Title: 行動廣告版面設計對眼球運動與美感情緒影響之研究
The Effects of Layout Design of Mobile Advertisement on Eye Movement and Aesthetic Emotion
Authors: 施懿芳
Shih, Yi-Fang
Hsu, Chun-Cheng
Keywords: 行動廣告;版面設計;螢幕尺寸;圖文編排;眼動;美感情緒;Mobile advertisement;Layout design;Screen size;Graphic proportion;Eye movement;Aesthetic emotion
Issue Date: 2013
Abstract:   隨著行動上網與科技日益進步,行動裝置成為新的媒體介面,使行動廣告應運而生,給業主新的挑戰與機會,然而其對於消費者的適用性,近年來也成為研究焦點。本研究目的為探討行動廣告版面編排設計,包含兩種大小尺寸(iPad及iPhone),八種版型設計、以及不同圖文比例等三個自變項,探討其對於眼球運動以及美感情緒之影響,也討論其記憶程度,以及偏好、興趣程度及購買意願等。本研究使用實驗法,透過眼動儀及美感情緒問卷量表,檢測觀看者的眼動資訊及美感情緒。   研究發現「版型」設計無論在何種變項上,效果皆為顯著;尺寸會影響受測者的視線分布,小尺寸較為集中全面,大尺寸則是較為發散;整體來說圖文比例對眼動軌跡不會造成很大的差異,然而部分版型在圖片比例較高時,會引起較多的視線停留。在美感情緒評分上,透過因子分析得到四個向度,也分別有相應對的版型,評價性因子(模塊式和膨脹式)、活動性因子(雙邊式和軸式)、力度性因子(隨意式)、風格性因子(過度式)。   綜合眼動資料和美感情緒兩應變項的關係可發現,當受測者的視線軌跡較為一致,多為左右平移時,美感情緒的評分也是居中為主,平均的視線軌跡分布,可能讓人感到簡單且熟悉,而緊繃的、超現實的、模糊的感覺可能會映襯有較凌亂的視線軌跡。
  Since the improvement of technology and mobile internet access, mobile device become a new media interface for advertisement. This situation brought new chanlleges and opportunities for owners. The purpose of this study was to explore the design of mobile ad layout, including two different sizes (iPad and iPhone), eight version of type design and the proportion of graphic. Discussing how these variables affect eye movement and aesthetic emotion information. We also discuss viewer’s memory, preference, interest and willingness to buy among these stimuli. We use experimental method, through the eye tracker and aesthetic emotion questionnaire scale to understand the eye movement and aesthetic emotion of the viewer.   Study found that “layout” is the key point to affect all the dependent variable. The screen size will affect eye movement; small size is more concentrated, large size is more divergent. However, graphic proportion has not much difference. We use factor analysis to deal with aesthetic emotion scores and got four dimensions. Give the name to these four factors and calculate the average scores of each layout type: Evaluation Factors (Modular & Dilatational); Active Factors (Bilateral & Axial); Dynamics Factors (Random); Style Factors (Transitional).   Comprehensive the relationship between eye movement information and aesthetic emotion, we found out that when eye movements are unity, the score of aesthetic emotional are average. It means equally eye movement distrubution might arouse viewer simple and familiar feelings. Nevertheless, tense, surreal and vague feelings may have messy eye movements.
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