簡易檢索 / 詳目顯示

研究生: 陳瑩真
CHEN, YING-CHEN
論文名稱: 多頻譜彩色圖文複製技術對色彩感知學習影響之研究
The Influence of Mulit-spectral Reproduction on Learning of Color Perception
指導教授: 王健華
Wang, Chang-Hwa
徐明景
Shyu, Ming-Ching
學位類別: 碩士
Master
系所名稱: 圖文傳播學系
Department of Graphic Arts and Communications
論文出版年: 2020
畢業學年度: 108
語文別: 中文
論文頁數: 91
中文關鍵詞: 多頻譜數位攝影RGB數位攝影彩色圖文複製技術色彩品質色彩感知
英文關鍵詞: Mulit-spectral Digital Photography, RGB Digital Photography, Digital Color Reproduction Technology, color image quality assessment, color perception
DOI URL: http://doi.org/10.6345/NTNU202001471
論文種類: 學術論文
相關次數: 點閱:151下載:3
分享至:
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報
  • 近年來,數位化已普遍應用在各學科教學上。美術教育的教學方式也透過數位化之螢幕投影、智慧型手機、平板電腦…等方式觀看繪畫作品。然而不同的螢幕顯色與參差不齊的印刷品,導致色彩差異問題存在於課程教學中,使得學習者在學習美術鑑賞時對作品所呈現的色彩無法直接體會與感受其原色。基於上述現況,本研究透過兩種(多頻譜、RGB)彩色圖文複製教材融入於色彩感知教學實驗中,並依照美術鑑賞理論中所提之「描述」、「分析」、「詮釋」與「判斷」四步驟設計教學課程內容、問卷試題。此外,研究對象則以某所大專院校之美術鑑賞相關課程,共60位學生進行教學實驗,並以隨機抽樣方式從中抽選共14位受訪者進行結構式訪談,深入了解受訪者對兩種教材之色彩品質感受之外,也透過評分方式,具體得知受訪者對兩種教學教材之色彩品質感受為何。
    經研究結果顯示,透過兩種(多頻譜、RGB)彩色圖文複製教材進行色彩感知教學實驗後,學習者之前後測學習成就有明顯差異;而且,兩種(多頻譜、RGB)彩色圖文複製教學教材間之學習成就也具有顯著差異。加上色彩品質感受之結構式訪談結果得知,學習者能將色彩感知教學內容運用於鑑賞作品中之外,也表示多頻譜教材色彩呈現更加接近原作品之色彩。因此,多頻譜彩色圖文複製教材對用於色彩感知能力具有正向提升,且高於RGB彩色圖文複製教材;也透過本研究使學習者了解色彩對美術鑑賞的重要性,並提升學習者在鑑賞過程中能更加全面且深入了解作品之含義。

    In recent years, digital media have been commonly applied in learning art-related subject matters. These media include digital projectors, smart phones, and tablets, ...etc. However, authentic colors of many art works are likely to be reproduced incorrectly by these digital media. This study used two types of digital color reproduction technologies (Multi-spectral Digital Photography and RGB Digital Photography) to duplicate and reprint artworks as teaching materials for a color appreciation course. This study uses two types of digital color reproduction technologies (Multi-spectral Digital Photography and RGB Digital Photography) to duplicate and reprint artworks as teaching materials for a color appreciation course. Also, the questionnaire and the curriculum are design based on the four steps proposed in Art Appreciation Theory which are “The Description”, “The Formal Analysis”, “The Interpretation” and “The Judgment”, respectively. 60 students are selected in an art appreciation course to perform the teaching experiment. Then, 14 among those 60 students are chosen randomly to conduct a structured interview. Furthermore, a specific evaluation method is applied to quantify the respondents’ perspectives on the color qualities of these two kinds of teaching materials.
    The experiment results not only show that the learning effectiveness of these students is improved but also show the evident differences between the two kinds of digital teaching materials (Multi-spectral Digital Photography and RGB Digital Photography). In conclusion, Multi-spectral Digital Photography is beneficial for color perception in comparison to RGB Digital Photography. Through this study, respondents can understand the importance of colors towards art appreciations. Most of all, respondents are equipped to comprehend artworks in-depth and realize the implications of each artwork.

    第壹章 緒論 1 第一節 研究背景與動機 1 第二節 研究目的與問題 5 第三節 研究範圍與限制 6 第四節 名詞釋義 7 第五節 研究流程 9 第貳章 文獻探討 10 第一節 美術鑑賞 10 第二節 彩色圖文複製 16 第三節 多頻譜數位攝影彩色圖文複製技術 20 第參章 研究設計 24 第一節 研究設計與架構 24 第二節 研究方法 28 第三節 研究對象 28 第四節 研究工具 29 第五節 教學設計 34 第六節 研究實施 43 第七節 資料處理與分析 48 第肆章 研究結果與討論 51 第一節 學習者使用彩色圖文複製教材之學習成就分析 51 第二節 學習者觀看彩色圖文複製教材與原作品之色彩品質分析 55 第伍章 研究結論與建議 64 第一節 研究結論 64 第二節 研究建議 68 參考文獻 71 附錄一 學習成就前測測驗問卷 79 附錄二 學習成就後測測驗問卷 85 附錄五 色彩品質訪談題目 91

    林磐聳(1998)。從現代科技探討色彩的應用與理論,「色彩與人生」學術研討會論文集,65-82。

    呂燕卿(1992)。國小美術教學上繪畫鑑賞之重要性。美育月刊,5-23。

    羅鴻文(2015)。數位色彩檢視系統於藝術品保存之應用。文物資產保存學刊,31,79-92。

    郭博川(2001)。發現四季台灣色彩之美—關於「色彩」的主題。藝術、人文、新契機—視覺藝術教育課程改革論文集,18-28。

    郭禎祥(1992)。中美兩國藝術教育鑑賞領域實施現況之比較研究。師大學報,37,579-707.

    郭禎祥(1990)。談藝術鑑賞教學與評量的某些理論與實務,師大學報,35,331-324。

    郭禎祥、楊須美(1988)。以艾斯納「學術本位的美術教育」(DBAE)為理論基礎探討現今我國國民美術教育。師大學報,33(1),575-593。

    陳玲萱(2005)。批判思考在藝術鑑賞教學的應用:一個文獻初探。藝術教育研究,9,115-141。

    黃美賢(2011)。繪畫鑑賞之道。空大學訊,462,122-135。

    行政院教育部(2016)。十二年國民基本教育課程綱要技術型高級中等學校—藝術領域。國家教育研究院網站https://www.naer.edu.tw/bin/home.php。

    行政院教育部(2019)。十二年國民基礎教育課程綱要國民小學暨普通高級中學等學校—藝術領域。國家教育研究院網站https://www.naer.edu.tw/bin/home.php。

    徐明景、韓桂華、陳恆生與吳瑞秀(2011)。特殊傳統顏色藝術品之多頻譜數位典藏研究案。行政院國家科學委員會專題研究成果報告。(編號:NSC100-2631- H-034-001),未出版。

    徐明景(2015)。光柵式多頻譜影像系統應用於平面文物數位典藏之研究。國立台灣博物館學刊,68(4),53-62。

    趙惠玲、邱永福、張素卿、傅斌暉、曹筱玥與鍾政岳(2006)。高中藝術領域
    課程輔助教學參考手冊。國立臺灣藝術教育館,台北。

    陳鴻興、林新強(2016)。如何評價典藏繪畫作品色彩差異。國立台灣博物館
    學刊,69(4),53-75。

    陳俞均(2002)。美術鑑賞教學原理之探討。通識教育季刊,9(2),22-44。

    曾啟雄(2003)。台灣美術教科書的色彩學內容安排之省思。國立臺灣藝術教育館,136,12-19。

    孫沛立(2003)。影像視覺差異與影像色度差異在色彩複製上的相關研究,2003色彩學研討會論文。台北:中國文化大學,158-165。

    吳仁芳(1973)。我國兒童對色彩喜好傾向之調查研究。臺北科學教育季刊,7,128-87。

    魏碩廷、陳鴻興、徐明景、李文淵、謝翠如、吳瑞卿、孫沛立(2018)。色彩新論:從心理設計到科學應用。臺北市:五南。

    王秀雄(1998)。美術批評鑑賞教學的研究。觀賞認知詮釋與評價—美術鑑賞教育的理論與實務,國立歷史博物館,85-114。

    王秀雄(2001)。「克里歐美術」與「之間理論」: 資訊社會衝擊下的美術創作與美術鑑賞教育。藝術教育研究,1,1-22。

    歐秀明、賴來洋(1986)。實用色彩學。台北:雄獅圖書。

    Barkan, M. (1966). Curriculum problems in art education. A seminar in art education for research and curriculum development. Pennsylvania State University.

    Barni, M., Pelagotti, A., and Piva, A. (2005). Image processing for the analysis and con- servation of paintings: opportunities and challenges, IEEE Signal Processing Mag., 22(5), 141-144.

    Berns, R. S. (2000). Billmeyer and Saltzman's principles of color technology, 3rd Edition, John Wiley & Sons, New York.

    Berns, R. S., Taplin, L. A., Imai, F. H., Day, E. A., & Day, D. C. (2003). Spectral imaging of matisse’s pot of geraniums: a case study. Munsell Color Science Laboratory, Center for Imaging Science, Rochester Institute of Trchnology, Rochester, New York, USA.

    Berns, R. S., Byrns, S., Casadio, F., Fiedler, I., Gallagher, C., Imai, F. H., Newman, A. & Taplin, L. A. (2006). Rejuvenating the color palette of Georges Seurat’s A
    Sunday on La Grande Jatte - 1884: a simulation. Color Research. Application, 31(4), 278-293.

    Bell, D. (2010). Conversations for appreciation art: looking, talking and understanding, Australian Art Education, 33(1), 29-43.

    Broudy, H. S. (1967). The preparation of teachers for aesthetic education. Art Education, 20(3), 29-32.

    Burchett K. E. (1991). Color harmony attribute. Color Research & Application, 16, 275-278.

    Centeno, S. A., Hale, C., Carò, F., Cesaratto, A., Shibayama, N., Delaney, J., Dooley, K., Snickt, G. V. D., Janssens, K., & Stein, S. A. (2017). Van Gogh’s Irises and Roses: the contribution of chemical analyses and imaging to the assessment of color changes in the red lake pigments. Heritage Science, 5(18), 1-11.

    Cheung, O. T. (2018). Evaluating students’ performance in responding to art: The development and validation of an art criticism assessment rubric. The International Journal of Art & Design Education, 519-529.

    Curriculum Development Council & Hong Kong Examinations and Assessment Authority (2007). Visual Arts: Curriculum and Assessment Guide (Secondary 4-6).

    Dexter, F. C. and Stearns, E. I. (1948). Example of Metamerism: Extreme Example of Color Change with Varying Illuminant. Journal of the Optical Society of America, 38(9), 816-817.

    Dorn, C. M., Madeja, S. S., & Sabol, F. R. (2004). Assessing expressive learning. Mahwah, NJ: Erlbaum.

    Ecker, D. W. (1973). Analyzing children's talk about art. Journal of Aesthetic Education, 7 (1), 58-73.

    Faber, B. (1976). Color Perception in Art: Beyond the Eye into the Brain. Leonardo 9(2), 105–109.

    Fairchild, M. D., Rosen, M. R., & Johnson, G. M. (2001). Spectral and metameric color imaging. Munsell Color Science Laboratory, Center for Imaging Science, Rochester Institute of Trchnology.

    Fedorovskaya E. A., Ridder H. D., Blommaert F. J. J. (1997). Chroma variations and perceived quality of color images of natural scenes. Color Research & Application, 22(2), 96-110.

    Feinsher, E. A. (2006). What is Color? Color How to Use Color in Art and Design. Laurence King Publishing Ltd., London, 2–3.
    Feldman, E. B. (1971). Varieties of Visual Experience. New Jersey: Prentic-Hall, Inc.

    Feldman, E. B. (1973). The teacher as model critic. Journal of Aesthetic Education, 7(1), 50-57.

    Feldman, E. B. (1980). Some Lessons From Art History For Art Educational Research. The Journal Of Aesthetic Education, 14(3), 81- 90.

    Fernandez-Maloigne, C. (2013). Advanced color image processing and analysis, Springer, New York.

    Geer, W. D. (1987). A Structure of Discipline concepts for Discipline Based Art Education. Studies in Art Education, 28(4), 227-233.

    Gonzalez, R.C. & Woods, R.E. (2007). Digital Image Processing, 3rd edn. Pearson Education.

    Haneishi, H., Hasegawa, T., Hosoi, A., Yokoyama, Y., Tsumura, N., & Miyake, Y. (2000). System design for accurately estimating the spectral reflectance of art paintings. Journal of the Optical Society of America, 39(35), 6621-6632.

    House, N. (2018). Using critiques in the K-12 classroom, Art Education, 61(3), 48-51.

    Hung, W. C., Sun, P. L. (2018). Optimizing the color accuracy of a filter-based multispectral camera using iccMax profiles. Journal of CAGST, 371-385.

    Johansen, P. (1981). A model for teaching art appreciation, Review of Research in Visual Arts Education, 13, 64-76.

    Kasari, M. H., Miyazaw, K., Parkkinen, J., & Jaaskelainen, T. (2003). Searching technique in a spectral image database. Image Analysis, 927-933.

    Kirchner, E., Lans, I., Ligterink, F., Geldof, M., Gaibor, A., Hendriks, E., Janssens Koen., & Delaney, J. (2017). Digitally reconstructing van Gogh’s Field with Irises near ArBles part 2: Pigment concentration maps. Color Research and Application, 1-19.

    Kirchner, E., Lans, I., Ligterink, F., Geldof, M., Megens, L., Meedendorp T., Pilz, K., & Hendriks, E. (2017). Digitally reconstructing Van Gogh’s Field with Irises near Arles part 3: Determining the original colors. Color Research and Application, 1-17.

    Kirchner, E., Lans, I., Ligterink, F., Hendriks, E., & Delaney, J. (2017). Digitally reconstructing Van Gogh’s Field with Irises near Arles Part 1: Varnish. Color Research and Application, 1-8.

    Knutson, K., Crowley, K., Russell, J. & Steiner, M. (2011). Approaching art education as an ecology: exploring the role of museums, Studies in Art Education, 2(4), 310-322.

    Lin, Y. C., Shyu, M. J. (2012). A color stability study on multi-spectral imaging system. Journal of CAGST. 353-358.
    Newton, I. (1999). The Principia: Mathematical Principles of Natural Philosophy. University of California Press.

    Matthew, A., Motta, R. Chandrasekar, S., & Stokes, M. (1996). Proposal for a standard default color space for the internet—sRGB. Recent Progress in Color Management and Communcations, 198-205.

    Mirrler, G. (1972). Efforts to secure congruent and incongruent modifications of attitudes toward works of art. Studies in Art Education, 13(2), 58-70.

    Mirrler, G. (1976). Perceptual Thoroughness as aprelude to discriminate decision making in art. Viewpoints, Bloomington, Indiana: School of Education, Indiana.

    Mounier. A., Bourdon, G. L., Aupetit, C. Lazare. S., Biron, C., Pérez-Arantegui, J. Almazán, D., Aramendia, J., Prieto-Taboada, N., Fdez-Ortiz de Vallejuelo, S., & Daniel, A. (2018). Red and blue colours on 18th–19th century Japanese
    woodblock prints: In situ analyses by spectrofluorimetry and complementary non-invasive spectroscopic methods. Microchmical Journal, 140, 129-141.

    Nilima, R. T., Shatarupa, T. R., Noopur, A., Vikas K. (2019) Appreciation of Art with Vision and Color. Research into Design for a Connected World, 271-280.

    Parson, M. J. (1987). How We Understand Art: A cognitive development account of aesthetic experience. Cambridge University.

    Parsons, M. J. (1996). Response to Papers by Rush and Haynes - The Assessment of Studio Work and the Distrust of Language. In D. Boughton, E. W. Eisner, & J. Ligtvoet (Eds.), Evaluating and assessing the visual arts in education: International perspectives (pp. 54-67). New York: Teachers College Press.

    Pérez-Arantegui, J., Rupérez, D., Almazán, D., & Díez-de-Pinos, N. (2018). Colours and pigments in late ukiyo-e art works: A preliminary non-invasive study of Japanese woodblock prints to interpret hyperspectral images using in-situ point-
    by-point diffuse reflectance spectroscopy. Microchemical Journal, 139, 94-109.

    Ribes, A., Pilly R., Schmitt, F., & Lahanier, C. (2008). A
    tutorial on multispectral imaging of paintings using the Mona Lisa as a case study. IEEE Signal Processing Magazine, 14-26.

    Ribes, A., & Schmitt, F. (2005). Calibration and spectral reconstruction for CRISATEL: an art painting multispectral acquisition system. Society for Imaging Science and Technology, (49)6, 563-573.

    Sinclair, M. (2015). Connoisseurship as a substitute for user research? The case of the Swiss watch industry. Journal of Research Practice, 11(2).

    Smith, R. A. (1973). Teaching aesthetic criticism in the schools. Journal of Aesthetic Education, 7(1), 38-49.

    Smith, O. (1966). The logic of teaching the art. Aesthetics and Criticism in Art Education, 50-51.

    Sun, P.L., Huang, C. H. (2010). A Digital Photo Optimization Model Based on Sky, Ground and Face Color Correction. Journal of CAGST, 221-229.

    Tominaga, S., & Tanaka, N. (2008). Spectral image acquisition, analysis, and rendering for art paintings. Journal of Electronic Imaging, 17(4), 1-13.

    Wang, S. H. (2004). Creative teaching in color theory and application. The updated teaching method, 138, 67-75.

    Zhang, X., Constable, M., Chan, K. L., Yu, J. Z., & Wang, J. Y. (2017).Computational approaches in the transfer of aesthetic values from paintings to photographs. Singapore: Springer Nature.

    Zhao, Y., Berns, R. S., Taplin, L. A., & Coddington, J. (2008). An investigation of multispectral imaging for the mapping of pigments in paintings. Computer Image Analysis in the Study of Art.

    下載圖示
    QR CODE