advances in affective and pleasurable design

Advances in Intelligent Systems and Computing 483 WonJoon Chung Cliff Sungsoo Shin Editors Advances in Affective and Pleasurable Design Proceedings of the AHFE 2016 International Conference on Affective and Pleasurable Design, July 27–31, 2016, Walt Disney World®, Florida, USA Advances in Intelligent Systems and Computing Volume 483 Series editor Janusz Kacprzyk, Polish Academy of Sciences, Warsaw, Poland e-mail: kacprzyk@ibspan.waw.pl About this Series The series “Advances in Intelligent Systems and Computing” contains publications on theory, applications, and design methods of Intelligent Systems and Intelligent Computing Virtually all disciplines such as engineering, natural sciences, computer and information science, ICT, economics, business, e-commerce, environment, healthcare, life science are covered The list of topics spans all the areas of modern intelligent systems and computing The publications within “Advances in Intelligent Systems and Computing” are primarily textbooks and proceedings of important conferences, symposia and congresses They cover significant recent developments in the field, both of a foundational and applicable character An important characteristic feature of the series is the short publication time and world-wide distribution This permits a rapid and broad dissemination of research results Advisory Board Chairman Nikhil R Pal, Indian Statistical Institute, Kolkata, India e-mail: nikhil@isical.ac.in Members Rafael Bello, Universidad Central “Marta Abreu” de Las Villas, Santa Clara, Cuba e-mail: rbellop@uclv.edu.cu Emilio S Corchado, University of Salamanca, Salamanca, Spain e-mail: escorchado@usal.es Hani Hagras, University of Essex, Colchester, UK e-mail: hani@essex.ac.uk László T Kóczy, Széchenyi István University, Győr, Hungary e-mail: koczy@sze.hu Vladik Kreinovich, University of Texas at El Paso, El Paso, USA e-mail: vladik@utep.edu Chin-Teng Lin, National Chiao Tung University, Hsinchu, Taiwan e-mail: ctlin@mail.nctu.edu.tw Jie Lu, University of Technology, Sydney, Australia e-mail: Jie.Lu@uts.edu.au Patricia Melin, Tijuana Institute of Technology, Tijuana, Mexico e-mail: epmelin@hafsamx.org Nadia Nedjah, State University of Rio de Janeiro, Rio de Janeiro, Brazil e-mail: nadia@eng.uerj.br Ngoc Thanh Nguyen, Wroclaw University of Technology, Wroclaw, Poland e-mail: Ngoc-Thanh.Nguyen@pwr.edu.pl Jun Wang, The Chinese University of Hong Kong, Shatin, Hong Kong e-mail: jwang@mae.cuhk.edu.hk More information about this series at http://www.springer.com/series/11156 WonJoon Chung Cliff Sungsoo Shin • Editors Advances in Affective and Pleasurable Design Proceedings of the AHFE 2016 International Conference on Affective and Pleasurable Design, July 27–31, 2016, Walt Disney World®, Florida, USA 123 Editors WonJoon Chung School of Industrial Design Carleton University Ottawa, ON Canada Cliff Sungsoo Shin Department of Industrial Design University of Illinois at Urbana–Champaign Champaign, IL USA ISSN 2194-5357 ISSN 2194-5365 (electronic) Advances in Intelligent Systems and Computing ISBN 978-3-319-41660-1 ISBN 978-3-319-41661-8 (eBook) DOI 10.1007/978-3-319-41661-8 Library of Congress Control Number: 2016944337 © Springer International Publishing Switzerland 2017 This work is subject to copyright All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed The use of general descriptive names, registered names, trademarks, service marks, etc in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made Printed on acid-free paper This Springer imprint is published by Springer Nature The registered company is Springer International Publishing AG Switzerland Advances in Human Factors and Ergonomics 2016 AHFE 2016 Series Editors Tareq Z Ahram, Florida, USA Waldemar Karwowski, Florida, USA 7th International Conference on Applied Human Factors and Ergonomics Proceedings of the AHFE 2016 International Conference on Affective and Pleasurable Design, July 27−31, 2016, Walt Disney World®, Florida, USA Advances in Cross-Cultural Decision Making Advances in Applied Digital Human Modeling and Simulation Advances in Human Factors and Ergonomics in Healthcare Advances in Affective and Pleasurable Design Advances in Human Aspects of Transportation Advances in Ergonomics In Design Advances in Ergonomics Modeling, Usability & Special Populations Advances in Social & Occupational Ergonomics Advances in Neuroergonomics and Cognitive Engineering Advances in Physical Ergonomics and Human Factors Advances in The Ergonomics in Manufacturing: Managing the Enterprise of the Future Advances in Safety Management and Human Factors Advances in Human Factors, Software, and Systems Engineering Sae Schatz and Mark Hoffman Vincent G Duffy Vincent G Duffy and Nancy Lightner WonJoon Chung and Cliff(Sungsoo) Shin Neville A Stanton, Steven Landry, Giuseppe Di Bucchianico and Andrea Vallicelli Francisco Rebelo and Marcelo Soares Marcelo Soares, Christianne Falcão and Tareq Z Ahram Richard Goossens Kelly S Hale and Kay M Stanney Ravindra Goonetilleke and Waldemar Karwowski Christopher Schlick and Stefan Trzcielinski Pedro Arezes Ben Amaba (continued) v vi Advances in Human Factors and Ergonomics 2016 (continued) Advances in Human Factors and Sustainable Infrastructure Advances in The Human Side of Service Engineering Advances in Human Factors in Energy: Oil, Gas, Nuclear and Electric Power Industries Advances in Human Factors in Sports and Outdoor Recreation Advances in Human Factors and System Interactions Advances in Human Factors, Business Management, Training and Education Advances in Human Factors in Robots and Unmanned Systems Advances in Design for Inclusion Advances in Human Factors in Cybersecurity Jerzy Charytonowicz Tareq Z Ahram and Waldemar Karwowski Sacit Cetiner, Paul Fechtelkotter and Michael Legatt Paul Salmon and Anne-Claire Macquet Isabel L Nunes Jussi Kantola, Tibor Barath, Salman Nazir and Terence Andre Pamela Savage-Knepshield and Jessie Chen Giuseppe Di Bucchianico and Pete Kercher Denise Nicholson, Janae Lockett-Reynolds and Katherine Muse Preface This book focuses on a positive emotional approach in product, service, and system design and emphasizes aesthetics and enjoyment in user experience This book provides dissemination and exchange of scientific information on the theoretical and practical areas of affective and pleasurable design for research experts and industry practitioners from multidisciplinary backgrounds, including industrial designers, emotion designer, ethnographers, human–computer interaction researchers, human factors engineers, interaction designers, mobile product designers, and vehicle system designers This book is organized in seven sections which focus on the following subjects: I II III IV V VI VII Design of Human Interface and Affective Communication Kawaii/Affective Value Creation Affective/Emotion in Design Education (ADE) Design for Smart Environments and Well Living Emotional Engineering Empathetic Design Designing Affective and Pleasurable Interactions Sections I through III of this book cover new approaches in affective and pleasurable design with emphasis on diversity, value creation, cultural and traditional contexts, and ergonomics and human factors Sections IV through VII focus on environment and design issues in product, service, and system development, human interface, emotional aspect in UX, and methodological issues in design and development Overall structure of this book is organized to move from special interests in design, design and development issues, to novel approaches for emotional design All papers in this book were either reviewed or contributed by the members of editorial board For this, I would like to appreciate the board members listed below: A Aoussat, France S Bahn, Korea C Bouchard, France vii viii Preface L Chen, Taiwan K Cho, Korea S Choi, USA D Coelho, Portugal O Demirbilek, Australia M Feil, USA A Freivalds, USA S Fukuda, USA Q Gao, China R Goonetilleke, Hong Kong B Henson, UK A Ho, Hong Kong W Hwang, Korea Y Ji, Korea E Jung, Korea J Kim, Korea K Kim, Korea K Kotani, Japan S Minel, France K Morimoto, Japan M Ohkura, Japan T Park, Korea P Rau, China S Schutte, Sweden D Shin, USA A Warell, Sweden M Yun, Korea This book is the first approach in covering diverse approaches of special areas and including design and development methodological researches and practices in affective and pleasurable design I hope this book is informative and helpful for the researchers and practitioners in developing more emotional products, services, and systems Ottawa, Canada Champaign, USA July 2016 WonJoon Chung Cliff Sungsoo Shin Contents Part I Design of Human Interface and Affective Communication Questionnaire Survey Result of the Use of Communication Robots for Recreational Activities at Nursing Homes Teruko Doi, Noriaki Kuwahara and Kazunari Morimoto Representation of Fundamental Movements and Pauses for Archiving Traditional Skills Hiroki Nomiya and Teruhisa Hochin 15 Consideration of Appropriate Photo Image to the Conversation of the Elderly and Youth by Using Facial Expression Analysis Miyuki Iwamoto, Noriaki Kuwahara and Kazunari Morimoto 29 Development of the Micro-Silk Through the Breeding of Transgenic Silkworm Kyu-Beom Kim, Min-Ju Kim and Kang-Min Choi 41 Study on Design Elements of Cardinal Direction Based on Cognitive Analysis Min Ju Kim, Kaznari Morimoto and Noriaki Kuwahara 49 Perceptions on Clothing by Elderly Females Saori Kitaguchi, Mio Matsumoto, Tetsuya Sato and Kanji Kajiwara 57 Interactive System Supporting Children Pleasurable Learning Wafa Almukadi and Lucas Stephane 67 Which Design Seems Easy to Use? An Analysis of Individual Differences in Mental Models Yukiko Nishizaki, Toshihisa Doi and Toshiki Yamaoka 79 Presenter Supporting System with Visual-Overlapped Positive Response on Audiences Keiko Yamamoto, Kyoko Kassai, Itaru Kuramoto and Yoshihiro Tsujino 87 ix 700 B Jeong et al Fig Design preferences: sensuous, descriptive, estimation, and preference aspects Typography Preference and Involvement Numerous studies have defined the meaning of typography with a general focus on movable type Although movable type is considered as “text expressed in design,” its meaning is expanding For example, the empty space created between and around movable text is also raw material for typographers By giving meaning to space, the emotional satisfaction of associated with typography may be viewed in a new light What designers should notice before arranging type and engaging in geometric modeling is the arrangement within individual elements Given the fact that once separate syllables form a word through arrangement, and individual words form a sentence through arrangement, it can be said that text possesses the fundamental property of arrangement Take the Korean alphabet (Hangul) as an example Hangul bears a very strong property of arrangement, as it features a phonetic and featural writing system This characteristic is well-reflected in the Hunminjeongeum: Hangul uses consonants, vowels, and final consonants We considered involvement as a psychological stage that a user goes through when selecting typography, and began our study with the hypothesis that the degree of brand involvement for selecting interface typography varies according to a user’s product preference 4.1 Characterization of Typography Typography (from the Greek words τύπος typos, “form,” and γράφειν, graphein, “to write”) is the art and technique of arranging type to make written language most appealing for learning and recognition [19] The arrangement of type involves selecting typefaces, point size, line length, line spacing (leading), letter spacing (tracking), and adjusting the space within letter pairs (kerning) [20] Type design is a closely related craft, sometimes considered part of typography; most typographers not design typefaces, and some type designers not consider themselves typographers [5, 21] In modern times, typography has played a role in film, television, and online broadcasts to add emotion to communication [18] Designs for typefaces can be created faster with new technology, and for more specific functions [22] Ahn limited the meaning of typography to movable type, the definition of which follows Typos is a Greek noun meaning “blow, mark of the blow, The Analysis of the Impact on the Interface Design … 701 figure,” the origin of which is found in the Indo-European language’s (印歐語)’(s)teu-’; graphia, which has its root in the Indo-European language’s “gerbh-,” originating from graphien, which itself refers to “expression by line or writing and drawing” and means “writing or drawing.” The Greek typos originated from the Latin word typus Later, the word changed to “type,” referring to archetype, model, symbol After the invention of Gutenberg’s movable type, the word also referred to typography On the other hand,—graphia became—graphy and was used in a combined form that came to mean a style of painting; the art of drawing or calligraphic style; mood; writing Typography eventually became “drawing by movable type” or “writing by movable type,” and later on “ways to draw by movable type; ways to write by type.” Through this process, typography came to mean the art of “letterpress printing” [23] Tschichold [6] claimed that “typography refers to arranging the components within two-dimensional space” Jury [24] stated that typography means “all kinds of things written in text” Ruder [25] claimed that “the obvious duty of the typographer is to deliver information in writing,” and Craig [26] defined typography as “a form of technology (art) that designs with the use of movable type” As seen above, the general meaning and etymology of typography focus on movable type [5] 4.2 Movable Type, Space, and Arrangement Movable type is a system of printing and typography that uses portable components to reproduce the elements of a document, usually individual letters or punctuation [4] However, today’s movable type is regarded as text that is expressed in design and typography Moveable type, as an element of typography, has evolved from a mere lead letterpress used to relay information to a modern communication tool that uses abstract composition and geometrical components to convey meaning [5] According to Schmid [27], “Typography is language delivery via visual interpretation There is no such typography where only reading takes place A printed message is all visual impression.” In typography, space generally refers to areas unoccupied by movable type A formative characteristic of empty space is that, in a sense, it is an extension of the moveable type that created it Therefore, it is awarded the same amount of meaning imbued to the initial geometric shape that created it [5] Likewise, the typographer determines arrangement of type (i.e., geometric composition according to a plan) Typography is a combination of “type” and “drawing” (graphy) What needs to be noted here is the expression “drawing,” which implies that the act of “drawing” is just as important as “type” in defining the meaning of typography The meaning of graphy is tied to space, for type containing a meaning comes to life only when the intended meaning is expressed through the act of “drawing” in space For typographers, the element of meaning is the extended meaning of space [5] In an era when typography was limited to the technical task of letterpress printing, type was probably just a tool that reproduced text on paper 702 B Jeong et al As argued by Jan Tschichold, one important task of a typographer is to arrange components in the given space on a small screen This task includes figuring out a meaningful pattern for arranging the movable type or geometric composition containing meaning Un Coup de Dés Jamais N’Abolira Le Hasard, by Mallarmé1 (1897), is considered a great representation of the spatial concept of modern typography “By using seven different type sizes and throwing his dice on a large white space in a spread-open book, he performed arrangement using the sense of a composer rather than the logic of a compositor” [23] This statement ascribes a poetic sensibility to typographic arrangement, which had been previously conveyed through language only Park [4] mentions works such as Calligramme, by Guillaume Apollinaire, and Un Coup de Dés Jamais N’Abolira Le Hasard as the first attempts at elevating typography beyond a means for facilitating effective reading and to expand its role into symbolic imagery [4] This implies that once the characteristics of typographical arrangement inherent in type and space are recognized, type, as well as any design elements, can be rearranged to reflect a typographical sensibility 4.3 The Involvement of User Preference in the Interface The concept of involvement has its roots in the social judgment theory of social psychology [28–30] Social judgment theory focuses on the psychological process occurring at the root of attitude expression and attitude changes through communication Using this theory, distinction and categorization of stimulation are involved in the evaluation process for users of mobile devices Freedman [31] defined involvement as the attention, interest, and obsession regarding a given issue from a particular point of view Using this definition, Freedman argues that obsession increases as one insists on a particular point of view, and increasing obsession, in turn, makes it more difficult to change one’s attitude Accordingly, Freedman sees specific intervention for issues as an important component of involvement [32] The concept of involvement was first applied in the field of consumer behavior by Krugman [33] Krugman defined involvement as “the extent to which one connects the content of persuasive stimulus provided with the content of one’s life.” Adopting the degree of a product’s relevance to consumers, Engel (1989) studied the relevance of price, complexity of product, differences with alternative products, and their association with the concept of self [34] Zaichkowsky [35] points out that the degree of involvement is affected not only by the importance of products to consumers, but also by emotional resonance with the consumer, and further claims that different consumers react differently to the same message Antil [36] regards involvement as a degree of personal importance recognized by the consumer and defines it as the degree of stimulation caused in Stephane Mallarmé (1842–1898) was a French poet and critic The Analysis of the Impact on the Interface Design … 703 special circumstances As stated above, the definition of involvement varies by scholar in the field of consumer behavior Nevertheless, in general it refers to the degree of personal relevance or interest that a consumer holds toward a certain object [35] Design Research Process The font usage of six mobile device producers in Korea was compared The survey on users preference of leading computer fonts and mobile fonts showed the preference types and trend, and the result revealed the users’ tastes The results could be applied to the basis of emotional satisfaction and cause analysis for future typography on small screen devices 5.1 Definition of User Groups The typeface, which the users can select in the mobile interface such as they prefer, were divided into four groups ‘Group 1’ consists of the default fonts that the users interact first after purchase ‘Group 2’ includes the loaded fonts that come with the phone Seven to ten fonts were pre-loaded in each phone by various makers These pre-loaded fonts are available to users when they prefer to alter the default fonts in the devices ‘Group 3’ includes fonts that are available for downloading to their phones ‘Group 4’ consists of favorite fonts that are available in PC computers (Table 1) 5.2 Research Method and Process We have considered several ways to develop design strategy that could provide entertaining experience to the users We also planed the most appropriate method to justify proposed typography strategy in mobile devices The survey participants were mobile phone users in Seoul The age of subjects was between 15 and 29 spreading out evenly in each age bracket (Table 2) Table Grouping for experiments Preference test in font group Comparison test in user group Verification experiment Group Group Group Group Premier General users Trendsetter Premier Premier seeker Default Loaded Downloaded PC font 704 B Jeong et al Table Characteristics of the subjects Characteristics Profile Key buying factor (KBF) Replacement period Usage Calls (per day)/SMS/MMS (per week) Premier Trendsetter – Uses with expensive phones – Uses for business – Has the longest call time – 20–29 Male – Self-employed, white collar – Functions, brand – Battery, additional functions – 21.5 months – Business – Entertainment – 15/33/1.8 – Sensitive to trend – Values function, design, Brand – Adopts innovation – 15–24 years -Students – Design, functions – Additional and Basic Functions – 22.2 months – Personal Calls – Entertainment/Info – 12/31/1.8 First, users were divided into three groups The “premier” group comprised users with expensive phones This group used their phone mainly for business and had longer call times The “general” group included users who attempted to change the typeface on their mobile devices The “trendsetter” group included users who were very sensitive to prevailing styles in technology; design and brand were important to them, and they were conscious of new features on various mobile devices Participants were further consolidated by including the general group members with the premiers Therefore, there were two groups: group (the premiers + general users) and group (the trendsetters) It was hypothesized that these two groups preferred different fonts (Table 3) There were 197 subjects who responded to the survey A pilot study and pre-test were conducted to determine if the survey was properly designed The process for user research was as follows: an interface expert, a visual art designer, and a typographer divided users according to their characteristics based on a heuristic evaluation, and analyzed the interface environment A pilot test followed with five subjects to determine preferences for font choice among normal users Afterward, a survey was designed based on the results of this test A pre-test of the survey was done with 10 people to check validity After correcting for a few minor errors, the survey was done with all 182 subjects (Fig 4) Table Participants in the user groups Group (premier + trendsetter) Group1 Group2 Premier General user Trendsetter Premier + seeker 23 48 111 71 182 10 15 Total 197 The Analysis of the Impact on the Interface Design … 705 Fig The research process for interface design of mobile device in relation with brand preference 5.3 Survey Results and Analysis The user survey showed a preference for a reflective interface in response to the need for pursuing transparency [18] Considering women preferred a cute style for font/typeface and men preferred the default typeface in prior research on the aesthetics of typography [13], this result hints that user needs have evolved Group Default typography by producer The preference of default type was in the following order: Anycall 27.9 %, CYON 25.7 %, CASIOI 21.8 %, MOTOROLA 11.7 %, SKY 8.4 %, KTF 4.5 % (Fig 5) Group Preference of loaded font typography It is interesting to see that LG’s Malgum (Clear) and Choco-Cookie, which have extremely different characteristics, share the top rank in loaded font category Also, the top seven fonts, Rosemary, Hand Writing, Baby Crab, Kwangsoo and Balggurak (toe), are all cute hand written type, except for LG’s Malgum This result shows that the users prefer more feminine and cute fonts over more masculine default fonts (Fig 6) Group Preference of mobile loaded font typography Choco-Cookie tops the mobile download font rank as well The others following in the rank, Cute Pparo, My Sea, Ungttung-I, and Neat Head, are all cute hand written type (Fig 7) The preference of mobile download fonts was in the following order: Guiyumdoongi Pparo (Beloved Pparo) 12.9 %, Choco-Cookie 10.1 %, My Ocean 7.3 % of Anycall, Ungttung-I of CYON 6.7 %, Neat Head 6.2 % Fig [Group 1] default font preference 706 B Jeong et al Fig [Group 2] preference of loaded font Fig [Group 3] preference of download font Fig [Group 4] preference of PC font Group Preference of PC favorite font typography The preference of PC favorite fonts was in the following order: Yoon Gothic 30 %, Spring Day 14.7 %, Heart Tree 10.6 %, Cool Jazz 10.0 % It was found that the users were influenced by the name of fonts in the research on PC favorite fonts (Fig 8) A preference map was created to show the distribution of user preferences Overall, the map shows higher preference for more emotional and modified font types This finding supports our argument that a theory focusing strictly on readability and legibility in typography is insufficient anymore In addition, the distribution of user preferences shows an evolution in their needs For example, users preferred basic fonts as evidenced by their demand for simple and clear design for small screens in prior research, but in our research users showed a higher preference for more emotional, calligraphy-like fonts The Analysis of the Impact on the Interface Design … Table Tasks for focus group interview (FGI) verification Objects Typography preference test Task Task Task Task Preference for default font by producer Preference for loaded font in device Preference for downloaded fonts + PC fonts Combination of default type + loaded fonts 707 Involvement Verification Despite the findings of the user preference survey, it is unclear whether the results strictly reflect typography preferences, given that mobile phones are high-involvement products This is because the screen, which serves as the background for typography, varies in design layout and color by manufacturer, which potentially causes involvement in typography of their own To verify whether brand involvement affects GUI typography preference results, an operational definition of the main variable affecting the survey was needed As such, additional experiments were conducted regarding four tasks (Table 4) 6.1 Conceptualization and Operational Definition of the Main Variables The key concepts of the variables described in our hypothesis were redefined into measurable variables, the operational definitions of which are as follows: Typography The narrow view of text was extended to what it came to mean in design and typography The empty space (negative space) created between and around type was also considered material for typographers, thus giving it formative meaning Before devising a blueprint for devices, however, designers need to note arrangement within the text itself Hangul was selected as the study language because of the strong arrangement element inherent in its characters Arrangement, as a design in typography, serves to reflect the symbolic image In our actual experiment, we wanted to use a non-technical term that anyone can readily understand in order to ensure study participants’ comprehension Accordingly, the technical term typography was replaced with general terms such as typeface and font Involvement Users’ typography preferences involved differentiation and categorization of stimulation such as frequency of exposure to an existing interface The concept of involvement was used as a main variable to examine the process of preference identification and associated changes, as well as the problem of distortion, which arises when users go through the process of determining preferences 708 B Jeong et al Fig Card sorting task Fig 10 Screen design for mobile Card Sorting Task Participants were asked to represent the typography they want to use on their personal mobile phone by arranging cards To prevent sharing of ideas between participants, the experiment was conducted on an individual basis (Fig 9) Standardization of Background for Typography To confirm whether brand involvement affects user preferences, an identical environment and conditions needed to be established As such, we decided to use a single background design for the screen display as opposed to the various background designs predetermined by manufacturers A basic screen background was designed by our design team using gray and blue color only They were CYON 10, Anycall 7, canU 6, KTF 5, SKY 3, MOTOROLA cards The design was created by selecting four screens and downloaded fonts that were highly preferred for the PC Participants were permitted to check user preferences only for the typography itself (Fig 10) 6.2 Result and Analysis of Involvement Verification As typography was set on a unified screen, as opposed to varying screen layouts and designs predetermined by mobile phone manufacturers, participant preferences for movable type, space, and arrangement could be clearly distinguished Task Default Typography by Producer Preference for the Anycall Gothic font was high at 40 % On the other hand, a preference for Casio, KTF, and Sky, which had a colorful background screen of green and red, did not emerge This proved that color, layout, and arrangement affect preferences (Fig 11) We can see that simplicity and clarity are required to The Analysis of the Impact on the Interface Design … 709 Fig 11 [Task 1] default font Table FGI for comments of default typography [Task 1] FGI Gothic (Anycall) CYON LGT (Serenity) Gothic (Motorola) – – – – – Basic and slim, easy to read and organized Good readability, comfortable regardless of bolding or negative space Although it is general Gothic, it is also well balanced Positive that that the font is not too square It is neat at a glance, stands out and is easy to read, highly readable develop a successful default font; that is, geometric structure, simplicity of typographical elements, moderate expression, tall characters (slim shape), legibility, and readability all need to be considered The simplicity, slimness, readability, Gothic family, and balance are strong determinants of preference for the default fonts offered by the four mobile phones (Table 5) Task Typography Loaded on Devices The trend for device typography development includes an amalgamation of sans serif, Gothic, handwriting typefaces A preference emerged for visual characteristics similar to handwriting as well as typography evocative of fairy tales (Fig 12) Reasons behind preferences for loaded fonts included style of handwriting, legibility, perceived “personality,” familiarity, slimness, and differentiation (Table 6) Task Preferring Typography on Download + PC As for user preference for downloaded fonts, including PC fonts, the results varied from existing data This is where brand involvement emerges as a consideration, given that Anycall fonts were not included (Fig 13) In the case of Yoon-gothic on PC and Oddball for downloads, the reasoning for preference was divided This is because, if Yoon-gothic is classified as rational typography, Oddball is considered emotional typography (Table 7) Fig 12 [Task 2] preferring font in device 710 B Jeong et al Table FGI for comments of typography in device [Task 2] Interviews in FGI Choco-cookie (Anycall) Drops (CanU) Kid font (CanU) Iris (Anycall) – – – – – – – – Feeling good for a style of handwriting Comfortable to see and has personality Compared to “fancier” typefaces, it is easier to read Compared to Gothic, it is more familiar It easier to view than general Gothic Differentiated and highly visible It is not common, but not so different as to stand out It has its own personality, it is slim and easy to read Fig 13 [Task 3] Table FGI for comments of typography on download + PC [Task 3] Interviews in FGI Yoon-gothic (PC) Oddball (download) – Easy to view and highly readable, soft and legible – It has personality and a lasting quality – Feels charming, other fonts are too formal, traditional, or rigid Table Composition preferences for typography on screen [Task 4] Interviews in FGI Font composition – I want to make changes with bold typography – Handwritten and fancy typography are refreshing – When I tire of one fonts, I will surely use a different type that is easy to read – I usually end up using only 2–3 typefaces There is no need for more – I want to use my own fancy typography – Legibility is more important than fancy type – I don’t like fussy typography Task Compose Typography By arranging cards, the participants created typography they wanted to install on their mobile phones (Fig 15) Funky or fancy typefaces, variation, alteration, style of handwriting, legibility, readability, and identity were considered (Table 8) (Fig 14) The Analysis of the Impact on the Interface Design … 711 Fig 14 Task result Other suggestions provided by the participants include: Task: Interviews in FGI – “Because of familiarity, I tend to download a style of handwriting frequently used – “I want to change the typography according to my mood of the day.” – “I prefer emotional typography be developed rather than rational typefaces.” – “I hope a typeface preferred by young people will be identified.” – “A beautiful font to me is not one with bells and whistles – “I like typography that softly conveys an emotional mood, like ‘my sea.’” Findings The experiment results confirmed that brand involvement affects typography preference to some extent However, as the correlation was not strong, values should be placed in design itself identity (Fig 15) Geometric modeling for abstract forms, which consists of dots, lines, and shapes, is the main element of typography, along with movable type Consequently, it becomes the main element of interface design According to Jan Tschchold, for a typographer, arrangement is the problem of figuring out how an object is to be situated in a virtual space called the interface Fig 15 Composition direction 712 B Jeong et al It also involves figuring out by what means geometric modeling contains movable type or its meaning in space An interface designer should consider the interaction effect in typography composition Typography, which exists as movable type, and space interact with each other, giving particular importance to their complementarity Conclusion Although brand involvement may affect user preference in the processes of involvement verification and emotional satisfaction evaluation, its effect was not significant Given that mobile phones are high-involvement products, it may be obvious that typography preference is affected by the product’s brand identity However, as evident in naming conventions, typefaces/fonts have an identity that appeals to each person’s unique emotional disposition Donald Norman, who has been a leader in outlining the theoretical foundations for usability and rational design, now studies the importance of design aesthetics and argues that the best design practices realize all levels of instinct, action, and reflection [15] Consequently, interface design for computer products is an evolving process Movable type arrangement in space has different aspects, including Aldus Manutius’ work (Pietro, Bembo, and italic type), Experimentelle Lyrik by Mallarmé, the asymmetric typography argued for by Jan Tschichold, and modern deconstructive typography Hangul, which was born from Oriental philosophies and science, opens up the possibility for an infinite interface typography design that is familiar and beautiful Hangul, in particular, is a writing system that bears an inherent sense of arrangement The need for a new typography will increase, as Hangul constantly evolves and typography becomes a means to express one’s personality and identity on mobile device interfaces 8.1 Limitations and Suggestions It is time to approach interface design with a sense of adventure and extraordinary ideas We suggest a follow-up study that experiments with interface design and induces optical illusions It is expected that this approach will significantly increase brand involvement for mobile products, as it will allow users to have a fun and interesting experience customizing their devices Off-the-wall ideas for interface design, optical illusions, and interactive kinetic typography are expected to be a new turning in the evolution of mobile interface design The Analysis of the Impact on the Interface Design … 713 References Jeong, B., Chen M.: Research on typography to integrate transparency and reflectivity in interface design Int Association Des Res 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