Brand engagement

Add the positive associations the subjects had with Coca Cola – its history, logo, color, design, and fragrance; their own childhood memories of Coke, Coke’s TV and print ads over the years, the sheer, inarguable, inexorable, ineluctable, emotional Coke-ness of the brand – neat back their rational, natural preference for the taste of Pepsi. Why? Because emotions are the way in which our brains encode things of value, and a brand that engages us emotionally -think Apple, Harley-Davidson, and L’Oreal, just for starters- will win every single time.

Martin Lindstrom: Buyology p.26/27

Advertisements

Mirror neurons

(…) what Rizzolatti would eventually dub ‘mirror neurons’ (…) – neurons that fire when an action [= not random movements but activities that involve an object] is being performed and when the same action is being observed.

Martin Lindstrom: Buyology p.54/55

Brodmann area 10

(…) an area in the frontal cortex of the brain called Brodmann area 10 (…) is acivated when we see products we think are ‘cool’ (as opposed to, say, an old Ford Fairlane, or a set of new lug wrenches) is associated with sel-perception and social emotions. In other words (…) we assess snazzy stuff -iPhones, Harleys, and such – largely in terms of their capacity to enhance our social status. So that slinky new Prada dress or that shiny new Alfa Romeo might be just what we need to attract a mate who could possibly end up carrying on our genetic line or providing for us for life.

Martin Lindstrom: Buyology p.64

Somatic marker

The chainlink of concepts and body parts and sensations creates what scientist Antonio Damasio calls a somatic marker – a kind of bookmark, or shortcut, in our brains. Sown by past experiences of reward and punishment, thee markers serve to connect an xperience or emotion with a specific, required reaction.

Martin Lindstrom: Buyology p.131

Manicuring the right rag

Manicuring the right rag — the vertical line of words on ranged-left text. Maximising the space available, but ensuring there are no line breaks or orphaned words that disrupt the flow of reading.

  • VIOLATION 1. NEVER BREAK A LINE IMMEDIATELY FOLLOWING A PREPOSITION
  • VIOLATION 2. NEVER BREAK A LINE IMMEDIATELY FOLLOWING A DASH
  • VIOLATION 3. NO SMALL WORDS AT THE END OF A LINE
  • VIOLATION 4. HYPHENATION
  • VIOLATION 5. DON’T BREAK EMPHASISED PHRASES OF THREE OR FEWER WORDS

Mark Boulton: Run Ragged

Cognitive disfluency

The key concept (…), explored in depth by the psychologist Adam Alter, author of the book Drunk Tank Pink, is “cognitive disfluency”. When information glides by too frictionlessly, we’re liable to find it harder both to understand and to retain.

When a font’s harder to read, writes Alter, “we assume the task is difficult and requires additional mental effort … We respond by recruiting additional mental resources to overcome that challenge, and our responses tend to be more accurate.” Other studies have found that information received in unfamiliar fonts is memorised more effectively, and that it may be harder to grasp material consumed in e-book form, where the words slide by as if on ice skates, than in print.

Oliver Burkeman: Stop trying to make the web look ‘beautiful’ – I’ve forgotten it already

The Elements Of Emotional Design

The goal is to connect with users and evoke positive emotions. Positive emotions instill positive memories and make users want to interact with your product in the future.
There’s an additional benefit, though. In pleasant, positive situations, people are much more likely to tolerate minor difficulties and irrelevance. While poor design is never excusable, when people are relaxed, the pleasant and pleasurable aspects of a design will make them more forgiving of problems within the interface.
Below is a non-exhaustive list (based on personal observation) of ways to induce these positive emotions. Of course, people will respond to things differently depending on their background, knowledge, etc., but these psychological factors should work in general:

  • Positivity
  • Surprise – Do something unexpected and new.
  • Uniqueness – Differ from other products in an interesting way.
  • Attention – Offer incentives, or offer help even if you’re not obliged to.
  • Attraction – We all like attractive people, so build an attractive product.
  • Anticipation – Leak something ahead of the launch.
  • Exclusivity – Offer something exclusive to a select group.
  • Be responsive – Show a reaction to your audience, especially when they’re not expecting it.

Simon Schmid: The Personality Layer