Anchoring

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What is Anchoring?

Anchoring is a cognitive bias that occurs if someone presents information in a way that limits an audience’s range of thought/reference. To suggest values or list options this way is to frame a “desirable” choice/reply. As anchoring can distort users’ needs, problems and more, it can impair ideation for design teams.

Learn about anchoring and what it means in design.

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    We have tendencies to see things in one way or another. And that's about all sorts of things. That can be about serious personal issues; it can be about trivial things. Often the way in which *something is framed to us can actually create a bias* as well. A classic example, and there are various ways you can do this, is what's called *anchoring*. So, if we're asked something and given something that *suggests a value*,

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    even if it's told that it's just there for guesswork purposes or something, it tends to hold us and move where we see our estimate. So, you ask somebody, "How high is the Eiffel Tower?" You might have a vague idea that it's big, but you probably don't know exactly how high. You might ask one set of people and give them a scale and say, "Put it on this scale; just draw a cross where you think on this scale from 250 meters high to 2,500 meters high.

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    How high on that scale?" And people put crosses on the scale – you can see where they were, or put a number. But alternatively, you might give people – instead of having a scale of 250 meters to 2,500 meters, you might give them a scale between 50 meters and 500 meters. Now, actually, the Eiffel Tower falls on *both* of those scales; the actual height is around 300 meters. But what you find is people don't know the answer; given the larger, higher scale, they will tend to put something that is larger and higher,

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    even though they're told it's just a scale. And actually, on the larger scale, it should be right at the bottom. Here, it should be about two-thirds of the way up the scale. But what happens is you, by framing it with big numbers, people tend to guess a bigger number. If you frame it with smaller numbers,  people guess a smaller number. They're anchored by the nature of the way the question is posed. So, how might you get away from some of this fixation? We'll talk about some other things later,

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    other ways later. But one of the ways to actually *break* some of this bias and this fixation is to *deliberately mix things up*. So, what you might do is, say, you're given the problem of *building* the Eiffel Tower. And the Eiffel Tower I said is about 300 meters tall, so about 1,000 feet tall. So, you might think, "Oh crumbs, how are we going to build this?" So, one thing you might do is say, "Imagine instead of being

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    300 meters tall, it was just 3 meters tall. How would I go about building it, then?" And you might think, "Well, I'd build a big, perhaps a scaffolding, or 30 meters tall – I might build a scaffolding and just hoist things up to the top." So, then you say, "Well, OK, can I build a scaffolding at 300 meters; does that make sense?" Alternatively, you might say, "Perhaps it's 300,000 *miles* tall, basically reaching as high as the Moon. How might I build it, then?" Well, there's no way you're going to hoist things up a scaffold.

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    All the workers at the top would have no oxygen because they'd be up above the atmosphere. So, you might then think about hoisting it up from the bottom, building the top first, hoisting the whole thing up; building the  next layer; hoisting the whole thing up; building the next layer – you know – like jacking a car and then sticking bits underneath. So, by just thinking of a *completely different* scale, you start to think of different kinds of solutions. It forces you out of that fixation. You might just swap things around. I mean, this works quite well if you're worried

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    that you're using some sort of racial or gender bias; you just swap the genders of the people involved in the story or swap their ethnic background, and often the way you look at the story differently might tell you something about some of the biases you bring to it. In politics, if you hear a statement from a  politician and you either react positively or negatively to it, it might be worth just thinking what you'd imagine if that statement

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    came from the mouth of another politician, that was of a different persuasion; how would you read it then? And it's not that you change your views  drastically by doing this, but it helps you to perhaps expose why you view these things differently. And some of that might be valid reasons; sometimes, you might think, "Actually, I need to rethink some of the ways I'm working."

“We’re blind to our blindness. We have very little idea of how little we know. We’re not designed to know how little we know.”

— Daniel Kahneman, Psychologist and economist noted for his work on the psychology of judgment and decision-making as well as behavioral economics

Table of contents

Anchoring means Shaping Selections

Used intentionally, anchoring (also called priming or focalism) can be an effective technique. Parents who ask their children “How often do you want to tidy your room: every day or every other day?” can appreciate its value. It’s also an age-old marketing strategy—appearing in everything from restaurant menus to car showrooms—that encourages customers to pick items because they’re a “good deal” compared with the most expensive offering (the anchor). Anchoring is often used in user experience (UX) design. When designers apply it, they take advantage of users’ inability to make wholly critical judgments in the moment, and so prompt them towards actions that should be desirable for both the users and the brand.

However, anchoring can also occur unintentionally and derail successful ideation for design teams by causing people to accept distorted views. Anchoring occurs when someone introduces a piece of information that will influence everyone regarding how they judge further bits of information, thereby leading them to jump to conclusions. 

Anchoring’s two dimensions are:  

  1. The offered values (e.g., quantity, measurements), by which:

    • Framing with larger values will prompt respondents to think big (e.g., estimate with larger numbers).

    • Framing with smaller values will prompt them to think small (e.g., estimate with smaller numbers).

  2. The wording:

    • E.g., soft qualifier terms such as “just roughly” help respondents feel more confident about what are actually inaccurate answers.

We can see how wrong such conclusions can be in an example where people were asked to estimate the Eiffel Tower’s height using scales which acted as anchors. In this example, many respondents grossly overestimated the tower’s height – simply because the larger scale anchored their view of an acceptable answer. Had anchoring not occurred, they would’ve been free to consider the tower’s height in absolute terms and try for a good guess, rather than think in terms relative to someone else’s viewpoint. So, instead of serving as a guideline, the scale was misleading.

Cognitive Anchoring Effect

© Interaction Design Foundation, CC BY-SA 4.0

Anchoring Shoves Minds inside a Box 

The danger of anchoring is it leads to fixation and people being trapped in a set way of seeing an issue. What makes anchoring so challenging is that, as a bias, it can be extremely hard to notice. One wrong word when describing (e.g.) users’ needs can push people onto the wrong train of thought. Whatever your design process (e.g., design thinking), it’s vital to go in with an open mind and define the problem accurately. Only when you and your team have a well-rounded understanding of what your users would love to have in a solution can you proceed with the least amount of bias. A key ingredient is a good, solid problem statement, the wording of which must be balanced. The danger is that someone can mis-frame the design challenge so it prompts the team to waste time, effort and resources on an inaccurate description. For example, consider this problem statement (i.e., where certain users need to do something because of some compelling insight):

“Remote-working designers in heavy industry need to have app-controlled giant (about 1-cubic-meter) 3D printers installed in their homes because they’ll want an immediate, hands-on feel of sophisticated prototypes; however, the sheer expense of such printers means they’ll want these on a for-lease basis.”

Here, we’re suddenly caged with a set of parameters (e.g., unwieldy, rentable printers) that don’t let us ideate freely. If the problem is that designers working from home would like a way to have prototypes of engineering device/structure models more immediately available, why have we suddenly become fixated on rentable 3D printers (which also may retain sensitive data in their buffers)? 

Here are some tips to prevent anchoring bias:

  • Frame/reframe problem statements and questions to your team and users in a way that permits objectivity. Word things so that others can leverage their imagination, rationality and judgment without being hemmed in by subjective views or assumptions

  • Don’t rush to treat symptoms with solutions. Pay close attention to your user research and how you empathize with your users. What’s the big-picture view? How do the users’ needs look from a holistic aspect? If you jump to conclusions early on, you can cause others to miss the real problem and chase shadows of it instead.   

  • Encourage divergent thinking, lateral thinking and out-of-the-box thinking as much as possible – instead of committing to a potentially flawed view of the users, their contexts and problem/s involved.

Remember, bias can also creep into the later stages of ideation (in convergent thinking) and beyond, so be careful how you word things.  

Learn More about Anchoring

Take our Creativity course, featuring anchoring.

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    Do you all have those moments when you  know you need a spark of creativity? You know... "I want my wonderful bright idea!" — — Nothing comes. I'm not going to try and give you a creativity machine; so, what I'm going to try to do is give  you *techniques* and *mechanisms*. I hope that wasn't too shocking for you,  seeing me waking up in the morning!

  2. 00:00:39 --> 00:01:01

    You notice what I'm trying to do here is to make the *maximum* use of the *fluid* creative thinking and yet also then translate that and make  it into something that's more structured. And this is true whether it's  producing a piece of writing, producing a presentation or video or  producing some software.

  3. 00:01:01 --> 00:01:03

    Get on and *do* it!

The Nielsen Norman Group explore many dimensions of anchoring here.

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Literature on Anchoring

Here's the entire UX literature on Anchoring by the Interaction Design Foundation, collated in one place:

Learn more about Anchoring

Take a deep dive into Anchoring with our course Creativity: Methods to Design Better Products and Services .

The overall goal of this course is to help you design better products, services and experiences by helping you and your team develop innovative and useful solutions. You’ll learn a human-focused, creative design process.

We’re going to show you what creativity is as well as a wealth of ideation methods―both for generating new ideas and for developing your ideas further. You’ll learn skills and step-by-step methods you can use throughout the entire creative process. We’ll supply you with lots of templates and guides so by the end of the course you’ll have lots of hands-on methods you can use for your and your team’s ideation sessions. You’re also going to learn how to plan and time-manage a creative process effectively.

Most of us need to be creative in our work regardless of if we design user interfaces, write content for a website, work out appropriate workflows for an organization or program new algorithms for system backend. However, we all get those times when the creative step, which we so desperately need, simply does not come. That can seem scary—but trust us when we say that anyone can learn how to be creative­ on demand. This course will teach you ways to break the impasse of the empty page. We'll teach you methods which will help you find novel and useful solutions to a particular problem, be it in interaction design, graphics, code or something completely different. It’s not a magic creativity machine, but when you learn to put yourself in this creative mental state, new and exciting things will happen.

In the “Build Your Portfolio: Ideation Project”, you’ll find a series of practical exercises which together form a complete ideation project so you can get your hands dirty right away. If you want to complete these optional exercises, you will get hands-on experience with the methods you learn and in the process you’ll create a case study for your portfolio which you can show your future employer or freelance customers.

Your instructor is Alan Dix. He’s a creativity expert, professor and co-author of the most popular and impactful textbook in the field of Human-Computer Interaction. Alan has worked with creativity for the last 30+ years, and he’ll teach you his favorite techniques as well as show you how to make room for creativity in your everyday work and life.

You earn a verifiable and industry-trusted Course Certificate once you’ve completed the course. You can highlight it on your resume, your LinkedIn profile or your website.

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