OUGD501 - SB1 - Essay Research Sources and Notes

• People spend more time with products that they find beautiful, and they claim they are easier to use. The products seem to function better because they are beautiful.

• Human beings have an attractiveness bias; we perceive beautiful things as being better, regardless of whether they actually are better. All else being equal, we prefer beautiful things, and we believe beautiful things function better. As in nature, function can follow form.

• Most marketers knows that our purchasing decisions are based primarily on emotion. We use logic to rationalize those decisions. We are emotional beings. Aesthetics influence our opinions of products, and we typically find aesthetically pleasing products to be more effective simply by virtue of their aesthetic appeal.

• “Function alone does not drive form. Form evolves from the holistic forces of the project—audience needs, client desires, ethical obligations, aesthetic inclinations, material properties, cultural presuppositions, and yes, functional requirements.

• “For working designers, “every force evolves a form” is a more useful rule. The design process actually begins with something that doesn’t yet exist but needs to exist, and it moves forward toward a formal result. Function alone doesn’t drive the resultant form. The form evolves from the holistic forces of the project—audience needs, client desires, ethical obligations, aesthetic inclinations, material properties, cultural presuppositions, and yes, functional requirements. “Function” is rightly seen as a single, isolated, quantifiable aspect of the overall “force” driving the form.”

• From a utilitarian perspective, the "form follows function" rule doesn't inherently lead to good design.

• The real "art" of design lies not only in accurately assessing the functional requirements of a project (the easy part), but also in developing the forms most suitable to those requirements (the tricky part). A better, less tautological mantra comes from Mother Ann Lee (1736–84), founder of the Shaker movement in America: "Every force evolves a form." From this perspective, form doesn't simply, dutifully follow a set of functional requirements. Instead, dynamic forces gradually forge resultant forms. These forces aren't simply functional; they can also be communal or spiritual, as was the case with the Shakers.

• For working designers, "every force evolves a form" is a more useful rule. The design process actually begins with something that doesn't yet exist but needs to exist, and it moves forward toward a formal result. Function alone doesn't drive the resultant form. The form evolves from the holistic forces of the project—audience needs, client desires, ethical obligations, aesthetic inclinations, material properties, cultural presuppositions, and yes, functional requirements. "Function" is rightly seen as a single, isolated, quantifiable aspect of the overall "force" driving the form.

• http://www.peachpit.com/articles/article.aspx?p=1353612
  
  For starters, aesthetics is concerned with anything that appeals to the senses—not just what we see, but what we hear, smell, taste, and feel. In short, how we perceive and interpret the world.

• http://alistapart.com/article/indefenseofeyecandy
  
  In other words, aesthetics is not just about the artistic merit of web buttons or other visual effects, but about how people respond to these elements. Our question becomes: how do aesthetic design choices influence understanding and emotions, and how do understanding and emotions influence behavior? Research into attention, persuasion, choice, happiness, learning, and other similar topics suggests that the more attractive button is likely to be more usable by most people. To get an idea of where this perspective might come from, consider this comment on emotions from neurobiologist Antonio Damasio: “...emotion is not a luxury: it is an expression of basic mechanisms of life regulation developed in evolution, and is indispensable for survival. It plays a critical role in virtually all aspects of learning, reasoning, and creativity. Somewhat surprisingly, it may play a role in the construction of consciousness.” [1]
  
  In many design conversations, there is a belief that applications are made enjoyable because we make them easy to use and efficient (interestingly, whether it’s stated or not, these conversations value the role that aesthetics plays in cognition). However, when we talk about how emotions influence interactions, it’s closer to the truth to say things that are enjoyable will be easy to use and efficient. Allow me to explain. Product packaging infi‚uences our perception of the product inside. Attention to design details implies that the same care and attention has been spent on the other (less visible) parts of the product—which implies that this is a trustworthy product.
  
  We want those things we find pleasing to succeed. We’re more tolerant of problems with things that we find attractive.\We want those things we find pleasing to succeed. We’re more tolerant of problems with things that we find attractive. In other words, how we “think” cannot be separated from how we “feel.”
• In the early 1900s, “form follows function” became the mantra of modern architecture. Frank Lloyd Wrightchanged this phrase to “form and function should be one, joined in a spiritual union,” using nature as the best example of this integration.
• The more we learn about people, and how our brains process information, the more we learn the truth of that phrase: form and function aren’t separate items. If we believe that style somehow exists independent of functionality, that we can treat aesthetics and function as two separate pieces, then we ignore the evidence that beauty is much more than decoration. Our brains can’t help but agree.
• Reference[1] Emotion and Feelings: A Neurobiological Perspective by Ant³nio Dam¡sio[2] “Emotion as a Cognitive Artifact and the Design Implications for Products That are Perceived As Pleasurable” by Frank Spillers

• Stephen P. Anderson

• Stephen P. Anderson is an independent consultant based out of Dallas, Texas. He spends an unhealthy amount of time thinking about user experience design and intrapreneurial teams—topics he loves to speak about. Stephen is also the twisted mind behindUX Roast.
• Function is Dead – Long Live Function By Gary Dickson
  
  http://www.graphic-design.com/DTG/dickson/form_follows_function.html
• "Form Follows Function" was first penned countless eons ago by American architect Louis Sullivan in his article "the Tall Office Building Artistically Considered". It has grown, mutated and evolved over the last century or so and is now widely referenced as a guiding principle in nearly all types of design . There are reasons for the steps that we take as designers and those reasons or motivating factors rest firmly on a foundation that some call "function". What we face in the consumer age is not the destruction of "function" as the foundation for good design but rather a re-definition of what function is or can be. If the function of a design is solely that it needs to appeal to a specific group of people, then as the designer you had better do your research and keep that function in mind throughout the design process. This is not always an easy task in the design-what-you-like world that we live in. I won't kid you -- most designers do have a style. But, a good designer should know how to adapt that style to fit the needs of the client. In extremely rare instances the gap between the designers style and the clients need may be completely irreconcilable. It is then the designers job to say so.
  
  http://academics.triton.edu/faculty/fheitzman/tallofficebuilding.html
• The tall office building artistically considered by Louis H. Sullivan, March, 1896
• While "form" and "function" may be more or less explicit and invariant concepts to the many engineering doctrines, Metaprogramming and the Functional programming paradigm lend themselves very well to explore, blur and invert the essence of those two concepts.According to Lamarck's long-discredited theory of evolution, anatomy will be structured according to functions associated with use; for instance, giraffes are taller to reach the leaves of trees. By contrast, in Darwinian evolution, form (variation) precedes function (as determined by selection). That is to say in Lamarckian evolution the form is altered by the required function, whereas in Darwinian evolution small variations in form allow some parts of the population to function "better", and are therefore more successful reproductively.
  
  The Bauhaus style later became one of the most influential currents in modern design,Modernist architecture and art, design and architectural education.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, andtypography.[2]
  
  https://en.wikipedia.org/wiki/Bauhaus
• Norman, D. A. (2002). Emotion and design: Attractive things work better. Interactions Magazine, ix (4), 36-42.
  
  ABSTRACT
  
  Advances in our understanding of emotion and affect have implications for the science of design. Affect changes the operating parameters of cognition: positive affect enhances creative, breadth-first thinking whereas negative affect focuses cognition, enhancing depth-first processing and minimizing distractions. Therefore, it is essential that products designed for use under stress follow good human-centered design, for stress makes people less able to cope with difficulties and less flexible in their approach to problem solving. Positive affect makes people more tolerant of minor difficulties and more flexible and creative in finding solutions. Products designed for more relaxed, pleasant occasions can enhance their usability through pleasant, aesthetic design. Aesthetics matter: attractive things work better.
  
  http://www.jnd.org/dn.mss/emotion_design_at.html
• Scientists and emotions stuff > http://www.jnd.org/ED_Draft/CH01.pdf
• http://www.ucpress.edu/op.php?isbn=9780520005143 < form follows function book                                                                 

OUGD501 - Studio Brief 02 - Target Audience Research

When considering who would be the target audience of Hardware and DIY products I had to identify who the consumers of these products were targetting. This is where I started my research into who commonly bought these products including age, gender, occupation and household income etc. 

I found an extremely insightful article that researched in depth a complete range of consumers of these products and these were the findings and statistics:

Characteristics of the DIY Consumer by Zach Williams

DIY Consumer profiles include buyers from multiple generations, incomes and geographical regions.

DIY Consumers are not just crafty housewives with a Pinterest board. And, DIY consumers don't just do-it-themselves. DIY Consumers are savvy, modern shoppers who want a tailored shopping experience. They cover a large demographic and care more about buying unique, high-quality products than pinching pennies.

Based on what we're seeing in shopping trends here are 10 characteristics that define the DIY Consumer:

1. Saving Money is Not the Only Reason why poeple DIY

• The biggest misconception with DIYers is that they are solely driven by the desire to save money. Although saving money does play a factor, our recent survey of DIYers shows that only 39% of DIYers are DIYing specifically to save money.

• People are being driven to do DIY projects because they feel like they can handle the task and just because the enjoy the work.

2. Quality, Value and the Experience Matter More than Price

• A recent Google study revealed that 47% of home improvement projects were done because people take pleasure in doing DIY projects.

• People take on DIY projects because they enjoy it and when people enjoy something, they are more willing to spend money on it. 

• This is why we've seen such a rise in demand for media outlets like HGTV, The DIY Network and even aspects of Martha Stewart's brand. People want to have a positive home improvement experience which means they are willing to pay more for products that will help make this happen.

3. They Cover a Wide Ranging Demographic

• DIYers are a unique consumer set because they don't neatly fit into one demographic or another.  

• They come from all different age ranges, income levels, and geographic locations.

A few stats that exemplify their diversity are:

• Nearly 50% of DIY Consumers are female. Until recently, this market was dominated by Men. With the accessibility of online training materials and how-to videos, women are venturing out even more into the DIY scene.

• 52% of DIYers are 24 to 44 years old which means the majority of DIYers are from two different generations: Millennials and Gen X. Most DIYers in this age range are taking on DIY projects because of a life changing event such as buying a home, getting married or having a child.

• DIYers ages 35 - 54 are often times driven by the desire to increase energy efficiency.

• Consumers aged 55 and over are taking on DIY projects for things like household repairs, and preparation for growing older in their homes.

4. They are Constantly Looking for Ways to be Inspired

• 84% of DIYers are looking at inspirational content all year round, not just when they want to start a project.

• Your brand can connect with DIY Consumers by providing ideas on how they can use your product on their next project.

• Showcase what other customers have done with your products on your Pinterest and YouTube pages.

• Give creative tutorials on different projects people can take on.

• People love to share the great ideas they see as well as what they've done. Remember to offer consumers opportunities to interact with your brand by posting on your social media pages about how they've successfully used your products and what they think about them.

5. Phones and Tablets are Their Go-To Shopping Resource

It's no secret that people are shopping on tablets and mobile devices, but how and when they are shopping on them is what's interesting: consumers are using their mobile and tablet devices before, during and after they purchase.

First, they are looking at online reviews, finding out about the products they need and getting a feel for how well your product will work in their project.

Then, they are visiting stores to check out the product. 82% of DIY shoppers are still shopping in stores. Ensure your website and online materials are mobile compatible, so DIY Consumers can access information about your brand when they want, where they want.

Lastly, and the one I think marketers forget the most, many shoppers use a digital device to look up installation and warranty information after they purchase a product. So, don't bury this type product information in a PDF link. Give it the same level of thought and effort as the rest of your marketing materials.

It can leave a real sour taste in the consumer's mouth if they have a tough time accessing the materials needed to use your product.

Even if the entire experience leading up to the purchase went well, if consumers can't easily navigate your website to find the information they need, they may hesitate to purchase your brand in the future.

6. Green Products and Smart Home Technology Get Their Attention (and their dollars)

DIYers are exceptionally green-conscious. They are looking to purchase products that are created ethically, sustainably and possibly offer benefits to underprivileged communities or people groups.

Smart home technology and our ability to control features of our home remotely is a basically new concept. At least it's availability to the general public is pretty new.

The DIY Consumers ages 18 - 54 are extra attracted to Smart Home Technology (1). Two variables will convince them to purchase your smart home tech products: easy installation and integration with mobile apps.

7. The DIY Consumer is here to stay

The desire to personalize your home, and help the environment and help your wallet will continue to drive the growth of the DIY Consumer.

The Home Improvement Industry as a whole is projected to reach $322.4 Billion by 2015. This year alone, nearly 40% of Americans considered starting a DIY project. The DIY Consumer is here and growing. How is your brand going to convince them to purchase from you?

Resources:

Mintel Group Ltd. (2013). DIY Home Improvement and Maintenance - US. Chicago: Mintel Group Ltd.

In this survey DIYers from every part of the United States were asked them about their home project plans for 2015.  DIYers actually intersect between several other major consumer sets, such as Millennials and Generation X consumers. Striking patterns emerge in their places of residence and the projects they want to take on. The data that we’ve gathered here not only shows that the DIY Consumer is here to stay, but that they are actively moving in the building materials market. Companies that work on winning their loyalty now will be able to see gains from their purchases for many years to come.

From this survey I have learnt that the target audience of my redesigned hardware packaging would be a varied split of men and women from all ages, incomes and professions. Therefore I would have to keep my packaging gender and age neutral, ensuring that it was easy for eveyone to understand. 

As this is an American Survey I looked for some British ones to see if the statists matched and it found that it still correlated with women also playing a big part in home improvements here too. 

Source: http://www.dailymail.co.uk/femail/article-2609369/Sisters-doing-Now-60-women-say-theyre-charge-DIY-mens-practical-skills-decline.html

And 2 more infographics on DIY I found: 

OUGD501 - Study Task 06 - Consumer identities

Catherine Jansson-Boyd - Consumer Psychology - Chapter 4: Identity and consumption

In what ways can products/services relate to consumer identities?

• People can have more than one identity, online and in real life for example, people use different products to represent them
• Buy products to establish the role we are in/want to find ourselves in 
• Potential to mould and manage identities 
• We feel like we should conform and buy products that are representative of ourselves, avoid products that aren't 'me'
• Products can shape other peoples perceptions of us

How do consumers use products/services within social interactions?

• Social media platforms like instagram play a large roll in how consumers display products, through hashtags etc.
• People like to show themselves using certain products on social media, showing a certain lifestyle they wish to project themselves as living
• We need to impress others and show products they feel are expensive and will make others feel jealous of. 

Are there any ethical issues?

• Issues relating to child development, children being aware from an early age that playing with certain toys makes them more friends
• Self esteem issues, comparisons to others, never feeling adequate
• Narcissistic qualities can be developed 
• feeling the need to comply to behavior
• the feeling of 'self fulfilling prophecy', unable to express yourself 
• symbolic meaning of products, not what they mean

- 300 words how the article related to commercial visual communication.
- How will this affect your understanding of your target audience and ultimately your practical outcome?

The extract titled 'Identity and Consumption' by Catherine Jansson-Boyd, studies the relationship between consumerism and the way in which we perceive ourselves as individuals, which in turn informs the products and services that we buy. Products and services can relate to the identities of consumers in many different ways.

The things we buy as individuals act as a message to others around us a form of ‘social comparison’ allowing us to showcase who we are to the world and enabling others to form an opinion of us. This, in turn, may lead to certain like-minded individuals establishing a connection with us whether this be a friendship group or partner.

We compare ourselves to others in many different ways to establish social groups and to identify where we stand in the world amongst others. This can be done in the form of upward comparison, downward social comparison, object perception and so on.  Human beings are social individuals and enjoy the sense of belonging to a community or group, which in turn boosts confidence and reinforces positive self-esteem.

The article relates to visual communication as for a product to be desirable it needs to stand for something or have a story behind it. Without this the product or service won't add anything to the identity of the individual buying it. Advertisements, and promotions are essential in the success of a product as these are what create the symbolic meaning behind it. 

The article relates to my issue as the way a piece of packaging looks or it’s ‘form’ is a fundamental part of what attracts us to consuming a product. By purchasing an item, we are creating an extension of ourselves to showcase to the rest of the world. (Jansson-Boyd, C 2010: 57)

When designing my practical piece of work I will consider the ways in which I want to market my product and the techniques I will use to persuade my target audience to buy the product so they see it as an extension of themselves.