<!DOCTYPE article PUBLIC "-//NLM//DTD JATS (Z39.96) Journal Archiving and Interchange DTD v1.0 20120330//EN" "JATS-archivearticle1.dtd">
<article xmlns:xlink="http://www.w3.org/1999/xlink">
  <front>
    <journal-meta />
    <article-meta>
      <title-group>
        <article-title>Development of Attractiveness Walkthrough</article-title>
      </title-group>
      <contrib-group>
        <contrib contrib-type="author">
          <string-name>Aliaksei Miniukovich</string-name>
          <email>miniukovich@disi.unitn.it</email>
          <xref ref-type="aff" rid="aff0">0</xref>
        </contrib>
        <aff id="aff0">
          <label>0</label>
          <institution>University of Trento</institution>
          ,
          <addr-line>Trento</addr-line>
          ,
          <country country="IT">Italy</country>
        </aff>
      </contrib-group>
      <pub-date>
        <year>2013</year>
      </pub-date>
      <abstract>
        <p>In this paper, I describe the development of Attractiveness Walkthrough (AW), a new expert-based technique of evaluating attractiveness of graphical user interface (GUI). I detail an underlying theoretical model, translation of the model implications into an evaluation protocol and planned empirical studies of the model and protocol. GUI designers and engineers may use AW for iterative GUI improvement and as a measure of GUI quality.</p>
      </abstract>
      <kwd-group>
        <kwd />
        <kwd>Attractive user interfaces</kwd>
        <kwd>expert-based evaluation</kwd>
        <kwd>user experience</kwd>
      </kwd-group>
    </article-meta>
  </front>
  <body>
    <sec id="sec-1">
      <title>Introduction</title>
      <p>
        Despite more than a decade of intensive attractiveness-related research in HCI, we
still do not know how to make an interface attractive. Mechanical summarization of
preceding findings in simple laws of attractiveness does not work; thus, the guideline
“colour use should be balanced and low saturation pastel colours should be used for
backgrounds” [
        <xref ref-type="bibr" rid="ref8">8</xref>
        ] is simple but obviously contradicts the finding “10 images
receiving the lowest ratings in all three dimensions predominantly had a white background
whereas colors of the 10 highest rated were all quite bright and saturated” [
        <xref ref-type="bibr" rid="ref4">4</xref>
        ].
Apparently, a simple solution does not exist: numerous contextual and cultural factors,
and ever-evolving user values make the “one solution for everybody” scenario
unrealistic. A potential way out is a method that would define how to define what is
attractive in which circumstances and for what audience.
      </p>
      <p>My work aims at developing Attractiveness Walkthrough, an expert-based method
of GUI evaluation that allows designers (especially, non-professional designers) to
find specific attractiveness issues and to propose design solutions cheaper than doing
user studies. This work involves three types of activities. First, I combine relevant
theoretical findings from HCI, psychology and consumer behavior research in a
theoretical model of how people appreciate things. Second, I translate the implications of
the model into a set of instructions and questions, which is the protocol of AW.
Finally, I test out the model, and then, the protocol, gather and analyze feedback, and
improve the protocol.</p>
    </sec>
    <sec id="sec-2">
      <title>Progress to date</title>
      <p>
        In the beginning of my PhD, I assumed that a structured expert-based technique for
UI attractiveness evaluation might satisfy the demand for a cheap, valid and reliable
method of validating designers’ work. This technique – Attractiveness Walkthrough
(AW) – is based on a theoretical model of appreciating things (Figure 1); the protocol
of AW resembles the protocol of Cognitive Walkthrough [
        <xref ref-type="bibr" rid="ref6">6</xref>
        ]. The scope of AW is
limited to GUIs and first-time users, initial impressions of whom AW tries to model.
      </p>
      <p>
        Existing theoretical models do not suit AW. HCI-originated models often
concentrate on UX rather than on attractiveness (e.g., [
        <xref ref-type="bibr" rid="ref1">1</xref>
        ]), whereas psychology-originated
models address art stimuli predominantly (e.g., [
        <xref ref-type="bibr" rid="ref3">3</xref>
        ]). I reviewed psychology, HCI and
consumer behavior literature and synthetized relevant findings into a theoretical
model (Figure 1) that AW is based on.
      </p>
      <p>This model aims at simulating user thinking that may result in approach behavior
(e.g., higher liking ratings and intention to buy), which is a manifestation of being
attracted. Thus, the model utilizes product attractiveness as inclination towards a
product due to pleasing effects of forming a positive mental image of the product.
Immediacy, subjectivity, impermanence and automatism are, thus, the characteristics
of attractiveness.</p>
      <p>
        Perceptual Part. Perceptual mental processes are subconscious and very fast. They
occur when human brain extracts distinct features from the scene (e.g., areas and lines
colored differently), groups these features (e.g., same-color dots that belong to the
same object) and perceives the scene as a whole (e.g., detects symmetry, which is the
characteristic of the entire scene). Facilitating any of these processes leads to faster,
effort-free and error-free perception of stimulus, which also leads to mild pleasure
and higher liking ratings [
        <xref ref-type="bibr" rid="ref7">7</xref>
        ].
      </p>
      <p>
        Cognitive Part. Given the focus of AW on initial impressions, I have included in the
model only fast and automatic cognitive processes relevant to appreciation. The first
type of processes – experiencing meaning consistency – leverages the notions of
fitting input information within existing knowledge, i.e. obtaining “cognitive mastery”
over the stimulus [
        <xref ref-type="bibr" rid="ref3">3</xref>
        ] and “feeling of control” of the stimulus [
        <xref ref-type="bibr" rid="ref5">5</xref>
        ]. While obtaining
cognitive mastery, users might consciously experience salient, affective GUI
messages, and, if the messages are consistent with the context and among themselves, they
will grasp them easier and favor the GUI. Contrary to cognitive mastery, feeling of
control is primarily unconscious and based on non-salient, non-affective GUI
messages (e.g., “this colored area is a button”), which still should match with users’
existing knowledge, so the user understands the GUI and favors it.
      </p>
      <p>
        The second type of relevant cognitive processes – experiencing meaning valence –
deals with re-feeling past painful or pleasing experiences, which a GUI triggers. The
positive/negative affect of these experiences is often associated with the GUI as a
whole (this is known in psychology as the halo effect). Consequently, featuring
positive messages, which trigger positive associations, contributes to GUI liking.
Psychological Frame. Psychological frame can be seen as the projection of context
on the user mind; it represents all semantic concepts that have been framed (i.e.,
preactivated) prior to interaction. Thus, all contextual factors (i.e., the task at hand or
place of interaction) influence attractiveness, but indirectly, through the psychological
frame. The components of psychological frame may resemble the components of
context (cf. [
        <xref ref-type="bibr" rid="ref2">2</xref>
        ]): psychological context (past experiences), external context
(interaction environment) and incidental context (incidental events). The model (Figure 1)
includes only psychological and external contexts since incidental context is
impossible to predict, and therefore, is of little practical value.
      </p>
      <p>Psychological frame strongly influences only cognitive mental processes: user
values and expectations may influence what is seen as positive, whereas the (mis)match
between framed concepts and GUI-featured messages influence the feel of
consistency. The influence of psychological frame on perceptual mental processes is
dismissively small.</p>
      <sec id="sec-2-1">
        <title>Evaluation Protocol</title>
        <p>
          Any theoretical model is difficult to apply unless it is translated into a set of
practical instructions. This section describes such a translation based on the protocol of
Cognitive Walkthrough [
          <xref ref-type="bibr" rid="ref6">6</xref>
          ].
        </p>
        <p>Prerequisites. Sufficient complexity and element diversity are the main prerequisite:
overly monotonous or overly simple GUIs have a very few aspects to evaluate, the
impact of design on their appreciation will be largely influenced by incidental factors
and indistinguishable from the statistical error.</p>
        <p>
          Actors. Conducting AW requires a pool of evaluators (3 to 5 people, cf. [
          <xref ref-type="bibr" rid="ref6">6</xref>
          ]) familiar
with the project and designing: HCI, user factors, usability and ergonomics
specialists, software engineers and, of course, designers are qualified. Using a pool of
evaluators instead of one evaluator might increase the reliability and validity of evaluation
results.
        </p>
        <p>Procedure. Similar to Cognitive Walkthrough, AW consists of two main phases:
preparation and evaluation.</p>
        <p>Preparation. Prior to evaluation, one specialist does one of two preparation activities:
describes the psychological frame of user, or partitions a GUI into basic and group
elements. In the beginning of each evaluation session, the rest of specialists
familiarize themselves with collected artifacts and verify their correctness.</p>
        <p>For describing the psychological frame, a specialist familiar with project goals –
desirably an ethnographer or human factor specialist – leverages his/her experience
and external data sources (e.g., surveys done before the project started) to create
plain-text descriptions of the target user and typical usage situation. Then, the
plaintext descriptions are compressed into two lists of concise points. While compressing,
the specialist may leverage the questions “What characteristics differentiate an
average target user from an average user”, “What aspects of interaction time and location
are highly specific for the developed tool” and “What high-level functional intentions
the target user has”. Lastly, based on the lists, the specialist infers potential user
expectations regarding interaction and GUI.</p>
        <p>A specialist familiar with creating GUIs does the second preparation activity –
partitioning a GUI into basic elements and group elements. Basic elements of GUI are
separate semantic or functional entities that, oftentimes, are well-known and
conventional (e.g., buttons, labels and icons). Group elements of GUI consist of several
spatially-proximal basic elements that share one or several characteristics (e.g., color,
shape or font size), e.g. a menu with several buttons. After basic and group elements
are all extracted, the specialist finds similar looking elements and leaves only one of
them. The one-by-one analysis of the rest may well not result in more attractiveness
issues found: similar elements have similar issues.</p>
        <p>
          Evaluation. Each evaluation session consists of four steps. First, evaluators check
how fluently the user can perceive an interface: the easier, more fluently an individual
is capable to make sense out of raw sensorial data, the more pleasing is this
experience [
          <xref ref-type="bibr" rid="ref7">7</xref>
          ]. Accordingly, people often prefer simple and prototypical stimuli. Evaluators
check simplicity and prototypicality by answering a set of questions (Table 1) for
basic and group GUI elements, and entire layout. This evaluation step corresponds to
the entire perceptual part of the AW model (which consists of experiencing GUI
features, GUI groups and entire layout).
        </p>
        <p>
          Second, evaluators check how easily the user can understand a GUI. GUIs often
consist of many functional elements that do not trigger strong associations in users,
but still carry meanings and are recognized. Thus, understanding a GUI is a cognitive
process, still primarily subconscious, which corresponds to Norman’s “feeling of
control” [
          <xref ref-type="bibr" rid="ref5">5</xref>
          ]. Evaluators check this parameter by answering questions from Table 2.
This evaluation step corresponds to the Meaning Consistency part of the AW model.
        </p>
        <sec id="sec-2-1-1">
          <title>How salient is the pattern or symmetry of the group element? How many characteristics do the sub-elements of group element share?</title>
        </sec>
        <sec id="sec-2-1-2">
          <title>How salient is the pattern or symmetry of the layout? How prototypical is the layout?</title>
        </sec>
      </sec>
      <sec id="sec-2-2">
        <title>Question</title>
        <p>How obvious to the user is the type of the element?
How obvious to the user is what functionality the element
has?
How many sub elements does the group element have? (3 to 9
is the optimum amount)
How confusing to the user is the mismatch between the actual
group element and what is seen as a group?</p>
        <p>Third, evaluators check how consistent with the psychological frame and among
themselves GUI-featured messages are. GUIs often feature several messages, which
might relate to prevailing colors, non-prototypical GUI elements, images, GUI
general stylistic impression, company brand and main headlines. Evaluators outline these,
most-salient messages, relate them to the concepts of psychological frame (outlined</p>
        <p>prior to evaluation), and single out the messages that are not or weakly connected.
These messages are inconsistent with the psychological frame; they provoke
confusion in users, and thus, diminish GUI appreciation. This evaluation step corresponds
to the Meaning Consistency part of the AW model.</p>
        <p>Finally, evaluators check how emotionally positive or negative GUI-featured
messages are. GUIs often exhibit emotionally affective messages, which, due to the halo
effect, affect general GUI appreciation. Consequently, exhibiting positive messages is
what a GUI should do. Evaluators look through the messages they outlined and split
ambiguous messages into two, e.g. the “Facebook-like” becomes “Facebook”
(positive) and “plagiarism” (negative). Then, they rate the valence of each message based
on common sense and user expectations (which are a part of psychological frame
outlined prior to interaction), and thus, single out negative messages that detriment
GUI attractiveness. This final evaluation step corresponds to the Meaning Valence
part of the AW model.</p>
        <p>Output. Besides setting scores (quantitative data), evaluators may note down
prospective design solutions and ideas, which they came across during evaluation
(qualitative data). Based on this, evaluators can produce reports where they substantiate
which GUI aspects should be changed and why, and how this can be done.
3</p>
      </sec>
    </sec>
    <sec id="sec-3">
      <title>User Studies</title>
      <p>I plan on conducting three user studies with computer science students as
participants and website screenshots as stimuli. Computer science students, after they are
introduced to AW, will have necessary background for doing AW tryouts, and so they
will be used. Website screenshots will be used since websites are easily accessible
and are diverse enough (e.g., on their visual complexity and meaningfulness).
Although, other HCI-related stimuli with rich GUI, such as mp3 players or mobile apps,
could also be used.
3.1</p>
      <sec id="sec-3-1">
        <title>Model validation</title>
        <p>The first user study will test out the underlying model of AW. Based on the model,
I have inferred four dimensions of GUI (which also corresponds to four steps of AW
protocol), which might contribute to perceived GUI attractiveness and which will be
tested. These dimensions are perceived visual complexity, perceived
understandability, perceived meaningfulness (context compliance) and perceived emotional valence
of GUI. Please note the usage of perceived parameters (as opposite to objective
parameters): attractiveness, as it is defined in this paper, is a subjective quality of GUI
and is based on perceived (subjective) parameters.</p>
        <p>In the study, participants will read short stories (descriptions of the user and usage
situation) and imagine the stories happen to them, which is needed for forming similar
psychological frames across participants. Then, the participants will be looking at
each story-related website screenshot for four seconds and will rate it on four
afore</p>
        <p>mentioned dimensions and attractiveness. I expect the ratings on four dimensions to
strongly correlate with the ratings of attractiveness, which will support the theoretical
model. These user ratings will also be used in the third study.
3.2</p>
      </sec>
      <sec id="sec-3-2">
        <title>Protocol refinement and validation</title>
        <p>The second user study will refine the AW protocol; it will explore which
mostsalient aspects of GUI users attend to. The third step of AW protocol – assessing the
consistency of GUI-featured messages with psychological frame – requires knowing
what GUI aspects can trigger an association in user, i.e. what aspects convey
salientenough messages. Currently, the list of these GUI aspects (see the 3rd paragraph of
Evaluation section) is solely based on a literature review and should be supported
empirically. In this study, I plan on asking participants to read short stories (the same
as in the first study), imagine the stories happen to them, and then, to look at website
screenshots for 60 seconds and note down their immediate most-salient one-word
associations with the website. The analysis of these associations will let me extract
classes of attention-attracting GUI features and augment my current literature-based
list of such features.</p>
        <p>The third user study will test out AW. I plan on presenting AW to several groups
of evaluators (students taking an HCI course). After this, I will ask them to conduct
AWs on several website screenshots, produce reports where they outline the most
serious attractiveness issues found and to fill out post-evaluation satisfaction
questionnaires. Then, I will compare the amount and quality of evaluator-found
attractiveness issues with the user-set ratings of website attractiveness (obtained while
preselecting screenshots), and thus, will measure the validity of AW. Further, I will
compare attractiveness issues found by different teams of evaluators, and thus, will
measure the reliability of AW. Then, I will correlate the number of attractiveness
issues by each step of AW (the AW protocol has four steps) with screenshot ratings
on related dimensions (visual complexity, understandability, context compliance and
emotional valence – obtained in the first study). Weak correlations will point out the
parts of AW that should be improved. Finally, the analysis of post-evaluation
questionnaires will let me improve the wording of AW questions and instructions.
4</p>
      </sec>
    </sec>
    <sec id="sec-4">
      <title>Conclusion</title>
      <p>The development of AW is not finished. I have combined relevant findings from
literature into the AW underlying model and proposed the AW evaluation protocol.
However, empirical studies should validate the model and protocol, and, currently, I
am developing such studies. Feedback from the CHItaly community could let me
improve AW cheaper than doing an additional test-improve round, and therefore, I
will appreciate any feedback regarding the theoretical model and protocol of AW, and
design of user studies.</p>
      <p>Acknowledgements. I would like to thank Antonella de Angeli and Sylvie Noel for
their invaluable help in refining the ideas described in this paper. I am also grateful to
anonymous reviewers for their helpful comments on an earlier draft of this paper.</p>
    </sec>
  </body>
  <back>
    <ref-list>
      <ref id="ref1">
        <mixed-citation>
          1.
          <string-name>
            <surname>Hassenzahl</surname>
            ,
            <given-names>M.</given-names>
          </string-name>
          <article-title>The thing and I: understanding the relationship between user and product</article-title>
          .
          <source>Funology</source>
          (
          <year>2005</year>
          ),
          <fpage>31</fpage>
          -
          <lpage>42</lpage>
          .
        </mixed-citation>
      </ref>
      <ref id="ref2">
        <mixed-citation>
          2.
          <string-name>
            <surname>Kleine</surname>
            <given-names>III</given-names>
          </string-name>
          ,
          <string-name>
            <given-names>R. E.</given-names>
            , &amp;
            <surname>Kernan</surname>
          </string-name>
          ,
          <string-name>
            <surname>J. B.</surname>
          </string-name>
          <article-title>Contextual influences on the meanings ascribed to ordinary consumption objects</article-title>
          .
          <source>Journal of Consumer Research</source>
          (
          <year>1991</year>
          ),
          <fpage>311</fpage>
          -
          <lpage>324</lpage>
          .
        </mixed-citation>
      </ref>
      <ref id="ref3">
        <mixed-citation>
          3.
          <string-name>
            <surname>Leder</surname>
            ,
            <given-names>H.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Belke</surname>
            ,
            <given-names>B.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Oeberst</surname>
            ,
            <given-names>A.</given-names>
          </string-name>
          , &amp;
          <string-name>
            <surname>Augustin</surname>
            ,
            <given-names>D.</given-names>
          </string-name>
          <article-title>A model of aesthetic appreciation and aesthetic judgments</article-title>
          .
          <source>British Journal of Psychology</source>
          ,
          <volume>95</volume>
          ,
          <issue>4</issue>
          (
          <year>2004</year>
          ),
          <fpage>489</fpage>
          -
          <lpage>508</lpage>
          .
        </mixed-citation>
      </ref>
      <ref id="ref4">
        <mixed-citation>
          4.
          <string-name>
            <surname>Lindgaard</surname>
            ,
            <given-names>G.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Dudek</surname>
            ,
            <given-names>C.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Sen</surname>
            ,
            <given-names>D.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Sumegi</surname>
            ,
            <given-names>L.</given-names>
          </string-name>
          , &amp;
          <string-name>
            <surname>Noonan</surname>
            ,
            <given-names>P.</given-names>
          </string-name>
          <article-title>An exploration of relations between visual appeal, trustworthiness and perceived usability of homepages</article-title>
          .
          <source>ACM Transactions on Computer-Human Interaction (TOCHI)</source>
          ,
          <volume>18</volume>
          ,
          <issue>1</issue>
          (
          <year>2011</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref5">
        <mixed-citation>
          5.
          <string-name>
            <surname>Norman</surname>
            ,
            <given-names>D. A.</given-names>
          </string-name>
          , &amp;
          <string-name>
            <surname>Ortony</surname>
            ,
            <given-names>A.</given-names>
          </string-name>
          <article-title>Designers and users: Two perspectives on emotion and design</article-title>
          .
          <source>In Proc. of the Symposium on Foundations of Interaction Design at the Interaction Design Institute</source>
          (
          <year>2003</year>
          ).
        </mixed-citation>
      </ref>
      <ref id="ref6">
        <mixed-citation>
          6.
          <string-name>
            <surname>Polson</surname>
            ,
            <given-names>P. G.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Lewis</surname>
            ,
            <given-names>C.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Rieman</surname>
            ,
            <given-names>J.</given-names>
          </string-name>
          , &amp;
          <string-name>
            <surname>Wharton</surname>
            ,
            <given-names>C.</given-names>
          </string-name>
          <article-title>Cognitive walkthroughs: a method for theory-based evaluation of user interfaces</article-title>
          .
          <source>International Journal of man-machine studies</source>
          ,
          <volume>36</volume>
          ,
          <issue>5</issue>
          (
          <year>1992</year>
          ),
          <fpage>741</fpage>
          -
          <lpage>773</lpage>
          .
        </mixed-citation>
      </ref>
      <ref id="ref7">
        <mixed-citation>
          7.
          <string-name>
            <surname>Reber</surname>
            ,
            <given-names>R.</given-names>
          </string-name>
          ,
          <string-name>
            <surname>Schwarz</surname>
            ,
            <given-names>N.</given-names>
          </string-name>
          , &amp;
          <string-name>
            <surname>Winkielman</surname>
            ,
            <given-names>P.</given-names>
          </string-name>
          <article-title>Processing fluency and aesthetic pleasure: Is beauty in the perceiver's processing experience? Personality</article-title>
          and Social Psychology Review,
          <volume>8</volume>
          ,
          <issue>4</issue>
          (
          <year>2004</year>
          ),
          <fpage>364</fpage>
          -
          <lpage>382</lpage>
          .
        </mixed-citation>
      </ref>
      <ref id="ref8">
        <mixed-citation>
          8.
          <string-name>
            <surname>Sutcliffe</surname>
            ,
            <given-names>A. Assessing</given-names>
          </string-name>
          <article-title>the reliability of heuristic evaluation for Web site attractiveness and usability</article-title>
          .
          <source>In proc. of the 35th Annual Hawaii International Conference on System Sciences</source>
          (
          <year>2002</year>
          ),
          <fpage>1838</fpage>
          -
          <lpage>1847</lpage>
          .
        </mixed-citation>
      </ref>
    </ref-list>
  </back>
</article>