色彩知覺與意象空間對色彩調和關係之探討

Abstract

在色彩調和理論的操作型特徵研究上，Moon & Spencer曾提出色彩量化的模型，分別以色相差、明度差與彩度差為量尺，對調和區與不調和區加以定義。但其將人對色彩的視覺過程，獨立成三個向度來考量，似不符合人的視覺經驗。因此，歐立成(1997)以均勻色彩空間中兩色點的距離，定義同時涵蓋色相差、明度差與彩度差的綜合色差（DE*ab），並以色光為顯色條件，探討色差與色面積因素對色彩調和的影響。葉青林(1998)則以物體色為顯色條件，在相同理念下，繼續探討色彩差異與物體色色彩調和的關係。兩個研究結果都顯示，色彩差異與色彩調和之間，具有三次曲線的函數關係。 然而在歐立成及葉青林的研究，雖然導出色彩差異量與色彩調和的關係，但事實上，這是由仍顯散亂的資料中，導出不很確定的結果。因此，本研究將延續歐立成及葉青林的觀點，一方面建構以人們對色彩差異直覺認知的多向度色彩空間；以及能包含人類主觀感覺色彩意象空間，另外提出以相對比較分群法的實驗方法，來量測一對色彩的調和程度。以上述兩種色彩空間，嘗試來繼續探討色彩系統中，色彩間的秩序關係對色彩調和的影響，並比較及檢證Moon & Spencer（1944）及葉青林（1998）的研究結果。 結果顯示，本研究所得的色彩知覺空間及色彩意象空間，其所對應色彩調和的關係並不是非常明顯。然而，由色彩知覺及意象空間的建立中，我們仍可得到一些設計上配色的參考。

Regarding to the theories of color harmony, Moon and Spencer (1944) have proposed an quantitative model in which the color intervals of hue, value and chroma in a color combination will be independently defined as varied harmonious or inharmonious intervals according to the size of intervals. Although the idea of quantitatively defining interlaced harmonious and inharmonious color intervals is believable, humans do not perceive color along the three attributes independently. Instead, we perceive color integrally. Thus, in our previous studies, we defined an integrated color interval of a color combination in a CIFLAB uniform color scale (UCS) space as the distance of a set of colors and investigated its relation to color harmony. These studies revealed that color harmony is roughly a cubic function of the integrated color interval and that the color interval can be classified into varied harmonious or inharmonious one according to its size. However, this relationship is not very obvious and robust due to the fuzzily spreading pattern of data. We doubt that this fuzziness may be partly caused by the inappropriately adoption of CIELAB as an UCS space. It may not uniform enough for our purpose. Therefore, in this study, we followed the research of Li-Cheng Aou (1997) and Ching-Lin Yeh (1998). On one hand, we constructed a multi-dimensional color space in which people feel the differentiation of color intuitively. Furthermore, the color image space also includes the subjective sensations of human. On the other hand, the author proposed an experimental methodology to measure one pair of color-harmony level by pair-comparison and grouping. Based upon the color space mentioned above, the author tried to explore the effects between color-order and color-harmony in the color system, and compared and contrasted the research outcomes of Moon & Spencer（1944）and Ching-Lin Yeh（1998. The results shown that the major dimensions of people's color perceptual space can be defined as value and hue. Moreover, it was reflected that three factors about color image, potency, activity, and emotion factors, would seemingly correspond to value, chroma, and hue. The relationship between color differentiation and color harmoniousness was not evident in the color space. In terms of Munsell's hue differentiation and value differentiation, there are significant differences between hue differentiation and harmoniousness, and between value differentiation and harmoniousness. No significant difference was found between chroma diferentiation and harmoniousness. The smaller the hue differentiation or the bigger the value differentiation, the higher the color harmoniousness.