电子商务-外文翻译-外文文献-英文文献-色彩对网站吸引力和用户认知过程的影响(1).doc

The impact of colour on Website appeal and userscognitive processesNathalie Bonnardel, Annie PiolatLudovic, Le BigotAbstract:One of the challenges today in humancomputer interaction is to design systems that are not only usable but also appealing to users. In order to contribute to meet this challenge, our general objective in the present study was to enhance current understanding of the perceptual features that favour users interactions with Websites. This is a particularly important issue, as users first impressions when they land on a site determine whether or not they stay on it. We conducted two experimental studies, focusing on one specific perceptual feature: Website colour. The first study investigated designers and users preferred colours for a Web homepage. Although researchers generally flag up differences between designers and users, we found that the latter also had several favourite colours in common. On the basis of these initial results, three colours were selected for a second study exploring colour in relation to an entire Website. The main originality of this second study lays in the fact that we used both subjective and objective measurements to gauge the impact of colour, analyzing not only users judgments but also their Website navigation and the items of information they memorized. Results of this second study showed that colours were a determining factor in the way that users interacted with the Website. Their influence was also observed afterwards, when users were asked to exploit the information they had gleaned from the Website. As such, these findings will have a practical value for Website designers.Keywords: Colour appeal, Website design, Navigation, User-centred design1 IntroductionThe importance of visual perception in humancomputer interaction (HCI) has long been acknowledged (e.g., 1). In the past, authors generally advocated a user-centred approach, putting forward ergonomic recommendations, or “golden rules” 1,2. These recommendations tended to focus on users cognitive and perceptual-motor abilities, rather than on what they felt when interacting with a system. Now, however, humans and their interactions with systems are increasingly being studied at three different levels: knowing, doing and feeling 3. In recent years, the “feeling” level has become a popular research topic in cognitive science and the science of design, with advances in our understanding of feelings, affects and emotions 4,5 having implications for the latter 68. When developing products or systems, designers have to come up with design solutions that are both novel and adapted to their future users 9,10. This adaptation to future users must encompass several complementary aspects. Usability is no longer the ultimate goal for designers. New systems must also have an aesthetic value and inject a little fun and pleasure into people s lives 7,11.In addition to their functional characteristics, interactive systems must be regarded as conveying feelings through visual sensory modalities.In the present study, we sought to enhance current understanding of one perceptual feature, namely colour, in a type of interactive system where aesthetics and attractiveness constitute a particular challenge: the Website. Here, users initial feelings are crucial, as it is during the first few seconds of interaction that users or visitors decide whether or not to continue navigating the Website 1214.Lindgaard et al. 15 showed that users first impressions are constructed in about 50 ms and appear to be stable over time. They allow users to develop an aesthetic impression of the Web page,which influences their subsequent navigation. Since visitors preferences are based on the Website s aesthetic features 16,17, our objective was to analyze one particular perceptual feature that contributes considerably to first impressions: Website colour. Colours have the potential to affect our perceptions, emotional reactions and behavioural intentions 18. However, little research has been done on the impact of colours in Internet-based environments and only a handful of researchers have conducted studies on this topic in recent years e.g., 19,20. With a view to filling this gap, the aim of our study was twofold:identifying colours that Website designers and users find appealing;determining whether some colours favour Website visitors navigation and cognitive processes.To this end, we carried out two experimental studies. The first one investigated the preferences expressed by designers and users when they were shown Website homepages in 23 different colours. The second one analyzed how the use of three different colours (selected on the basis of the results from the first study) in Website design influenced interactions between visitors and three different versions of the same Website. We argued that the role of colours is essential not only when accessing a site and navigating it, but also after the actual interaction has come to an end and users exploit the information they have just obtained from the site. Before describing these studies, we present their theoretical framework, in order to underline both the importance of perceptual and aesthetic features (e.g., colours) in terms of the affects or emotions they convey, and their influence on usersinteractions with systems.2 Emotions, aesthetics and coloursFor years, researchers showed little or no interest in the possible links between emotion and cognition, and between usability and users emotions and aesthetic feelings. Only recently have they sought to draw these different threads together. We therefore begin by briefly characterizing emotions and their relationship with cognition, as well as their implications for product design (§2.1).We then point out the relationships between aesthetic feelings and users judgments (§2.2), as well as between one aesthetic feature in particular (product colour) and users preferences (§2.3).2.1 Emotions, cognition and product designThe numerous papers on the subject of emotions offer divergent points of view about emotional phenomena e.g., 21,5,22. Scherer22 suggested distinguishing between various affective states and,in particular, contrasting utilitarian emotions and aesthetic emotions.These two kinds of emotion result from an appraisal of environmental or proprioceptive information, but have different functions. Utilitarian emotions, such as anger and fear, allow us to adapt to events that may have major consequences for us as individuals. These adaptive functions may consist in the preparation of actions (such as confrontation or escape) or the recuperation and reorientation of work. In contrast, aesthetic emotions are unrelated to the need to satisfy vital and mandatory needs.For instance, a person can be impressed, admiring or fascinated.These diffuse sensations differ considerably from utilitarian emotions with regard to felt arousal and behaviour orientation.Although emotion is not understood as well as cognition, both of them can be regarded as information processing systems 23, but with different functions and operating parameters. Cognition allows us to interpret the world and make sense of it, whereas emotions are more judgmental, assigning positive and negative valences to the environment 6,7,5. Advances in our understanding of cognition and emotion suggest that each impacts the other.Thus, several studies have shown that emotions and affects have an impact on the cognitive functioning of individuals engaged in complex tasks 24,21,25. According to Norman 7 and Csikszentmihalyi 26, emotions can even make us smart. For instance, positive affects broaden our thought processes and seem to enhance our creativity in finding design solutions 9. Unlike negative affects, positive affects make difficult tasks easier to perform and make people more flexible and more tolerant of minor difficulties 6.These approaches have implications for the design of products and interactive systems. In the field of HCI, a cognitiveaffective model of organizational communication has been developed by Teeni 27. This author posits the notion that the communication process, which comprises the communication medium (a Website in the case of our study) and the message form (e.g., differences in the colours used for a Website), has an impact on the user and on whether the latter judges the communication to be appropriate. In line with this model, Norman 7 claims that the image which products present to the user, their attractiveness and the users behaviour, all need to be considered. As such, the design of products or interactive systems should take three levels of processing into account: visceral design, which refers primarily to the initial impact of products and systems due to their appearance; behavioural design, which is about the experience of using a product or system (the “look and feel” ) and which contributes to its usability; reflective design, which is about the users subsequent opinion and what the latter has to say about the product or system (e.g., how it makes him or her feel, the image it portrays or the message it conveys).Put in a slightly different way, we need to think about three dimensions when designing products: (1) their attractiveness (or appeal), which depends on visceral design, (2) their functional and usable properties, which result from behavioural design, and (3) their”prestige”, which is related to reflective design. Nowadays, therefore, the aim of designers is to come up with products or systems that are not only useful and usable, but which are also thought to convey positive emotions and feelings through their aesthetic features.2.2 Aesthetics and usersjudgmentsMany years ago, social scientists demonstrated the importance of aesthetics in everyday life. For instance, a persons physical appearance influences other aspects of social interaction 28. Similarly,products aesthetic qualities are deemed to play an important role in marketing strategies and the retail environment 29.Only recently, however, has the relationship between system aesthetics and users judgments been analyzed in the area of HCI e.g., 30,31. In particular, close correlations have been observed between judgments of aesthetic quality and a priori perceptions of usability, that is, perceptions formed before the system is actually used 32,31. Tractinsky and colleagues 31 claimed that “what is beautiful is usable”. For Hassenzahl 33, it is the “goodness” of a system that is the main issue, not its “beauty”. According to this author, goodness is judged on the basis of a combination of impressions hedonic identification, pragmatic values (e.g., perceived usability) and mental effort (resulting from actual usability),whereas beauty is determined solely by hedonic feelings. According to Norman 6,7,34, attractive systems work better. They are perceived as functioning better and lead to better user performances.In the context of Websites, Shenkman and Josson 17 examined Visitors first impressions and found that the best predictor of overall judgments by typical Website users was the impression of beauty. For their part, Lavie and Tractinsky 35 analyzed users perception of Website aesthetics. They identified two main dimensions:“classical aesthetics” and ”expressive aesthetics”. The classical aesthetics dimension emphasizes orderly and clear design, and is closely related to certain of the design rules advocated by usability experts. The expressive aesthetics dimension corresponds to designers creativeness and originality, and to their ability to break design conventions.To supplement these results, Su-e et al. 36 analyzed the ”highlevel” design elements used by professional designers to convey different feelings to visitors and flagged up the importance of colours, shapes and images. In a recent study, Cyr 19 found that good visual design of a Website, which includes colours, resulted in trust, loyalty and satisfaction.In line with these observations, we argue that controlling the aesthetic aspects of interactive systems, especially their colour, serves other purposes apart from purely subjective ones: these aspects may have an impact on users activities and on the types of information they memorize whilst interacting with a system. In the present study, we focused on one of the aesthetic aspects highlighted in the research by Su-e et al. 36 and Cyr 19: the colour of products or interactive systems, such as Websites.2.3 Colours and users reactionsAlthough research on the psychology of colour is still in its infancy, several studies have pointed to a relationship between colours and emotions 3741,18. Especially, the choice of colours can impact user feelings and reactions. Research conducted by Walters, Apter, and Svebak 42 suggested that there are two levels of felt and preferred arousal: high and low. More specifically, some colours serve to arouse and excite an individual, while other colours elicit relaxation.Despite the fact that there is no precise theoretical rationale for explaining exactly how a colour might affect feelings, evidence exists to indicate that colours do indeed influence individuals feelings, attention, judgments and decisions - such as shopping intentions or perceived usability 4347. For instance, Soldat et al. 40 showed that the colour of answer sheets given to university students sitting an exam affected the quality of their productions: students who were provided with blue sheets of paper scored higher marks than those who were provided with red ones.Cooler colours, such as blue, are generally viewed more favourably than warmer colours, such as red or yellow 4850. Several findings support the premise that blue elicits relaxed feeling states5153,18. In contrast, yellow has been found to give rise to less relaxed feeling states 54. In accordance with these findings, Jacobs andHustmyer 53 used measures of galvanic skin responses to show that blue is amore relaxing colour than red or yellow. Similarly, using rating-scale measures of feelings, Gorn et al. 55 showed that red elicits more excitement, and blue more relaxation. Colour has also been described as having an influence on behavioural intention, with blue producing stronger buying intentions than red 44.In certain guidelines (or “design basics”) for designing user interfaces, a few recommendations are related to appropriate colour combinations, or “colour harmonies”56,57. However, such recommendations are usually restricted to readability issues or to specific aspects of the interfaces, such as text background58,59. In visual terms, harmony corresponds to a pleasing arrangement of parts; to something that is pleasing to the eye. In the context of Websites, users feel a sense of equilibrium when balan