上海人民美術出版社《藝術設計名家特色精品課程》系列叢書

此系列叢書出版至今10余年,已成為國內藝術設計理論專業基礎暢銷教材


本系列教材是本社高校藝術設計教材建設中的精品工程,是以國內藝術設計教學名家的特色課程為基礎而編寫的,意在推動中國設計教育的創新發展。這些名家的教學理念具有世界的眼光和前瞻地意識,教學手段貼近學生、貼近實踐,有助于培養具有創新意識和創新能力的新世紀設計人才。

叢書名: 藝術設計名家特色精品課程
作者: 柳沙
頁數: 228
出版日期: 2016.04
定價: 36元
書號: 978-7-5322-9709-2

內容簡介
本教材共有六章,第一章“設計心理學概論”,梳理了設計心理學的歷史和現狀,著重介紹近年來設計心理最活躍的幾個領域——可用性工程設計、情感設計和感性工學等。第二章“設計中的感覺與知覺”將重點落于與視覺藝術息息相關的“感知覺”現象上,通過大量案例,深入淺出地破解設計中的感覺(特別是視覺)與知覺。第三章“認知與學習”基于“信息加工理論”,將原型、特征、圖式、表象、記憶等重要原理與設計實踐相結合。第四章和第五章聚焦于設計中的情感,一方面對情緒和情感這一復雜心理現象進行科學解讀,另一方面著眼于設計現象,總結出設計中常用的情感激發方式和表象形式。第六章“設計思維與設計師心理”重點對此展開分析。

作者簡介
柳沙,1978 年生于湖南,長沙人,現為中國農業大學工學院工業設計專業講師。2006年1月在清華大學美術學院獲設計藝術學博士,2002 年6月在湖南大學獲設計藝術學碩士,1999年8月在湖南大學獲工業造型學士。主要從事工業設計,設計藝術學理論、設計藝術心理學、人機工程學等領域研究,編著出版《設計藝術心理學》,出版譯著《標牌與標識——環境中的標識語言》,曾在《文藝研究》、《裝飾》、《藝術與科學》等重要期刊、叢書發表學術論文。

目錄
一、設計心理學概述
——作為一門設計科學的設計心理學···················1
1.1 設計心理學的概念和研究現狀 ·······················1
1.2 設計心理學的研究對象和研究范疇····················6
1.3 設計心理學的歷史和相關學科························8
1.3.1 審美心理學、心理美學、藝術
心理學、美術心理學等相關領域的研究················8
1.3.2 工業心理學與人機工程學、廣告心理學及
消費心理學、行為學等應用心理學的研究·············18
1.3.3 職業設計師的經驗知識·····························22
1.4 現代設計心理學···································24
1.4.1 可用性工程·······································24
1.4.2 感性工學·········································27
1.4.3 基于儀器的設計心理學研究·························29
二、設計中的感覺與知覺
——以“視覺生產”為核心的藝術設計················32
2.1 感覺·············································32
2.2 易于感知與難于感知 :基于感知原理的設計技巧······33
2.2.1 感覺的多通道·····································33
2.2.2 閾限·············································35
2.3 視覺 ············································38
2.3.1 顏色視覺·········································38
2.3.2 明度視覺·········································39
2.3.3 運動視覺·········································41
2.4 現實與感知 :視覺游戲····························42
2.4.1 知覺·············································42
2.4.2 知覺組織·········································43
2.5 錯覺 :被愚弄的知覺······························51
2.5.1 有效錯覺·········································52
2.5.2 錯覺矯正·········································55
三、認知與學習——調節信息加工負荷的設計··············59
3.1 認知心理學 :信息加工理論························59
3.2 人的認知·········································62
3.2.1 辨認和識別·······································63
3.2.2 設計中的識別理論·································72
3.2.3 記憶三級模式·····································75
3.2.4 短時記憶與長時記憶·······························77
3.3 注意 :眼球爭奪戰································79
3.3.1 注意指向·········································80
3.3.2 理性訴求和情感訴求·······························82
3.3.3 注意分散·········································83
3.3.4 信息搜索策略·····································84
3.4 記憶 :學習策略 ·································84
3.4.1 記憶的分類·······································86
3.4.2 記憶干擾·········································88
3.4.3 長時記憶的存貯結構·······························90
3.4.4 學習與訓練 :自動加工與控制加工··················94
3.5 信息加工理論的應用 : 可用性設計··················98
四、設計情感 ········································107
4.1 情緒和情感的界定································107
4.2 設計的情緒表達··································108
4.2.1 情緒的作用······································108
4.2.2 情緒的維度······································110
4.3 設計情感········································115
4.3.1 設計情感的特殊性································115
4.3.2 設計情感的層次性································116
五、情感設計·········································127
5.1 情感肌膚········································127
5.2 情感的設計策略··································130
5.2.1 快樂或高興······································131
5.2.2 痛苦············································135
5.2.3 悲傷或悲哀······································136
5.2.4 憤怒或生氣······································137
5.2.5 恐懼或害怕······································137
5.2.6 驚訝或驚奇······································138
5.2.7 厭惡或厭煩······································139
5.3 設計情感的表達··································140
5.3.1 點··············································144
5.3.2 線··············································145
5.3.3 面和體··········································149
5.3.4 結構············································151
5.3.5 色彩············································154
5.3.6 材質和肌理······································160
六、設計思維與設計師心理·····························175
6.1 設計思維········································175
6.1.1 思維············································175
6.1.2 邏輯思維與形象思維······························176
6.1.3 藝術思維與科學思維······························181
6.1.4 問題求解········································182
6.1.5 創造性思維······································186
6.1.6 設計思維········································189
6.1.7 作為一種創造性思維的設計藝術思維················192
6.2 設計師個體心理··································194
6.2.1 創造力··········································194
6.2.2 創造力的結構····································195
6.2.3 設計師人格與創造力······························196
6.2.4 設計師“天賦論”·································199
6.2.5 設計師的創造力培養與激發························201
6.3 設計師壓力應對··································205
6.3.1 設計師常見的職業壓力····························205
6.3.2 設計師的壓力應對································207
附錄·················································211
參考書目·············································215