ABSTRACTThere are virtually no rules to empirically interpret the meaning inherent in typeface de... more ABSTRACTThere are virtually no rules to empirically interpret the meaning inherent in typeface designs-people intuitively decipher typefaces (Van Leeuwen, 2005). Forty-two participants examined six alphabets and responded using an online questionnaire to discover1 whether viewing typefaces produces emotional responses,2 whether people have the same emotion responses to typefaces and3 whether certain emotions are predominantly associated with the formative design features of typefaces-classification, terminal shape, character width and weight.Psychological research about the role of emotion in visual processing was combined with an interactive animated questionnaire methodology (Desmet, 2002), and the resulting data were analyzed in a matched t-Test design (α =.05, 95%). This human-centered empirical approach proved a promising methodology for design research that successfully eliminated problems evidenced in previous object-centered typography studies. Because people reported simila...
UMI. ProQuest® Dissertations & Theses The world's most comprehensive collection of disser... more UMI. ProQuest® Dissertations & Theses The world's most comprehensive collection of dissertations and theses. Learn more... ProQuest. Human emotion response to typographic design. by Koch, Beth Elynn, Ph.D., UNIVERSITY OF MINNESOTA, 2011, 192 pages; 3490660. ...
Graphic designers apply the traditional elements of art and principles of design to create visual... more Graphic designers apply the traditional elements of art and principles of design to create visual communications, yet it is not known how people interpret the meaning of visual messages. Forty-two participants answered a questionnaire to discover "Are certain emotions predominantly associated with the formative design features of typefaces--differences in classification (serif or sans serif), terminal construction (angular or rounded), character width (condensed or extended), and weight (light or bold)?" Even though people have individual aesthetic preferences, statistical analysis found that many participants reported comparable emotional responses to typestyle examples. Those feelings, in turn, varied according to the formative design features of the typeface. The design examples consisted of six similar typefaces with visible differences in form. Because people reported the same emotion response to the same design features, this study suggests that design's underlying features represent a common visual language.
At this time in history, which we note by the convergence of ubiquitous computing, artificial int... more At this time in history, which we note by the convergence of ubiquitous computing, artificial intelligence, and a generation of learners raised on computer games and the Internet, a unique opportunity exists for educators to rethink the design of learning materials and methods. This project teaches typography to undergraduate graphic design students. The primary aim is to make learning more effective by 1) designing interactive modules; 2) presenting the subject matter through a correlation with music and sound; and most importantly 3) by imbuing the materials to be learned with affective qualities that will make the materials more interesting sensorially, more engaging, more memorable, and more fun to learn.
ABSTRACTThere are virtually no rules to empirically interpret the meaning inherent in typeface de... more ABSTRACTThere are virtually no rules to empirically interpret the meaning inherent in typeface designs-people intuitively decipher typefaces (Van Leeuwen, 2005). Forty-two participants examined six alphabets and responded using an online questionnaire to discover1 whether viewing typefaces produces emotional responses,2 whether people have the same emotion responses to typefaces and3 whether certain emotions are predominantly associated with the formative design features of typefaces-classification, terminal shape, character width and weight.Psychological research about the role of emotion in visual processing was combined with an interactive animated questionnaire methodology (Desmet, 2002), and the resulting data were analyzed in a matched t-Test design (α =.05, 95%). This human-centered empirical approach proved a promising methodology for design research that successfully eliminated problems evidenced in previous object-centered typography studies. Because people reported simila...
UMI. ProQuest® Dissertations & Theses The world's most comprehensive collection of disser... more UMI. ProQuest® Dissertations & Theses The world's most comprehensive collection of dissertations and theses. Learn more... ProQuest. Human emotion response to typographic design. by Koch, Beth Elynn, Ph.D., UNIVERSITY OF MINNESOTA, 2011, 192 pages; 3490660. ...
Graphic designers apply the traditional elements of art and principles of design to create visual... more Graphic designers apply the traditional elements of art and principles of design to create visual communications, yet it is not known how people interpret the meaning of visual messages. Forty-two participants answered a questionnaire to discover "Are certain emotions predominantly associated with the formative design features of typefaces--differences in classification (serif or sans serif), terminal construction (angular or rounded), character width (condensed or extended), and weight (light or bold)?" Even though people have individual aesthetic preferences, statistical analysis found that many participants reported comparable emotional responses to typestyle examples. Those feelings, in turn, varied according to the formative design features of the typeface. The design examples consisted of six similar typefaces with visible differences in form. Because people reported the same emotion response to the same design features, this study suggests that design's underlying features represent a common visual language.
At this time in history, which we note by the convergence of ubiquitous computing, artificial int... more At this time in history, which we note by the convergence of ubiquitous computing, artificial intelligence, and a generation of learners raised on computer games and the Internet, a unique opportunity exists for educators to rethink the design of learning materials and methods. This project teaches typography to undergraduate graphic design students. The primary aim is to make learning more effective by 1) designing interactive modules; 2) presenting the subject matter through a correlation with music and sound; and most importantly 3) by imbuing the materials to be learned with affective qualities that will make the materials more interesting sensorially, more engaging, more memorable, and more fun to learn.
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Papers by Beth E Koch
The primary aim is to make learning more effective by 1) designing interactive modules; 2) presenting the subject matter through a correlation with music and sound; and most importantly 3) by imbuing the materials to be learned with affective qualities that will make the materials more interesting sensorially, more engaging, more memorable, and more fun to learn.
The primary aim is to make learning more effective by 1) designing interactive modules; 2) presenting the subject matter through a correlation with music and sound; and most importantly 3) by imbuing the materials to be learned with affective qualities that will make the materials more interesting sensorially, more engaging, more memorable, and more fun to learn.