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研究生:蕭碩薇
研究生(外文):Shuo-Wei Hsiao
論文名稱:造形特徵對情感反應之影響
論文名稱(外文):The Influence of Shape Features upon Emotions
指導教授:李文淵李文淵引用關係
指導教授(外文):Wen-Yuan Lee
口試委員:李文淵
口試委員(外文):Wen-Yuan Lee
口試日期:2015-07-14
學位類別:碩士
校院名稱:大同大學
系所名稱:工業設計學系(所)
學門:設計學門
學類:產品設計學類
論文種類:學術論文
論文出版年:2015
畢業學年度:103
語文別:英文
論文頁數:88
中文關鍵詞:參數式設計情感造形特徵
外文關鍵詞:EmotionGenerative design;Shape features
相關次數:
  • 被引用被引用:0
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  • 下載下載:62
  • 收藏至我的研究室書目清單書目收藏:2
本研究主要目的在於探討造形特徵對情感之影響。
實驗一共 74 位受測者參與,其中包含 35 位美國人以及 39 位台灣人。每位受測
者皆被要求用 20 對情感量尺對 10 個實驗樣本作情感判斷,受測者資料最後用
回歸分析發展出一系列的情感模形。本研究結果詳列如下:
1. 造形特徵對於情感的影響是存在的
2. 體積、組件數量、外觀轉折度以及表面凹凸並不影響情感反應
3. 台灣人及美國人在"躍動的-靜的"、"簡單的新奇的"、"陳舊的複雜的" 的情感反應是一致的
4. 影響台灣人及美國人"強壯的-虛弱的"、"優雅的-庸俗的" 情感反應的造形特徵在此研究中沒有被找到
5. 美國人多數情感反應是受到 voronoi diagram 造形特徵的影響;台灣人多數情感反應是受到 voronoi diagram 造形特徵以及特徵數量的影響
The aim of this study is to understand what the influence of the shape feature upon emotions is. Seventy-four observers were invited to take part in a psychophysical experiment, including 39 Taiwanese and 35 American. Each observer was asked to assess ten experimental samples on twenty scales. The data obtained from experiment were used to develop regression model. These models revealed the relationship between emotions and shapes. The results can be applied to design evaluation and shape creation.
CONTENTS
ACKNOWLEDGEMENTS i
ABSTRACT ii
CONTENTS iii
FIGURES vii
TABLES xii
Chapter 1 INTRODUCTION 1
1-1 Aim 1
1-2 Thesis Outline 2
Chapter 2 LITERTURE REVIEW 3
2-1 Shape 3
2-1-1 Characteristic of Product Appearance 5
2-1-2 Shape features 7
2-1-3 Parametric Modelling 8
2-1-4 Voronoi diagram 10
2-2 Emotion12
2-2-1 Categorization of Verbal Emotional Expressions 12
2-2-2 Hierarchical Emotion Structure 14
2-2-3 Emotion design 15
2-2-4 Culture 17
2-3 Summary 18
Chapter 3 EXPERIMENTAL PLAN 19
3-1 Experimental process 19
3-2 Experimental Samples 20
3-3 Scale 23
3-4 Summary 24
Chapter 4 RESULTS 25
4-1 The shape features parameters 25
4-2 Intra- and inter-observer variation 28
4-3 Emotional models 30
4-3-1 Active-Passive 30
4-3-2 Heavy-Light 32
4-3-3 Warm-Cool 34
4-3-4 Simple-Complex 36
4-3-5 Hard-Soft 38
4-3-6 Strong-Weak 40
4-3-7 Elegant-Vulgar 42
4-3-8 Modern- Classical 44
4-3-9 Tense-Relax 46
4-3-10 Fresh-Stale 48
4-3-11 Masculine- Feminine 50
4-3-12 Ordinary- Unique 52
4-3-13 New- Old 54
4-3-14 Beautiful- Ugly 56
4-3-15 Happy-Sad 59
4-3-16 Clean-Dirty 61
4-3-17 Serious- Humorous 63
4-3-18 Clever- Absurd 65
4-3-19 Like- Dislike 67
4-3-20 Comfortable- Uncomfortable 69
4-4 Summary 71
4-5 Conclusion 73
4-6 Application of emotion models 75
4-7 Future works 78
REFERENCES 79
APPENDIX A 82
APPENDIX B 85


FIGURES
Figure 1: The study structure. 2
Figure 2: Dimension change. 4
Figure 3: (a)Subtraction deformation and (b)addition transformation. 4
Figure 4: Corner deformation using in product design.5
Figure 5: Side circle transformed into frame. 6
Figure 6 : Types of sofa. (Chen and Hsu, 2010) 7
Figure 7: (a) Process for creating parametric design (Krish, 2011), (b)~(f) example of
paramertic modelling.10
Figure 8: (a) Giraffe‟s pattern and (b) dragonfly‟s wings. 11
Figure 9 :Voronoi diagram. (Herron) 11
Figure 10: Beijing National Aquatics Center.11
Figure 11: Two-dimensional emotion model by Russell (1980) in which the two
dimensions are labelled “pleasure” and “arousal”. 13
Figure 12: Two-dimensional emotion model emerged in Watson and Tellegen,s studies (1985) in which the two dimensions are “Positive” and “Negative”. 13
Figure 13: A multidimensional model of the emotions. (Plutchik, 2002)14
Figure 14: Three levels of interaction between people and product. (Norman, 2002) 15
Figure 15: Experimental situation, viewing geometry and sample placement. 9
Figure 16: The real viewing conditions in experiment. 20
Figure 17: Shape transformation from side circle (a)-(b) to frame (c)-(e) to voronoi
diagram (f)-(j) 21
Figure 18: The grasshopper modelling. 22
Figure 19: 7-step categorical judgment method. 23
Figure 20 : America observer inter-observer variation and intra-observer variation. . 29
Figure 21: Taiwanese observer inter-observer variation and intra-observer variation.29
Figure 22: Active-Passive liner relationship in each affective feeling between frame,
side circle and voronoi diagram. 30
Figure 23: Active-passive sequence of experimental sample.31
Figure 24: Heavy-Light liner relationship in each affective feeling between frame,
side circle and voronoi diagram. 32
Figure 25: Heavy-light sequence of experimental sample. 33
Figure 26: Warm-Cool liner relationship in each affective feeling between frame, side
circle and voronoi diagram. 34
Figure 27: Warm-Cool sequence of experimental sample.35
Figure 28: Simple-Complex liner relationship in each affective feeling between frame,
side circle and voronoi diagram. 36
Figure 29: Simple-Complex sequence of experimental sample. 37
Figure 30: Hard-soft liner relationship in each affective feeling between frame, side
circle and voronoi diagram.38
Figure 31: Hard-Soft sequence of experimental sample. 39
Figure 32: Strong-Weak liner relationship in each affective feeling between frame,
side circle and voronoi diagram. 40
Figure 33: Strong- weak sequence of experimental sample.41
Figure 34: Elegant-Vulgar liner relationship in each affective feeling between frame,
side circle and voronoi diagram. 42
Figure 35 : Elegant- Vulgar sequence of experimental sample.43
Figure 36: Modern-Classical liner relationship in each affective feeling between frame,
side circle and voronoi diagram. 44
Figure 37: Modern-Classical sequence of experimental sample. 45
Figure 38: Tense- Relax liner relationship in each affective feeling between frame,
side circle and voronoi diagram. 46
Figure 39: Tense- Relax sequence of experimental sample. 47
Figure 40: Fresh-State liner relationship in each affective feeling between frame, side
circle and voronoi diagram.48
Figure 41: Fresh-State sequence of experimental sample.49
Figure 42: Masculine- Feminine liner relationship in each affective feeling between
frame, side circle and voronoi diagram.50
Figure 43: Masculine- Feminine sequence of experimental sample. 51
Figure 44: Ordinary- Unique liner relationship in each affective feeling between frame,
side circle and voronoi diagram. 52
Figure 45: Ordinary- Unique sequence of experimental sample.53
Figure 46: New-Old liner relationship in each affective feeling between frame, side
circle and voronoi diagram.54
Figure 47: New-Old sequence of experimental sample.55
Figure 48: Beautiful- Ugly liner relationship in each affective feeling between frame,
side circle and voronoi diagram.56
Figure 49: Beautiful- Ugly sequence of experimental sample. 57
Figure 50: Happy- Sad liner relationship in each affective feeling between frame, side
circle and voronoi diagram. 59
Figure 51: Happy- Sad sequence of experimental sample.60
Figure 52: Clean-Dirty liner relationship in each affective feeling between frame, side
circle and voronoi diagram. 61
Figure 53: Clean-Dirty sequence of experimental sample. 62
Figure 54: Serious- Humours liner relationship in each affective feeling between
frame, side circle and voronoi diagram. 63
Figure 55: Serious- Humours sequence of experimental sample. 64
Figure 56: Clever- Absurd liner relationship in each affective feeling between frame,
side circle and voronoi diagram. 65
Figure 57: Clever- Absurd sequence of experimental sample. 66
Figure 58: Like-Dislike liner relationship in each affective feeling between frame,
side circle and voronoi diagram.67
Figure 59: Like-Dislike sequence of experimental sample. 68
Figure 60: Comfortable- Uncomfortable liner relationship in each affective feeling
between frame, side circle and voronoi diagram. 69
Figure 61: Comfortable- Uncomfortable sequence of experimental sample. 70

TABLES
Table 1: Example of side circle: (a) iphone4, (b) Mp3 player, (c) Camera, (d) USB, (d) PSP. 6
Table 2: Example of frame: (a) iphone4, (b) wire socket, (c) iMac, (d) watch ,(d)
MUJI CD player. 6
Table 3: List of shape feature, levels and characteristics. (Hsiao and Chen, 2006)8
Table 4: Twenty emotional scales used in this study. 23
Table 5: The shape features parameters. 27
Table 6: The emotion models for each scales derived in this research. 72
Table 7: The relationship between shape parameters and emotions, suggested from
American model. 76
Table 8 : The relationship between shape parameters and emotions, suggested from
Taiwan model. 77
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