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Personalisation DIS 2016, June 4–8, 2016, Brisbane, Australia

276

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PRELIMINARY

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Figure 2. S

messengers for ated workshopon for mobile tudy was condgraphical elemnamics, on coggested new th design impli

Y STUDY

ry study aims mobile device

workshop. A tfive males anrticipants, twoere intimate wother and wer

h as happiness,ment [10], usinsmartphone screts had diffastic motion d motion. Dur

to talk freetheir partner’sach emotion we Ice-breaking and five minuIncluding a tenapproximately

iscussion ns were designowever, animawas specific toght types of man appropriate nn types were this composed otext in three

a)). The seconFigure 3(b)). Th a translation

c)). Finally, the

Settings of the u

mobile devicep, we extracteddevices. Based

ducted to investents, includingonveying partiways of usin

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to extract uses. We recruittotal of eight

nd three femalo pairs were inith each other.re asked to ex sadness, angeng tangible letreen, as illustra

ferent texturesand an acr

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utes were givenn-minute user

y 50 minutes.

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nd group consThe third groupn in two differee last group con

ser-participated

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er-driven macted four pairs college studenles participaten a relationshi. Participants sxpress six baser, fear, surpristters ‘Y’ and ‘ated in Figure s: silicone frylic plate fhop, participanuraged to givThe animatios thumbnails inre given prior n to each of thinterview, ea

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MAIN SThe mtypogradynamwe atinteracwe inteof kine‘emotio

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Figure

tions in two dif

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STUDY main study aimraphical elem

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fferent rotation

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nts were explopeed, and dynamrived in the pf animation typd: ‘slow,’ ‘mode of the animr playtime thansigned in an were divided veness of animtion (Figure

mations extractetudy.

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of kinetic peed, and

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mation. The n the ‘fast’ equidistant into three

mations. For 3(a)) or

ed from the

Personalisation DIS 2016, June 4–8, 2016, Brisbane, Australia

277

translation (Figure 3(c)), the level of the dynamic is defined by the space covered by the text. On the other hand, for animation types with vibration (Figure 3(b)) or rotation (Figure 3(d)), the levels were defined with the motion range, such as its rotation angle. In order to reduce the number of stimuli, while minimizing the loss of measuring the effect, we adopted an orthogonal design. As a result, 31 profiles, including four holdout profile cards, were composed out of all 72 (8 × 3 × 3) combinations. Including a text without any effects, a total of 32 animated texts were designed and created in Adobe After Effects CS6, which are available at https://vimeo.com/152108052.

A total of 20 subjects consisting of eleven males and nine females participated, and their age ranged from 21 to 32 (M = 26.33, SD = 5.67). The animation sets were displayed on a smartphone (iPhone 6s) in order to simulate an instant messaging application in smart mobile devices. Participants were asked to assess six emotional qualities of the 31 animated texts using a seven-point Likert scale. In addition, the responses were recorded in the Affect Grid [8].

Results and Discussion We performed conjoint analysis to identify the elements that have a dominant effect, as shown in Table 1. The relative importance was extracted for each of the 20 participants to perform repeated measures ANOVA. The result indicated that ‘animation type’ plays the most important role in conveying emotions across eight dependent variables (p < .05). The importance between ‘speed’ and ‘dynamics’ was not significantly different, except for the ‘happiness’ emotion (t(19) = 2.95, p < .05). Although the importance of the ‘animation type’ was always biggest among three typographical elements, its relative importance was significantly different among eight measurements (F(7, 133) = 8.27, p < .05). The ‘animation type’ played a relatively less important role in expressing ‘surprise’ (49.01%) and ‘energy’ (45.72%). It was interesting to note that, however, the importance of the ‘dynamics’ element was biggest in expressing these emotions (F(7, 133) = 6.74, p < .05). There was no

significant difference in ‘speed’ elements among eight measurements (F(7, 133) = 2.02, p = .57).

In order to propose the best kinetic typography for each of the six basic emotions, part-worth utilities were derived from conjoint analysis, as shown in Table 2. The post hoc tests indicated that there is no single representative ‘animation type’ for each emotion. Hence, the animation types with a significantly higher utility score were extracted and underlined for each typographical element.

Next, we plotted eight animation types on the Affect Grid using the ‘Mood’ and ‘Energy’ scores, as shown in Figure 4. The result from the Affect Grid is qualitatively consistent with the best animation types extracted for six basic emotions. For instance, ‘vertical’ and ‘jumping’ animation types in the excitement (1st) quadrant are suggested for ‘happiness’ or ‘surprise’ emotion. The ‘horizontal’ and ‘expansion’ animations are located in the stress (2nd) quadrant, and they should convey emotions of ‘anger,’ ‘fear,’ or ‘surprise.’ The ‘vibration,’ ‘flopping,’ and ‘shimmy’ animation type were located in the depression (3rd) quadrant, and they should be adequate for ‘sadness,’ ‘anger,’ ‘fear,’ or ‘disappointment.’ For these seven animation types, the changes in speed and dynamics merely act as an ‘amplifier.’ This indicates that the influence of speed and dynamics on the emotional characteristics was marginal.

Interestingly, the ‘pendulum’ animation type was plotted on a neutral point. In fact, this received positive utility scores

Elements Levels Happiness Sadness Anger Fear Surprise Disappoint Mood Energy

Animation type

Vertical 1.19 -0.45 -0.12 -0.33 0.45 -0.64 0.81 0.65 Horizontal -0.22 -0.37 0.84 0.43 0.60 -0.49 -0.34 0.80 Expansion -0.48 -0.79 1.14 0.89 1.30 -0.92 -0.39 1.05 Vibration -0.67 0.23 0.02 0.96 -0.07 0.06 -0.43 -0.65 Jumping 1.82 -0.87 -0.71 -0.61 0.36 -1.10 1.89 0.64

Pendulum 0.32 0.34 -0.23 -0.66 -0.52 0.41 0.03 0.05 Flopping -1.18 1.06 -0.49 -0.12 -0.79 1.51 -1.14 -0.85 Shimmy -0.77 0.86 -0.46 -0.56 -1.32 1.16 -0.43 -1.70

Speed Slow -0.64 0.49 -0.30 -0.15 -0.63 0.44 -0.40 -0.95

Moderate -0.06 0.02 -0.11 -0.13 -0.19 0.10 0.05 -0.02 Fast 0.71 -0.50 0.41 0.28 0.81 -0.54 0.36 0.97

Dynamics Minimum -0.34 0.43 -0.56 -0.33 -0.72 0.41 -0.07 -1.12 Medium 0.21 -0.26 -0.06 -0.13 -0.20 -0.32 0.36 0.18

Maximum 0.13 -0.17 0.62 0.46 0.92 -0.08 -0.29 0.94

Table 2. Part worth utilities of each level for eight emotions. The underlined scores indicate a statistical difference at p < .05.

Emotions Type* Speed Dynamics* Happiness* 58.41 24.40 17.20 Sadness* 54.82 23.79 21.39 Anger* 57.40 18.90 23.71 Fear* 55.37 20.92 23.70

Surprise* 49.01 24.04 26.95 Disappointment* 59.58 22.09 18.34

Mood* 65.62 18.00 16.37 Energy* 45.72 25.62 28.66

Table 1. Relative importance (%) from conjoint analysis. An asterisk indicates significance at p < .05.

Personalisation DIS 2016, June 4–8, 2016, Brisbane, Australia

278

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