The following post will examine the findings of my survey on the topic of joyful design. The goal of this survey was to outline characteristics and/or differences in perception of joyful design/a joyful object.
Method: Interview/Survey
Goal: Find characteristics and/or differences in perception of joyful design.
Number of Participants: 10
Age: 23—65
Question 01: Which possession is of most importance to you?
4x Photo Album 2x Plush Toy 1x Casket (gift from great-grandma) 1x Pendant 1x Posters, Books 1x Camera
According to my previous research I decided to group the results as follows:
8xSymbolic Meaning throughMemories / Nostalgia / Positive Relations (Photo Album, Plush Toy, Casket, Pendant) 2x Hedonic View (Posters, Books) 1x Symbolic Meaning ofMastery (Camera)
Question 02: Why is the possession of most importance to you?
Question 03: Which possession makes you especially happy?
1x Passport 1x DIY Plantpot 1x Cats 1x Plants 1x Rings 1x Horn 1x Collection of Music records 1x House 1x PC
According to my previous research I decided to group the results as follows:
2x Hedonic View(DIY Plantpot, Collection of Music records) 2x Human Need of Responsibility / Self-Confidence (Plants, Cats) 1x Symbolic meaning of Purpose in Life (Horn instrument) 1x Symbolic meaning of Mastery (Pc) 1x Symbolic Meaning ofPersonal Growth(House) 1x Symbolic Meaning ofAutonomy (Passport) 1x Symbolic Meaning through Memories / Nostalgia / Positive Relations(Rings)
Question 04: Why does it make you happy?
1x Memories (Life, Study time, youth) 1x Freedom 1x Trust, Connectivity 1x Pleasure 1x Inspiration 1x Confidence 1x distraction from daily life 1x personal growth
Throughout the survey, the theories of my previous research got confirmed. The main reasons why a possession was chosen to be important is symbolic meaning through memories (nostalgia) and the symbolic meaning of positive relations. However, symbolic meaning through memories (nostalgia) and the symbolic meaning of positive relations were not necessarily connected to the feeling of joy. Possessions that were connected with happiness were objects which can be described with the “hedonic view” and the human need of taking responsibility (as mentioned in my blogpost “Possibility Driven Design”).
Hedonic View [1] The focus is on happiness that stems from savoring life’s pleasures. This requires an ability to enjoy beautiful sunsets, a delicious meal, a warm bath and good company. Hedonic happiness arises from the experience of positive feelings, per se. It involves not only the pursuit of activities that are pleasurable, but also the pursuit of one’s ability to truly enjoy these activities. In other words, becoming happier does not necessarily require more pleasurable activities, but can also be realized by taking more pleasure in our activities.
Symbolic Meaning through Memories [2] […] the literature of industrial design suggests that symbolic meaning can arise through memory retrieval and associations (Desmet & Hekkert, 2007) and seems to be one of the determinants of product attachment (Mugge et al., 2008; Schifferstein & Zwartkruis-Pelgrim, 2008). Consumer behavior research shows that symbolic meaning is important to users mainly because they want to maintain, enhance and express their identity and ideal image of themselves. It has been shown that symbolic meaning arises when products support user values (Allen, 2006). The sociological literature suggests that the goal can also be a feeling of communion (Cova, 1997).” —Kujala, S. / Nurkka, P.
Symbolic meaning of positive relations with others [3] possessions that represent meaningful affiliations which provide a sense of belongingness
The following post will examine the findings of my survey on the topic of joyful design. The goal of this survey was to outline characteristics and/or differences in perception of joyful design/a joyful object.
Method: Interview/Survey
Goal: Find characteristics and/or differences in perception of joyful design.
Number of Participants: 10
Age: 23—65
Question 01: Which color do you associate with joy? (multiple answers possible)
7 x yellow 2 x orange 2 x turquoise blue
1 x green, 1 x lightblue, 1 x white, 1 x melon
Question 02: Which shapes do you associate with joy? (multiple answers possible)
9 x round/circle 4 x star 3 x trefoil
2 x triangle, 2 x spiral 1 x half circle, 1 x heart, 1 x rhombus
Question 03: Which sounds do you associate with joy? (multiple answers possible)
4 x birds 3 x sea sounds 3 x wind/trees
2 x high, clear sounds, 2 x laughter 1 x Horn (note: participant is musician/plays horn), 1 x Bass, 1 x fast rhythms, 1 x cartoon sounds, 1 x cooking/roasting sounds, 1 x bright music , 1 x 60’s Mod Music, 1 x K-Pop, 1 x opening carbonated drinks, 1 x Popcorn
Question 04: Which scents do you associate with joy? (multiple answers possible)
4 x flowers 2 x roses 2 x sea breeze 2 x fresh cut grass
1 x lavender, 1 x new leather, 1 x computer water cooling, 1 x cinamon, 1 x fruit market, 1 x coconut, 1 x lemon, 1 x new furniture, 1 x books, 1 x sunscreen, 1 x fresh showered , 1 x fresh baked, 1 x candles, 1 x magnolia , 1 x forest, 1 x wood
Question 05: Which taste do associate with joy? (multiple answers possible)
5 x fruity (watermelon, cherries, mango, raspberries) 4 x chocolate/nougat 2 x sour
1 x vanille, 1 x umami, 1 x coconut water, 1 x churches, 1 x sushi, 1 x summer wine, 1 x fresh orange juice
Question 06: Which material feels better? Options: glass, plastic, steel, wood, other
6 x wood 4 x glass
Question 07: Which material feels better? Options: silk, cotton, jute, faux fur, other
5 x cotton 4 x silk 1 x faux fur
Question 06: Which images evokes the most positive feeling?
2
3
3 x
2 x
Question 06: Which images evokes the most positive feeling?
9x
1 x
According to the survey a clear tendency to naturalistic elements is recognizable:
Color Yellow, Orange, Turquoise: According to my previous research, yellow could be described as the color of joy—that also reflects in my survey.
Orange and yellow make us feel alive and alert. Blue calms us down—this reactions may be rooted in our species quest for survive (this knowledge in turn connects to our joyful experience of rural landscapes—landscapes that where livable and therefore crucial environments for our survival). Also, we instinctively experience yellow as a happy or joyful color, because it is the color of sunshine and waking life. Whereas blue is connected with peacefulness and rest. [1]
Shapes Round/circle, Star, Trefoil: In general, organic shapes (round, trefoil) have been described as joyful—which can be linked to elements of nature. On the other hand the star also has been mentioned to be received as a joyful shape—that result can be described through cultural connotation. In our history they have become sacred and spiritual symbols and are symbolic for protection and guidance. Stars are connotated with many different meaning—the most recognised image is the star as a symbol of excellence.
Sounds Birds, Sea sounds, Wind/trees: Sounds from nature were described as most joyful. Also, sounds that are linked to positive experiences are remembered as joyful. (Popcorn, cooking, favorite music, etc.). Participants also mentioned to perceive bright, clear and high sounds as joyful.
Scents Flowers, Roses, Sea breeze, Fresh cut grass: Natural scents—especially flowers—where from a vast majority described as joyful.
Taste Fruity (watermelon, cherries, mango, raspberries), Chocolate/nougat, Sour: Primarily sweet has been described as a joyful taste, followed up by sour. Again, natural tastes—fruits—were mentioned by a vast majority.
Materials Wood, Cotton: Natural materials such as wood and cotton were preferred by the vast majority of participants.
Environment Woods, Beach: The environment of woods with lake was perceived as most joyful, followed up by the image of a beach. That cresult an be described through the theory of our preference for Pastoral landscapes (= safe, propitious and liveable environment). Pastoral scenes are a part of our evolution, which is also the reason why we are so drawn to those scenes. Typical landscape scenes include, according to Denis Dutton, hills, water, trees, birds, animals and a path moving through the scene – an ideal landscape for humans, containing protection, water and food. Dutton notes that our species has evolved to feel a need for certain types of beauty in our lives and that this pull towards things such as theses landscapes has helped us to survive as a species. He also notes that all cultures value artwork that includes these scenes – regardless where people come from. [2]
Colors/Multiplicity vs Minimalism Colors, Multiplicity: The picture of a building working with colorful elements and multiplicity was preferred by nine participants. Only one participant voted for the neutral, minimalistic option. This result matches with my previous research where visual cues that evoke a feeling of happiness work with bright colors, multi-colored palettes and multiplicity.
As mentioned in my last blog post, symbolic meaning acts as one of the most important attributes of product attachment and can be considered as an important factor for positive design. For a better understanding I wanted to do further research on the term of symbolic meaning, outlined in the following text.
Symbolic meaning refers to the image and the associations that spring to mind in regard to a specific object/product. Objects can then act as symbols, providing personal meaning as well as communicating (the owner’s) personal characteristics to others. Those meaning that we attach to objects directly influence how we feel about objects and how we assess them. Researches developed various terms to describe this phenomenon of symbolic meaning, including meaning [1], personal meaning [2], symbolic meaning [3], product meaning [4], linking value [5] and symbolic qualities associated with products. [6]
Symbolic Meaning and User Experience
However, symbolic meaning has many dimensions and another concept strongly related with symbolic meaning is the user experience—user experience refers to the user’s perceptions and responses in regard to their interaction with a system or product (ISO 9241-110, 2010). That comes, because symbolic meanings and associations—dependent on personal interpretation—with a product seem to be an integral part of how users experience a product. Therefore the practice of user experience design has evolved to take into account more experiential aspects of user-product interaction, such as emotions, feelings and meanings. Nowadays many researchers agree that symbolic meaning acts as an important dimension of user experience.[7] Desmet and Heckert identify three levels of product experience [8]:
1) aesthetic pleasure 2) attribution of meaning happens through cognitive processes such as interpretation, memory retrieval and associations 3) emotional response
Desmet and Heckert state that meaning is related to the personal or symbolic significance of products or the possibility of assigning them personality or other expressive. As an example they mention a Chinese teacup that one of the authors is attached to because it represents his visit to China.
Hassenzahl on the other hand does not explicitly mention symbolic meaning as a component of user experience, but he describes aspects that are closely related. He categorizes the hedonic aspect of user experience as including [9]: 1) stimulation—personal growth, an increase or knowledge and skills 2) identification—self-expression, interaction with relevant others 3) evocation—self-maintenance, memories
Especially identification as well as other hedonic aspects can be seen as part of symbolic meanings.
Symbolic Meaning and Appearance
Symbolic meaning can also be related to a product’s form, appearance and use—that is especially the case in literature linked to Industrial Design. Product semantics there get related to a concern for the cognitive meanings, symbolic functions and cultural histories of form. [10]
Van Rompay gives an overview of studies regarding the relationships between a product’s formal features and symbolic meaning. In his example the rounded form of an object is generally perceived as being secure or emotional. Van Rompay’s conclusion is that meaning is not a fixed property of the world or mind, but results from interactions between individual and environment. One of his studies shows that forms connote different symbolic meanings across cultures. [11]
Symbolic Meaning / Product Meaning and Product Attachment
Product attachment gets best represented by products that have some profound and sustained meaning for users [12]. Already in 1923, Ogden and Richards defined product meaning as the relationship between mind, object and world. Product meaning is generally seen as subjective, suffused with affectivity and usually either utilitarian or symbolic. It has also been stated that a group of individuals have a tendency to make similar inferences about a product, suggesting that symbolic meaning is culturally shared. Symbols are formed by cultural principles, which can be: — norms — values — social categories
Sari Kujala states as example the American flag—the flag may symbolizes freedom or conservative American. [13]
In psychological and sociological literature it gets stated that individuals pay attention to object symbolism mainly because they want to express, maintain or enhance their self-concept—their identity and ideal image of themself. Sociological literature also gives examples of how symbolic meaning has been used to compensate for low self-esteem. [14] Zimmerman adds to sychological and sociological literature that people use products as self-extension—those product then act as an essential part of identity construction for a development of a coherent life story. [15] Mugge adds that people tend to develop a stronger attachment to products where they use them to express and maintain a unique personal identity. [16] In addition to identity, Allen shows by his survey studies that to some extent users form product preferences by evaluating whether their values are represented in product meanings. [17]
Symbolic Meaning and Postmodernity
In ethnosociology a new concept of thinking characterizing postmodernity constituted. Cova states that to satisfy their desire for community, modern individuals seek products and services less for their use value than for their linking value. Linking value results when a product facilitates and supports communion by providing a site, an emblem, the support for integration or recognition, and so forth. Cova states that “the postmodern individual can build an identity for themself with cultural symbols and all possible references (such as plays, exhibitions, films, and books, etc.). Linking value refers to product properties that cause users to experience a feeling of communion.[18] The same idea is presented in the consumer research literature. For example, Belk argues that identity is important not only on an individual level, but also on a collective level involving family group, subcultural and national identities. [19]
“[…] the literature of industrial design suggests that symbolic meaning can arise through memory retrieval and associations (Desmet & Hekkert, 2007) and seems to be one of the determinants of product attachment (Mugge et al., 2008; Schifferstein & Zwartkruis-Pelgrim, 2008). Consumer behavior research shows that symbolic meaning is important to users mainly because they want to maintain, enhance and express their identity and ideal image of themselves. It has been shown that symbolic meaning arises when products support user values (Allen, 2006). The sociological literature suggests that the goal can also be a feeling of communion (Cova, 1997).” —Kujala, S. / Nurkka, P.
Considering all the different definitions and fields of research there are various views of the concept of symbolic meaning. Symbolic meaning—one of the most important attributes of product attachment, especially happiness related symbolic meaning—is something intangible and subjective, but also culturally shared.
Summary of the identified factors of symbolic meaning and the relationship of symbolic meaning to product experience as presented by Desmet and Hekkert (2007). The identified factors overlap, but they describe the nature of phenomenon. [20]
Sources
[1] Crilly, N., Good, D., Matravers, D., & Clarkson, P. J. (2008). Design as communication: Exploring the validity and utility of relating intention to interpretation. Design Studies, 29(5), 425-457.
[2] Cupchik, G. C., & Hilscher, M. C. (2008). Holistic perspectives on the design of experience. In H. N. J. Schifferstein & P. Hekkert (Eds.), Product experience (pp. 241-256). Amsterdam, the Netherland: Elsevier.
[3] Desmet, P., & Hekkert, P. (2007). Framework for product experience. International Journal of Design, 1(1), 57-66.
[4] Allen, M. W. (2002). Human values and product symbolism: Do consumers form product preference by comparing the human values symbolized by a product to the human values that they endorse? Journal of Applied Social Psychology, 32(12), 2475-2501
[5] Cova, B. (1997). Community and consumption, towards a definition of the “linking value” of product or services. European Journal of Marketing,31(3/4), 297-316.
[6] Kujala, S. / Nurkka, P. (2012). Sentence Completion for Evaluating Symbolic Meanin. URL: https://www.researchgate.net/publication/286834130_Sentence_Completion_for_Evaluating_Symbolic_Meaning
[7] ebda.
[8] Desmet, P., & Hekkert, P. (2007). Framework for product experience. International Journal of Design, 1(1), 57-66.
[9] Hassenzahl, M. (2003). The thing and I: Understanding therelationship between user and product. In M. Blythe, C. Overbeeke, A. F. Monk, & P. C. Wright (Eds.), Funology: From usability to enjoyment (pp. 31-42). Norwell, MA: Kluwer Academic.
[10] Kujala, S. / Nurkka, P. (2012). Sentence Completion for Evaluating Symbolic Meanin. URL: https://www.researchgate.net/publication/286834130_Sentence_Completion_for_Evaluating_Symbolic_Meaning
[11] van Rompay, T. J. L. (2008). Product expression: Bridging the gap between the symbolic and the concrete. In H. N. J. Schifferstein & P. Hekkert (Eds.), Product experience (pp. 333-351). Amsterdam, the Netherland: Elsevier.
[12] 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.
[13] Kujala, S. / Nurkka, P. (2012). Sentence Completion for Evaluating Symbolic Meanin. URL: https://www.researchgate.net/publication/286834130_Sentence_Completion_for_Evaluating_Symbolic_Meaning
[14] Allen, M. W. (2002). Human values and product symbolism: Do consumers form product preference by comparing the human values symbolized by a product to the human values that they endorse? Journal of Applied Social Psychology, 32(12), 2475-2501.
[15] Zimmerman, J. (2009). Designing for the self: Making products that help people become the person they desire to be. In Proceedings of the 27th International Conference on Human Factors in Computing Systems (pp. 395-404). New York, NY: ACM.
[16] 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.
[17] Allen, M. W. (2002). Human values and product symbolism: Do consumers form product preference by comparing the human values symbolized by a product to the human values that they endorse? Journal of Applied Social Psychology, 32(12), 2475-2501
[18] Cova, B. (1997). Community and consumption, towards a definition of the “linking value” of product or services. European Journal of Marketing,31(3/4), 297-316.
[19] Belk, R. W. (1988). Possessions and the extended self. Journal of Consumer Research, 15(2), 139-168.
[20] Kujala, S. / Nurkka, P. (2012). Sentence Completion for Evaluating Symbolic Meanin. URL: https://www.researchgate.net/publication/286834130_Sentence_Completion_for_Evaluating_Symbolic_Meaning
Round shapes, colors, nostalgia, beauty in skilled performances—all those terms are indicators for joyful design—and when looking at Jeff Koons art we cannot deny that all those elements synergize in his works of art—making Jeff Koons a perfect example of how to consciously use all those “ingredients” to create joyful experiences.
Jeff Koons finds beauty in the ordinary and overlooked things of our life and is considered the most bankable contemporary artist alive—his stainless steel Rabbit (1986), sold for $91.1 million in 2019, is the most expensive artwork by a living artist to ever be sold at auction. The concept of the readymade—displaying an ordinary object in a new context as a work of art, is the foundation for most of Jeff ’s work. He says the idea that he “could acquire things and let them just display themselves” was a revelation. Knickknacks, comic books, ceramic figurines, and domestic appliances act as a springboard for his imagination. His works are clearly inspired by pop culture, consumer desire, sexual freedom, childhood wonder and self-acceptance. While other artists only stay relevant for a short time, nobody else has stayed so relevant for so long.
His pieces provoke smiles, gasps, cringes, laughs, and, above all else, the individual’s investigation of those reactions. He doesn’t shy away from candy-colored excess. His signature motif, the high-polish surface, reflects our experience of his art back onto us.
“It’s really the quality of his work, interlocking with economic and social trends, that makes him the signal artist of today’s world.”—New Yorker art critic Peter Schjeldahl.
Inflatable Flower and Bunny (Tall White, Pink Bunny), 1979
Nostalgia, Colors, Round Shapes Inflatable Flower and Bunny was the first piece of art that brought toys and mirrors into Jeff’s artistic vocabulary. He picked the bunny because it reminded Jeff of the Easter decorations in his hometown. Several motifs, namely the cartoon iconography and use of reflective surfaces, are still central to Jeff’s work today.
Three Ball Total Equilibrium Tank, 1985
Skilled Performance, Round Shapes, Nostalgia “I wanted to keep it a very womb-like situation with water,” Jeff Koons commented in a 1992 Taschen monograph. But this vision proved to be incredibly challenging. To bring his idea to life, Jeff consulted Richard P. Feynman, a Nobel Prize–winning physicist, to devise a method of filling the balls and tank with the correct proportions of distilled water and highly refined salt so the balls would float. Temperature fluctuations and visitors’ footsteps blend the water and sodium, causing the balls to sink; the artwork has built into it an inevitable failure, requiring reinstallation every six months.
“Ideas come from sensations. You don’t have ideas without having sensations.”—Jeff Koons
Play-Doh 1994–2014
Colors, Nostalgia, Skilled Performance Play-Doh took Jeff Koons 20 years from conception to completion. The piece of art is his memorial to innocent creativity—made up of 27 individual pieces of polychromed aluminum, it re-creates at monumental scale a colorful mound of modeling putty once given to Jeff by his son Ludwig. Play-Dohrepresents an inflection point of Jeff’s preoccupation with superrealistic, large-scale sculpture.
Balloon Dog (Blue), 1994-2000
Skilled Performance, Round Shapes, Shininess Balloon Dogstarted as a simple idea for Jeff: create something that would imbue adults with the delight that children feel at birthday parties. The execution proved more complex. In a feat of modern fabrication, Jeff translated this concept into an 11-foot-tall stainless steel sculpture whose dimensions precisely replicate its reallife latex counterpart.
Like many of Jeff’s high-polished works, these pieces engage the spectator and celebrate the surroundings of their installation with the intent of bringing joy to audiences the world over.
Source Jeff Koons on Masterclass. URL: https://www.masterclass.com
An important factor to create joyful experiences is empathy. Speaking of empathy in design we have to consider that there are people (as well as brands) with different archetypes to consider. Those archetypes have very different personalities and priorities. Knowing about their mindset is the key to tailored and hence empathic design which acts as a base for joyful design.
In Branding the wheel of twelve archetypes by Carl Jung is a popular tool to explore and figure out where a brand is positioned—which also helps to find a brands voice. Carl Jung developed this concept because of his conviction that archetypes are universal, archaic patterns and image that derive from our collective unconscious. He interpreted them as our psychic counterpart of instinct, which manifests in behavior on interaction with the physical world. Therefore those archetypes not only can be connected with brands but with characteristics of people in general.
People as well as brands can be classified to one specific archetype but they can also identify with a mixture of archetypes. (such as Apple) However, classifying a brand helps to shape its character and therefore enables the audience to identify with the brand and elicit the emotional response creating a sense of belonging—competing on a more instinctive, deeper level.
Those archetypes clearly show that we not only have to consider (universal) aesthetics only to create joyful experiences, but that the emotional layer which corresponds to the feeling of belonging, identification and self-actualization is an important factor to consider too. Plus, with the help and consideration of those archetypes a personal connection to the consumer can be easier established, which in turn sets the base for creating joyful experiences as well as satisfying consumers expectations of a brand.
The twelve archetypes
The creator
The Creator brand is visionary, non-conformist and authentic. Those brands want to craft something meaningful and special—they love new ideas and to make them happen and are driven by their desire do produce and create—they are afraid of everything mediocre. Most marketing, design and technology brands are creator brands.
Goal: To realise a vision Strategy: To Develop artistic control and skill Greatest Fear: Mediocre vision or execution Personalities: Artisan, Innovator, Inventor Key Attributes: Innovative, Imaginative, Creative, Artistic, Experimental, Willing to take risks, Ambitious, Desire to turn ideas into Reality, Inventor, Musician, Writer, or Dreamer.
Successful brands will develop a very loyal fan base, for example, Apple and have great chances to become so called “love brands”.
Creator brands promise Authenticity.
“Creator brands often position themselves as the key to unlocking a creator’s creativity. Their main focus is self-expression. The worst thing that could happen to a Creator archetype would be to be seen as inauthentic or a ‘sell-out’.”—Vision One market research
Examples: Apple, Adobe, Lego, Nintendo
The Jester The Joker, The Fun, The Comedian
Jesters live in the moment and fear boredom. They life on the wild site and often use outrageous imagery. They are high on energy, vibrant colors, are playful and entertaining.
Goal: To enjoy the journey and to stand out Strategy: To live in the moment and not be too serious Greatest Fear: To come across boring Personalities: Comedian, Practical Joker, The Fool Key Attributes: Joker, Playful, Carefree, Joyful, Original, Teaser and Foolish
Examples: M&Ms, Doritos, Skittles
The Sage The Teacher, The Investigator, The Mentor
Sage brands strive for truth and want to find the good and the wisdom in all situations. They will promise learning, teaching, knowledge and an open mind. They find fulfillment in finding answers to the most challenging questions and therefore demonstrate intelligence, knowledge and keen problem-solving skills. Charateristics: positivity, wisdom, truth, knowledge, provides intelligence, solutions.
Goal: To use intelligence and wisdom to understand the world Strategy: Seek out information and knowledge Greatest Fear: Being misled or ignored Personalities: Expert/Guru, Investigator, Mentor Key Attributes: Expert, Thinker, Philosopher, Reflective, Advisor, Teacher, Confident, In-control, Wisdom, Intelligence, Planner
Examples: Google, TED, BBC
The Innocent The Honest, The Optimistic, The Pure
Innocent brand have the desire to be free and happy and to keep things simple—they communicate a positive worldview. Because of the optimistic character they are often successful because of moving through barriers, that would stop others. Another characteristic is that those brands aim to motivate others. Brand in health, cleanliness and natural products work with this archetype.
Goal: To be happy Strategy: To do things right Greatest Fear: To come across unhappiness Characteristics: Wholesome, Pure, Forgiving, Trusting, Honest,Happy, Optimistic, Simple.
Innocent brands will promise Simplicity.
“They will offer a somewhat simple solution to any problem associated with goodness, morality, simplicity, nostalgia, and childhood. Innocent brands will strive to do what is right and positive. Most of the time, their simplistic view of the world can be perceived as a weakness. They fear to do something immoral and to see the world being influenced by something negative or unnatural.”—Vision One market research
Examples: Dove, Ford, Coca Cola, Disney
“Dove aims to make women feel confident by using beauty products. Their recent #ShowUs campaign celebrates women in media and advertising. The result is a gallery of women who shatter stereotypes and redefine the meaning of beauty.”—Faith Lisondra [3]
The Lover The Idealist, The Sensualist, The Seducer
Lover brands are all about creating relationships and creating emotions. They want to make people feel special to celebrate the physical joys of being human, fostering intimacy and bliss. Those brands are aesthetically pleasing are passionate and represent anything that pleasures the senses.
Goal: To be in a relationship with the people, work and surroundings. Strategy: To become more and more physically and emotionally attractive Key Attributes: Seek true love, intimacy, Sensuality, Passionate, Sexy, Seductive, Erotic, Seek Pleasure, To Indulge, Follow Emotions. Greatest Fear: Being alone or feeling unwanted Personalities: Harmoniser, Connector, Partner
“The Lover Archetype are customers who value the aesthetic appearance of goods and services. They are likely to be drawn to premium brands that will make them seem more attractive to others.”—Vision One market research
Lover brands will promise Passion
Examples: Lindt, Chanel, Victoria’s Secret
Perfume and Cosmetic Brands core desires are evoking emotions through their cosmetic products and fragrances—as example Chanels branding itself focuses glamour and experiencing the best things in life and therefore representing a Lover brand archetype perfectly.
Through the combination of perfect storytelling and the power of scent—since smell is one of our senses which is deeply connected with emotions, memories and imagination—perfume brands can be considered to be the most powerful brands evoking feelings of joy.
The Hero The Warrior, Champion Or Superhero
Hero brands are successful brands at producing consistent results. They are competent and courageous—they are winner and achievers that get things done effectively, in their mission to improve the world and foremost to leave a mark on the world.
Goal: Expert mastery in a way that improves the world Strategy: To be as strong and competent as possible Greatest Fear: Vulnerability and weakness Personalities: Competitor, Achiever, Coach
“Hero customers value the quality and trust in their products. They like to think that their consumer choices will put them ahead of everyone else, making them less likely to be drawn in by funny or cute adverts.”—Vision One market research
Examples: BMW, Amazon, Adidas
The Rebel The Revolutionary, The Powerful, The Liberated
Many Rebel brands are seen as revolutionary. They bring fresh perspectives, new outlooks and inspirational changes—they are anything but mainstream and make an efforts to stand out. Successful Rebel brands have a cult like following of people attracted by their energy.
Goal: To overturn what isn’t working Strategy: Disrupt, Destroy or Shock Greatest Fear: To be powerless Personalities: The Troubleshooter, Game Changer, The Challenger
The Rebel brand archetype really reflects those who were born to be wild. Rebel customers appreciate the unconventional and forcefully reject the status quo. They are likely to value shocking content or advertisements that are unique with no obvious ‘selling point’.
“The worst thing that could happen to the rebel brand would be to be bought out or for the brand to become too popular. If something isn’t working, the Rebel will destroy it. If they want revenge, they will take it. If they want to start a revolution, they will just do it. […] They won’t stick to industry conventions, they introduce a new attitude and let their customers know that it’s acceptable not to be a sheep in society.”—Vision One market research
Rebel brands will promise Revolution
Examples: Vans, Harley Davidson, Snickers, Jack Daniel’s
The Regular The Realist, The Everyman, The Friend
Regular brands are empathic, humble and put honesty first. Many people feel a belonging towards those brands.
Goal: To belong Strategy: Be down-to-earth and develop solid virtues Greatest Fear: To be left out or stand out from the crowd Personalities: Realist, Democrat, Comrade
“The most effective products or services that a brand can channel the Regular guy archetype are those that give people a sense of belonging with a high degree of practicality, functionality, and low to mid-degree of complexity. The Regular Guy archetype helps customers be OK just as they are.”—Vision One market research
Examples: VW, GAP, Levis
The Magician The Healer, The Wizard, The Visionary
Magician Brands have a deep impact on the customer and give imagination a reason to go wild. They tend to think out of the box and unexpected. They promise transformative experiences and focus on individuals and motivates people to trust their instincts.
Goal: To make dreams come true Strategy: Develop a vision and live by it Greatest Fear: Negative consequences Personalities: The Envisioner, Healer, Catalyst
“Audi have promoted themselves through this commercial as the magician brand archetype by firstly, the choice of the soundtrack ‘Pure Imagination’ By Willy Wonka, a magical film of mystique and enchantment. The advertisement takes you through the technological processes of building the new A5, but with the idea that it has been created and innovated along the lines of your imagination and therefore magical, making dreams come true.”—Vision One market research
The Explorer The Explorer, Trailblazer, Pioneer or Adventurer
Explorer brands are restless, independent and self-motivated—they define freedom and are ambitious. Most of us love to travel and discover new things and people. When a brand does that as a person, people love to look forward to what they bring next. Explorer brands create products that promote individuality, excitement, and a way to experience new things.
Goal: To experience a more authentic and fulfilling life Strategy: To journey, seek and experience new things Greatest Fear: To be trapped and conform Personalities: Individualist, seeker, Trailblazer
“The Explorer aims to make people feel free and nonconformist and also helps people express their individuality. Explorer brands are innovative and ambitious. They seek out the new, pushing boundaries and delighting in unexpected discoveries, whilst embracing a “no limit” philosophy.”—Vision One market research
The Explorer brand archetype promise Freedom.
Examples: RedBull, Northface, Jeep, GoPro
“As soon as you press play on this advertisement by GOpro, you can already sense through the soundtrack that it is all about discovery and freedom. GOpro brand themselves through nature, outdoor hobbies and exploration and they advertise their products to be an essential of this world in the most extreme environments. They aim to inspire travel in people, to go and find themselves and of course to capture every moment with their products.”—Vision One market research
The Ruler The Leader, The Powerful, The Role Model
Ruler brands are leaders in their field—they show authority, create order out of the mess and care a legacy.
Goal: To create a prosperous, successful community Strategy: To exercise power Greatest Fear: Chaos and being overthrown Personalities: Peacemaker, Powerbroker, Conductor
Key Attributes: Manager, Organiser, Productive, Confidence, Responsible, Role Model, The boss, The leader.
Examples: Starbucks, Rolex, Apple
The Caregiver The Caregiver, Nurturer, Parent, Angel
Caregiver Brands are driven by their need to protect and care for others. Their values are empathy, protection, safety and support.
Goal: To help and care for others Strategy: Protecting and doing things for others Greatest Fear: Selfishness and Ingratitude Personalities: Supporter, Advocate, Nurturer
Key Attributes: Altruistic, Selfless, Nurturing, Compassionate, Empathetic, Supportive and Generous
Examples: Innocent, Nivea
Sources
[1] 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
Triggering the emotional response of surprise can be an effective practice to create joyful experiences. In the following we will explore design considering surprise—one of the six primary emotions identified by Paul Ekman—with the intention to create a joyful experience.
Joyful experiences often happen to us at moments we do not expect them to happen—sometimes even tiny moments can capture our attention and turn into a memorable and joyful experience. According to Ingrid Fetell Lee those moments can be especially powerful in moments of stress or sadness—turning negative emotions into moments of opportunity/perspective. Those small bursts of joy can have an enormous impact on somebody’s mood. Unforeseen pleasures having the power to shift a bad mood are rooted in the nature of surprise: surprise has the purpose to quickly redirect our attention. [1]
“It acts like a warning bell for the brain, alerting us to a gap between what’s happening in front of us and what we had anticipated […] An unexpected noise or tap in the shoulder brings the mind and senses into a state of sudden vigilance.”—Ingrid Fetell Lee
Some suprises can be threads, but lets focus on the positive ones. If surprises signal opportunity our increased alertness and arousal of the surprise response can prepare us to take advantage of sudden joys. Those tiny moments of joy seem to be of short duration but they can have lasting effects because of their power to support upward spirals of positive emotions. [2]
“Joyful suprises bring our attention away from ourselves and back out into the world, prompting us to approach and engage. They incite curiosity, spur exploration, and increase the chances we’ll interact with others in ways that keep the positive vibes flowing.”—Ingrid Fetell Lee
Surprise acts as a magnet for joy by breaking the monotony of routines.
Even studies show, “that the majority of test subjects of a student population reported positive associations with surprise […] and also that variation in the level of surprise has a direct effect on consumers’ satisfaction. Since impulse purchasing implies an approach behaviour towards a product we can assume a positive connotation of surprise.”—Dorothea Baun, European University Viadrina, Germany [3]
Packaging ideas considering surprise to catch the eye and trigger not only a feeling of curiosity but also a feeling of joy:
Toilet paper rolls by Kazuaki Kawahara [4]
Smirnoff Vodka: “Peel The Bottle” Design & Branding by J. Walter Thompson. [5]
Norwegian Passport by Neue Design Studio [8]
Norways passport design is a sleek and modern approach, which already separates its visual appearance from the rest—but the actual surprise hides inside. The passports pages illustrate in an artistic way the country’s natural wonders. Another surprising and playful element: put them under UV light and day scenes turn into night—the sun turns into moon, northern lights and a hidden text appear.
[1]Fetell Lee, Ingrid: Joyful: The Surprising Power of Ordinary Things to Create Extraordinary Happiness. New York: Hachette Book Group 2018, p. 164 ff.
[2] ebda.
[3] Baun, Dorothea/Groeppel-Klein, Andrea: The Association for Consumer Research. Joy and Surprise As Guides to a Better Understanding of Impulse Buying Behaviour. URL: https://www.acrwebsite.org/volumes/11252/volumes/e06/E-06
[4] Designboom. kazuaki kawahara wraps toilet paper roll with juicy fruit packaging. URL: https://www.designboom.com/design/kazuaki-kawahara-fruits-toilet-paper-latona-packaging-japan-05-01-2016/
[5]. Canva.50 insanely creative and stunning packaging designs. URL: https://www.canva.com/learn/packaging-design/
By injecting meaning and context to experiences, we trigger an emotional response that can either be happiness, compassion, surprise or amazement. Those emotional responses can in turn trigger a joyful experience. In the following we will explore design considering compassion/empathy to trigger a joyful experience.
There are two sides to consider, when speaking about compassion in design—this blogpost will outline the first one:
1) Design that shows compassion—which leads to a joyful experience because we feel understood by the Brand/Product/Design
2) Design that evokes compassion—and in a further (optional step) enables us to support a good cause, which can lead to an even more joyful experience.
Nowadays customers exactly want to be informed about brands values and goals—they want brands to feel their challenges, to feel friendly and trustworthy. And foremost, they want to feel a connection—being on a same wavelength, having the same mindest and ethical values—almost like a friendship.
Show Compassion
From a consumer point of view brands should be genuine and transparent. Transparency is a way to connect with the consumer on an emotional level and lead the consumer to believe that the brand understands their struggles, maybe even shares them—this creates compassion and connection, presenting a brand as “just like you.” [1]
By considering empathy in design strategy, a well-grounded base for creating joyful design experience can be established. Smartly used, empathy can create a strong connection to the customer, which turns brands into so called “love brands” and furthermore enables a joyful (brand) experience.
“If you think about your favorite ads or piece of content you couldn’t wait to share, a big part why it’s a favorite is, because there is some insight in there, some nuance that is so true, so funny or so relevant to who you are and where you are in that moment of time.”—Dana Neujahr.
Compassion in marketing is a crucial component in the creation of consumer personas and in establishing a deep connection to people on an emotional level.
Example: Pinterest [2]
Online searches for anxiety quotes on Pinterest increased 8x year-over-year and searches for how to support someone with depression have doubled. In consideration of those statistics Pinterest made some effort to ensure the well-being of users by developing in-app coping exercises with support from emotional health experts at Brainstorm at the Stanford Lab for Mental Health Innovation, Vibrant Emotional Health, and the National Suicide Prevention Lifeline.
The exercises provide interactive ideas for improving wellbeing with the help of tools that help to relax and exercise. As an example, a search for “stress relief” may populate options ranging from journaling, drawing or painting nature scenes, or making a playlist.” Fast-forward to today, 10 new exercises have been added targeted specifically towards people at risk of self-harm or injury.
“Everything we do is in service of helping people feel more inspired ….These experts continue to help us better understand different emotional states, including the unique needs of people who search for self-harm. If we can help even one person feel more optimistic, we know that’s time well spent,”—Co-Founder and Chief Creative and Design Officer Evan Sharp
Example: Hallmark “Just Because” Mini Greetings [3]
Showing appreciation and practicing empathy should not only be considered for major subjectives but also for little things in life—a message which has been considered by Hallmarks Mini Greetings Series “Just Because”. The Concept is the simple belief that every day we as humans encounter moments that are equally deserving celebration and recognition. A tiny, but smart gesture that sparks a moment of joy.
“We did some insightful work that let us understand that in today’s society, especially with all the divisive, challenging things around us, people are craving things that are positive and good…While the line is about putting more good in the world, it does not shy away from the dark times,”— Hallmark Cards CMO Lindsey Roy.
The backstory of this particular initiative hits home for Roy who was involved in a tragic boating accident that left her with an amputated left leg in addition to other severe injuries. The results were overwhelmingly positive, incentivizing current loyal customers to buy more cards, attracting new customers and spurring social media conversations.
“With so many ways to stay in touch, it’s amazing to see what a card can do to go above and beyond to show someone how you feel or to tell them you’re thinking of them.”—Hallmark Cards CMO Lindsey Roy
Hallmark ran a 20-week ‘Free Card Friday’ promotion allowing people to get a ‘Just Because’ card for free. This empathetic business cycle is an important one. “By tapping into a deep understanding of what matters to consumers, Hallmark found heightened success and business profitability, in turn, allowing the company to build more opportunities to serve their purpose of helping people find ways to care for their loved ones.”—Erica Perry.
By putting empathy first, Pinterest and Hallmark perfectly illustrate how to build a connection to people and how to use empathy as an approach to establish memorable, joyful experiences on a personal level.
The choice of color is a powerful practice, if we want to evoke specific emotions. Colors are rich in symbolic and cultural meanings and the expectations and emotions created by colors highly affect consumers experiences and therefore choices.
In addition to cultural specific meanings, color can also trigger responses that deeply come from our human psyche—color creates a sensory impression that reflects mood and emotion. Such as the experience of color climates can differ from clean and bright to muted and dark. The experience of color can be described as a combination of cultural context, narrative context and psychological effects. [1]
Psychological Effect Example: Wine Tasting In a wine tasting study, participants used to describe the aromas of white wine by referring to pale or yellowish objects—lemon, grapefruit, melon, butter, pear… But, if the exactly same wine was colored red, participants described it mostly with terms referring to dark or red objects—hickory, cherry, tobacco, musk… [2] This example perfectly states, how color can directly manipulate our perception.
Cultural Context Example: Red [3] Western Fairy Tales: Love, Sexual, Maturity; Greek Mythology: Mars, God of War; China and Japan: Love, Luck, Happiness; Shinto Religion: Life; Revolutionary Russia: Socialist State; United States: Republican Party; China, India, Nepal: Bridal Wear; National Flags: Blood; Germany, Poland, Russia: Fear, Jealousy; Korea: Love, Adventure, Good Taste; Worldwide Connotations: Fire, Coca Cola, Stop—do not enter (ISO Standards)
Colors can affect us regardless of their cultural connotations—however, if we want to design cultural universal we have to keep in mind that different colors can evoke different connotations/emotions and cultural background is one factor to consider.
The color of Joy
Due to this graphic, the color of joy, could be described as yellow [4]
The color of Happiness
However, the connotation of the feeling of happiness in regard to colors slightly differs between different cultural backgrounds. Western/American: Yellow; Hindu: Green; Asian/Chinese: Red; Native American: White
Even if color has different cultural meaning, scientific research suggests that in the absence of other cues, many responses are universal or widely shared amongst people.
As example: Orange, yellow and red make us feel alive and alert. Blue calms us down—this reactions may be rooted in our species quest for survive (this knowledge in turn connects to our joyful experience of rural landscapes—landscapes that where livable and therefore crucial environments for our survival). Also, we instinctively experience yellow as a happy or joyful color, because it is the color of sunshine and waking life. Whereas blue is connected with peacefulness and rest. [5]
Color Palettes
In a study where music, color and emotions where linked, researches provided different color palettes for the participants. The participants had to link whole palletes of color hues to different emotions and passages of music. The findings: Participants tended to link happy music and upbeat emotions with lighter, brighter, warmer colors, while linking sadder music and lower emotions with duller, darker, cooler tones. [6]
Sources:
[1] Lupton, Ellen: Design is Storytelling. New York: Cooper Hewitt 2017, p. 104
[2] Lupton, Ellen: Design is Storytelling. New York: Cooper Hewitt 2017, p. 151
[3] Finlay, Victoria: Color: A Natural History of the Palette. New York: Random House 2002
In my last blogpost I mentioned that by injecting meaning and context to experiences, we trigger an emotional response that can either be happiness, compassion, surprise or amazement. Those emotional responses can trigger a joyful experience. In the following you will find typical examples for joyful design considering and working with happiness as an emotional response to trigger a joyful experience.
Happiness
When working with “happiness” as a trigger for a joyful experience we can especially refer to a wide selection of visual cues. Visual cues that evoke a feeling of happiness, leading to a joyful experience can be the use of bright colors, multi-colored color palettes, round shapes, symmetrical shapes, abundance and multiplicity.
Colors, sprinkles, rainbows, bubbles and confetti–as embodiments of happiness–are perceived by a majority of people as joyful. [1]
M&Ms
A perfect example of design, working with all the visual cues arousing happiness is M&Ms (as well as Smarties, Skittles and Sixlets, to mention a few). The multi-colored (even if they all have the same taste), round-shaped, “chocolate beans” are amongst the most popular candies and their “happy” design for sure is a factor of success.
Over the years, marketing has helped build and expand the M&M’s brand. Computer-animated graphics, personification of the candies as characters with cartoon-like storytelling, and various merchandising techniques including the introduction of new flavors, colors and customizable merchandise have helped to increase the brand’s recognition as a (happy) candy icon. [2]
The perfect mix of happiness: multi-colored, round shaped and furthermore the use of mascots, humour and storytelling
As in the case of M&Ms, happiness and in consequence joyful experiences can be triggered by working with “visual cues of happiness” which are in most cases simply colorful, playful design approaches. But we can also arouse happiness by working with nostalgia or humor.
Happiness—Colorful, Playful Design
“HIKI is a fun, fresh brand for every body and everybody. The wonton color scheme is playful, and without direct logic. This allows the tall, chunky, san-serif typeface of the logo to be the hero of the design. This is a brand that doesn’t present itself as too masculine or feminine, meaning it is for every consumer at every age. HIKI is a masterclass in how a brand can have a blast without skewing too youthful. This is a deodorant brand that is sure to charm it’s way into the homes and hearts of consumers everywhere.”— Shawn Binder. [3]
The Brand Design of Hiki is a great example of how color can be used to create a fun, fresh and open minded brand (appealing) to everyone–just by working with simple visual cues that arouse happiness.
Happiness—Nostalgic Design
Many of the visual cues creating happiness remind us of lighthearted, past times and can evoke feelings of nostalgia. Those cues can remind us of our childhood, teenage days or let our minds travel to distant times or/and cultures. The feeling of nostalgia gets willingly triggered to create joyful experiences. [4]
Brand Design by Eggplant Factory for VT Cosmetics using the characters of Moomins to trigger the feeling of nostalgia.
Designers can use nostalgia to appeal to their audience on a feel-good level. By tapping into people’s desire to feel a sense of belonging, meaning, and security, designers can endow their creations with emotion and sentimentality that connects with their audience and elicits a pleasurable feeling. [5]
Happiness—Fun, Humorous Design
Humor has been recognized as being important in promoting people’s wellbeing and happiness. By thinking out of the box we can use this knowledge to create a joyful experience using fun and humour as a central element of design.
The illustrations of “Beak Picks” packaging got a fun twist by covering the birds head with the individual fruit/ingredient. This simple but clever and suprising twist brings not only a smile on the consumers face but can also create a spark of joy. [6]
[2] Wikipedia. M&Ms. URL: https://en.wikipedia.org/wiki/M%26M%27s (last retrieved on 06.01.2020)
[3] The Dieline. Playful But Not Childish Hiki Sweat Products Know How To Have Fun. URL: https://thedieline.com/blog/2020/12/11/-playful-but-not-childish-hiki-sweat-products-know-how-to-have-fun? (last retrieved on 06.01.2020)
[4] The Dieline. VT Beauty & Health Lifestyle Brand. URL: https://thedieline.com/blog/2016/8/24/vt-beauty-and-health-lifestyle-brand?(last retrieved on 06.01.2020)
[5] Canva. URL: https://www.canva.com/learn/nostalgia/ (last retrieved on 06.01.2020)
[6] The Dieline. Vibrant Playful Illustrations Bring The Packaging For “Beak Pick !” To Life. URL: https://thedieline.com/blog/2019/10/11/vibrant-playful-illustrations-bring-the-packaging-for-beak-pick–to-life? (last retrieved on 06.01.2020)
In his Ted Talk about “How beauty feels” Richard Seymour affirms the importance of creating context to achieve a joyful or “beautiful” experience. As an example he mentions lights in cars slowly turning off. “I’ve never found anybody that doesn’t like the light that goes out slowly. I thought, well what the hell’s that about?“ – Richard Seymour. [1]
Lights slowly turning off in cars are a perfect example of a subtle but joyful experience. In general, people describe this experience as natural, or just nice. But there is much more behind this experience design than just a nice “gimmick”. Lights slowly turning off – light to dark in six seconds – in fact, this experience perfectly imitates the experience of going to cinema or theater, which triggers a sense of relaxation tempered with anticipation. When the lights turn slowly dark within six seconds when being in cinema or the theater, that is exactly the moment of experiencing great anticipation – this characteristic gets automatically stored in our unconscious mind and therefore in further consequence connoted with a positive feeling. This theory even gets strengthened through the fact, that the experience of the lights turning slowly off in 6 seconds was experienced much more positive by people who are used to go to cinema or the theater. [2]
Hence, to create something joyful we have to trigger an emotional response – often aroused through poignancy, which can too trigger a sad emotional response. „It isn’t just about nice. And this is the dilemma, this is the paradox of beauty.“ as Seymour states. Joy can be aroused through triggering good, bad (pathos), exciting (triumph) or even frightening emotions. [3] Those emotions arise in our unconscious mind, even before we can manipulate them – smart design takes that knowledge in consideration to guide the experience.
A story, a work of art, a face, a designed object — how do we tell that something is beautiful? And why does it matter so much to us? Designer Richard Seymour explores our response to beauty and the surprising power of objects that exhibit it.
It is hard to find universal characteristics of joy or beauty. As mentioned in the previous post, there for sure is something like an universal experience of beauty, which is deeply related to our evolution. Related to evolution is humans fascination for:
Pastoral landscapes (= safe, propitious and liveable environment)
Skilled performances (= increase status, desirable personal qualities: intelligence, conscientiousness, access to rare materials)
Rare materials, Symmetry (= wealth)
However, there is much more to consider in addition to this “predefined fascination” – particularly the details lie in our individual experiences, knowledge and preferences, that we develop over time. By injecting meaning and context to experiences, we trigger an emotional response:
Happiness, Compassion, Surprise, Amazement
Which can lead to a joyful experience. The creation of meaning and context can be achieved by considering elements that refer to our universal values, collective knowledge and/or individual preferences.
A water bottle by Ross Lovegrove [4] – pretty close to intrinsic beauty – an embodiment of water, something refreshing and delicious. People who are aware of how hard it is to design and produce a bottle of this shape enjoy this product even more.
