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Afton Wolter
IS 392: Media & Psychology
Professor Richards
March 7, 2016
Design Psychology
Importance of Design Psychology
What makes a design successful? Why are we attracted to certain designs over others? What role
does psychology play in the creation of designs? Questions such as these inspired me to research
how the human brain developed the capability of determining what constitutes good versus bad
art. This inspiration quickly led me to the psychological principles that affect the success of a
design. According to Stephen Anderson, expressionist painter and creator of the Get Mental
Notes card deck, “To be a good designer in today’s society, you need to have an understanding
of psychology, human behaviour, and the little shortcuts, the little quirks, in the way people
operate… Then you can use them to make it easier for people to engage with your products.”1 By
incorporating psychology into the design process, the ultimate product is a design that helps
humans avoid thinking. Similarly, Simon Norris, the managing director of Nomensa, a design
consultancy that combines psychological insight with design, states that, “Great design requires
great psychology… Psychology is the science of behaviour and the mind. When design and
behaviour match, the design will be superior.”2 A successful design is accomplished by the
designer leading viewers the exact way they want them to perceive the piece. By understanding
how the intended audience will read and react to a design before beginning work, a designer will
save time and be more effective. The remainder of this paper will discuss how various
psychological principles, scientific research, and emotion can affect the success and appeal of a
design, as well as strategic elements that designers can use to implement these principles.
The Eye of Design
Before considering how psychology plays a role in design, we first must examine how our eyes
interpret images. The human eye operates like a camera. The rods and cones located in the retina
of our eyes translate light rays and send those translations to the brain, much like the lens of a
camera sending images to a memory card. The colors and images our eyes interpret depend
primarily on light rays and the object those rays are reflecting off. The way our eyes interpret and
transform light into color is important to design because designers must be aware of how
different individuals will read a design depending on the amount of light and color present.
In design, color choices are extremely important because they influence the viewer’s choices and
feelings. Thus, it is vital to be sensitive and aware of how to use light in design and photography.
Jo Whaley, a well-known painter and photographer, believes that color palates change with each
historical period depending on what technology becomes available. Additionally, she states that
color is all about seduction, which means persuading someone to perform an act through
1
Taylor, Anna Richardson. "The Psychology of Design Explained - Features." Digital Arts. IDG, 2014. Web. 11
Feb. 2016.
2
Taylor, Anna Richardson. "The Psychology of Design Explained - Features." Digital Arts. IDG, 2014. Web. 11
Feb. 2016.
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tempting or attractive visuals.3 Designers must understand whom the primary audience will be in
order to choose the most appropriate color palate. For example, children are attracted to primary
colors, while a corporate audience would prefer darker, more neutral colors. Often times,
advertisers will use very bright colors in order to stand out because most landscapes are neutral.
Overall, the human eye is greatly affected by saturation, hue, value, color balance, and color
correction. Thus, it is important to determine what idea and to what audience you are trying to
communicate in order to determine the best color palate.
The Emotion of Design4
The usability, aesthetics, and practicality of a design affect the overall emotion of the work.
Three different levels of the brain, visceral, behavioral, and reflective, determine the
effectiveness of these characteristics. The visceral level of the brain is the automatic or prewired
layer. In relation to design, the visceral level involves the appearance, touch, and emotion. The
success of the design at this level is dependent on the current feelings or experiences of the
viewer, as well as the look, feel, and sound of the image. Next, the behavioral level of the brain
includes the brain processes that control everyday behavior. At this level, the function,
performance, and usability of a design are most important. Design success is determined by
pleasure, effectiveness of use, enhancement, and innovation. Finally, the reflective level of the
brain is the contemplative part. At this point the viewer considers the rationale and intelligence
of the design. The viewer will be satisfied at this level if the design reflects their personal selfimage or memories. In order for a design to be successful, it must excel at all levels of the brain
or attack the level of the brain that is best for the intended audience.
After examining the various levels of the brain, it is clear that human cognition and emotion are
interwoven. Everything we do and think involves emotion, thus guiding the way we think and
behave. Without emotion, our lives would be incomplete, lacking fun, pleasure, joy, excitement,
anxiety, anger, fear, and rage. Emotion is a conscious experience of affect, which means that we
are aware of and can identify the causes of our emotions. Due to this, emotion changes the way
the human mind thinks and solves problems. In order for a design to affect a viewer’s emotional
state, a designer must consider the aesthetics, attractiveness, and beauty of the design. Aesthetics
have the power to change a human’s emotional state. If we can create designs that have a
significant personal association or bring pleasant and comforting memories to the viewer, that
design will be successful. Shocking or abrupt memory associations can cause discomfort for the
viewer, but can draw attention and be very memorable.
Additionally, emotion must be considered in regards to the designer as well. When we feel
positive and relaxed, we are better at brainstorming and examining alternatives. Also, our
thought processes expand, which allows us to become more creative and imaginative. However,
if a designer feels anxious they will be more focused and pay special attention to detail. It is
important to obtain a balance between the cognitive and affective component of the design
process. Designers must be relaxed and creative, as well as focused and detailed. A way to best
achieve this balance is through designing, testing, and redesigning a product. Ultimately, designs
3
Films for the Humanities & Sciences (Firm), Films Media Group, and San Mateo County Community College
District. Photography and the Brain. New York, N.Y.: Films Media Group, 2006.
4
Norman, Donald A. Emotional Design: Why We Love (or Hate) Everyday Things. New York: Basic, 2004. Print.
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that are liked today may not be liked tomorrow because human emotions ever-changing. By
designing with a clear vision and knowledge of the target audience, most often a successful
design will result.
Psychological Principles5
Many psychological principles have been developed in relation to creating designs. In order to
create a successful design, a designer must understand the audience he or she is designing for at a
psychological level. The following is a list of ten different psychological principles that have
proven effective in design creation.
1. Visceral Reactions
Visceral reactions mean that the human brain reacts faster than conscious thought, thus our
behavior is not thought-out and preplanned. These reactions originate from the central
nervous system and are rooted in our genetic makeup, which means that they are fairly
consistent across all cultures, genders, and demographics. In relation to design, this means
that designers should use elements that could represent survival, threat, or reproductive
opportunities. For example, a designer could use aqua blues that are similar to the color of
water or open designs similar to the environment.
2. Cost-Benefit Analysis
Cost-benefit analysis is the breakdown of behavior based on the difficulty of a task in
relation to the perceived reward. Seeking opportunities and avoiding threats regulate human
behavior. Additionally, if a task requires high energy, it must provide high reward. Thus, a
design must offer a benefit to the viewer and can’t be mentally exhausting.
3. Hick’s Law
Hick’s Law states that exposure to more options results in a longer decision making process
and the longer the decision making process the more likely the viewer is going to move on.
Designs must be simple and have a clear message; otherwise viewers will become
discouraged and continue on to the next design or product.
4. Gestalt Psychology
German psychologist developed the Gestalt theories in the 1920s. The theories state that the
brain self-organizes information in an orderly, regular, symmetrical, and simple manner. We
assume unification or relatedness to visuals based on proximity, similarity, continuance, and
figure ground perceptions. Due to the human brain organizing visual elements into groups,
we often view the whole as greater than the individual parts. By following the rules of the
Gestalt theories, designs become more visually interesting and create a more memorable
message.
5. Pattern Matching
The way we process everything we see is called pattern matching. We subconsciously hunt
for anything similar to the current stimuli that we have experienced in the past and stimuli
that we are unable to recognize feels foreign and often unsettling. However, different visuals
are more memorable than common visuals. For design, it is important for creations to be
unique, while still pleasing previously experienced stimuli.
6. Facial Recognition
5
Johnson, Ross. “10 Psychological Principles to Design With.” 10 Psychological Principles to Design. 3.7 Designs,
2012. Web. 15 Feb. 2016.
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In order to identify others and determine facial expressions, we are drawn to the human face.
Designs that include faces set the tone of the entire piece because that is where viewers are
immediately drawn.
7. Social Influence
Various approaches exist in attempting to influence viewers toward desired actions. Some of
the approaches include reciprocation, authority, commitment, scarcity, liking, and social
proof. If the goal of a design is to convince the viewer to follow through on an action, the
designer should implement one of these methods.
8. Selective Disregard & Change Blindness
In order to conserve energy, our brains disregard change unless it is significant. We often
miss many changes happening around us because it is impractical to process every visual in
our peripheral vision. Designs must be clear and follow conventions matching the viewer’s
expectations in order to attract attention.
9. Progress Disclosure
Viewers want to absorb information easily and without expending much effort. Successful
designs present information in small portions, while still offering a way to learn more if
desired.
10. Dual-Coding Theory
The Dual-Coding theory explores the relationship between memory and learning through
verbal and non-verbal channels. This involves two cognitive systems: verbal stimuli and
image processing. Humans learn and retain information best when presented both verbal
and image stimuli. Thus, designs should incorporate stimuli for both cognitive systems to
digest.
The Design Process6
Many people believe that designs are created without thought and vision. However, designs are
planned, visual organizations of elements that involve many guidelines. Before any design
procedure, a designer must consider the goals, stylistic requirements, physical limitations, and
solutions of the design. After determining the content of the design, or the information that the
design seeks to communicate, the designer can begin the form of the design, which includes the
manipulation of the various elements and principles of design. In artistry, content is what artists
want to say and form is how they say it. Form consists of many stylistic concepts, such as:
1. Unity
Unity is the presentation of an integrated image, or in other words, the harmony of an image.
Unity is achieved through the composition, or organization of a design. The entirety of a
design must be predominant over the parts. In relation to Gestalt’s theory, our brains want to
see organization and unity, not confusion or chaos. Due to this, our brains automatically
relate and group objects. In order to achieve unity, designers focus on proximity, repetition,
continuation, and continuity of objects. A way to achieve unity with variety is by repeating
shapes in different sizes or repeating colors in different values.
2. Emphasis & Focal Point
Focal point is an emphasized element that can attract attention and encourage the viewer to
look further. In addition, accents are secondary points of emphasis that have less attention
6
Pentak, Stephen, Richard Roth, and David A. Lauer. Design Basics. Boston, MA: Wadsworth, Cengage Learning,
2013. Print.
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value than the focal point. Ways for designers to achieve emphasis are through contrast, such
as light versus dark colors, vertical versus horizontal lines, small versus large objects, or
round versus rectangular shapes. Focal points have the power to destroy a design if not
utilized properly. When a focal point is too emphasized, it jeopardizes the unity of the design.
Additionally, when every element of a design is emphasized, nothing becomes emphasized. On
the other hand, a design that lacks a focal point can attract attention because it is very
unusual.
3. Scale & Proportion
Scale is the size of an element of design, whereas proportion is the relative size of the element
compared to the standard. Scale has the ability to attract a viewer’s attention in different
ways and convey different emotions and meanings. For example, hieratic scaling is a process
used to establish the focal point and conceptual status of a ruler. Additionally, unusual or
unexpected scale is arresting and attention getting, both large and small. Some artists,
especially surrealists, use scale changes to intentionally intrigue or mystify us. In order to
achieve standard proportion in a design, artists use a concept called the golden ratio, which
means that width is to length as length is to length plus width.
4. Balance
As humans, we desire balance and imbalance disturbs us. Balance in design can be achieved
in a variety of ways, including symmetrical balance, value, color, shape, texture, or eye
direction. When we see a design, we expect to see visual weight distribution. Other more
unusual forms of balance in design include asymmetrical balance, which is balance achieved
through dissimilar objects having equal visual weight or equal eye attraction, or radial
balance, which means that all elements radiate from a common central point.
5. Rhythm
Rhythm is the repetition of elements that are the same or only slightly modified. Just as in
music, design rhythm can have different paces. Legato rhythm of objects is slow and
connecting, whereas staccato rhythm of objects is abrupt with a dynamic contrast. Alternating
rhythm is when elements alternate consistently with one another to produce a regular
sequence. Next, progressive rhythm is the repetition of a shape that changes in a regular
manner, such as size, color, value, or texture. Lastly, kinesthetic rhythm occurs when a visual
experience actually stimulates one of our other senses. This is achieved when a design
resonates with memories or associations, such as an image of eating ice cream on a hot
summer day.
6. Line
A line is a minimum statement of design, made quickly with minimum effort, but seemingly
able to convey all sorts of moods and feelings. With few strokes, an artist can describe and
identify shapes so that viewers understand the image. Although minimal, various types of lines
exist. The first is a standard, actual line, which can vary in weight, character, and other
qualities. An implied line is created by positioning a series of points so that the eye tends
automatically to connect them. Lastly, a psychic line isn’t a real line, but we feel a line or a
mental connection between two elements. Whether actual, implied, or psychic, line direction
can be created horizontally, vertically, or diagonally and each adds a different feeling to the
design. A horizontal line implies quiet and repose, a vertical line implies potential and
activity, and a diagonal line implies motion. Line quality, which involves boldness and
technique, can draw attention to specific parts of an image or produce emotional and
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expressive qualities. Even though a line is considered a minimal element of design, it has the
capability of creating large and expressive statements.
7. Color
As mentioned previously, the colors of objects are dependent on light waves. Therefore, colors
are constantly changing depending on the amount of light present. However, as humans we
have created the color constancy effect, which means our mind insists on every object having
one defined color. For example, although the grass may look similar the color black at
nighttime, our minds still insist that the grass is always green. Additionally, our perception of
color changes according to surrounding elements. For example, if a designer places a yellow
box inside a black square, the yellow box will look brighter than if it were placed inside a
white box. Designers can manipulate color to create emphasis, balance, and depth. Color
properties that are most often altered are hue, or the name of the color, value, which is the
lightness or darkness of the hue, and intensity, which is the brightness of the hue.
Conclusion
Throughout this paper, I have determined that designs involve much thought and analysis before
the creation process can begin. Designers must consider human thought processes, emotions, and
psychological biases in order to create a successful design. Much research has been conducted to
create guidelines that break down these human attributes. By following these guidelines,
designers can attack viewers’ brains at the visceral, behavioral, and reflective levels. Overall, a
designer must know the psychological needs of their target audience before beginning any
design.
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Works Cited
Films for the Humanities & Sciences (Firm), Films Media Group, and San Mateo County
Community College District. Photography and the Brain. New York, N.Y.: Films Media
Group, 2006.
Johnson, Ross. “10 Psychological Principles to Design With.” 10 Psychological Principles to
Design. 3.7 Designs, 2012. Web. 15 Feb. 2016.
Norman, Donald A. Emotional Design: Why We Love (or Hate) Everyday Things. New York:
Basic, 2004. Print.
Pentak, Stephen, Richard Roth, and David A. Lauer. Design Basics. Boston, MA: Wadsworth,
Cengage Learning, 2013. Print.
Taylor, Anna Richardson. "The Psychology of Design Explained - Features." Digital Arts. IDG,
2014. Web. 11 Feb. 2016.