產品設計風格與色彩配色之關係

Abstract

本研究旨在探討產品設計風格，對一般大眾是否有意義且能分辨的，並探討在不同的設計風格中，色彩配色是否為區分設計風格的重要因素之一，而每個設計風格是否有其配色的特點。因此本研究的實驗主要分為兩階段，第一階段：設計風格分類實驗，自Alessi、Bauhaus、Braun、Memphis、Philips以及Starck這六種產品風格中，挑出50張產品的圖片，讓使用者分別以「設計風格」與「色彩配色」兩個重點，分別來進行相似性分類。所得資料應用MDS分析求出座標位置較集中，群聚性較高，較易被一般人辨別出來的設計風格，做為下一階段實驗的基礎。並由每個風格中挑出較具代表性的產品，做為下階段實驗之刺激。第二階段：要求受測者分別對設計風格圖片與色彩配色作SD評量，以找尋設計風格與色彩配色之共同點與關連性。 第一階段的實驗結果歸納如下：(1)設計風格對一般大眾是有意義且能分辨的。(2)若以「設計風格」為分類的重點，則Braun、Memphis與Philips這三個風格較易被辨識出。(3)若以「色彩配色」為分類重點，則Memphis、Philips與Alessi較易被辨識出。因此我們選取Braun、Memphis、Philips與Alessi為下一階段實驗的樣本。第二階段的實驗結果歸納如下：(一) 產品設計風格與色彩配色有一定的關係。以本研究的結果，我們可得知每個設計風格在色相和色調配色方面的特點。 Alessi風格的產品較接近對比色相加上鮮色調與鮮色調的配色意象；Braun風格的產品接近無彩色加上暗色調和暗色調的配色意象；Memphis風格的產品接近對比色相加上鮮色調與鮮色調的配色意象；Philips風格的產品較特殊，同時接近互補色相的配色與無彩色的配色意象，色調方面也是鮮色調與鮮色調的配色意象。(二)要造成特定意象，色相與色調有些相關性。以本研究的結果，可知若色相差小(同一色相配色或類似色相配色)，則在色調方面，應傾向採用鮮色調(v)與鮮色調(v)的配色。若色相差大(對比色相配色或互補色相配色)，則在色調方面，應傾向選用鮮色調(v)與淺色調(lt)的配色。而且在本研究所採用的四個風格中，都包括了鮮色調與其他色調的配色(v+v，v+lt，v+dk)。在產品的設計風格中，鮮色調的使用率很高。 關鍵詞：設計風格，色彩配色，MDS分析，SD評量，產品知覺空間。

The purport of this research is to explore whether product design styles are distinguishable and meaningful to the public; to find out that whether color schemes are served as a determining factor in the process of discerning product design styles; and finally, to distinguish that if different design styles have their patterns of color schemes. The experiment of this project is preceded in two stages. The first stage is the classification of product design styles. From the design styles of Alessi, Bauhaus, Braun, Memphis, and Philips, I pick up fifty pictures for the users to classify the similarities between them under the presumption of design styles and color schemes. The data being collected applies the MDS to find out the styles that are denser in the graphic and more discernible to the public, and then, serve them as the basis of the experiment of the second stage. We select the products that are more representative in style, and serve them as the stimulants of the next experiment. The second stage is to adopt the SD evaluation of design styles as well as color schemes to look for the relativities and commonalities between design styles and color schemes. The results of the first stage experiment are concluded as followed: (1) From the results of the statistics, we determine that design styles are meaningful and discernible to the public. (2) Serving “design styles” as the major factor of classification, the Braun, the Memphis, and the Philips are more distinguishable. (3) Serving “color schemes” as the major factor of classification, the Memphis, the Philips and the Alessi are more discernible. Therefore, we select the styles of Braun, Memphis, and Alessi as the samples of the next experiment. The results of the second stage’s experiment are concluded as followed: (1) The relativities between product design styles and color schemes. From the outcome of this research, we obtain the characteristics of each style in terms of chroma and hue. The Alessi style tend to adopt the scheme of contrastive chroma and vivid-and-vivid hue; products of Braun style incline to adopt the scheme of none-chroma and dark-and-dark hue; products of Memphis style tend to use the scheme of contrastive chroma and vivid-and-vivid hue; products of Philips style are more exceptional. They tend to adopt the scheme of complementary chroma and none-chroma at the same time, and vivid-and-vivid hue. (2) The relativities between chroma and hue. From the results of this experiment, we conclude that if the chromatic aberration is smaller (that is, similar or the same chromatic schemes), then the vivid-and-vivid hue are more frequently adopted. If the chromatic aberration is greater (that is, complementary or contrastive chroma), then the vivid-and-light hues are more frequently adopted. Besides, the schemes of vivid-and-vivid, vivid-and-light, and vivid-and-dark are all included in the four styles adopted by this experiment. Hence, vivid hues are frequently used in the product design styles. Keyword：design style , color scheme , MDS , SD