Paul Hekkert
Biographic Data
| ID | 1617569 |
|---|---|
| NAME | Paul Hekkert |
| GIVEN NAMES | Paul |
| FAMILY NAME | Hekkert |
| SIGNATURE | HEKKERT P |
| AFFILIATIONS | Delft University of Technology |
| ORCID | 0000-0002-8309-9653 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 16 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1990 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
The complementary roles of intuition and logic in creative design ideation
Framing for the protein transition
“Digging for Meaning”
In the product-design domain, metaphors are used as a means of communication between designers and users. A designer generates a metaphor by deciding on a quality of a target to highlight and selecting a corresponding source that conveys this quality; the user interprets the designer's intentions via the end product. The depth of the generated metaphor can be assessed by the extent to which the highlighted quality is salient for the target: Metap…
Surprise and humor in product design
When information from two or more sensory modalities conflicts, this can evoke a surprise reaction as well as feelings of amusement, interest, confusion or disappointment. In concurrence to joke theory, we argue that people appreciate and enjoy appropriate incongruities that can be related back to the product, whereas they are confused by and have negative opinions towards inappropriate incongruities. This paper reports the design and the evaluat…
Surprising the Senses
We perceive the world around us and the objects in it with all our senses. Designers can therefore influence the way we experience everyday products by paying attention to the multiple sensory aspects of products.When sensory information from two or more senses conflicts, people can be surprised. Currently, more and more product designers are experimenting with designing products that provide incongruent sensory information. Creating such product…
Design and Emotion
Most advanced, yet acceptable
Typicality and novelty have often been shown to be related to aesthetic preference of human artefacts. Since a typical product is rarely new and, conversely, a novel product will not often be designated as typical, the positive effects of both features seem incompatible. In three studies it was shown that typicality (operationalized as 'goodness of example') and novelty are jointly and equally effective in explaining the aesthetic preference of c…
Assessment of aesthetic quality of artworks by expert observers
Complexity and prototypicality as determinants of the appraisal of cubist paintings
In this experiment inexperienced observers (N = 22) scored 40 black-and-white slides of cubist paintings on a number of seven-point rating scales. On the basis of the time it took subjects to identify the depicted human figure, these slides were divided into three subgroups of Low Categorizability (LC), Intermediate Categorizability (IC) and High Categorizability (HC), respectively. For the LC slides 'beauty' scores revealed an inverted U-shaped …
Most advanced, yet acceptable
Typicality and novelty have often been shown to be related to aesthetic preference of human artefacts. Since a typical product is rarely new and, conversely, a novel product will not often be designated as typical, the positive effects of both features seem incompatible. In three studies it was shown that typicality (operationalized as 'goodness of example') and novelty are jointly and equally effective in explaining the aesthetic preference of c…
Framing for the protein transition
Surprising the Senses
We perceive the world around us and the objects in it with all our senses. Designers can therefore influence the way we experience everyday products by paying attention to the multiple sensory aspects of products.When sensory information from two or more senses conflicts, people can be surprised. Currently, more and more product designers are experimenting with designing products that provide incongruent sensory information. Creating such product…
Assessment of aesthetic quality of artworks by expert observers
Complexity and prototypicality as determinants of the appraisal of cubist paintings
In this experiment inexperienced observers (N = 22) scored 40 black-and-white slides of cubist paintings on a number of seven-point rating scales. On the basis of the time it took subjects to identify the depicted human figure, these slides were divided into three subgroups of Low Categorizability (LC), Intermediate Categorizability (IC) and High Categorizability (HC), respectively. For the LC slides 'beauty' scores revealed an inverted U-shaped …
Complexity and prototypicality as determinants of the appraisal of cubist paintings
In this experiment inexperienced observers (N = 22) scored 40 black-and-white slides of cubist paintings on a number of seven-point rating scales. On the basis of the time it took subjects to identify the depicted human figure, these slides were divided into three subgroups of Low Categorizability (LC), Intermediate Categorizability (IC) and High Categorizability (HC), respectively. For the LC slides 'beauty' scores revealed an inverted U-shaped …
Assessment of aesthetic quality of artworks by expert observers
Design and Emotion
Most advanced, yet acceptable
Typicality and novelty have often been shown to be related to aesthetic preference of human artefacts. Since a typical product is rarely new and, conversely, a novel product will not often be designated as typical, the positive effects of both features seem incompatible. In three studies it was shown that typicality (operationalized as 'goodness of example') and novelty are jointly and equally effective in explaining the aesthetic preference of c…
Surprising the Senses
We perceive the world around us and the objects in it with all our senses. Designers can therefore influence the way we experience everyday products by paying attention to the multiple sensory aspects of products.When sensory information from two or more senses conflicts, people can be surprised. Currently, more and more product designers are experimenting with designing products that provide incongruent sensory information. Creating such product…
Surprise and humor in product design
When information from two or more sensory modalities conflicts, this can evoke a surprise reaction as well as feelings of amusement, interest, confusion or disappointment. In concurrence to joke theory, we argue that people appreciate and enjoy appropriate incongruities that can be related back to the product, whereas they are confused by and have negative opinions towards inappropriate incongruities. This paper reports the design and the evaluat…
“Digging for Meaning”
In the product-design domain, metaphors are used as a means of communication between designers and users. A designer generates a metaphor by deciding on a quality of a target to highlight and selecting a corresponding source that conveys this quality; the user interprets the designer's intentions via the end product. The depth of the generated metaphor can be assessed by the extent to which the highlighted quality is salient for the target: Metap…
Framing for the protein transition
The complementary roles of intuition and logic in creative design ideation
Psychology (8 works) · Cognitive psychology (5 works) · Social Psychology (5 works) · Color perception and design (4 works) · Computer Science (4 works) · Epistemology (4 works) · Aesthetic Perception and Analysis (3 works) · Aesthetics (3 works) · Art (3 works) · Creativity in Education and Neuroscience (3 works)