上海人民美术出版社《艺术设计名家特色精品课程》系列丛书

此系列丛书出版至今10余年，已成为国内艺术设计理论专业基础畅销教材

本系列教材是本社高校艺术设计教材建设中的精品工程，是以国内艺术设计教学名家的特色课程为基础而编写的,意在推动中国设计教育的创新发展。这些名家的教学理念具有世界的眼光和前瞻地意识,教学手段贴近学生、贴近实践，有助于培养具有创新意识和创新能力的新世纪设计人才。

丛书名： 艺术设计名家特色精品课程
作者： 柳沙
页数： 228
出版日期： 2016.04
定价： 36元
书号： 978-7-5322-9709-2

内容简介
本教材共有六章，第一章“设计心理学概论”，梳理了设计心理学的历史和现状，着重介绍近年来设计心理最活跃的几个领域——可用性工程设计、情感设计和感性工学等。第二章“设计中的感觉与知觉”将重点落于与视觉艺术息息相关的“感知觉”现象上，通过大量案例，深入浅出地破解设计中的感觉（特别是视觉）与知觉。第三章“认知与学习”基于“信息加工理论”，将原型、特征、图式、表象、记忆等重要原理与设计实践相结合。第四章和第五章聚焦于设计中的情感，一方面对情绪和情感这一复杂心理现象进行科学解读，另一方面着眼于设计现象，总结出设计中常用的情感激发方式和表象形式。第六章“设计思维与设计师心理”重点对此展开分析。

作者简介
柳沙，1978 年生于湖南，长沙人，现为中国农业大学工学院工业设计,产品设计专业讲师。2006年1月在清华大学美术学院获设计艺术学博士，2002 年6月在湖南大学获设计艺术学硕士，1999年8月在湖南大学获工业造型学士。主要从事工业设计，设计艺术学理论、设计艺术心理学、人机工程学等领域研究，编著出版《设计艺术心理学》，出版译著《标牌与标识——环境中的标识语言》，曾在《文艺研究》、《装饰》、《艺术与科学》等重要期刊、丛书发表学术论文。

目录
一、设计心理学概述
——作为一门设计科学的设计心理学···················1
1.1 设计心理学的概念和研究现状 ·······················1
1.2 设计心理学的研究对象和研究范畴····················6
1.3 设计心理学的历史和相关学科························8
1.3.1 审美心理学、心理美学、艺术
心理学、美术心理学等相关领域的研究················8
1.3.2 工业心理学与人机工程学、广告心理学及
消费心理学、行为学等应用心理学的研究·············18
1.3.3 职业设计师的经验知识·····························22
1.4 现代设计心理学···································24
1.4.1 可用性工程·······································24
1.4.2 感性工学·········································27
1.4.3 基于仪器的设计心理学研究·························29
二、设计中的感觉与知觉
——以“视觉生产”为核心的艺术设计················32
2.1 感觉·············································32
2.2 易于感知与难于感知 ：基于感知原理的设计技巧······33
2.2.1 感觉的多通道·····································33
2.2.2 阈限·············································35
2.3 视觉 ············································38
2.3.1 颜色视觉·········································38
2.3.2 明度视觉·········································39
2.3.3 运动视觉·········································41
2.4 现实与感知 ：视觉游戏····························42
2.4.1 知觉·············································42
2.4.2 知觉组织·········································43
2.5 错觉 ：被愚弄的知觉······························51
2.5.1 有效错觉·········································52
2.5.2 错觉矫正·········································55
三、认知与学习——调节信息加工负荷的设计··············59
3.1 认知心理学 ：信息加工理论························59
3.2 人的认知·········································62
3.2.1 辨认和识别·······································63
3.2.2 设计中的识别理论·································72
3.2.3 记忆三级模式·····································75
3.2.4 短时记忆与长时记忆·······························77
3.3 注意 ：眼球争夺战································79
3.3.1 注意指向·········································80
3.3.2 理性诉求和情感诉求·······························82
3.3.3 注意分散·········································83
3.3.4 信息搜索策略·····································84
3.4 记忆 ：学习策略 ·································84
3.4.1 记忆的分类·······································86
3.4.2 记忆干扰·········································88
3.4.3 长时记忆的存贮结构·······························90
3.4.4 学习与训练 ：自动加工与控制加工··················94
3.5 信息加工理论的应用 : 可用性设计··················98
四、设计情感 ········································107
4.1 情绪和情感的界定································107
4.2 设计的情绪表达··································108
4.2.1 情绪的作用······································108
4.2.2 情绪的维度······································110
4.3 设计情感········································115
4.3.1 设计情感的特殊性································115
4.3.2 设计情感的层次性································116
五、情感设计·········································127
5.1 情感肌肤········································127
5.2 情感的设计策略··································130
5.2.1 快乐或高兴······································131
5.2.2 痛苦············································135
5.2.3 悲伤或悲哀······································136
5.2.4 愤怒或生气······································137
5.2.5 恐惧或害怕······································137
5.2.6 惊讶或惊奇······································138
5.2.7 厌恶或厌烦······································139
5.3 设计情感的表达··································140
5.3.1 点··············································144
5.3.2 线··············································145
5.3.3 面和体··········································149
5.3.4 结构············································151
5.3.5 色彩············································154
5.3.6 材质和肌理······································160
六、设计思维与设计师心理·····························175
6.1 设计思维········································175
6.1.1 思维············································175
6.1.2 逻辑思维与形象思维······························176
6.1.3 艺术思维与科学思维······························181
6.1.4 问题求解········································182
6.1.5 创造性思维······································186
6.1.6 设计思维········································189
6.1.7 作为一种创造性思维的设计艺术思维················192
6.2 设计师个体心理··································194
6.2.1 创造力··········································194
6.2.2 创造力的结构····································195
6.2.3 设计师人格与创造力······························196
6.2.4 设计师“天赋论”·································199
6.2.5 设计师的创造力培养与激发························201
6.3 设计师压力应对··································205
6.3.1 设计师常见的职业压力····························205
6.3.2 设计师的压力应对································207
附录·················································211
参考书目·············································215