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John Benjamins Publishing Company John Benjamins Publishing Company This is a contribution from Information Design Journal 20:3 © 2013. John Benjamins Publishing Company This electronic file may not be altered in any way. The author(s) of this article is/are permitted to use this PDF file to generate printed copies to be used by way of offprints, for their personal use only. Permission is granted by the publishers to post this file on a closed server which is accessible to members (students and staff) only of the author’s/s’ institute, it is not permitted to post this PDF on the open internet. For any other use of this material prior written permission should be obtained from the publishers or through the Copyright Clearance Center (for USA: www.copyright.com). Please contact [email protected] or consult our website: www.benjamins.com Tables of Contents, abstracts and guidelines are available at www.benjamins.com Information Design Journal 20(3), 207–219 © 2013 John Benjamins Publishing Company doi: 10.1075/idj.20.3.02haz Richard L. Hazlett, Kevin Larson, A. Dawn Shaikh and Barbara S. Chaparo Two studies on how a typeface congruent with content can enhance onscreen communication Keywords: typeface, personality, emotion, affective judgments, but later judgments were already anchored processing, design, aesthetics, research methods, reading on the initial impression. A number of authors have characterized humans as In two studies we investigate the effects that typeface having two evaluative systems (e.g., Chaiken & Trope, “personality” has on readers’ processing of affective 1999). The first system is automatic, fast, and precon- information. In study 1, personality trait words were scious. The second system involves conscious thinking briefly shown in a typeface with a personality either and is slow, effortful, and deliberate. In his influential congruent or incongruent to the word’s meaning. Readers 1980 article, Zajonc illustrated how people can develop were faster at an emotion lexical decision task with preferences based on brief glimpses without conscious congruent typeface personalities than with incongruent awareness. Furthermore, people are often unable to typeface personalities. Study 2 briefly showed pages in explain what in the environment has influenced their varying fonts and found that readers’ snap judgments on preference or behavior (Kay, Wheeler, Bargh, & Ross, emotional tone of the page were influenced by typeface 2004). Many researchers have used priming and other personality. We conclude that readers can instantly implicit measures, measures that are based on response process typeface personality and that typeface can affect characteristics such as reaction time, to demonstrate that onscreen affective processing. the automatic fast system has a lasting effect on people’s stated preferences, deliberate thought, and actions Introduction (Fazio, 2001; Fazio, Sanbonmatsu, Powell, & Kardes, 1986; Maison, Greenwald, & Bruin, 2004). An abundance of evidence notes that people can develop Onscreen page aesthetics are processed quickly preferences and be affected emotionally with very and automatically as well and can impact readers with brief visual presentations (e.g., Smith & Magee, 1980; very brief presentations. Lindgaard, Fernandes, Dudek, Zajonc, 1980). For example, Willis and Todorov (2006) and Brown (2006) found that in just 50 ms users make found that participants could judge the traits of people aesthetic judgments on their preference for a web site. after viewing their faces for only 100ms. Increasing the Internet site pages were flashed onto a computer screen, exposure time did not change the trait judgments. More and respondents made a decision about how appealing exposure time allowed for more finely differentiated they found the site. Their preferences were similar to the 207 Richard L. Hazlett et al. • Two studies on how a typeface congruent with content idj 20(3), 2013, 207–219 ones they made at longer exposures, and the impression Typographers and designers are interested in the was lasting and influenced the rest of their experience typeface personality or “typographic allusion,” which with the Internet site. Lindgaard et al. (2006) were not refers to “the capacity of a typestyle to connote meaning able to determine in their study what common aesthetic over and above the primary meaning which is linguisti- features their participants found most appealing. They cally conveyed by words” (Lewis & Walker, 1989, p. 243). did conclude that these first impression judgments based Within communications research, many experts suggest on brief glimpses are more the result of an emotional, that typefaces can convey mood, attitude, and tone while physiologic response and before cognitive appraisal had having a distinct persona based on the font’s unique had time to occur. Some visual information such as hue, features. This ability of a typeface to convey emotion or orientation, size, and motion can be processed from just personality can be used by designers for communication a single glimpse; this information has been termed pre- purposes. For example, the personality of the typeface attentive processing (Healey, Booth, & Enns, 1995; Smith can be employed to enhance the communication of a & Magee, 1980; Treisman, 1985). This processing occurs document’s tone or mood or the personality of an orga- before visual search has been initiated and likely involves nization’s brand. the quick thalamus amygdala circuit in the brain. Zajonc Readers have found to perceive certain fonts or (1980) labeled impressions based on such brief glimpses typefaces as having distinct personality traits. Mack- as the “mere exposure effect.” The “wow” response, a iewicz and Moeller (2004) found that students rated term for the burst of positive emotion when first viewing typefaces differently on personality attributes and that a product or feature, is a particular type of first impres- their impression of a typeface’s personality was based on sion reaction that has a measurable physiologic compo- prior experience and anatomical features of the type- nent (Hazlett & Benedek, 2005). face. Using an online survey method, Shaikh, Chaparro, A particular onscreen visual aesthetic that is so and Fox (2006) had 561 participants rate 20 fonts using ever-present that it is usually not given a conscious 15 adjective pairs. The adjectives included pairs like thought by readers is typeface. Though typeface may stable/unstable, conformist/rebel, and sad/happy. Factor not be the focus of a reader’s attention, it is often cred- analysis found that personality traits were attributed to ited with creating a page or document’s first impression. fonts based on their design family and clustered into five The Vox-ATypI system classifies typefaces into eleven factors (Serif, Sans-Serif, Modern, Monospace, Script/ classes: humanist, garald, transitional, didone, mecha- Funny). Shaikh (2007) investigated the effect of using nistic, lineal, glyphic, script, graphic, blackletter, and congruent appropriate typeface on e-commerce websites. gaelic (Vox, 1975). The classifications are partly based on She found that, when typeface appropriateness was high, being typical of a particular century and partly based on users perceived the site’s company as being more profes- serif and other features of the letter. In addition to these sional and the content as more believable; also, their typeface categories, some characteristics can vary within intent to use the site was greater. This study suggests that a family of fonts, such as weight (light, bold, black), italic, a typeface that is congruent with the company’s ethos, or and letter width (condensed, expanded). The combina- mission, enhances the effectiveness of the website. tion of appearance and typographical features often lead Most research investigating the effects of typeface on graphic artists and typographers to describe typefaces reader’s performance (e.g., reading speed, reaction times) using personality traits (Berry, 2004). has focused on legibility or readability and not perceived 208 © 2013. John Benjamins Publishing Company All rights reserved Richard L. Hazlett et al. • Two studies on how a typeface congruent with content idj 20(3), 2013, 207–219 personality of typeface. One notable exception to this procedure, the brief presentation of emotion words was a study on the effects of perceptual qualities of print flashed onscreen has been shown to affect subsequent typeface by Lewis and Walker (1989) that used a Stroop- lexical decisions (Fazio, 2001).The theory is that the like paradigm. The Stroop task (Stroop, 1935) has been prime word activates the lexical category of the target a popular task in experimental psychology to test word word, and that enables a faster decision making process. interference and attention. In the original task, a subject In the Stroop matching task, participants choose whether views names of colors presented in different colors of the color of a word or object matches the meaning of the type and is asked to name the color of the type. For color word. With this task Goldfarb and Henik (2006) incongruent (color of type and word meaning different) found that congruent word meaning/color combinations combinations, the subject’s reaction time is slowed, and were processed faster than incongruent ones. This Stroop for congruent (type and word meaning match) combina- facilitation effect is particularly relevant for studying tions, the reaction time is enhanced. This effect has been congruency effects of typeface
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