237 Salamanca, J., Desmet, P., Burbano, A., Ludden, G., Maya, J. (Eds.). Proceedings of the Colors of Care: The 9th International Conference on Design & Emotion. Bogotá, October 6-10, 2014. Ediciones Uniandes, Bogotá, 2014. ISBN: 978-958-774-070-7 THEORETICAL ISSUES OF DESIGN AND EMOTION 236 DESIGN & EMOTION 2014 | SOCIAL INNOVATION | COLOMBIA INTRODUCTION A user’s interpretation of a product is a multifaceted expe- rience that can address aesthetic experiences as well as meaningful and affective ones (Desmet & Hekkert, 2007). Thus, while an aesthetic experience seeks the delight of the product through different sensory modalities and focuses on the perception of the object, a meaningful experience seeks partnering with various abstract qualities and focuses on the cognition of the product. Finally, affective experience re- fers to emotions caused by the aesthetic and/or meaningful dimensions of a product on the user. Despite the clear per- ceptual orientation of the aesthetics, it is known that there are two components that identify i) the regularity and ii) the novelty of the stimulus (Gombrich, 1984). Variations of this double condition determines what is known as aesthetic bal- ance (Coates, 2003), which has been studied under different names in Marketing (Creusen & Snelders, 2002; Creusen & Schoormans, 2005), Architecture (Nasar, 1984, 1999), Design (Desmet & Hekkert, 2007; Coates, 2003; Locher, Overbeeke & Wensveen, 2010), Semantic Theory (Krippendorff & But- ter, 1984; Steffen, 2007, 2009) Visual Arts (Arnheim, 1966; Gombrich , 1984; Hekkert, 2006), Psychology (Russell, 2003; Norman, 2004a; Locher et al, 2007) and Human-Computer Interaction (Tractinsky, Katz & Ikar, 2000; Hassenzahl, 2003; Lindgaard et al, 2006) among others. Given this approach, this article seeks to find the influence of the aesthetic balance of a prototypical web page on three different emotions accord- ing to Desmet's classification of product emotions (2003): Beauty (aesthetic emotion), Satisfaction (instrumental emo- tion) and Enjoyment (interest emotion). For this purpose, this article presents a theoretical foundation about aesthetic bal- ance as a two dimensional theoretical construct that captures the regularity -Classical Aesthetics- and novelty -Expressive Aesthetic- of a product (Gombrich, 1984, Lavie & Tractinsky, 2004). To test the Balance Aesthetic, first a group of experts analyzed the learning platform of the University of Nariño looking at prototypical forms of regularity and novelty follow- ing Reber, Shwarz & Winkielman (2004). Second, the validity and reliability of the scales used to measure the classical and expressive dimensions were determined. Subsequently, each of these dimensions was correlated with beauty to compare individual variance that was explained using a nested model procedure (Edwards, 2001; Burton-Jones & Straub, 2006). Following Coates (2003) and Tractinsky et al. (2006), equilib- rium between these two dimensions and beauty is expected. Finally, the impact of excluding each of the dimensions in the explained variance of beauty, satisfaction and enjoyment has been determined. With this procedure, we expected to find the different impacts of aesthetic balance on the chosen emo- tions. Thus, a greater impact on the exclusion of classical aes- thetics on satisfaction (Lindgaard & Dudek, 2003), as well as a greater impact on the exclusion of expressive aesthetics on the enjoyment (Sanchez-Franco & Roldan, 2005) is expected. AESTHETIC BALANCE IN THREE DIFFERENT EMOTIONS Carlos Cordoba-Cely Department of Design, University of Nariño, Av. Torobajo 47-150, Pasto, Colombia.  cordobacely@udenar.edu.co ABSTRACT Aesthetic balance is an active process of perception to identify i) the regularity and ii) the novelty of a stimulus. This article fnds the aesthetic balance of a prototypical web page and establishes the infuence of the regularity and the novelty of the product on three afective ex- periences: beauty, satisfaction and enjoyment. The results show that aesthetic balance equally afects the beauty, while the dimension of regularity leads to satisfaction, and the dimension of novelty leads to enjoyment. The implications of these results are discussed. KEYWORDS: Aesthetic Balance, Aesthetic Experience, Design Theory. APPENDIX – PHOTOS OF HEALTH CARE PRODUCTS Picture 1 Picture 2 Picture 3 Picture 4 Picture 5 Picture 6 Picture 7 Picture 8 Picture 9 Picture 10 Picture 11 Picture 12 Picture 13 http://de2014.uniandes.edu.co | October, 2014. ISBN 978-958-774-070-7. pp. 228-236