by Sofie Neudecker -

Conclusion and Last Interview

General information about the interviewee: 

Age: 22 years
Gender: Female
Occupation: Student

1.  Understanding Facial Emotion Recognition:

  • Can you describe what the term „Facial Emotion Recognition“ means to you?

The process of identifying human emotion. Interpretating human emotions from facial expressions through analysing facial features such as movement of the eyes, eyebrows, or mouth and identifying feelings such as happiness, anger, fear, or surprise. 

2.  Analyzing Facial Expressions:

  • What helps you analyze the facial expression of another person when you see them?

–       The eyes: Changes in the size of the eyes, squinting, or the direction of gaze.

–       The eyebrows: Raised, furrowed, or drawn together.

–       The mouth: Smiles, frowns, pursed lips, or other changes in the mouth’s shape.

–       The environment and context in which the interaction takes place. 

–       Observing if the facial expression is consistent with the body language. 

  • Which specific features and aspects do you pay attention to in this scenario?

I look at whether the eyes are wide or narrow, if there is direct eye contact or not, also in combination with the eyebrows if they are raised or furrowed. I look at the mouth, if someone is smiling, tight-lipped or frowning. I look at the forehead. 

3.  Proportion and Arrangement:

  • Are the proportions and arrangement of facial features important to you when perceiving a face? If so, how?

Yes, the proportions and arrangement of facial features are important when perceiving a face. I perceive symmetrical faces generally more attractive. Balanced features tend to create a more pleasing and harmonious look. On the other hand, unique proportions and arrangements can make a face more memorable. It helps to recognize and remember faces. 

4.  Influence on Emotions:

  • Can certain facial features and expressions influence the way you feel? How do they affect your emotions?

Yes, certain facial features and expressions can indeed influence the way I feel. Seeing someone smile can naturally make me feel happier and more connected. Just as a smile can create happiness in me,while witnessing someone’s sadness, anger, or fear will make me feel also sad, angry or fear. If someone shows a fearful expression, I might also feel a sense of urgency or alertness, especially if the context suggests a shared threat or danger. Positive facial expressions, such as nodding and smiling, can provide positive reinforcement, boosting my mood and confidence. 

5.  Attractiveness of Faces:

  • What attributes make a face attractive to you? What role does symmetry play?

Faces that are more symmetrical are generally perceived as more attractive. The overall harmony and balance of facial features contribute to attractiveness. Features should complement each other without any one feature overpowering the others. A genuine smile that reaches the eyes. I find that unique or distinctive features, such as a particular eye shape, freckles, or a charming smile, can make a face stand out and be more memorable.

·      Is there a difference for you between the attractiveness of male and female faces?

There is a difference in the way I perceive the attractiveness of male and female faces. Certain attributes make a male face more attractive and vice versa. For example, facial hair like a beard or stubble, can add to the attractiveness by emphasizing masculinity. On the other hand softer and more delicate features emphasize femininity. 

6.  Preferences for Makeup:

  • Do you prefer faces with a lot of makeup, very little makeup, or no makeup at all? What degree of makeup do you like the most and why?

I appreciate faces with a natural look enhanced by a touch of makeup. A light touch of makeup can enhance natural features like the eyes, cheekbones and lips but without overpowering them. Minimal makeup maintains the authenticity of the person’s appearance, making them look more genuine and approachable. 

7.  Facial Shapes in Everyday Objects:

  • Do you sometimes recognize facial shapes in everyday objects around you? If yes, can you provide a few examples?

No, I don’t recognize facial shapes in everyday objects around me. 

  • Does this recognition affect the way you feel about those objects or the way you interact with them?

No recognition of facial shapes in everyday objects, therefore no influence on the way I feel or interact with them. 

8.  Controlling Facial Expressions:

  • Do you sometimes try to control your own facial expressions to hide your true feelings or to display emotions you aren’t actually feeling? If yes, why do you do it, and how do you manage it?

I rarely do it, only in particular social situations out of politeness. Sometimes, I prefer to hide anger or frustration to prevent escalating a conflict. Maintaining a neutral or positive expression in professional settings is important for appearing competent and approachable. For example, in roles that involve customer interaction, showing positive emotions can enhance customer satisfaction, even if those emotions aren’t genuine. Deep breathing can help in calming downs and maintaining a neutral expression. Moreover, being aware of your own facial expressions and body language can help to manage it. 

9.  Relevance to Art and Design:

  • How do you think understanding facial shapes and expressions can benefit artists and designers in their work?

Potentially understanding facial shapes can help artists create more realistic and accurate portraits. Artists can create more dynamic and expressive faces. In addition, it can potentially help designers create more effective marketing campaigns that evoke specific emotions and therefore make the campaign more compelling and persuasive. Looking at the future, it could also help with creating realistic and expressive avatars enhancing user interaction and experience of virtual and augmented reality. 

  • Can you think of any examples where the perception of facial features has influenced a piece of art or a design project?

The first art piece that I thought of is Leonardo da Vinci’s “Mona Lisa”, as it has intrigued viewers for so many years. Another design could be the Memoji or Animoji by Apple. It is a feature on the phone that uses facial recognition technology to create a character that mimic user’s facial expressions. Advertisements often use faces with specific expressions to evoke emotions such as happiness, trust or excitement. 

Conclusion

Working with a variety of media—graphical images in different styles, photography, and direct interviews—proved to be highly engaging and insightful for our experiments. This diversity enriched our design research by providing multiple perspectives and deeper insights into user experiences and emotions. The next step is to utilize this material to create a comprehensive survey for a larger test group. By simplifying the topic, directly asking targeted questions, and incorporating different images to evoke and assign emotions, we aim to gather valuable data to further refine our design approach.

by Sofie Neudecker -

19. Series of Interviews 02

General information about the interviewee:

Age: 62
Gender: Male
Occupation: communications engineer

1.  Understanding Facial Emotion Recognition:

  • Can you describe what the term „Facial Emotion Recognition“ means to you?

    Facial Emotion Recognitionis a technique for recognising human mood and emotions based on a person’s facial expression. It plays a role in areas such as medicine, security, market research and social research. Automated methods, AI and machine learning algorithms offer great potential for the future use of this technology.

2.  Analyzing Facial Expressions:

  • What helps you analyze the facial expression of another person when you see them?

    When analysing another person’s facial expression, visual cues such as movements of the eyebrows, eyes, mouth and other facial muscles play a crucial role.
  • Which specific features and aspects do you pay attention to in this scenario?

    In the course of evolution, reactions such as the movement of the eyebrows, eyes, mouth, forehead or other areas of the face have become established in human facial expressions. The purpose of these facial expressions is non-verbal communication with the other person, which takes place unconsciously. These facial reactions, which cannot be fully controlled, can be used to draw conclusions about the emotions that trigger them.

3.  Proportion and Arrangement:

  • Are the proportions and arrangement of facial features important to you when perceiving a face? If so, how?

    Yes, they play an important role in distinguishing between different faces. Computer algorithms for facial recognition work with a few distinctive proportions that can identify a face quite clearly. In addition to other features such as colour or skin texture, proportions play an important role in assessing the beauty of a face. Both general and personal standards are used to assess the beauty of a face.

4.  Influence on Emotions:

  • Can certain facial features and expressions influence the way you feel? How do they affect your emotions?

    Certain facial features do have an effect on how a person is perceived. A person with a pretty face is perceived as more likeable. Emotions in the other person’s face directly influence your own emotions, such as pity, joy, confidence or affection.

5.  Attractiveness of Faces:

  • What attributes make a face attractive to you? What role does symmetry play?

    Attributes that make a face attractive are colour, symmetry, proportionality, clear skin, youthfulness, and positive expressions. Symmetry plays a crucial role because it signals genetic health and developmental stability, making the face more visually appealing.
  • Is there a difference for you between the attractiveness of male and female faces?

    Absolutely! Hard and angular faces can definitely look attractive on men, whereas I prefer soft faces on women. A woman’s beard is irritating, whereas it is normal for a man.

6.  Preferences for Makeup:

  • Do you prefer faces with a lot of makeup, very little makeup, or no makeup at all? What degree of makeup do you like the most and why?

    I find make-up rather distracting on men. If at all, it has to be very minimal and inconspicuous.
    For women, I also prefer less make-up, which is always appropriate and gives a natural look. However, some types can tolerate more make-up, which can create a somewhat more exotic look. However, this comes with the risk that it may not suit your own type.

7.  Facial Shapes in Everyday Objects:

  • Do you sometimes recognize facial shapes in everyday objects around you? If yes, can you provide a few examples?

    Yes, sometimes you can recognise facial shapes in objects. A well-known example is the man in the moon, but you can also recognise facial shapes in clouds or in the leaves of trees.
    Some things, such as emojis or pumpkin faces, are modelled on the face.
  • Does this recognition affect the way you feel about those objects or the way you interact with them?

    Absolutely. The moon, for example, is humanised, given a kind of soul. The „smile“ emoji, for example, was developed to generate a positive reaction.

8.  Controlling Facial Expressions:

  • Do you sometimes try to control your own facial expressions to hide your true feelings or to display emotions you aren’t actually feeling? If yes, why do you do it, and how do you manage it?

    Yes, it is often necessary to hide your emotions as much as possible. It is often not customary to show emotions at business meetings. Emotions can signal weakness to the other person, which can be undesirable, especially in competitive situations.
    Finally, a tendency to partially conceal feelings has also developed as a result of upbringing.
    However, certain facial expressions occur unconsciously and can only be controlled imperfectly.

9.  Relevance to Art and Design:

  • How do you think understanding facial shapes and expressions can benefit artists and designers in their work?

    There are two aspects to assessing facial shapes and expressions in art and design.
    Firstly, artists often want to convey or express a mood or emotion. In doing so, they can utilise the effect of facial expressions on other people, which has developed over the course of evolution.
    On the other hand, artists are often dependent on consumer feedback. Here too, an understanding of facial shapes and expressions can be useful.
  • Can you think of any examples where the perception of facial features has influenced a piece of art or a design project?

    Mona Lisa, for example. Or the painting „The Scream“ by Edvard Munch.
    The Greek statues had rather flat facial features, many monarchs had themselves portrayed with determined facial features. In film art, facial expression is an essential element.

General information about the interviewee:

Age: 24 years
Gender: Male
Occupation: PhD Student in Visual Analytics
TU Graz

1. Understanding Facial Emotion Recognition:

Can you describe what the term „Facial Emotion Recognition“ means to you?

When we want to express our feelings, we show them to others by changing our face muscles – known as facial expressions. Another person picks up these emotions through our face which is facial emotion recognition. 

2. Analyzing Facial Expressions:

What helps you analyze the facial expression of another person when you see them?

Shape of mouth (laughing, engineer smile 😐, etc.), muscles around eyes, eyebrows

Which specific features and aspects do you pay attention to in this scenario? See previous question

3. Proportion and Arrangement:

Are the proportions and arrangement of facial features important to you when perceiving a face? If so, how?
A symmetrical face is beautiful to look at, but asymmetrical or disproportional features catches our attention easier.

4. Influence on Emotions:

Can certain facial features and expressions influence the way you feel? How do they affect your emotions?
When a person expresses sadness through hanging eyebrows, sad smile, tears streaming down their face, we naturally won’t feell extremely happy about that – it also makes us feel sadness in some way.

5. Attractiveness of Faces:

What attributes make a face attractive to you? What role does symmetry play?
Correct proportions – this is possible through symmetry. Well adjusted lips – not that botox stuff, especially when the botox thing goes wrong, it destroys symmetry. A skin with correct color tone indicates healthiness -> attractive. 

Is there a difference for you between the attractiveness of male and female faces?
Female faces are attractive by their majestic and elegant shape, they look smooth and symmetrical. Attractive male faces have distinctive features, they look more angular, more “rough” which might indicate strength and robustness in some way (I believe?) 

6. Preferences for Makeup:

Do you prefer faces with a lot of makeup, very little makeup, or no makeup at all? What degree of makeup do you like the most and why?
Of course a shitload of makeup is certainly not attractive and makes the face look artificial and plastic. Very little makeup might help to hide unwanted features or put more emphasis on good features such as lips.

7. Facial Shapes in Everyday Objects:

Do you sometimes recognize facial shapes in everyday objects around you? If yes, can you provide a few examples?
Cars – every single car has that face with the two headlights and the radiator grille. There is even a saying in Austria “Do hob I erstmoi gschaut wie a Auto”

Does this recognition affect the way you feel about those objects or the way you interact with them
Probably a question for psychologists, since this belongs to the research area of our subconscious behavior.

8. Controlling Facial Expressions:

Do you sometimes try to control your own facial expressions to hide your true feelings or to display emotions you aren’t actually feeling? If yes, why do you do it, and how do you manage it?
There are certain funny situations, for example when playing a game with friends which is about lying, you need to have a “Pokerface”

9. Relevance to Art and Design:

How do you think understanding facial shapes and expressions can benefit artists and designers in their work?
If you want to make people buy certain products, you want them to feel happy – so maybe arouse their subconciousness with the help of a “hidden” happy face.

Can you think of any examples where the perception of facial features has influenced a piece of art or a design project? Sorry, no.

by Sofie Neudecker -

18. Series of Interviews 01

In my recent research, I conducted a series of interviews to delve into the intricacies of individual face perception and the unique emotions elicited by specific facial features. The primary objective was to identify commonalities across various interviews that could lead to broader, generalized statements about face perception. Concurrently, I aimed to highlight the deeply personal and subjective nature of how we perceive faces. This dual focus allowed for a comprehensive understanding of both the universal patterns and the individualized nuances in face perception.

General information about the first interviewee:

Age: 32 years
Gender: Male
Occupation: Freelance Copywriter

1.  Understanding Facial Emotion Recognition:

  • Can you describe what the term „Facial Emotion Recognition“ means to you?

The ability to discern a person’s emotional state based on facial expression. 

2.  Analyzing Facial Expressions:

  • What helps you analyze the facial expression of another person when you see them?

I would say mostly instinct — registering expressions on an unconscious level. Or consciously comparing and contrasting facial expressions with past experiences, for example associating frowning with someone being unhappy about something. 

  • Which specific features and aspects do you pay attention to in this scenario?

Probably mostly the eyes. 

3.  Proportion and Arrangement:

  • Are the proportions and arrangement of facial features important to you when perceiving a face? If so, how?

I’d like to say no but I think they probably are, though I’ve never given it any active thought so I can’t say for certain. Again I think it’s probably unconscious. 

4.  Influence on Emotions:

  • Can certain facial features and expressions influence the way you feel? How do they affect your emotions?

Definitely. I think the more pronounced expressions like smiling and frowning can definitely influence me — especially in terms of compassion and empathy. 

5.  Attractiveness of Faces:

  • What attributes make a face attractive to you? What role does symmetry play?

Authenticity for me is one of the most attractive features of a face, but I think this is more difficult to define in terms of specific expressions and attributes. When I can see that someone is genuine and authentic, and when this is expressed through their face, then I would consider that to be attractive. 

  • Is there a difference for you between the attractiveness of male and female faces?

I don’t think so. When I reflect on the kind of male faces I find attractive they mostly tend to be more feminine in terms of aesthetics. 

6.  Preferences for Makeup:

  • Do you prefer faces with a lot of makeup, very little makeup, or no makeup at all? What degree of makeup do you like the most and why?

No makeup at all. I prefer to see someone as they look naturally. 

7.  Facial Shapes in Everyday Objects:

  • Do you sometimes recognize facial shapes in everyday objects around you? If yes, can you provide a few examples?

Yes. Sometimes I see faces in letter boxes and houses — in the ways that windows and doors are arranged. 

  • Does this recognition affect the way you feel about those objects or the way you interact with them?

Definitely. As soon as I see a face in an object I start to project a personality onto it, and so I feel some sympathy and affection towards it.

8.  Controlling Facial Expressions:

  • Do you sometimes try to control your own facial expressions to hide your true feelings or to display emotions you aren’t actually feeling? If yes, why do you do it, and how do you manage it?

I think so, but it happens so spontaneously that I’m hardly aware that I’m doing it. Mostly I think it’s when I’m trying to hide my disappointment or surprise, but I don’t think I’m very successful most of the time — there’s that split-second moment before I take conscious control of my face, when the real emotion comes out, and at that point it’s already too late!

9.  Relevance to Art and Design:

  • How do you think understanding facial shapes and expressions can benefit artists and designers in their work?

Maybe it can help with infusing inanimate objects with a sense of life and personality. It might also help an artist inject subtle emotions and cues into their work that the audience might not consciously pick up on. A facial expression is an external manifestation of an internal process, maybe designers and artists can use this sort of understanding to externalise and humanise something that would otherwise remain hidden and lifeless.

  • Can you think of any examples where the perception of facial features has influenced a piece of art or a design project?

The first thing that comes to mind is Picasso, though I can’t say why. 

Information about the second interviewee:

General information about the second interviewee:

Age: 23 years
Gender: female
Occupation: designer 😉

1.  Understanding Facial Emotion Recognition:

  • Can you describe what the term „Facial Emotion Recognition“ means to you?
    • To me it describes the technology to recognise the emotions and feelings in a persons’ face.

2.  Analyzing Facial Expressions:

  • What helps you analyze the facial expression of another person when you see them?
    • For me a big part are the eyes, the eyebrows and the way you move your mouth (or your lips and the little, hardly noticeable movements)
  • Which specific features and aspects do you pay attention to in this scenario?
    • It depends on the situation, when it comes to the overall wellbeing of the person, the eyes are the most important to me, however, when it’s about emotions about a certain topic, the eyebrows and the mouth area I think help me more to analyse the other person…

3.  Proportion and Arrangement:

  • Are the proportions and arrangement of facial features important to you when perceiving a face? If so, how?
    • The proportions and arrangement of facial features is not really important to me, because every person is different and so I get used to everyone’s face and adapt my perception to the individual faces. But in general people might make the same facial expressions and they mean different things to everyone.

4.  Influence on Emotions:

  • Can certain facial features and expressions influence the way you feel? How do they affect your emotions?
    • Yes! Absolutely! I think mostly when someone moves the eyebrows
      in a hardly noticeable way, in the way of saying „what?!“ It definitely can be intimidating or confusing, at the same time a different way
      of moving your eyebrows can make you feel understood and cared for.

5.  Attractiveness of Faces:

  • What attributes make a face attractive to you? What role does symmetry play?
    • I was struggeling with this question a lot – and I still don’t really know how I’m supposed to answer it… But generally speaking I think to me the individual parts of the face make a face attractive to me and that is mostly the eyes and the expression in them. Symmetry plays that big of a role, but when I’m thinking of „perfect“ attractiveness, I imagine a really symmetrical face with quite „perfect“ features.
  • Is there a difference for you between the attractiveness of male and female faces?
    • For me yes, as prejudices as this sounds, but an attractive male face is a bit edgier and a attractive female face has more round and gentle features.

6.  Preferences for Makeup:

  • Do you prefer faces with a lot of makeup, very little makeup, or no makeup at all? What degree of makeup do you like the most and why?
    • I think no makeup or the kind of no makeup-makeup is my favourite. It’s natural and I think it’s great when you can use makeup to enhance your features, not put them underneath a 3cm layer of makeup.

7.  Facial Shapes in Everyday Objects:

  • Do you sometimes recognize facial shapes in everyday objects around you? If yes, can you provide a few examples?
    • Yes – today I saw a potato that had a shape of a face. Or light switches – they always look at you.
  • Does this recognition affect the way you feel about those objects or the way you interact with them?
    • Well, somehow I always want to take a photo of them, as a collection of things I see faces in. And in some cases (like with a microwave that for me was a screaming face) I want to give those object names. 

8.  Controlling Facial Expressions:

  • Do you sometimes try to control your own facial expressions to hide your true feelings or to display emotions you aren’t actually feeling? If yes, why do you do it, and how do you manage it?
    • I try sometimes to hide my facial expressions, mostly when I think someone had a weird idea or when I don’t like the food so much, but I am really bad at it…😅

9.  Relevance to Art and Design:

  • How do you think understanding facial shapes and expressions can benefit artists and designers in their work?
    • I think it can teach you the rules, and the general kind of structure of eyebrows, eyes, nose, mouth on the different facial shapes, and make you realise how different every face is and all the possibilities to mix and match – so to understand the „rules“ and be able to combine differntly and to think differently.
  • Can you think of any examples where the perception of facial features has influenced a piece of art or a design project?
    • Right now not really, but I’ll think about it more… 😉
by Sofie Neudecker -

17. Different Emotional Expressions

Shooting displaying different emotions

How to use the images for experiments

Here are some photographs I have taken of myself, each capturing different emotions. My next step is to present these images to a larger test group. To enhance neutrality and emphasize the facial expressions, the photos are in high-contrast black and white. One approach is to have participants view the images and generate their own adjectives to describe the emotions. Alternatively, I could offer three specific adjectives for them to choose from. To explore the perception of subtle micro-expressions, these adjectives should represent specific subcategories of broader emotions; for instance, terrified, anxious, and frightened could all fall under fear. A third option is to provide a comprehensive list of adjectives from which participants can select one for each photograph. Ultimately, I aim to determine if there are any consistent or common patterns in the adjectives assigned by the test group.

by Sofie Neudecker -

16. Size of facial elements and horizontal distance between the eyes

Introduction

In this new series of images, I have experimented with varying the distances between the eyes and altering the sizes of the eyes and mouth. These modifications aim to delve deeper into how facial proportions affect our perceptions of personality traits. Each image will be evaluated by a test group, who will rank them based on criteria such as approachability, expressiveness, likability, credibility, and intelligence. Through this process, I hope to gain a more nuanced understanding of the visual cues that influence our judgments of others.

Eyes are close to each other
Eyes are far away from each other
Big eyes and big mouth
Big eyes and small mouth
Small eyes and big mouth
Small eyes and small mouth

Conclusion

Building on the insights from the previous study on vertical facial distances, this research further emphasizes the importance of facial proportions in shaping perceptions. The findings can offer designers valuable guidelines for creating more engaging and relatable visual content. In areas such as branding, character design, and user interface development, understanding how changes in eye distance and mouth size impact perceived traits can enhance the effectiveness of visual communication. By recognizing these subtle yet powerful influences, designers can craft visuals that resonate more deeply with their audience, ultimately leading to more successful and impactful designs.

by Sofie Neudecker -

15. Vertical Distances

Introduction

My next step was to create a series of images in which the vertical distances between the eyes, nose, and mouth are different. I want to show these images to a test group and have them rank the images based on criteria such as friendliness, attractiveness, competence, intelligence, and trustworthiness. Ultimately, I aim to determine if certain characteristics are generally associated with specific facial features. However, I must emphasize that my findings will be based on general perceptions and are not scientifically validated. These associations can be incorrect, and a person’s personality may differ significantly from the impressions suggested by their unique facial proportions.

Low eyes and low mouth
Low eyes and high mouth
Average distances/proportions
High eyes and high mouth
High eyes and low mouth

Conclusion

Despite the limitations of my research, it can still provide valuable insights for designers. Understanding the general perceptions associated with different facial proportions can help designers create more effective and appealing visual content. For instance, in marketing and advertising, knowing which facial features are commonly linked to trustworthiness or competence can guide the selection of images that evoke the desired response from the target audience. Additionally, this research can inform character design in fields such as animation, gaming, and branding, where conveying specific personality traits through visual cues is crucial. While the findings are based on general perceptions and are not scientifically validated, they offer a useful starting point for exploring how subtle changes in facial features can influence human perception.

by Sofie Neudecker -

14. Doing more trials to backup my research

I created many series featuring faces of different people at various ages with distinct looks. Additionally, there are graphical images of animals, such as a dog and a cat. All these images are graphical vector illustrations that have been simplified step by step in Illustrator. There are also more images of faces that I have manually created. Later, I used digital tools to simplify them gradually.

During the summer break, I plan to simplify these images further, until only two dots remain where the eyes used to be. Then, I want to conduct the same experiment again to validate the findings from my previous post. This is my collection of different faces in various stages of abstraction.

Series 01: Middle Aged Man

Series 02: Young Girl

Series 03: Young Boy

Series 04: Cat

Series 05: Dog

Series 06: Dot Art

Series 06: Line Art

Series 07: Print

Series 08: Profile Drawing

It was important to me to create a series that is highly diverse, encompassing a variety of styles and personalities. At the same time, I wanted to maintain a structured approach to the abstraction process, ensuring continuity in the simplification stages. This method will help me systematically explore how different degrees of abstraction affect the perception of faces and personalities, providing valuable insights for my ongoing research.

by Sofie Neudecker -

13. Series of Experiments

Exploring the Degree of Abstraction

I have created the following images of a face in twelve different degrees of abstraction. Initially, the facial shapes are very detailed and clearly set within a context, making it immediately recognisable that the depicted person is a young woman. Step by step, I reduced the colours, simplified the shapes, and removed more and more elements. In the end, only two black dots remain where the eyes used to be.

Starting with the last image featuring two dots, I showed the series to a test group of three different people. I asked them if they could recognize what was shown in the image. Two out of the three people recognized a face in the eleventh image with three dots; the third person recognized a face in the tenth image, when the shape of the mouth was already more refined.

Additionally, I asked the test group at which point they were able to recognize the gender of the face and estimate its rough age. One test person said this was possible at the ninth image, the second person at the seventh, and the third at the fifth image, when the context of longer hair surrounding the face was present.

by Sofie Neudecker -

12. Next Steps

Introduction

Exploring human perception of facial configurations is a fascinating endeavor that spans psychology, neuroscience, and the visual arts. Facial recognition and interpretation are central to human interaction, shaping social communication, emotional understanding, and even aesthetic judgments. To investigate these dynamics, I have developed a structured approach for a series of experiments aimed at examining how people perceive variations in facial configurations. These studies are designed to provide insights into the subtleties of facial recognition and to deepen our understanding of how minor changes in facial features and expressions impact perception and emotional response.

Experimental Structure

The following experimental design details how I plan to investigate various aspects of facial perception:

1. Creating Images with Different Levels of Abstraction

To explore the boundaries of facial recognition, I will generate a range of images that vary from highly detailed to highly abstracted representations of faces.

  • Objective: Identify the threshold at which an image loses its recognizability as a face among the test group.
  • Procedure: Test participants will view a sequence of images at different levels of abstraction, and their ability to identify each image as a face will be assessed.

By examining this recognition threshold, I aim to uncover how essential details and forms contribute to the recognition process.

2. Altering Distances Between Facial Features

This set of images will manipulate the spatial relationships between key facial features—specifically, the distances between the eyes, nose, and mouth.

  • Objective: Evaluate how variations in facial feature spacing influence perceptions of attractiveness and friendliness.
  • Procedure: Participants will rate each image based on perceived beauty and friendliness, allowing me to analyze how different arrangements impact social impressions.

These tests will help reveal whether certain spatial configurations are consistently associated with positive traits, which could have implications for both psychology and design.

3. Varying Facial Expressions

To assess emotional perception, I will create images that portray a range of facial expressions.

  • Objective: Determine whether participants interpret the same emotions from each facial expression or if individual interpretations vary significantly.
  • Procedure: Participants will be asked to identify the emotions each face conveys. Discrepancies in interpretation will be analyzed to uncover potential differences in emotional perception.

This experiment will help clarify how universally certain expressions are interpreted and whether subtle nuances in expressions can lead to diverse emotional responses.

Conclusion

These experiments are a vital component of my ongoing research into facial perception. By investigating how different levels of abstraction, feature spacing, and facial expressions affect perception within a test group, I aim to gain a more nuanced understanding of the mechanisms underlying facial recognition and emotional interpretation. The findings from these experiments will not only enhance the credibility of my research but will also offer valuable insights into the complex processes that shape how we perceive and respond to faces. This exploration has the potential to contribute meaningful knowledge to cognitive psychology, visual arts, and human-computer interaction, enhancing our comprehension of the fundamental mechanisms that govern facial perception in our daily lives.

by Sofie Neudecker -

11. Experimental Phase

Research Summary and Future Steps

In the first semester of my research, I explored the neurological underpinnings of how humans perceive facial configurations. This phase focused on general facial recognition, establishing a foundational understanding of the processes involved in facial perception. From there, I delved deeper into how humans interpret emotions conveyed through facial expressions. This analysis incorporated key elements such as symmetry, aesthetic traits, and the “child schema” (infant-like facial features), which play a vital role in how we perceive attractiveness and emotional cues in faces.

Expanding Focus: Facial Configurations in Art and Design

In the subsequent phase, I shifted my focus to the context of graphic design and visual arts. This exploration examined how facial configurations are stylized, utilized, and interpreted within artistic and design contexts. I aimed to understand the impact that specific facial shapes and expressions have on viewers, with an emphasis on the emotional responses these configurations evoke in artistic settings. This cross-disciplinary examination of facial perception from both neurological and aesthetic perspectives allowed me to explore the interplay between cognitive science and visual art.

Next Research Steps: Experimental Design and Surveys

The upcoming phase of my research involves conducting targeted surveys and experiments. The core of this work will be to present observers with a diverse array of images showcasing facial configurations at varying levels of abstraction. This approach aims to investigate two primary aspects:

  1. Recognition Value:
    • The primary objective is to assess whether observers can consistently recognize abstracted or stylized configurations as representing human faces.
  2. Assignment of Emotions:
    • I will explore the specific emotions that observers attribute to particular facial configurations. This will reveal patterns in emotional interpretation based on facial structure, expression, and style.

To ensure a comprehensive analysis, I will curate images that exemplify various artistic techniques and degrees of abstraction. These images will serve as a basis for understanding how specific facial configurations and styles influence both cognitive recognition and emotional response.

Through these surveys, I aim to uncover deeper insights into the cognitive mechanisms behind facial recognition and emotion interpretation, which will contribute valuable knowledge to cognitive psychology, visual arts, and user experience design.

Final Research Phase: Real-World Contextualization

In the culminating phase of my research, I will investigate the practical applications of facial configurations within real-world design contexts. This will involve studying user interactions with products that incorporate facial shapes or configurations, with the goal of understanding how these designs impact user experience. Specifically, I will focus on:

  1. Interaction with Interfaces:
    Investigating how facial shapes influence the way users engage with the interfaces of everyday devices and products. This includes examining whether facial configurations facilitate more intuitive interactions.
  2. Emotional Impact on Users:
    Assessing whether specific facial configurations can shape the emotional response users have toward products. I aim to determine if these configurations can positively influence both user experience and emotional connection.
  3. Design Strategies for Pareidolia:
    Exploring how designers can strategically incorporate pareidolia—the tendency to perceive faces in inanimate objects—to enhance user engagement and satisfaction.

Through this comprehensive approach, I intend to identify how integrating facial configurations into product and interface design can lead to more empathetic and user-centered experiences. By examining these dynamics, this research has the potential to inform more intuitive, emotionally resonant design strategies, ultimately contributing to enhanced user satisfaction and engagement across various domains.

By addressing these questions, I aim to find out how integrating facial shapes into design can enhance user engagement and satisfaction. The insights gained from this research could lead to more empathetic and intuitive design practices, ultimately contributing to improved user experiences in various fields.