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| Acknowledgments | |
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| Author Bios | |
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| Foreword | |
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| Introduction | |
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| Why Design for Emotion? | |
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| Useful, Usable and Desirable | |
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| Prioritizing Emotional Needs | |
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| Emotion, Personality and Meaning | |
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| Five Reasons to Design for Emotion | |
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| The Creation of Meaning | |
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| Conclusion | |
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| References | |
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| What Is Emotion? | |
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| Understanding Emotion | |
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| Experiencing Emotion | |
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| Expressing Emotion | |
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| Mental Models | |
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| The Anatomy and Influence of Emotion | |
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| Emotion Is Both Conscious and Unconscious | |
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| Emotions Originate in Different Parts of the Brain | |
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| Emotion Combines the Mental and the Physical | |
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| Emotion, Attention and Information | |
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| Emotion Contributes to Flow | |
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| Emotion, Motivation and Intention | |
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| Emotions, Moods, Sentiments and Personality Traits | |
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| Conclusion | |
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| References | |
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| When Do We Design for Emotion? | |
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| Measuring Success Through Flow | |
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| Goals and Meaning | |
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| Association and Meaning | |
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| Status, Values and Meaning | |
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| Attention and Flow | |
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| Goals and Attention | |
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| Defining Attention | |
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| Types of Attention | |
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| Measuring Attention | |
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| The Limits of Attention | |
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| The Senses and Attention | |
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| The Tactile (Touch) | |
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| The Visual | |
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| The Auditory | |
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| Emotion, Attention and Behavior | |
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| Emotion and Attention | |
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| Emotion and Behavior | |
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| Motivation and Arousal | |
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| Emotion and Flow | |
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| Causes, Characteristics and Consequences of Flow | |
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| Conclusions | |
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| References | |
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| Where Do We Design for Emotion? | |
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| Product Personalities | |
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| Personality and Identity | |
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| Perceiving Emotion and Personality | |
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| Aesthetics and Interaction | |
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| Responses, Experiences and Relationships | |
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| Emotional Design Models | |
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| How Do I Love Thee? | |
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| The Types of Love | |
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| Three Brains, Three Levels | |
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| Personality Traits and Design | |
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| The Traits of a Good Design | |
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| Gender and Stereotypes | |
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| Masculine and Feminine | |
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| Gender in Products | |
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| The Evolution of Emotion and Personality | |
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| Dominance in Nature | |
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| Dominance and Friendliness | |
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| Dominant or Submissive? | |
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| Friendly or Unfriendly? | |
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| Lines Have Feelings, Too | |
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| The Influence of Color | |
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| Do Opposites Attract? | |
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| The Right Personality for Your Product | |
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| Conclusions | |
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| References | |
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| How Do We Design for Emotion? | |
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| Designing Relationships | |
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| Cutting Through the Jargon | |
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| A Passion for Desirable Aesthetics | |
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| The Intimacy of Usable Interaction | |
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| A Commitment to Useful Function | |
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| The A.C.T. model | |
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| Attract | |
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| Converse | |
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| Transact | |
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| Persuading with A.C.T. | |
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| Using the A.C.T. Model | |
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| Get to Know Your Users | |
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| Define Design Goals | |
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| Understanding the Dimensions of Emotion | |
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| Guidelines for Emotion | |
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| What Personality Do I Design? | |
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| Gender and Personality | |
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| Communicating Emotion Through Affordances | |
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| A.C.T. Guidelines | |
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| Attract | |
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| Converse | |
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| Transact | |
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| Conclusions | |
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| A.C.T. Model | |
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| References | |
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| interviews and Case Studies | |
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| Interviews | |
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| An Interview with Patrick W. Jordan | |
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| Reference | |
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| An Interview with Stephen P. Anderson | |
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| Reference | |
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| An Interview with Aarron Walter | |
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| References | |
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| An Interview with Trish Miner on the Desirability Toolkit | |
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| Reference | |
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| An Interview with Marco van Hout on the LEMtool | |
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| References | |
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| Case Studies | |
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| Windows Phone 7 Reference Designs for Metro UI | |
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| The Emotional Elements of PICO | |
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| Conclusions | |
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| Trademarks | |
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| Index | |