How to Create an Emotional Connection with Design?
Each project that connects with users complete somehow. The design communicates a message and a tone. The emotional tone is what we observe in depth this time for better understanding.
Emotional connections fall into four basic categories pairs – joy and sorrow, confidence and disgust, fear and anger, and surprise and anticipation. Understanding this range of emotions and how they relate to a visual message is important to your design process is received the way you intended. As you read this article looks at the pages presented and how you feel each and which parts of the visual aesthetics contribute to that emotion.
Just as the color wheel is a basic tool for a designer, so is the wheel of emotions. Robert Plutchik, psychologist and educator, developed this wheel on your 1980 wheel is based on four basic emotions and their opposites.
The emotion that a person feels when interacting with a design results in a corresponding emotion. This emotion can determine how a person sees and interacts with your design or even the brand / company.
Happiness is contagious. What that means for your design is that people will want to share it with others on social networking, face to face or in other ways. People connect with happy aesthetic in a unique way because it’s something that makes them feel good with a positive emotional association.
The sad images connect with users in a similar manner. For the sorrow creates a sense of empathy with which many users will react. They rely on the share or help that feel that matters.
Confidence and disgust
Trust and disgust go hand in hand and the line between the two can be easily crossed. Want to create something that looks real and believable so that users can interact with it. But this does not mean you can not be fanciful. Just needs a bit of reliability.
Without that confidence, the emotional connection can become upset quickly. This can become difficult to relate to your message or connect with users images that show them.
Fear and anger
Use fear or anger in a design can be the most difficult emotions to work. For some people the emotional response to fear is to escape – do not want this to happen when people see your design. But others fear makes them confident with their present situation, making them better connect with the information that you present.
The anger and negativity have a lasting effect. These visual emotions lead to aggression or stubbornness and have an unpredictable nature will impact on how people angry or negative images. <a href=”http://thewebbrands.com/webdesign/”>Dubai Web Design</a>
Surprise and Anticipation
The surprise can entertain and help create a connection with the user. An interesting visual element or action can achieve this. The surprise often comes with fear or happiness to create a general emotional association.
You’ve seen the ads for “soon”. This leads us to advance. Awaken people’s curiosity about what comes next. A well designed page intrigue will be remembered – and hopefully users will return often to discover what will happen.
3 Levels of Visual Design
The emotional connections associated with your design come from many places and things. Sometimes those emotions are under your control elements such as color and tone and other visual cues. Sometimes they are not (considered a client who hates red or afraid of monkeys and your logo is a red monkey.)
In what you have focus is on the things you can control. Donald Norman explains that there are three levels of visual design – visceral, behavioral and reflective. These concepts can explain how we relate to a visual element and how to create more attractive, effective and well received.
Visceral level: The first impression someone has a design. It is a purely instinctive reaction to something. This level of design can make users feel something (desired reaction) or leaving a neutral and unmemorable impression. A good visceral design leaves you feeling something and wanting to interact with the design again.
Behavioral level: This level is related to the user experience. What you want to do with design? How does it work? You may think that this only applies to digital projects such as applications, but has a longer range. At the simplest level, the design of a business card involves conduct – take and store the information for later.
Reflective Level: The highest level of the process of visual-emotional thinking is reflective. It is the interpretation and understanding of a visual element combined with the sensations it produces. At this stage of thought, a person determines and creates a lasting impression of something. Is it memorable? Do you leave a lasting impression?
What elements can incorporate into your designs that are associated with different emotions? The answer is almost anything. Each visual element will create some kind of connection with users. And this is vitally important. Aaron Walter explains that emotion creates a “user experience that makes them feel like there is a person, not a machine on the other side of the connection.”
Think about the emotional impacts which may be associated with any of these common, positive or negative visual elements.
- Big words
- Style photos
In addition to these visual cues, specific types of emotional hooks that you can create with the overall aesthetic. Determine the right tone and emotional impact should be one of the first discussions at the beginning of any design project.
- Entertainment and commitment
- Humor and lightness
- Patterns and dissonance
- The recognition and familiarity
- Relationship and tone
In almost any design, the goal is to get users to connect to your work. While the desired emotions may vary, most have common themes. Good design has elements of attractiveness, effectiveness, and is pleasant and memorable to the user. <a href=”http://thewebbrands.com/branding/”>Dubai Branding Agency</a>
Combining these ideas and working with strong visual cues that trigger the right emotions for your project, you can develop a design that works in the right way. Will the visual appeal and evoke emotional connections.