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facial features used in products The purpose of the study was to understand and evaluate how facial expressions are incorporated into product design, and to record the respondents’ interpretation of this method of product styling, to analyse its effectiveness in enhancing desirability. As the aesthetics of product stimulate initial perceptions, it is important to establish a link between aesthetics and emotion in order to understand consumers on a deeper level. The empirical study was performed to present the link between emotions and aesthetics, focusing on colour and the incorporation of facial expressions within product semantics. The study observed and documented the emotional reaction of the subjects when they were exposed to a product. Study objective A facial expression articulated within a product creates a unique ‘animated’ style, which facilitates the creation of a product image. The aim of this study was to discover the consumer response to the image this creates in product design and whether this affects their purchasing preferences. The objectives of the study were: 1. What are the consumer responses to subtle portrayals of facial expressions? 2. What are the consumer responses to obvious portrayals of facial expressions? 3. What are the consumer responses to contradictory portrayals of facial expressions? 4. Does emotional design encourage sales? 5. Do colours have more of an impact than facial expressions? 6. Are there any gender disparities? Study design The stimuli used in this study are: Experiment 1

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facial features used in products

The purpose of the study was to understand and evaluate how facial expressions are incorporated into product design, and to record the respondents’ interpretation of this method of product styling, to analyse its effectiveness in enhancing desirability. As the aesthetics of product stimulate initial perceptions, it is important to establish a link between aesthetics and emotion in order to understand consumers on a deeper level. The empirical study was performed to present the link between emotions and aesthetics, focusing on colour and the incorporation of facial expressions within product semantics. The study observed and documented the emotional reaction of the subjects when they were exposed to a product.

Study objective

A facial expression articulated within a product creates a unique ‘animated’ style, which facilitates the creation of a product image. The aim of this study was to discover the consumer response to the image this creates in product design and whether this affects their purchasing preferences. The objectives of the study were:

1. What are the consumer responses to subtle portrayals of facial expressions? 2. What are the consumer responses to obvious portrayals of facial expressions? 3. What are the consumer responses to contradictory portrayals of facial expressions? 4. Does emotional design encourage sales? 5. Do colours have more of an impact than facial expressions? 6. Are there any gender disparities?

Study design

The stimuli used in this study are: Experiment 1

The stimuli contained obvious display, subtle displays and no display of facial expressions in order to establish their influence on the subject and their purchasing preferences. A second experiment was also set, with the image as the control and the colour as the variable in order to establish whether the image or the colour has a stronger influence.

Experiment 2

40 English speaking subjects were randomly selected for the purpose of this study, using a cross-section of students studying a variety of courses at both undergraduate and postgraduate level at Loughborough University, England.

Results

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1 2 3 4 5 6 7 8 9 10 11 12 The appearance of facial expressions in products have a more positive effect on the emotions of female observers than male.

Subtle and obvious facial expressions in products were detected by females, and they were more willing to purchase these products.

In experiment 2, where a facial expression was not present, female subjects were less enthusiastic. Colour was generally influential but the emotions evoked were less intense than in experiment 1. The male population do not respond positively to subtle displays of emotion as they make the emotion being portrayed difficult to translate, making them uncomfortable. Obvious displays of facial expressions overall are more influencial.

PrEmo appraisal

PrEmo has facilitated the collection of data from the subjects where data would otherwise prove difficult to obtain. The range of character images were simple to comprehend and relate to as well as providing all possible reactions to the stimuli, therefore meaning that the emotions of the subjects could be accurately gathered. The instrument has been the focal point of the study, without which the results obtained would not have been possible.

Personal and Background information

Affiliations Affiliated with the Department of Design and Technology at Loughborough University. Additional information

All information in relation to facial recognition was supported by the works of Paul Ekman (2003) and the six universal facial expressions he professed could be recognizable by manipulating the eyes, eyebrows and mouth. Publication(s)

Ekman, P. and Friesen, W. (2003) Unmasking the Face: A guide to recognizing emotions from facial expressions. Malor Books, Cambridge, MA.

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