This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. 1 Extracting Design Aesthetic Heuristics from Scientific Literature Ana Cadavid, Stefany Ruiz-Córdoba, Jorge Maya EAFIT University, Colombia *Corresponding author e-mail: [email protected]Abstract: Product aesthetics is affected by around 50 variables. These variables interact to shape the user’s aesthetic feeling. During the aesthetic design (AED), the designer only use their intuition and is not aware of most of these variables, taking into account some Gestalt laws and absolute standards of beauty (Golden Proportion). Due to the complex nature of AED, a heuristic approach seems the most appropriate to support this task. This paper describes a method for Aesthetic heuristics extraction from Scientific Literature comprising a protocol for literature selection, extraction and classification of the heuristics. The extraction method is in turn based on modern heuristics. We applied the protocol to extract the aesthetic heuristics of the aesthetic variables “Peak-shift” and “unexpected”. The heuristics were translated to an understandable language for the designers and subsequently used in re-designing a pepper mill. Keywords: Aesthetic, Design, Heuristics. 1. Introduction to aesthetic experience: its relationship with the user experience Aesthetics plays a fundamental role in product design (Bürdek 2005); (Hekkert 2015); (Ulrich, Eppinger 2006). This is the discipline that studies the aesthetic experience (Levinson 2003). Following Crilly et al., (2004). We use the terms Product-Aesthetics, first, relating to “what the product presents to the senses”, and secondly, by Aesthetic-Experience, we mean “the pleasure attained from sensory perception of the product” (Hekkert and Leder 2008). This definition separates aesthetic experience from others types of experience (Hekkert 2006). Since the 80’s, it is known that if consumers have to choose between two products with similar price and function, they will choose the most attractive one (Kottler and Rath 1984);
24
Embed
Extracting Design Aesthetic Heuristics from Scientific Literature
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
1
Extracting Design Aesthetic Heuristics from Scientific Literature
Abstract: Product aesthetics is affected by around 50 variables. These variables interact to shape the user’s aesthetic feeling. During the aesthetic design (AED), the designer only use their intuition and is not aware of most of these variables, taking into account some Gestalt laws and absolute standards of beauty (Golden Proportion). Due to the complex nature of AED, a heuristic approach seems the most appropriate to support this task. This paper describes a method for Aesthetic heuristics extraction from Scientific Literature comprising a protocol for literature selection, extraction and classification of the heuristics. The extraction method is in turn based on modern heuristics. We applied the protocol to extract the aesthetic heuristics of the aesthetic variables “Peak-shift” and “unexpected”. The heuristics were translated to an understandable language for the designers and subsequently used in re-designing a pepper mill.
Keywords: Aesthetic, Design, Heuristics.
1. Introduction to aesthetic experience: its relationship with the user experience
Aesthetics plays a fundamental role in product design (Bürdek 2005); (Hekkert 2015); (Ulrich,
Eppinger 2006). This is the discipline that studies the aesthetic experience (Levinson 2003).
Following Crilly et al., (2004). We use the terms Product-Aesthetics, first, relating to “what
the product presents to the senses”, and secondly, by Aesthetic-Experience, we mean “the
pleasure attained from sensory perception of the product” (Hekkert and Leder 2008). This
definition separates aesthetic experience from others types of experience (Hekkert 2006).
Since the 80’s, it is known that if consumers have to choose between two products with
similar price and function, they will choose the most attractive one (Kottler and Rath 1984);
ANA CADAVID, STEFANY RUIZ-CÓRDOBA, JORGE MAYA
2
Nussbaum 1988). Bloch (1995) gives three reasons why a product with an attractive and
appealing Product-Aesthetics may support a successful product: First, in saturated markets
appropriated product-aesthetics is noticed by consumers, leading to render competitors
obsolete or considered as mere copies. Second, a product with an appropriated product-
aesthetics makes a good first impression concerning also other product attributes. Product-
aesthetics would then enrich our lives by providing sensory pleasure, i.e., a good aesthetic-
experience (Bloch 1995). Third, a product with good product-aesthetics is not easily
discarded, and we could become attached to it; this favours to buy again products with the
same brand (Mugge, et al 2011).
That is why a poor understanding of the needs and aspirations of the user, resulting in
inadequate aesthetics is one of the main factors for the failure of products on the market
(Cooper 2001). Consequently, it is necessary a structured and systematic management of
aesthetics in the design process to get a product of higher aesthetic-assessment i.e., a more
attractive and beautiful product for the user (da Silva, et al 2013), making that the product
fulfil important aspirations and values of the person (Dell'Era and Verganti 2007); (Crilly, et
al 2004, 2009).
We define the Aesthetic Design Process, ADP, as all the design activities aiming to get
certain aesthetic-assessment, resulting from the interaction with the product. This
assessment must fulfil the user, designer and company´s aesthetic requirements. Clearly,
ADP could be affected by the design of the functionality and usability of the product;
however, in this paper we are interested only in the aesthetics bases on the product´s
appearance. It is by manipulating the geometric form, shape, materials, sounds and all the
other physical variables affecting the human senses that the designer make up a product-
aesthetics to obtain a user´s intended aesthetic-experience. The aesthetic-experience
depends on four groups of variables explained below.
1.1 Variables influencing the aesthetic experience
Different studies have contributed to the construction of a general scientific and systematic
framework about the aesthetic-experience composed of about 50 variables comprising four
groups: absolute standards of beauty, perceptual, cognitive and socio-cultural (Hekkert
2008, 2015); (Crozier 1994); (Berlyne 1966); (Crilly, et al 2004); (Bloch 1995) (Bloch, et al
Hekkert and Leder (2008) argue that designers must stick to these principles or rules unless
there is a reason to not do so. If designers do not use them, is because they want to highlight
the product as different or unique, must produce a special message or want to generate a
particular response to the user (Hekkert and Leder 2008). However, although there are
reasons to do not use the rules, Hekkert and Leder (2008) argue that "the careful application
of the rules is a way to ensure product acceptance and appreciation", p 282. This is
Extracting Design Aesthetic Heuristics from Scientific Literature
3
important in projects of high financial risk such as automotive design, where loses are high.
Table 1 presents an overview of the names and bibliography of some variables belonging to
the four groups.
Absolute standards of beauty
This group of about 10 variables comprises absolute standards of beauty imposed
historically from art, architecture and philosophy. For example, the application of golden
ratio (1:1.61) proportion would make a beautiful product. These standards are actually
variables because some of them are not well defined or applied consistently. For instance,
the golden ratio proportion is commonly applied with values near, but not exactly, to 1:1,
61.
See figure 1.
Figure 1 Although cigarette boxes are commonly cited as presenting golden-ratio proportion, this
sample of famous brands actually present proportions of 1:1,56, 1:1,53 and 1:1,59.
Perceptual variables
This group of around 15 variables share the same human biological functional basis,
belonging to perception are form. They are studied from the psychology of perception,
psychophysics and psychology of aesthetics. Some variables are from Gestalt psychology,
describing how humans organize visual elements in groups or wholes to create a perceptual
order and understanding what we see, looking for patterns to see relations (Kӧhler 1992).
There are other aesthetic perceptual variables not considered in Gestalt psychology, but
studied from other psychology branches. For instance peak shift refers to the inclination of
some animals to respond positively to exaggerated stimuli beyond the threshold at which
they are normally used to respond to. Figure 2, left, shows how an exaggerated colour
stimulus, a highly saturated and luminous colour, might explain why we would assess
positively the aesthetics of the decorative ceramic pot rabbit: we are not used to ceramic
pot rabbits with such colours.
ANA CADAVID, STEFANY RUIZ-CÓRDOBA, JORGE MAYA
4
Figure 2 Left: Example of the peak shift variable; middle: the Juiciy Salif lemon squeezer as an example of mere exposure, right: a Converse ® sneaker.
Cognitive variables
These variables, around 14, are determined by the way the user processes information
obtained from an aesthetic artefact (Wilson and Keil 2009). For these variables, knowledge,
experience and recurring information structures are important (Hekkert and Leder 2008).
One example is the Mere exposure phenomenon, Zajonc (1968): the frequency of exposure
to a stimulus increases its aesthetic appreciation (Hekkert and Leder 2008). Figure 2, middle,
shows the Juicy Salif lemon squeezer by Philip Stark. Although its forms are very uncommon
to a juicer, presumably, it became quickly a 1990’s design icon and commercial success for
Alessi, fostered by its recurrent appearances in specialized and large public media (Snelders
and Lloyd 2003).
Cultural/social/ individual variables
This category includes four variables depending on cultural and social aspects affecting the
individual. To illustrate, let’s see the congruency with personality variable. Kim, Sung (2013)
and Ling (2010) argue that such congruency explains the user’s aesthetic preference for a
product which physical characteristics or attributes match or express their own personality
traits. For example, in Figure 2, right, we have the traditional Converse sneakers. This brand
is intended for uncomplicated people, lovers of style and customization. Most of the brand is
acquired by people who love Rock, Metal, Punk, Ska and skaters and BMX amateur (Murison
2008). According to this variable they would find their sneakers attractive and beautiful
because its simple, classical, against fashion appearance.
Extracting Design Aesthetic Heuristics from Scientific Literature
5
Table 1 Some examples of the four groups of variables explaining AesthExp.
1.2 TWO strategies for the Aesthetic Design Process, ADP and some issues related
Two strategies are discernible for ADP: manual and computer based. The manual strategy
ADP has been based on manual 2D drawing and creating 3D physical models and prototypes
(French 1996); (Wallschlaeger, et al 1992). It has been present all throughout the history of
design, requiring just a designer and tools for drawing or constructing mock-ups or models.
Hekkert and Leder (2008) argue that the intuition that has traditionally guided the ADP:
“Designers do not need to know the principles to apply them; they intuitively design accordingly, since the principles are as much part of their creative nature as they are of the observer’s aesthetic perception. As Ramachandran and Hirstein (1999) claim for artists, these rules or principles are ‘a set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain”
The computer based strategy requires different amounts of human intervention and a deep
knowledge of Product-Aesthetics, aesthetic-experience and aesthetic-assessment (Bentley
Corne, 2002); (Galanter 2012). Besides, the elusive and fuzzy character of the aesthetic-
experience (Shimamura 2012) and the complexity of aesthetic-assessment (Galanter 2012);
(Kozbelt, Kaufman 2014), (Tinio, Smith 2014) makes that formalizing this knowledge to
translate into operative software requires relatively high complex mathematical techniques,
such as artificial neural-networks, genetic algorithms, fuzzy logic and the like. Most
computer aesthetics endeavours remain in research labs and experimental artistic fields,
Main authors: (Martindale 1986), (Hekkert and Ledder 2008), (Ramachandran, et al 1999),
(Purtle 1973).
4. Inclusion Criteria Search: Should be established to identify scientific literature texts that
are directly related to the question and research objective. A text is selected if it satisfies all
the inclusion criteria, as specified below.
Text in English
Belong to at least one of the subject areas: psychology, design, art,
neuroaesthetics, social sciences, engineering and behavioural sciences.
ANA CADAVID, STEFANY RUIZ-CÓRDOBA, JORGE MAYA
12
Must be related to the previously keywords defined.
For peak shift, the scientific literature must be in English and be related to at least one of
these fields: Psychology, arts and humanities, Social sciences, Engineering and others related
with the topic.
5. Selection Process: For the aesthetic-heuristics extraction, the minimalist heuristic is used
(Gigerenzer and Todd 1999). It consists in identifying and selecting the articles whose titles
contain the name of the aesthetic-variable and synonyms or words of the search equation.
Once the filter is applied, articles written by authors that the researchers can recognize are
selected, using the minimal recognition heuristic (Gigerenzer and Todd 1999). If the use of
the recognition and minimum intuition heuristic was not valid, we proceeded to filter by
authors who have more articles in relation to the search topic.
Finally, the selected articles in the previous point are summarized and studied. We only took
into account those studies that exposed aesthetic design variables. The process is illustrated
below:
Table 2 Boolean equations and search results
This method for the literature review is the result of an iterative search which provided the
required steps for a systematic and organized of literature review.
6. Saturation Point: reached when the research through the application of search equations
shows results redundant with those found previously; i.e., no new results. The searching
should then stop.
Equation Result
Peak shift + Aesthetic Ramachandran, Hirstein (1999). The science of art: A
neurological theory of aesthetic experience. Journal of
consciousness Studies, 6(6-7), 15-51.
Martindale, C. (1999). Peak shift, Prototypicality and
aesthetic preference. Journal of Consciousness Studies, 6(6-
7), 52-54.
Peak shift + Design No results
Peak shift + Perceptual This equation gave 16 papers as result. We proceed to apply
the inclusion criteria. Related areas: Neuroaesthetics,
Psychology, Art and humanities. Keywords: Peak shift.
Results after applying the inclusion criteria:
Verzijden et al., (2007). Song discrimination learning in zebra
finches induces highly divergent responses to novel songs.
Proceedings of the Royal Society of London B: Biological
Sciences, 274(1607), 295-301.
Bornstein (1974). Perceptual generalization: a note on the
peak shift.
Weiss, Weissman (1992). Generalization peak shift for
autoshaped and operant key pecks. Journal of the
experimental analysis of behavior, 57(2), 127.
Extracting Design Aesthetic Heuristics from Scientific Literature
13
7. Application of the heuristics supported by an expert: in cases where the information
obtained from the proposed method is not enough, i.e. the method does not yield the
expected results or specific questions arise, we proceeded to consult an expert on
aesthetics, to provide the most relevant sources and clarify the doubts.
3. Results
Equation 1 search (“peak shift” and “aesthetic”) in SCOPUS yields two articles: Martindale
(1999), Ramachandran, Hirstein, W. (1999). The extraction of aesthetic-heuristics from the
paper “The Science of Art: A Neurological Theory of Aesthetic Experience (Ramachandran
and Hirstein 1999)” is shown below:
“If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier than the prototype”
“The artist can generate caricatures by exploiting the peak shift effect along dimensions other than form space, e.g., in ‘colour space’ or ‘motion space’”
“Furthermore, just as one can speak of a peak shift principle along very abstract dimensions, contrast can also emerge in dimensions other than luminance or colour”.
Since the extracted aesthetics heuristics are in psychological jargon, they were difficult to
recognize and understand to not trained people. Therefore they had to be translated into a
more understandable language for product designers in order to be effectively used in the
design process.
For the translation process, first we understood and analyse the main message of the
original aesthetic design heuristic. Then we took some words or general ideas of the original
heuristic and develop a “translated heuristic” as rules or guidelines using product designers’
jargon. For example:
Redesign Process using Peak shift variable:
The first two authors made some examples of a redesign of a pepper mill to illustrate how
these aesthetic-heuristics can affect the aesthetic design process and examine their
usefulness during the concept creation. They designed with the aid of some of Peak shift
heuristics with the purpose to call the attention of the user; exaggerating strongly stimulus
ANA CADAVID, STEFANY RUIZ-CÓRDOBA, JORGE MAYA
14
like colours (hot colours, fluorescent colours), or shape (big/large shape) or texture (rough,
Spiky, slimy, Porous).
The results are presented in the Figures 5 and 6 as example:
Figure 5 Redesign of the product using a parametric 3D modeller and Rendering Software
Figure 6 Redesign of the product using a parametric 3D modeller and Rendering Software
Redesign Process using unexpected variable:
Extracting Design Aesthetic Heuristics from Scientific Literature
15
After obtained a set of heuristics from the aesthetic design variables that were extracted by
using the extraction method proposed in this paper, one of them was used by an
undergraduate product design engineering student to prove the usefulness of the heuristic.
For this case the student used a heuristic from the aesthetic design variable: unexpected for
redesign a pepper mill. Unexpected variable refers to a product that generates surprise or
amazement experience and elicits aesthetic experience (Ramírez 2014). To design surprising
products could be done by generating changes in materials, colours, shapes, or move away
from the familiar characteristics or even using familiar aspects in different context (Ramírez
2014).
The result are presented in the figure 7 as example
Heuristic: Move away the familiar elements (characteristics) of the product, in order to elicit surprise
Design 1 Design 2 Design 3
This product aims to create surprise through fear: Its shape is typically, delicate and geometric (familiar elements); however on the top there is a blood flowing which creates the scary sensation to call the attention and curiosity of the users.
The product generates surprise through its components: The designer takes elements of a different product category (tea infuser); in this case the cap simulates a tea bag, which is a completely isolated but is interesting and create an amazement experience.
Surprise through visual effects: The shape of this design is difficult to understand at first sight, but the product begins to be interesting when the user can understand the shape, the use and the function. In this case the pepper mill simulates a Moebius strip.
Figure 7 Redesign of the product using a parametric 3D modeller and Rendering Software
As the example demonstrates, each heuristic gives the designer the possibility to create
quickly and effortlessly a different product applying the peak shift aesthetic-variable. The
ANA CADAVID, STEFANY RUIZ-CÓRDOBA, JORGE MAYA
16
student expressed that the heuristic process was easy and understandable. The creative
process for generating new ideas was also easier and faster because the peak-shift and
unexpected aesthetic-heuristics provided well-defined directions to explore the product-
aesthetics. These directions are not arbitrary; on the contrary, they are meaningful because
it is known that they influence the aesthetic-experience. We believe that these heuristics
allow getting very different ideas, and could facilitate solving design problem without
blocking the creativity.
The product aesthetic results are diverse and are focused on visual form. However, it is
important to take care of some characteristics on the redesign process, for example,
architecture and functional parts and principles, because they can alter other aesthetic
variables present in the original product. For that reason, in each redesign ideas we did not
change those characteristic of the product.
4. Conclusions
According to the literature review for the extraction of design aesthetic heuristics, the
exhaustive extraction process was not the best way to perform an aesthetic-heuristic
extraction, because, it did not guide in a systematic way the researcher. So we cannot
ensure that the information found under that method was the most appropriate considering
the time restrictions. Also, the researchers lacked of criteria to know when to stop the
search. All in all, the process was very slow and giving the impression of going nowhere.
Consequently, the combination of a systematic literature review and the fast and frugal
heuristics were the most appropriate way to extract the aesthetic heuristics: it allows
considering a large number of variables and different discipline jargon in a short period of
time, as was our case.
After using the first phase of the method, it was found that there are two steps that are
essential to have a successful search result. First, the prior knowledge of the topic that is
going to be searched is the conceptual base of the researcher that will allow him to use the
fast and frugal heuristics more effectively. Secondly, the clarity of the formulation of the
literature search question, which ensures a successfully search.
After the application of the search equation in Scopus, WoS and Google Scholar, we found
that the latter, allowed us accessing to different scientific journal, conferences and existing
books providing the most representative and relevant result for each Aesthetic-Variable in
this research.
The example suggests how design creativity can be increased by using aesthetic design
heuristic, because as said, the designer´s intuition resources are limited, so heuristics can
support designers to design different ideas without much cognitive effort. We believe that,
Extracting Design Aesthetic Heuristics from Scientific Literature
17
provided we have heuristics extracted from the whole repertoire of aesthetic variables, the
richness of different product aesthetic could be dramatically improved.
5. References
Aaron Kozbelt and James C. Kaufman (2014). Aesthetics assessment (chapter 5) in: (Tinio & Smith, 2014) p. 86-114.
Abbott, M., Holland, R., Giacomin, J., & Shackleton, J. (2009). Changing affective content in brand and product attributes. Journal of Product & Brand Management, 18(1), 17-26
Albers, J. (2006). Interaction of Color [1963]. New Haven: Yale University.
García Álvarez, C. M. “Investigación cuantitativa”. Metodologías de Investigación. Universidad EAFIT. Abril de 2015.
Arnheim, R. (1974). Art and visual perception: A psychology of the creative eye. University of California Press.
Arnheim, R. (1984). The power of the center: A study of composition in the visual arts. University of California Press.
Ashford, F. C. (1969). The aesthetics of engineering design. Business Books London.
Balcetis, E.Lassiter, G. D. (2010). Social Psychology of visual perception. Psychology Press.
Balmer, J. & Swisher, M. T. (2012). Diagramming the big idea: methods for architectural composition. Routledge.
Bauerly, M., & Liu, Y. (2006). Computational modeling and experimental investigation of effects of compositional elements on interface and design aesthetics. International Journal of Human-Computer Studies, 64(8), 670-682.
Beaumont, J. G. (1985). Lateral organization and aesthetic preference: The importance of peripheral visual asymmetries. Neuropsychologia, 23(1), 103–113.
Becker, L. (2009). Can the design of food packaging influence the taste experience of its content? University of Twente.
EPIDEMIOLÓGICO, R. (2005). Revisiones sistemáticas de la literatura.
Bentley, P. & Corne, D. (2002). Creative evolutionary systems. Morgan Kaufmann.
Berlyne, D. E. (1970). Novelty, complexity, and hedonic value. Perception & Psychophysics, 8(5), 279–286.
Berlyne, D. E. (1966). Curiosity and exploration. American Association for the Advancement of Science, 153(3731), 25–33.
Berlyne, D. E. (1960). Conflict, arousal, and curiosity. McGraw-Hill Book Company.
Berlyne, D. E. (1974). The new experimental aesthetics. Studies in the New Experimental Aesthetics, 1–22.
Bevlin, M. E. (1970). Design through discovery.
Bevlin, M. E. (1994). Design Through Discovery: an introduction to art and design.
Biederman, I., & Vessel, E. (2006). Perceptual Pleasure and the Brain A novel theory explains why the brain craves information and seeks it through the senses. American scientist, 94(3), 247-253.
Bisin, A.,Verdier, T. (2001). The economics of cultural transmission and the dynamics of preferences. Jounal of Economic Theory, 97(2), 298–319. Elsevier
ANA CADAVID, STEFANY RUIZ-CÓRDOBA, JORGE MAYA
18
Bloch, P. H. (1995). Seeking the ideal form: product design and consumer response. Journal of marketing, 59(3).
Bloch, P. H., Richins, M. L. (1983). A theoretical model for the study of product importance perceptions. Journal of Marketing, 47(3).
Block, J. & Atterberry, G. (1989). Design Essentials: A Handbook. Prentice Hall.
Bornstein, R. F. (1989). Exposure and affect: Overview and meta-analysis of Res, 1968-1987. Psychological Bulletin, 106(2), 265.
Bornstein, M. H. (1974). Perceptual generalization: a note on the peak shift.
Boselie, F. (1984). The aesthetic attractivity of the golden section. Psychological Research, 45(4), 367–375.
Bowers, J. (1999). Introduction to two-dimensional design: Understanding form and function. John Wiley \& Sons.
Bøegh-Petersen, J. Comparison of methods for assessing novelty and related properties–a case study with beer.
Bürdek, B. E. (1994). Diseño: historia, teoría y práctica del diseño industrial. Editorial Gustavo Gili.
Bürdek, B. E. (2005). Design history, theory and practice of product design. Basel: Birkhäuser.
Chamorro-Premuzic, T., et al (2009). Who art thou? Personality predictors of artistic preferences in a large UK sample: The importance of openness. British Journal of Psychology, 100(3), 501–516.
Chen, C.-C., Wu, J.-H. & Wu, C.-C. (2011). Reduction of image complexity explains aesthetic preference for symmetry. Symmetry, 3(3), 443–456.
Ching, F. D. (2010). Architecture: Form, space, and order. Wiley.
Cila, N. (2013.). The use of metaphors in product design. PhDThesis TuDelft.
Cooper, R. G. (2001). Winning at new products: Accelerating the process from idea to launch. Basic Books.
Creusen, M. E., Veryzer, R. W et al. (2010). Product value importance and consumer preference for visual complexity and symmetry. European Jounal of Marketing, 44(9/10), 1437–1452.
Creusen, M. E. (2010). The importance of product aspects in choice: the influence of demographic characteristics. Journal of Consumer Marketing, 27(1), 26–34.
Crilly, N., Moultrie, J. & Clarkson, P. J. (2009). Shaping things: intended consumer response and the other determinants of product form. Design Studies, 30(3), 224–254.
Crilly, N., Moultrie, J. et al (2004). Seeing things: consumer response to the visual domain in product design. Design Studies, 25(6), 547–577.
Crilly, N. (2010). The roles that artefacts play: technical, social and aesthetic functions. Design Studies, 31(4), 311–344.
Crozier, R. (1994). Manufactured pleasures: psychological responses to design. Manchester University Press
Cupchik, G. C. & Berlyne, D. E. (1979). The perception of collative properties in visual stimuli. Scandinavian Journal of Psychology, 20(1), 93–104.
Da Silva, O., Crilly, N. et al. (2013). Aesthetic Appreciation of Products.
Daly, S. R., Yilmaz, S., Christian, J. L., Seifert, C. M., & Gonzalez, R. (2012). Design heuristics in engineering concept generation. Journal of Engineering Education, 101(4), 601-629.
de Tomás Labat, M. E., Beltrán Beltrán, S., Molina Naveros, S., Navarro Botella, F., Álvarez Soto, D., Pérez Moro, E., & Aldamiz-Echevarría Castillo, G. (2005, July). Aneurisma idiopático de la arteria
Extracting Design Aesthetic Heuristics from Scientific Literature
19
pulmonar: Presentación de un caso y revisión de la literatura. In Anales de medicina interna (Vol. 22, No. 7, pp. 329-331). Arán Ediciones, SL.
De Sausmarez, M. & Kepes, G. (1964). Basic design: the dynamics of visual form. Studio Vista London.
Dell’Era, C. & Verganti, R. (2007). Strategies of innovation and imitation of product.
Desmet, P. M. & Hekkert, P. (2007). Framework of product experience. International Journal of Design, 1(1), 57–66.
Desolneux, A., Moisan, L. & Morel, J.-M. (2007). From gestalt theory to image analysis: a probabilistic approach (Vol. 34). Springer.
Dissanayake, E. (2000). Art and intimacy: How the arts began. University of Washington Press.
Dondis, D. A. (1973). A primer of visual literacy. Mit Press.
Dondis, D. A. (1974). Primer of visual literacy. Mit Press.
Dorfles, G., de la Mora, J. M. G. & Cirici, A. (1968). El diseño industrial y su estética. Labor.
Drost, W. (2013). A study in pink and other feminine stereotype: the effect on congruence between self-construal and gender stereotypes on the appraisal of products and Aavertisements. University of Twente
Elam, K. (2001). Geometry of design: studies in proportion and composition. Princeton Architectural Press.
Esteve Mon, F. M., Cervera, M. G., & Gavaldà, J. D. (2014). LOS APRENDICES DIGITALES EN LA LITERATURA CIENTÍFICA: DISEÑO Y APLICACIÓN DE UNA REVISIÓN SISTEMÁTICA ENTRE 2001Y 2010. Pixel-Bit, Revista de Medios y Educacion, (45).
Eysenck, H. (1972). Personal preferences, aesthetic sensitivity and personality in trained and untrained subjects. Journal of Personality, 40(4), 544–557.
Faimon, P. & Weigand, J. (2004). The nature of design. Adams Media.
FORNARI, T. (1989). Las Funciones de la Forma.
Galanter, P. (2012a). Computational aesthetic evaluation: Past and future. In Computers and Creativity (pp. 255–293). Springer.
Galanter, P. (2012b). Computational aesthetic evaluation: steps towards machine creativity. In ACM SIGGRAPH 2012 Courses (p. 14).
Galster, M., Weyns, D., Tofan, D., Michalik, B., & Avgeriou, P. (2014). Variability in software systems—a systematic literature review. Software Engineering, IEEE Transactions on, 40(3), 282-306.
Gao, X. (2007). A quantitative study on color harmony. The Hong Kong Polytechnic University
GALVIS LISTA, E. R. N. E. S. T. O., & SÁNCHEZ TORRES, M. A. R. C. E. L. A. (2014). Revisión sistemática de literatura sobre procesos de gestión de conocimiento. Gerencia Tecnologica Informatica, 13(37).
Gatto, J. A., Porter, A. W. & Selleck, J. (1978). Exploring visual design. Davis Publications.
Ghyka, M. C. (1946). The geometry of art and life. Courier Dover Publications.
Gigerenzer, G., & Todd, P. M. (1999). Simple heuristics that make us smart. Oxford University Press, USA.
Gordon, I. E. (2004). Theories of visual perception. Psychological Press.
Granger, G. (1955). An experimental study of color harmony. The Journal of General Psychology, 52(1), 21–35.
Grammer, K., Fink, B., Møller, A. P. & Thornhill, R. (2003). Darwinian aesthetics: sexual selection and the biology of beauty. Biological Reviews, 78(3), 385–407.
ANA CADAVID, STEFANY RUIZ-CÓRDOBA, JORGE MAYA
20
Grammer, K. & Thornhill, R. (1994). Human (Homo sapiens) facial attractiveness and sexual selection: The role of symmetry and averageness. Journal of Comparative Psychology, 108(3), 233.
Hambidge, J. (1920). Dynamic symmetry: the Greek vase (Vol. 1). Yale University Press.
Hambidge, J. (2012). The elements of dynamic symmetry. Courier Dover Publications.
Hannah, G. G. (2002). Elements of design: Rowena Reed Kostellow and the structure of visual relationships. Princeton Architectural Press.
Hekkert, P. (2014). Aesthetic responses to design: A battle of impulses. The Cambridge Handbook of the Psychology of Aesthetics and the Arts, 277–299.
Hekkert, P. & Leder, H. (2008). Product aesthetics. Product experience, 259–285.
Hekkert, P. (2006). Design aesthetics: principles of pleasure in design. Psychology Science, 48(2), 157.
Hekkert, P., Schifferstein, H. N. (2008). Introducing product experience. In HEKKERT, SCHIFFERSTEIN (Ed.), Product experience (pp. 1–8). Elsevier.
Hildebrand, G. (1999). Origins of architectural pleasure. University of California Press
Hirschman, E. C. (1986). The effect of verbal and pictorial advertising stimuli on aesthetic, utilitarian and familiarity perceptions. Journal of Advertising, 15(2), 27–34. Taylor\& Francis.
Hekkert, P., Snelders, D. et al (2003). “Most advanced, yet acceptable”: typicality and novelty as joint predictors of aesthetic preference in industrial design. British Journal of Psychology, 94(1), 111–124.
Hekkert, P. (1995). Artful judgments a psychological inquiry into aesthetic preference for visual patterns. TU Delft
Hekkert, P., Snelders, D. et al (2003). “Most advanced, yet acceptable”: typicality and novelty as joint predictors of aesthetic preference in industrial design. British Journal of Psychology, 94(1), 111–124
Hofstede, G. (1980). Culture's consequences: International differences in work-related values (Vol. 5). sage.
Hurlburt, A. (1981). The design concept. Watson-Guptill Publications.
Hung, W. K., & Chen, L. L. (2013). Creating Aesthetic Experience by Blending Styles. 5th IASDR
(International Association of Societies of Design Research), Tokyo, 日本, 8, 26.
Hung, W. K., & Chen, L. L. (2012). Effects of novelty and its dimensions on aesthetic preference in product design. International Journal of Design, 6(2), 81-90.
Jeanneret, C. E. C. L. (1954). The Modulor.
Kant, I. (1952). The critique of judgement, trans. JC Meredith. Oxford: Oxford University Press, 314, 175-76.
Kawakita, J. (1986). KJ method. Chuokoron-sha, Tokyo.
Kim, D. H. & Sung, Y. (2013). Gucci versus Old Navy: Interplay of Brand Personality and Regulatory Focus in Advertising Persuasion. Psychology & Marketing, 30(12), 1076–1087
Kimball, M. A. (2013). Visual design principles: an empirical study of design lore. Journal of Technical Writing and Communication, 43(1), 3-41.}
Kim, D. H., & Sung, Y. (2013). Gucci versus Old Navy: Interplay of brand personality and regulatory focus in advertising persuasion. Psychology & Marketing, 30(12), 1076-1087.
Kitchenham, B. (2004). Procedures for performing systematic reviews. Keele, UK, Keele University, 33(2004), 1-26.
Kiyak, H. A. (1981). Comparison of esthetic values among Caucasians and Pacific‐Asians. Community dentistry and oral epidemiology, 9(5), 219-223.
Extracting Design Aesthetic Heuristics from Scientific Literature
21
Koos Eissen, R. S. (2014). Sketching Product Design Presentation. BIS Publishers
Kӧhler, W. (1992). Gestalt psychology: An introduction to new concepts in modern Psychology. WW Norton & Company.
Lauer, D.A. (1979), Design Basics, Holt, Rinehart and Winston, New York, NY.
Lazarus, Richard S. "Emotion and adaptation. 1991." Cité en (1991): 9.
Leborg, C. (2006). Visual grammar. Princeton Architectural Press.
Leder, H. (2011). Thinking by Design. Scientific American Mind, 22(3), 42-47.
Leder, H., Belke, B., Oeberst, A. & Augustin, D. (2004). A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology, 95(4), 489–508.
Levinson, J. (2003). The Oxford handbook of aesthetics. Oxford University Press.
Lewalski, Z. M. (1988). Product esthetics: An interpretation for designers. Design & Development Engineering Press.
Lidwell, W., Holden, K. & Butler, J. (2010). Universal principles of design: 125 ways to enhance usability, influence perception, increase appeal, make better design decisions, and teach through design. Rockport publishers.
Lin, L. Y. (2010). The relationship of consumer personality trait, brand personality and brand loyalty: an empirical study of toys and video games buyers. Journal of Product & Brand Management, 19(1), 4-17.
Livio, M. (2008). The golden ratio: The story of phi, the world’s most astonishing number. Random House LLC.
Lloyd, P. & Snelders, D. (2003). What was Philippe Starck thinking of? Design Studies, 24(3), 237–253.
Loewy, R. (1953). La laideur se vend mal. Paris, Gallimard.
Löbach, B. (1981). Diseño industrial. Colección G G diseño. G. Gili.
Lucio-Meyer, J. de. (1973). Visual aesthetics. Lund Humphries, London.
Martindale, C. (1999). Peak shift, prototypicality and aesthetic preference. Journal of Consciousness Studies, 6(6-7), 6–7.
Martindale, C. (1990). The clockwork muse: The predictability of artistic change. Basic Books.
Martindale, C. (1986). Aesthetic evolution. Poetics, 15(4), 439-473.
Martindale, C., & Moore, K. (1988). Priming, prototypicality, and preference. Journal of Experimental Psychology: Human Perception and Performance, 14(4), 661.
Mayall, W. H. (1968). Machines and perception in industrial design. Studio Vista
McManus, I., Stӧver, K. & Kim, D. (2011). Arnheim’s Gestalt theory of visual balance: Examining the compositional structure of art photographs and abstract images. I-Perception, 2(6), 615
McWhinnie, H. J. (1986). A Review of the Use of Symmetry, the Golden Section and Dynamic Symmetry in Contemporary Art. Leonardo, 241-245.
McWhinnie, H. J. (1969). The Effects of A Learning Experience Upon Preference for Complexity and Asymmetry; Variables of Perceptual Field Independence, and the Ability to Handle Visual Information. Final Report. ERIC.
Michalewicz, Z. & Fogel, D. B. (2004). How to solve it: modern heuristics. Springer.
Mokarian, Mohammad Ali. "Visual balance in engineering design for aesthetic value." (2007). university of Saskatchewan.
Mon, F. M. E., Gavaldà, J. D., & Cervera, M. G. (2014). Los aprencides digitales en la literatura científica: Diseño y aplicación de una revisión sistemática entre 2001 Y 2010. Pixel-Bit: Revista de medios y educación, (45), 9-21.
ANA CADAVID, STEFANY RUIZ-CÓRDOBA, JORGE MAYA
22
Moreland, R. L., & Zajonc, R. B. (1982). Exposure effects in person perception: Familiarity, similarity, and attraction. Journal of Experimental Social Psychology, 18(5), 395-415.
Mugge, R., & Schoormans, J. P. (2012). Product design and apparent usability. The influence of novelty in product appearance. Applied ergonomics, 43(6), 1081-1088.
Mugge, R., Schoormans, J:P:L:, Schifferstein, H.N.J. (2008) Product attachment: design startegies to stimulate the emotional bonding to products in: Schifferstein, H. N. & Hekkert, P. (2011). Product experience. Elsevier.
Muller, W. (2001). Order and meaning in design. Boom Koninklijke Uitgevers.
Murison, K. (21 de 3 de 2008). The guardian. Recuperado el 13 de 11 de 2015, de I'm with the band:http://www.theguardian.com/lifeandstyle/2008/mar/21/fashion.popandrock
Myers, D. G. (2004). Intuition: Its powers and perils. Yale University Press.
Nadal Roberts, M. (2007). Complexity and aesthetic preference for diverse visual stimuli. Universitat de les Illes Balears.
Nadal, M., Munar, E., Marty, G., & Cela-Conde, C. J. (2010). Visual complexity and beauty appreciation: Explaining the divergence of results. Empirical Studies of the Arts, 28(2), 173-191.
Nisbett, R. E., Peng, K., Choi, I. & Norenzayan, A. (2001). Culture and systems of thought: holistic versus analytic cognition. Psychological Review, 108(2), 291.
Nussbaum, Bruce (1988), "Smart Design," Business Week, (April 11), 102-17.
O.G. Ockvirk, R. E. S. P. R. W. R. O. B. D. L. C. (2006). Art Fundamentals. Theory and Practice. McGraw-Hill.
Olver, J. M., Mooradian, T. A. (2003). Personality traits and personal values: a conceptual and empirical integration. Personality and individual differences, 35(1), 109–125.
Otto, K.; Wood, K. (2000). Product design: techniques in reverse engineering and new product development. Prentice Hall.
Padovan, R. (1999). Proportion: science, philosophy, architecture. Taylor & Francis.
Pazooki, S. (2011). The application of formal aesthetics by architects and interior architects according to their own ranking performances (Doctoral dissertation, Eastern Mediterranean University (EMU)).
Pedoe, D. (1976). Geometry and the visual arts. Courier Dover Publications.
Pine, B. J., & Gilmore, J. H. (1998). Welcome to the experience economy.Harvard business review, 76, 97-105.
Purtle, R. B. (1973). Peak shift: A review. Psychological Bulletin, 80(5), 408.
Pye, D. (1978a). Nature and aesthetics of design. 1978.
Quarante, D. (1994). Eléments de design industriel. Polytechnica.
Ramachandran, V. S. & Hirstein, W. (1999). The science of art: A neurological theory of aesthetic experience. Journal of Consciousness Studies, 6(6-7), 6–7.
Ramírez, E. R. R. (2014). Industrial design strategies for eliciting surprise. Design Studies, 35(3), 273-297. Rawson, P. (1987). Design . Prentice-Hall.
Rentschler, I., Herzberger, B. & Epstein, D. (1988). Beauty and the brain: Biological aspects of aesthetics. Birkhauser.
Sander, D., & Scherer, K. (Eds.). (2009). Oxford companion to emotion and the affective sciences. Oxford University Press.
Sausmarez, M. (1992). Basic design: the dynamics of visual form. Herbert.
Extracting Design Aesthetic Heuristics from Scientific Literature
23
Seifert, C. (2011). The effects of design complexity and novelty on aesthetic response: The moderating role of centrality of visual product aesthetics (Doctoral dissertation, Auburn University).
Scherer, K. R. (n.d.). Emotion. In M. Hewstone et W. Stroebe (Eds). (Ed.), Introduction to Social Psychology. Blackwell.
Schifferstein, H. N., Otten, J. J. et al (2010). The experimental assessment of sensory dominance in a product development context. Journal of Design Research, 8(2), 119–144.
Schmitt, B. (1999). Experiential marketing. Journal of Marketing Management, 15(1-3), 53–67.
Scholfield. (2011). The theory of proportion in architecture. Cambridge University Press; Reissue editio.
Scholfield, P. H., & Borissavlievitch, M. (1959). The theory of proportion in architecture.
Sherin, A. (2011). Design Elements, Color Fundamentals: A Graphic Style Manual for Understanding how Color Impacts Design. Rockport Publishers.
Shimamura, A. P. (2012). Toward a Science of Aesthetics. In Shimamura, A.P., Palmer, S.E. (Ed.), Aesthetic science: Connecting minds, brains, and experience (p. 3). Oxford University Press.
Song, G. (2011). The Role of Structure and Content in Perception of Visual Similarity Between Web Pages. Intl Jnl of Human-Computer Interaction, 27(8), 793–816.
Steinø, N., Özkar, M., Oxman, R., Akner Koler, C., Bastos, F. T., Aytaç-Dural, T., others. (2012). Shaping Design Teaching: Explorations into the Teaching of Form. Aalborg Universitetsforlag.
Tinio, P. P. & Smith, J. K. (2014). The Cambridge Handbook of the Psychology of Aesthetics and the Arts. Cambridge University Press.
Treder, M. S. (2010). Behind the looking-glass: A review on human symmetry perception. Symmetry, 2(3), 1510–1543.
Tyagi, S. et al. (2013). Unravelling Novelty. In Sugiyama, K. (Ed.), Consilience and Innovation in Design: Proc of the 5th IASDR Conf. Tokyo.
Ulrich, K. T., Eppinger, S. D. (1995). Product design and development McGraw-Hill NY.
Veryzer, R.W. (1995), “The place of product design and aesthetics in consumer research”, in Kardes, F.R. and Sujan, M. (Eds), Advances in Consumer Research, Association for Consumer Research, Provo, UT, pp. 641-5.
Veryzer, J. R. W. & Hutchinson, J. W. (1998). The influence of unity and prototypicality on aesthetic responses to new product designs. Journal of Consumer Research, 24(4), 374–385.
Veryzer, R. W. (1999). A nonconscious processing explanation of consumer response to product design. Psychology\& Marketing, 16(6), 497–522.
Veryzer, R. (2000). Design and consumer Research. Academic Review, 1(1), 64–73.
Verzijden, M. N., Etman, E., van Heijningen, C., van der Linden, M., & ten Cate, C. (2007). Song discrimination learning in zebra finches induces highly divergent responses to novel songs. Proceedings of the Royal Society of London B: Biological Sciences, 274(1607), 295-301.
Voland, E. & Grammer, K. (2003). Evolutionary aesthetics. Springer.
Wade, N., Swanston, M. (2013). Visual perception: An introduction. Psychology Press.
Walpuski, M. S. (2010). The influence of functional and symbolic metaphors on product perception.
Wallschlaeger, C., Busic-Snyder, C. & Morgan, M. (1992). Basic visual concepts and principles for artists, architects, and designers. McGraw Hill.
Weiss, S. J., & Weissman, R. D. (1992). Generalization peak shift for autoshaped and operant key pecks. Journal of the experimental analysis of behavior, 57(2), 127.
ANA CADAVID, STEFANY RUIZ-CÓRDOBA, JORGE MAYA
24
Whitfield, T. W. & Slatter, P. E. (1979). The effects of categorization and prototypicality on aesthetic choice in a furniture selection task. British Journal of Psychology, 70(1), 65–75.
Whitfield, T. W . A. (1983). Predicting preference for familiar, everyday objects: An experimental confrontation between two theories of aesthetic behaviour. Journal of Environmental Psychology,3, 221–237.
Wilson, R. A. & Keil, F. C. (2009). The MIT encyclopedia of the cognitive sciences. MIT press.
Wittkower, R. (1960). The changing concept of proportion. Daedalus, 89(1), 199–215.
Woelfel, C., Krzywinski, J., & Drechsel, F. (2013). Knowing, reasoning and visualizing in industrial design. The Knowledge Engineering Review, 28(03), 287-302.
Wolchonok, L. (1969). The Art of Three-dimensional Design: How to Create Space Figures.
Wolchonok, L. (2013). The Art of Three-Dimensional Design. Courier Dover Publications.
Wong, W. (1993). Principles of form and design. John Wiley \& Sons.
Yilmaz, S. (2010). DESIGN HEURISTICS. The University of Michigan.
Yilmaz, S., Daly, S. R., Christian, J. L., Seifert, C. M., & Gonzalez, R. (2014). Can experienced designers learn from new tools? A case study of idea generation in a professional engineering team. International Journal of Design Creativity and Innovation, 2(2), 82-96.
Yilmaz, Seda, and Colleen M. Seifert. "Creativity through design heuristics: A case study of expert product design." Design Studies 32.4 (2011): 384-415.
Yilmaz, S., Seifert, C. M., Christian,J. L., Daly, S. R., Gonzalez, R. (2012). Design heuristics observed in innovative products. Iowa State University and University of Michigan.
Zajonc, R. B. (1968). Attitudinal effects of mere exposure. Journal of personality and social psychology, 9(2p2), 1.
Zelanski, P. & Fisher, M. P. (1984). Design principles and problems. Holt, Rinehart, and Winston.
Zelanski, P. & Fisher, M. P. (2007). The art of seeing (7th ed.). Prentice-Hall.