassischen Sound-Design-Tools, wie Time-Stretching, Pitch-Shifting, Layering, Cutting und Equalizing bearbeitet werden. In dem Ausschnitt, die ich zu vertonen hatte, kam eine Szene vor, bei welcher ein Auto explodiert. Für Explosionen werden im Sound Design häufig sogenannte Impact Sounds verwendet, die einen stark perkussiven Klangcharakter haben und sich durch ausgeprägte Transienten und lange Release-Zeiten definieren. Mit der Stimme oder dem Mund ist es allerdings schwierig einen Sound zu generieren, der vor allem im Tieftonbereich explosiv wirkt und die Kinowände zum Schwingen bringt.

Für einen tiefen Impact-Sound, wie ich ihn gerne für die Explosion hätte, würde ich generell eine Kickdrum verwenden und sie mit einem langen Hall-Reverb versehen. Zur Erstellung der Kickdrum aus meiner Stimme orientiere ich mich an der Klangsynthese einer elektronischen Kick. Diese basiert auf einem schnellen Sinussweep vom hohen Spektrumsbereich in den tiefen.



Als Ausgangssignal muss es sich nicht zwangsweise um einen perfekten Sinuston handeln. Mit der Stimme ist das auch nicht möglich, deshalb singe ich zunächst einen “U”-Vokal ins Mikrofon.

Die rohe Aufnahme des U-Vokals

Nun beschneide ich die Aufnahme so, dass sie mitten im U-Vokal anfängt und auch endet und wende anschließend einen Pitch-Shifting-Effekt an, der mithilfe eines Envelopes von einem hohen zu einem tiefen Ton moduliert wird.

Cubase’ eigener Pitch-Shifting-Effekt

U-Vokal nach dem ersten Pitch-Shifting-Durchlauf

Da Cubase’ eigener Pitch-Shifter nur im Bereich von 16 Halbtönen modulieren kann, wende ich den Pitch-Shifter noch ein zweites Mal an.

U-Vokal nach dem zweiten Pitch-Shifting-Durchlauf

Nun habe ich einen Klang, der die wichtigsten Frequenzbereiche abdeckt und auch die perkussive Charakteristik einer Kickdrum abbildet. Um daraus nun einen Impact-Sound zu generieren, verfeinere ich den Sound noch mithilfe eines Equalizers und Multibandkompressors und lege einen Reverb darauf. Dabei muss der Reverb einen langen Decay haben und besonders im Tieftonbereich lange nachklingen. Ich habe hierfür gute Erfahrungen mit Convolution-Reverbs, also Impulsantworten tatsächlicher Räume, machen können.

Finale Effekte für den Impact-Sound

Impact-Sound

Als Alternative dazu kann man auch die hohen Frequenzen mittels Tiefpass-Filter entfernen und erhält damit einen tiefen Impact-Sound, den man beispielsweise oft in Trailern hört.

Tiefer Impact-Sound


Ich habe noch eine zweite Fassung erstellt, bei welcher ich statt des Cubase Pitch-Shifters einen Sampler verwende, mit welchem der Pitch-Shift nicht auf 16 Halbtöne limitiert ist. Dazu verwende ich den frei-erhältlichen Synthesizer Vital, der auch Samples abspielen kann [1]. Ich senke den Pitch generell um 31 Halbtöne ab und moduliere zusätzlich mithilfe eines LFO’s die Tonhöhe von oben nach unten. Den Volume-Envelope stelle ich so ein, dass das die Transiente besonders ausgeprägt ist und schnell leiser wird, allerdings genug Bass-Anteil vorhanden bleibt. Nun habe ich einen Kick-Sound, der glaubwürdiger klingt als nach Cubase’ eigenen Pitch-Shifting. Tatsächlich macht das aber für den Impact-Sound nur einen kleinen Unterschied.

Kick-Sound mit Vitals Sampler

U-Vokal nach Vitals Pitch-Shifting

Nun lege ich noch einen Reverb-Effekt darauf und erhalte einen Impact-Sound.

Tiefer Impact-Sound mit Vital


Zusätzliche Links:
[1] https://vital.audio/

Usability vs. User Experience

Despite the fact that the terms Usability and User Experience (UX) have been defined for a lot of years already, they are still often confused with each other. To understand their meaning even better and be able to distinguish them more clearly, it’s necessary to take a closer look at the definition of these terms.

Usability

According to the ISO 9241-11 standard, usability is defined as
“extent to which a system, product or service can be used by specified users to achieve specified goals with effectiveness, efficiency and satisfaction in a specified context of use

Note 1 to entry: The ‘specified’ users, goals and context of use refer to the particular combination of users, goals and context of use for which usability is being considered.

Note 2 to entry: The word ‘usability’ is also used as a qualifier to refer to the design knowledge, competencies, activities and design attributes that contribute to usability, such as usability expertise, usability professional, usability engineering, usability method, usability evaluation, usability heuristic.”

Usability is often also used interchangeably with ease-of-use, but according to its definition, it is about much more than that. It also deals with the overall satisfaction of the user. Usability also refers to methods for improving the ease of use during the design process.

“Usability is about human behavior. It recognizes that humans are lazy, get emotional, are not interested in putting a lot of effort into, say, getting a credit card and generally prefer things that are easy to do vs. those that are hard to do.”

– David McQuillen

User Experience (UX)

According to the ISO 9241-210 standard, user experience is defined as
“combination of user’s perceptions and responses that result from the use and/or anticipated use of a system, product or service

Note 1 to entry: Users’ perceptions and responses include the users’ emotions, beliefs, preferences, perceptions, comfort, behaviours, and accomplishments that occur before, during and after use.

Note 2 to entry: User experience is a consequence of brand image, presentation, functionality, system performance, interactive behaviour, and assistive capabilities of a system, product or service. It also results from the user’s internal and physical state resulting from prior experiences, attitudes, skills, abilities and personality; and from the context of use. 

Note 3 to entry: The term ‘user experience’ can also be used to refer to competence or processes such as user experience professional, user experience design, user experience method, user experience evaluation, user experience research, user experience department. 

Note 4 to entry: Human-centred design can only manage those aspects of user experience that result from designed aspects of the interactive system.”

source: https://www.interaction-design.org/literature/topics/ux-design

Because this may be hard to understand, Dan Norman and Jakob Nielsen, the inventors of the term User Experience, also have an easier explanation about what UX is about.

“No product is an island. A product is more than the product. It is a cohesive, integrated set of experiences. Think through all of the stages of a product or service – from initial intentions through final reflections, from first usage to help, service, and maintenance. Make them all work together seamlessly.”

– Dan Norman

“User experience encompasses all aspects of the end-user’s interaction with the company, its services, and its products.”

– Nielsen Norman Group

When talking about a website, for example, usability is to make the website easy to use and help the users accomplish their goals efficiently. User Experience (UX) aims to make the user happy before, while, and after using the website. Therefore, User Experience Design deals with creating products that provide meaningful experiences to users.

Disciplines of UX

There are a lot of different models out there that try to explain the different disciplines of User Experience (UX) and how they are connected to each other. Since all of them do include similar disciplines and topics they are all relevant and everybody has to find his/her preferred model. The most popular models are:

The UX Intersection

source: https://usabilla.com/blog/10-best-ux-infographics-5/

The Definition of User Experience

source: https://usabilla.com/blog/10-best-ux-infographics-5/

Mapping the Disciplines of User Experience Design

source: https://uxdesign.cc/ux-as-a-byproduct-of-existential-marketing-43fc6ebb00e2

The Quadrant Model

source: https://careerfoundry.com/en/blog/ux-design/what-is-user-experience-ux-design-everything-you-need-to-know-to-get-started/

The seven core disciplines of User Experience

source: https://zonicdesign.ch/methods/typical-ux-disciplines

Qualities of UX

But you cannot only divide User Experience into different disciplines. Peter Morville explained the different qualities of User Experience with his honeycomb created in 2004.

source: http://semanticstudios.com/user_experience_design/

As you can see here, usability is just one of the qualities of the user experience – but a really important one.

The Importance of X (Experience Design)

The letter x normally represents a variable in math that needs to be solved. If we are talking about a business the x usually stands for the experience we want our customers to have. This concept of delivering outstanding experiences to customers is not new. B. Joseph Pine II and James H. Gilmore were already talking about “The Experience Economy” in an article on Harvard Business Review back in 1998.

But according to recent studies, this concept is getting more and more attention. According to recent studies, 3 out of 4 customers say that their experience is crucial for their purchasing decision. Nearly half of them are even willing to pay more for products that deliver a great experience.

“Good experiences grab customers, bad experiences push customers away”

– Brians Solis, 2015

Resources

Books

X: the experience when business meets design
Brian Solis
2015

User Experience is Brand Experience, The Psychology Behind Successful Digital Products and Services
Felix van den Sand, Anna-Katharina Frison, Pamela Zotz, Andrea Riener, Katharina Holl
2020

Articles

The Elements of Successful UX Design, Best Practises for Meaningful Products
UXPin
2015

Norms

DIN EN ISO 9241-11

DIN EN ISO 9241-210

Web

https://www.nngroup.com/articles/usability-101-introduction-to-usability/

https://www.interaction-design.org/literature/article/an-introduction-to-usability

https://usabilitygeek.com/the-difference-between-usability-and-user-experience/

https://www.interaction-design.org/literature/topics/ux-design

https://careerfoundry.com/en/blog/ux-design/what-is-user-experience-ux-design-everything-you-need-to-know-to-get-started/

https://www.interaction-design.org/literature/topics/usability#:~:text=It%20should%20contain%20these%20elements,appropriate%20for%20its%20industry%2Ftopic.

From Neumorphism to Glassmorphism

In one of my former blog entries, I talked about the potential strengths and weaknesses of Neumorphism, also called soft UI. The most significant issue was obviously the accessibility. Also due to the skeuomorphic elements, it was not as flexible in its design style as for example a flat design approach. It has to be used restricted, in order to obtain a nice accessible und understandable interface. It works best with a simple UI and a strict limited hierarchy. 

Say Hello to Glassmorphism
In comparison to the extruding/intruding optically plastic effect of neumorphism, a more vertical trend Glassmorphism has evolved. It’s most defining characteristics are: 

  • Transparency: background blur generates (frosting) glass effect
  • Multi-layered approach: objects floating in space 
  • Vivid colors: highlight the blurred transparency
  • Light thin outline: visibility of the borders of transparent object

One of the strengths of this design trend is, that the user can identify the hierarchy of the elements quickly. It is very easy to detect, which layer is in the front, middle and back because of the see-through objects. Just as with neumorphism, this style shines especially bright when it’s used on just one element. The right amount will ensure, that also people with vision problems will be able to still understand the user interface. With over-usage, such as integrating it as a default material design for the background, card elements and Icons, it restricts the accessibility and also can lead to a boring and unoriginal design. 

Neumorphism is best used for buttons, sliders and toggles, whereas this should be avoided Glassmorphism. Glassmorphic elements work best as (floating) cards and overlays, which we know is problem for neumorphism, because all elements attach themselves to the background. As with all UI designs, it is important to visually group all elements on the cards and define a hierarchy for this as well. 

History and Future
The system behind Glassmorphism is not as new as one might think, the panel blur is being used in several ways since 2007, where it was first introduced by Windows vista with Windows Aero and later integrated by Apple in iOS 7 in 2013.

Pulling down notifications and see the icons fade out behind a panel is nowadays integrated in the standard UI. Microsoft’s Fluent design system goes heavy on this effect as well. They call this particular element The Acrylic and showcase it as an integral part of their design system. Apple has since greatly reduced the blurry-glass effect in their mobile OS, but recently brought transparent-blurs back with Mac OS Big Sur. However, on Dribbble – a platform for discovering and connecting with designers, Glassmorphism is used for desktop applications as well as mobile devices and seems to be not at all limited to a specific device. But also Dribbble is more about the design being pretty instead of accessible, therefore there are also lots of examples where Glassmorphism is definitely overused and also the designs are not restricted to an operating system. 

Since Glassmorphism is used in the current Mac OS version Big Sure and also on Microsoft Fluent Design, I would predict the trend will definitely become more popular and rise, to also be more present on our mobile devices. 

Sources:

https://uxdesign.cc/glassmorphism-in-user-interfaces-1f39bb1308c9

https://uxmisfit.com/2021/02/03/glassmorphism-guide-to-visual-hierarchy/

https://www.cmarix.com/blog/glassmorphism-the-new-trendsetter-in-2021-for-ui-design/

Images:

Featured Image:
https://dribbble.com/shots/14944850-Wallet-App

History: 
https://uxdesign.cc/glassmorphism-in-user-interfaces-1f39bb1308c9

Smart Calendar App: 
https://dribbble.com/shots/13842720-Smart-Calendar-App

Joyful Design

Speaking of an extended product life cycle through joyful design in my last blogposts, we come to another important aspect that can enhance a products life: designing for prolonged pleasure.

The research paper “Enjoying Joy: A Process-Based Approach to Design for Prolonged Pleasure” by Anna E. Pohlmeyer deals on how to sustain and optimize positive emotions derived from a positive experience.

It is a fact that initial emotions fade over time because people eventually adapt to changes. This phenomenon of reduced affective intensity is called hedonic adaptation. Hedonic adaption can lead people to constantly desire something new without reaching lasting satisfaction—which is a huge problem of our “throw-away-society”. 

Design for savoring
According to Pohlmeyer there is an approach of designing joyful experiences called “design for savoring”. Design for savoring is not only about providing pleasurable experiences, but it is also about optimizing these by appreciating the enjoyment. As a result, positive emotions of a given positive event can be increased in intensity and duration. Pohlmeyer also stated that savoring positive experiences can be understood as the counterpart of coping with negative experiences. However, design for savoring is less a matter of how experiences are designed, but rather of how a person deals with the resulting emotional experience. Savoring up-regulates positive emotions in order to extract an optimum level of positive emotions from an event and has been shown to counteract hedonic adaptation—the tendency of us mere humans to quickly return to a relatively stable level of happiness—and contribute to people’s well-being. Therefore, design for savoring, especially is a promising concept to consider in UX. [1]

Intensifying and Prolonging Positive Emotional Experiences through Design
Speaking of design for savoring, the question on what can be done to intensify positive emotional experiences raises. According to Nélies [2] there are four broad categories of savoring strategies:

a) behavioral display of positive emotions
b) focusing attention on the present moment
c) capitalizing, i.e. sharing with others,
d) positive mental time travel, i.e. vividly anticipating or remembering positive events.

These thoughts and behaviors have been shown to favorably affect the intensity and duration of positive feelings, which means that they can serve as valuable guides in design.

“Similarly, reliving an experience and the associated emotions in memory – be it a nostalgic recollection of the good old days or realizing what a loyal companion one’s laptop has been – reinforces pleasure efficiently and effectively. In this vein, it is also noteworthy to mention that positive emotional experiences can be enhanced not only in the moment but also in prospect and retrospect, e.g. by sharing with others. Hence, by looking into the underlying processes of experiencing pleasure, opportunities arise to proactively design for longer-term and enhanced positive experiences.” —Pohlmeyer

It is obvious that how we look at and interpret our world, hence, what we devote our attention to, affects our experiences and our well-being. When designing for joyful experiences it is therefore crucial to direct attention to the positive and to consider how positive emotions can be prolonged by increasing the intensity and duration of pleasure derived from positive experiences, rather than striving for a fast-paced consumption behavior of constant novelty seeking. [3]

Sources

[1] Nélis, D., Quoidbach, J., Hansenne, M., and Mikolajczak, M. Measuring individual differences in emotion regulation: The Emotion Regulation Profile- Revised (ERP-R). Psychologica Belgica, 51 (2011)49- 91.

[2] Pohlmeyer, Anna E.: Enjoying Joy. A Process-Based Approach to Design for Prolonged Pleasure. Helsinki. 2014

[3] ebda.

05 | Online interaction scenario: Experience Map

In this entry and following entries I want to find out which tools and methods can enhance the effectiveness of online interaction. Due to the ongoing lockdown we are still dependent on managing nearly all of our communication and interactive activities online. Recently I observed that some of those online meetings took a lot longer than I expected (based on previous experiences with presence group work). On the other hand, I have heard from some lecturers that they do not have enough time in online lectures for their content in comparison to presence lectures. So what is the matter with timing in online interaction? As I examined in a previous entry, every online interaction is based on a different occasion, context, and goal. Therefore I assume that the effectiveness of each meeting is influenced by different factors. Regarding my role as an interaction designer I want to find out what are the influencing factors, how they are related and most important: How to improve them in order to enhance the online interactions? To achieve that I am going to examine different scenarios that are based on my own experience, go on with observing similar situations, find out more about theoretical background through secondary research and also do interviews and testings with users.

In order to use common methods I wanted to do an experience map. An experience map helps to see the big picture of the customer journey without going too much into detail. It helps to uncover needs and pain points before having a look at a too specific product. As a persona I choose the following person:
Sophie, female, 25 years old, is currently studying for her master’s degree in “Translation and Dialogue Interpreting”. She is really social, loves to cook and bake and lives in a shared flat in Graz. Due to the pandemic she has to follow her lectures at home for one year now. Because translating and interpreting needs a lot of training, practical experiences and good equipement studying online is giving her a really hard time.

Own visualization, Marie Kunzmann, 14.05.2021

I found out that Sophie has a few difficulties which are surely transferable to other students’ experiences. With the recommendation section I could collect some ideas on how to improve her situation. Every experience is based on individual characteristics and the context. Having that in mind I want to go on with methods like the experience map to find out more about other use groups.

Sources:
https://xd.adobe.com/ideas/process/user-research/user-experience-mapping/, last review 14.05.2021
– Jens Jacobsen, Lorena Mayer: Praxisbuch Usability und UX, Rheinwerk Computing, 2019

Illustration(sgrafiken) in Kombination mit Bild

Fotografie und Illustration haben die gleichen Fähigkeiten; eine Illustration kann präzise, klar und verständlich sein und dann im nächsten Fall eine neue Sichtweise oder eine imaginäre Möglichkeit inspirieren.

Am Ende kann Illustration genauso ausdrucksstark sein wie die schnellen Interaktionen von Typografie und Bild. Es ist nur ein weiteres Mittel, um eine Nachricht zu kommunizieren.

Im jetzigen Zeitgeist wird Illustration nicht mehr nur als das gesehen, was gut zu Kinderbuch-Reimen passt und auf Lebensmittelverpackungen lecker aussieht. Heute wird Illustration als das Medium gesehen, aber der Ansatz ist Design.

So sind z.B. Infografiken in Kochbüchern derzeit äusserst beliebt. Sie erlauben es viel schneller als ein bloßer Rezepttext alles Wesentliche zu erfassen und im Vergleich zu einem Foto kann Illustration hier sehr erfolgreich eingesetzt werden.

Informationsgrafiken sind auch eine Form der Illustration – sie sind eine visuelle Repräsentation von Gesamtzusammenhängen in einer Abbildung. Die allerbesten Infografiken schaffen es, krasse Daten, komplizierte Informationen oder eine verwirrende Zeitachse in eine einzige Grafik zu packen. Infografiken sind die perfekte Zusammenfassung dessen, worum es bei gutem Design, Illustration und auch Animation geht: eine Geschichte oder Idee visuell zu kommunizieren und sie sofort mit dem Publikum in Verbindung zu bringen. Dies geschieht auf eine Weise, die eine Menge Rohtext niemals tun könnte.

Ein Beispiel dafür ist »Das kleine Handbuch der Tartes und Torten« von Konditorin Mélanie Dupuis unterrichtet Patisserie an der Pariser Kochschule »L’atelier des Sens« (Das Atelier des Sinne).

Visuell hilft der Einsatz von illustrativen Informationsgrafiken dabei die theoretischen Teile des Kochbuches von den verschiedenen Rezepten zu trennen. 

Joyful Design

Which qualities stimulate product attachment—what brings us to like/enjoy a product more than others?

Identity Based Human Behavior

Understanding ones own identity—who one is and what one believes—is a fundamental human drive. That fact points out that consumers like products, brands and consumption behaviors that are linked to self-association. That simply means for example that someone who sees oneself as an athlete will likely behave in ways that correspond to what it means to “be” an athlete. [1] That concept also is established in all forms of marketing and communication. An example from my previous research that uses this knowledge of the importance of self-association is the Branding Wheel of 12 Archetypes. [2] Another concept that includes that aspect in regards to design is the Positive Design Framework, which consists of three layers: design for pleasure design for virtue and design for personal significance. [3] Also, the aspect of self-association is deeply linked to objects with symbolic meaning, which is one of the most important characteristics when it comes to product attachment and happiness. [4]

“If a product symbolizes aspects of a person’s happiness, he/she is more likely to keep it, because losing the product implies that the strong symbolic meaning and thus the ‘happiness trigger’ is lost.” —Csikszentmihalyi & Rochberg-Halton

At the time ones identity becomes central to self-conception, one starts to pay attention to many secondary associations to ones self-conception [5]. For example, individuals may integrate attitudinal and behavioral norms, emotion profiles [6], and a variety of other identity-linked concepts in memory [7]. All this together defines normative beliefs, attitudes, emotions and behaviors that define what one thinks, feels, and does. [8]

An interesting fact from the research paper “Identity-based consumer behavior” by Americus Reed, Stefano Puntoni, Mark Forehand and Luk Warlop is that language directly is linked to our perception of identity. Thus, depending on the language that we use, our identity/character changes. That is, because people do not have one identity*, but we indeed carry multiple layers of identity in us that can be triggered. One interesting finding was that English as a language often serves as a cue for a person’s cosmopolitan identity. That knowledge gets especially used in marketing, where products often get labeled in English language to consciously create an image of open-mindedness. [9]

The knowledge of importance of identity and self conception enables us to design relevant products for certain groups of individuals on a rough level. But let us take a deeper look to which identity-related information allows discrimination between options. Which means that, as mentioned in the beginning, an “athlete identity” helps to discriminate between a pair of Nike shoes and a pair of Crocs. But if we want to discriminate between a pair of Nikes or Adidas shoes it gets harder. According to the research paper “Identity-Based Consumer Behavior” there are five forms of relevance that influence these criteria and decision: object relevance, symbolic relevance, goal relevance, action relevance and evaluation relevance. [10]

1 Object relevance
Object relevance exists when an object is part of the symbolic constellation of products that define an identity. [11] [12] An example is a working mother that may be more favorable to an automobile that emphasizes safety and practicality. Object relevance is particularly common with brands that come to symbolize paricular user groups or “fit” with a particular identity.

2 Symbolic relevance
Symbolic relevance exists when the expression of a belief or the possession of an object communicates or reinforces one’s identity in the eyes of others. [13] That is because people likely judge about others based on their knowledge of other people’s purchase decisions. Therefore, products provide a “social stock of knowledge that people use in typifying those they meet”. [14] This general concept of symbolic congruence has been used to explain consumer attraction to products, brands and retail environments. [15] [16]

3 Goal relevance
Goal relevance exists when a potential belief or behavior is related to an issue or outcome that is important to the individual’s identity. These beliefs or behaviors could include the expression of an attitude, specific group-related behaviors, or simply affiliation with a product or brand.

4 action relevance
Action-relevant objects and behaviors allow the consumer to perform behavioral functions associated with a particular identity. For example, a “baseball player” may require a bat, glove and cleats to perform within that identity. [17]

5 evaluation relevance
Evaluation relevance refers to the extent to which the evaluative content of the identity has sufficient clarity and specificity to inform the consumer’s evaluation of the object (or brand). The goal is to guide a behavioral response. An example is an “urban teenager” who evaluates shoe brands, and finds several brands that have co-opted young, urban imagery in their advertising and are thus not differentiable on this identity dimension. In this situation, the absence of a clear identity-related norm provides her with an inadequate basis for choice [18], and thus her identity therefore fails to discriminate between the available options.


By working with those five layers, relevant, identity-based design can be derived. That can not only lead to a joyful design experience but furthermore can enhance product life cycles and therefore support efforts of a more sustainable relation to products.


*
The identity conflict principle
Any given identity is not possessed in isolation—each identity is one of many held identities that must be integrated into a person’s overall self-conception. Research on the interplay of multiple identities generally suggests that individuals seek to maintain harmony between their various identities. [19] [20] Finally, because people may hold multiple iden- tities, while each of the identities is not always consistent with all the others in its implications, identities may conflict. This in turn will moti- vate cognitive activity and behavior that aim to resolve such conflict (the conflict principle) either by active attempts to create a harmonized personal identity or by compartmentalizing identities into separable partitions of one’s life experience.

The identity-verification principle
Consumers will actively monitor the extent to which they stay true to their manifested identity. This “sought-after identity” operates similarly to an “ideal” self [21]. Higgins argued that as the perceived distance between a consumer’s actual and ideal selves increases, the consumer’s motivation to exert effort to reach the ideal also increases. People are motivated to behave consistently with their identities, which become the subject of goal striving and will drive corrective action or thought whenever the identity is at stake.

The relevance principle
Once an identity is adopted, the surrounding environment and the people and objects in it are evaluated for their relevance with respect to the identity, and a person will think, feel and behave consistently with the identity whenever it is deemed relevant in that situation.

Sources

[1] Reed, Americus / Puntoni, Stefano / Forehand, Mark / Warlop, Luk: International Journal of Research in Marketing. Identity-Based Consumer Behavior: 2012, S. 310—321

[2]  Medium. 12 Brand Archetypes You Can Use to Effectively Position Your Brand. URL: https://medium.com/better-marketing/12-brand-archetypes-you-can-use-to-effectively-position-your-brand-75e0bce0adc6

[3] Delft Institute of Positive Design: Positive Design Reference Guide: 2015. URL: https://issuu.com/delftinstituteofpositivedesign/docs/issuu

[4] Mugge, R., Schoormans, J. P. L., & Schifferstein, H. N. J. (2008). Product attachment: Design strategies to stimulate the emotional bonding to products. In H. N. J. Schifferstein & P. Hekkert (Eds.), Product experience (pp. 425-440). Amsterdam, the Netherland: Elsevier.

[5] Oyserman, D. (2009). Identity-based motivation: Implications for action-readiness, procedural readiness, and consumer behavior. Journal of Consumer Psychology, 19, 250–260.

[6] Verrochi-Coleman, N. M., & Williams, P. (2012). Feeling like myself: Emotion regulation and social identity. Working paper.

[7] Mercurio, K., & Forehand, M. (2011). An interpretive frame model of identity dependent learning: The moderating role of content–identity association. Journal of Consumer Research, 38, 555–577.

[8] Reed, Americus / Puntoni, Stefano / Forehand, Mark / Warlop, Luk: International Journal of Research in Marketing. Identity-Based Consumer Behavior: 2012, S. 310—321

[9] ebda.

[10] ebda.

[11] Kleine, R. E., Kleine, S. S., & Kernan, J. B. (1993). Mundane consumption and the self: A social identity perspective. Journal of Consumer Psychology, 2, 209–235.

[12] Reed, A., II (2004). Activating the self-importance of consumer selves: Exploring identity salience effects on judgments. Journal of Consumer Research, 31, 286–295.

[13] Belk, R. W. (1988). Possessions and the extended self. Journal of Consumer Research, 15, 139–168.

[14] Shavitt, S., & Nelson, M. R. (2000). The social-identity function in person perception: Communicated meanings of product preferences. In G. Maio, & J. M. Olson (Eds.), Why we evaluate: Functions of attitudes (pp. 37–57). Mahwah, NJ: Lawrence Erlbaum Associates, Inc.

[15] Malhotra, N. K. (1988). Self-concept and product choice: An integrated perspective. Journal of Economic Psychology, 9, 1–28.

[16] Sirgy, J. M., Grewal, D., & Mangleburg, T. (2000). Retail environment, self-congruity, and retail patronage: An integrative model and a research agenda. Journal of Busi- ness Research, 49, 127–138.

[17] Kleine, R. E., Kleine, S. S., & Kernan, J. B. (1993). Mundane consumption and the self: A social identity perspective. Journal of Consumer Psychology, 2, 209–235.

[18] Kallgren, C. A., Reno, R. R., & Cialdini, R. B. (2000). A focus theory of normative conduct: When norms do and do not affect behavior. Personality and Social Psychology Bulletin, 26, 1002–1012.

[19] Amiot, C. E., de la Sablonnière, R., Terry, D. J., & Smith, J. R. (2007). Integration of social identities in the self: Toward a cognitive-developmental model. Personality and Social Psychology Review, 11, 364–388.

[20] Roccas, S., & Brewer, M. (2002). Social identity complexity. Personality and Social Psychology Review, 6, 88–106.

[21] Higgins, E. T. (1986). Self-discrepancy: A theory relating self and affect. Psychological Review, 94, 319–340.