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Products with Personality Products with Personality Using the Language of Character Design to Create Emotional Products Andy Runton [email protected] April 27, 2000 Contents: I. Overview 2 II. Introduction 3 III. Companies With Personality 4 Alessi Apple Computer Philips Design Volkswagen IV. Looking For Personality 10 Metaphor Symbols Projecting Life V. Personality Experts: Character Designers 15 VI. The Language of Character Design 18 Line Shape Proportion Expression VI. Personality in Products 33 Animated Products Products with Personality Partial Personality Family Appearance Refined Personality VII. Creating Products with Personality 37 Step 1: Characteristics and Personality Step 2: Using the Cartoon Step 3: Naming the Product Step 4: Giving the Product Personality VIII. Summary 46 IX. References 47 1 Overview: The role of the product designer includes the task of humanizing the artificial, adding something beyond an artifact’s cold and calculated functionality. This is done using shape and form, a visual language that the designer uses to communicate. Dual Consumer Electronics Line from Frogdesign's 1997 "Success" brochure Although mastery of visual language is the cornerstone of what is considered "good design," because it deals with abstract notions and concepts, it is both difficult to learn and to understand. Usually it is used intuitively, misused, or completely ignored. This document proposes a different perspective on visual language that has, at its heart, personality. Personality n. 1. The totality of distinctive traits of an individual. 2. The quality or condition of being a person. 3. The personal traits that make one socially appealing. Why is personality important to product design? A combination of characteristics must be present to create a "good" or successful design. A product must be well engineered, well constructed, aesthetically appealing, ergonomic, and user friendly…but it must also have something more. According to Frogdesign founder Hartmut Esslinger, "no matter how elegant and functional a design, it will not win a place in our lives unless it can appeal at a deeper level, to our emotions" (Sweet, p.9). This thesis explores a method of designing products using the visual language of character design to give products a personality, allowing the designer to create objects that appeal to the emotions of the user. Character Design is the act of creating appealing characters for use in animation, cartoons, and comics. Unlike product design, which is rooted in the functionality of inanimate objects and devices, character design is based in the entertainment industry. Character designers embrace the visual nature of their craft. Their visual communication skills are practiced and mastered. Because of this, they have a well-developed visual language. It is a language whose sole purpose is to elicit an emotional response, to promote an interaction between the viewer and the character. By embracing the techniques of character design, the industrial designer can create inanimate objects with something extra - personality. "Flik" from "A Bug's Life " (Kurtti, 1998. p. 84, 87 & 90) 2 Introduction: What is this paper really about? It deals with trying to understand and create emotionally charged products. Should products be emotionally charged? In my opinion, they should. We are human beings, very emotional creatures. It makes sense that we should be surrounded by products that are well crafted, functional, and well designed, and…what else? Appealing? Beautiful? Human? Yes! That is what this paper is about. What is Product Design? That's a very difficult question. Every designer will answer in a different way. Is it an artistic or a scientific endeavor? That's another big debate. My personal feeling is that it's a little of both mixed in with a lot of creativity. Unfortunately, because the mechanical side is easier to teach (numbers, tolerances, processes etc.), the artistic side of design is often neglected. But this is the part that interests me. I am an Artist. Frankly, most of the products on the market are boring. Harsh words, perhaps. But most products are unimaginative and appear to be designed-by-comitee. The Director of Apple's Industrial Design Group, Jonathan Ive, calls this "creative bankruptcy," and I have to agree. When asked about the modern state of technology and design, Mr. Ive had this to say: "It is an industry that has become incredibly conservative from a design perspective. It is an industry where there is an obsession about product attributes that you can measure empirically. How fast is it? How big is the hard drive? How fast is the CD? That is a very comfortable space to compete in because you can say 8 is better than 6. But it's also very inhuman and very cold. Because of the industry's obsession with absolutes, there has been a tendency to ignore product attributes that are difficult to measure or talk about. In that sense, the industry has missed out on the more emotive, less tangible product attributes" (Hirasuna, 1998). Although especially true with electronic products, it is also common in other product areas. Lately, we're surrounded by devices that look similar. Many of these products also have a coldness about them. This one might have a bigger screen, and this one might be easier to hold, but that's the only difference. So, what makes a product unique? The way you feel about it? Maybe. These were some of the questions that led me along this path. I've wondered why I am drawn to Apple products. What is it about a certain toaster that makes me love it? How do you create products that have a personality? How would I capture that emotional connection in my creations. I decided to find out. 3 Companies with Personality: The first thing I did was try to find out more about the companies that are famous for creating products with personality. The following case studies highlight a few companies that use the power of form to create emotionally charged products. Although these companies are not the only ones to practice this approach to design, they were chosen for their efforts to consistently pursue an emotional connection between the user and the product. A few of their products were chosen, and the companies were researched in the hope of learning just what makes their products special. Alessi The name Alessi is "synonymous with influential and challenging design. Collaboration between the company and the twentieth century's star designers and architects has produced an array of classics…"(Sweet). The real strength of Alessi is the company's understanding what stirs human emotions. They have devised what they call a "Formula for Success" that "identifies the components that trigger our reactions to objects"(Sweet, p. 11). Alberto Alessi explains the company's direction in elegant terms: "Earlier this century Modernism introduced clean lines and plain surfaces, and everything was cool and orderly…but this robbed us of a very basic need for decoration, color, and objects we can feel comfortable with and can readily relate to. I think now is the time to re-explore all those emotional aspects of our relationship with objects." He is convinced that "in our deepest beings we respond to )and have an urgent need for) uncomplicated and often quite childish objects" (Sweet, p. 52). "These kinds of objects give us pleasure and reassurance. Modernism temporarily purged us of these objects of enjoyment, but we are now ready for their return" (Sweet, P. 13). Cheese Devil, Diabolix, Anna G. and Juicy Salif (Sweet, 1998.) The products above are only a sample of the emotionally friendly objects produced by the Alessi factory. The first is the "Cheese Devil" whimsical cheese knife followed by the spooky "Diabolix" bottle opener. Next is "Anna G." the corkscrew with a smiling face and colorful party dress is placed next to Philippe Starck's "Juicy Salif," an elegant, yet almost human, lemon squeezer. 4 Apple Apple also has the reputation of being a design leader. The creators of the popular Apple II in 1979 and the Macintosh in 1984 (the first commercially available computer with a graphical user interface), "Apple's designers have given us some of the most compelling and enduring products of our time" (Kunkel, Cover). The timeless icon of Apple design, the Macintosh, exhibits an interesting approach to form. "The idea of the computer as a head on a desktop, with a face, and a chin, encourages the user to think of it as an alter ego, a desktop friend that will always be there" (p. 26). This "computer for the rest of us" was a truly innovative machine built around one concept: Friendliness. The size, the shape, and the proportions of the hardware along with the first commercially available graphical user interface took the concept of computing and made it into a friendly desktop companion. Apple Macintosh (Kunkle, 1997 p. 95) The predecessor of the Macintosh, the Apple Lisa, did not turn out as well commercially. Many attribute this to its high price, unrefined features, and unappealing form. "Steve Jobs (Apple Co-founder) would make a point of describing Lisa’s head-like appearance, observing that the top of the screen and the top of the machine were almost even, giving Lisa’s face “a Cro-Magnon look” (p. 21). Apple Lisa (Kunkle, 1997 p. 93) The original Macintosh was redesigned in 1993. This new version, the Color Classic, became an embodiment of Apple's "espresso" design language. Designer Daniele De Iuliis says “When the Color Classic is turned off, the design doesn’t just sit there, it beckons you to come over and work or play.” "This product assumes the presence of a ‘little being’ - not just a head on a desktop, but a creature with feet, a compact body and a face with a chin, forehead, and mouth that droops to one side." "The front feet tilted the bezel back 6 degrees, allowing the Color Classic to ‘sit up’…" All of the details of the Color Classic give it "…an animated (but not cartoon-like) quality" and "…an emotional quality that is both friendly and accommodating" (Kunkel, p.
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