ART NOUVEAU Style

ART NOUVEAU

蜻蜓翅膀、鳶尾花瓣、舞動藤蔓、綺羅粉黛、人魚尾鰭……，各 種自然圖騰以象徵手法，隨著流動曲折的線條，延展出一個個極具動態美感的藝術珍品，這就是 新藝術風格。新藝術是二十世紀最龐大的一場設計運動，也是自然元素、異國風情與想像力的雜揉。相較於工廠大量生產的規格化商品，新藝術珍品所呈現的是一種 自然動感與無比的生命力。

A reaction to academic art of the 19th century, it is characterized by organic, especially floral and other plant-inspired motifs, as well as highly-stylized, flowing curvilinear forms. Art Nouveau is an approach to design according to which artists should work on everything from architecture to furniture, making art part of everyday life.


Accessories
Jewellery
Painting

Architecture
Sculpture

Style

• sinuous, elongated, curvy lines
• the whiplash line
• vertical lines and height
• stylised flowers, leaves, roots, buds,butterflies, swan and seedpods....
• the female form, portraits, goddess, fairy... - in a pre-Raphaelite pose with long, flowing hair
  
• exotic woods, marquetry, iridescent glass, silver and semi-precious stones

Principles of Interior Design

Principles of Interior Design
by: Kathy Iven

Whether you are working with existing furnishings and fabrics or “starting from scratch” with an empty room, you should always use the elements and principles of design as a guide in choosing everything. The elements are your tools or raw materials, much like paints are the basics to a painter. The elements of design include space, line, form, color, and texture. The principles of design relate to how you use these elements. The principles of design are balance, emphasis, rhythm, proportion and scale, and harmony and unity.

Principle #1: Balance

Visual equilibrium in a room is called balance. It gives a sense of repose and a feeling of completion. A well-balanced room gives careful consideration to the placement of objects according to their visual weight. The elements of line, form, color and texture all help determine an object’s visual weight, which is the amount of space it appears to occupy. Balance also refers to how and where you place the elements (line, form, color and texture) within a room. To maintain balance, try to distribute the elements throughout the room.

• Formal balance, often referred to as symmetrical balance, creates a mirror image effect.

• Informal balance uses different objects of the same visual weight to create equilibrium in a room. It is more subtle and spontaneous and gives a warmer, more casual feeling.

Principle #2: Emphasis

Emphasis is the focal point of the room. The focal point should be obvious as you enter the room; it is the area to which your eye is attracted. Whatever is featured, as the center of interest –a fireplace, artwork or a window treatment framing a beautiful view – must be sufficiently emphasized so that everything else leads the eye toward the featured area. You can add emphasis to a natural focal point or create one in a room through effective use of line, form, color and texture.

Principle #3: Rhythm

Rhythm supplies the discipline that controls the eye as is moves around a room. Rhythm helps the eye to move easily from one object to another and creates a harmony that tells the eye everything in the room belongs to a unified whole. Rhythm is created through repetition of line, form, color or texture. It can also be created through progression. Progressive rhythm is a gradual increasing or decreasing in size, direction or color.

Principle #4: Proportion and Scale

Size relationships in a room are defined by proportion and scale. Proportion refers to how the elements within an object relate to the object as a whole. Scale relates to the size of an object when compared with the size of the space in which it is located.

Principle #5: Harmony and Unity

A well-designed room is a unified whole that encompasses all the other elements and principles of design. Unity assures a sense of order. There is a consistency of sizes and shapes, a harmony of color and pattern. The ultimate goal of decorating is to create a room with unity and harmony and a sense of rhythm. Repeating the elements, balancing them throughout the room, and then adding a little variety so that the room has its own sense of personality accomplishes this. Too much unity can be boring; too much variety can cause a restless feeling. Juggling the elements and principles to get just the right mix is a key to good design.

Ref: http://www.freesitedeal.com/pages/interior-design/index.html

Jewelry Display Lighting

Ideally, jewelry and curio display lights should be heavily glare shielded so as to angle the light toward the merchandise and only reflect enough light back into the eyes to make it sparkle. The remaining illumination should evenly “wash” over the surface of metal and gemstones , showcasing contours, cuts, and any engravings over the surface.

The more three-dimensional the elements look, the more valuable a piece of jewelry appears to the eye. Too much light will create glaring “white” spots on gold, diamonds, and silver pieces and flatten their appearance. Too little light will fail to add the necessary sparkle that is essential to high-ticket merchandising.
It is a good idea to use a low-voltage linear lighting strips equipped with dimmer controls that will allow you to adjust your jewelry display lights to the precise levels necessary to showcase a given piece or collection of items. One advantage this offers you is the ability to use the same show case for different pieces on a rotating basis and simply adjust the lighting installation any tyime you setup a new display.

Low voltage equipment is also a great power saver that help will minimize your overhead. Particularly if you are operating a small, family store or single-site facility, cost effective low voltage cabinet lighting can make your store look high-end without the burden of high expenditures.

As for the actual bulb types used in jewelry display lighting, much of the choice falls on the style and colors of the items being showcased. Fluorescent lights, long-favored for their power saving value, are still used in some jewelry showcases, although not the extent that they once were. Other forms of low voltage display lighting have become competitive with fluorescents in terms of power savings, and these other bulb types tend to produce better types of lighting as well. High-ticket merchandise generally requires a light source more appropriate to its dimensions and color than fluorescent is normally able to provide

Pearl, silver, and light colored jewelry such as opal can be displayed under incandescent lamps that bring out the whites, off whites, and the glint of 14K gold. For warmer colors like those seen in an emerald, a more robust light source makes for a better source of jewelry display lighting. Either low voltage xenon lights, which cast something of a “golden” aura around the subject, or specialty LED lights available in a plethora of colors work well to enhance both the darker colors and multi-dimensional appearance of exquisitely cut, rare jewelry.

Analogous Harmony and the Envelope of Light

Analogous Harmony and the Envelope of Light

Among the most defining qualities of the landscape is atmosphere—a magical veil of varying color and density that alters our perception of the world. Green poplars are bathed in a fiery orange of sunset … color and form dissolve behind a dense fog … and distant hills give way to blue and violet hues. These are all effects of the “envelope of light”.

The Impressionists first used the term to describe not just the effect of sunlight on form, but how the very color and density of the atmosphere between the viewer and the form could unify the light. One doesn’t have to be an Impressionist to appreciate atmosphere and the “envelope” as one of the key conveyers of the illusion of light.

Three principles govern the envelope of light in a painting:

• analogous harmony
• reduced tonal range
• atmospheric perspective

Analogous harmony: unifying the light

One of the most powerful strategies for unifying light is analogous harmony. Analogous harmony describes the relatedness or compatibility of colors adjacent to each other on the color wheel. Red and orange, for example, are as familial as any two colors can be and, therefore, innately harmonious.
Analogous harmony is one type of harmony. Many colors can form a pleasing arrangement that we might call harmonious, but not all harmonies necessarily unify the color of the light. However, since landscape begs for a unified light, analogous harmony should definitely be included in the landscape painter’s toolbox of color strategies.

The degree to which an analogous set of colors asserts a unified light can be expressed this way: the more closely knit the analogous harmony, the more unified the light appears.

Analogous harmony December, Mitchell Albala, oil on panel, 12 x 16. This painting creates a closely knit red-orange-yellow analogy, infusing the painting with a dense, warm light. This painting also demonstrates that analogous relationships do not have to be absolutely strict to still be effective. Colors outside the analogy can be introduced without breaking down the harmony. In this case, I added small touches of phtahlo blue and green in the sky and water. Even the green shares much of the yellow present in the rest of the painting.

Analogous harmony Orcas Squall, Mitchell Albala, oil on panel, 20 x 16.5, 2006. To capture the unified light so present in cloudscapes, I used a fairly controlled analogous harmony, staying in the blue green family. The blue of the sky is tied to the blue-green cloud mass becasue of the blue component they share. The blue that gives way to turquoise at the bottom has a strong yellow component, a hue that is present in large amounts in the cloud mass. Even the dull purple in the lower left corner, semingly the most disparate color in the set, contains a blue component

One-hue analogous harmony
Mitchell Albala, Cascade Dusk, oil on canvas, 20 x 38, 2000.
If the colors within an analogous scheme are extremely close, then the maximum colored light is achieved. Cascade Dusk is essentially a one-hue analogy—blue. As a result, there is a palpable sense that everything in the wooded hillside is drenched in a blue light. Color changes are achieved largely with value differences and temperature shifts. The foreground snow is warmer than in blues in the distant trees. Only one color expands the analogy, the pale warm orange-green on the forward boughs of the trees.

The Color Psychology of Colors:

The Psychology of Colors:

Blue

• Blue is described as a favorite color by many people and is the color most preferred by men.


• Blue calls to mind feelings of calmness or serenity. It is often described as peaceful, tranquil, secure, and orderly.


• Blue can also create feelings of sadness or aloofness.


• Blue is often used to decorate offices because research has shown that people are more productive in blue rooms.


• Blue is one of the most popular colors, but it is one of the least appetizing. Some weight loss plans even recommend eating your food off of a blue plate. Blue rarely occurs naturally in food aside from blueberries and some plums. Also, humans are geared to avoid foods that are poisonous and blue coloring in food is often a sign of spoilage or poison.


• Blue can also lower the pulse rate and body temperature.


• Consider how blue is used in language: blue moon, blue Monday, blue blood, the blues, and blue ribbon.

Red

The most emotionally intense color, red stimulates a faster heartbeat and breathing. It is also the color of love. Red clothing gets noticed and makes the wearer appear heavier. Since it is an extreme color, red clothing might not help people in negotiations or confrontations. Red cars are popular targets for thieves. In decorating, red is usually used as an accent. Decorators say that red furniture should be perfect since it will attract attention.

The most romantic color, pink, is more tranquilizing. Sports teams sometimes paint the locker rooms used by opposing teams bright pink so their opponents will lose energy.

Red has guts, deep, strong, dramatic. A geranium red. A Goya red ... to be used like gold for furnishing a house ... for clothes, it is strong, like black or white. - Valentino

• Red is a bright, warm color that evokes strong emotions.


• Red is associated with love, warmth, and comfort.


• Red is also considered an intense, or even angry, color that creates feelings of excitement or intensity.


• Consider how red is used in language: redneck, red-hot, red-handed, paint the town red, seeing red

Green

Currently the most popular decorating color, green symbolizes nature. It is the easiest color on the eye and can improve vision. It is a calming, refreshing color. People waiting to appear on TV sit in "green rooms" to relax. Hospitals often use green because it relaxes patients. Brides in the Middle Ages wore green to symbolize fertility. Dark green is masculine, conservative, and implies wealth. However, seamstresses often refuse to use green thread on the eve of a fashion show for fear it will bring bad luck.

Green, which is Nature's colour, is restful, soothing, cheerful, and health-giving. - Paul Brunton

• Green is a cool color that symbolizes nature and the natural world.


• Grean also represents tranquility, good luck, health, and jealousy.


• Researchers have also found that green can improve reading ability. Some students may find that laying a transparent sheet of green paper over reading material increases reading speed and comprehension.


• Green has long been a symbol of fertility and was once the preferred color choice for wedding gowns in the 15th-century. Even today, green M & M's (an American chocolate candy) are said to send a sexual message.


• Green is often used in decorating for its calming effect. For example, guests waiting to appear on television programs often wait in a “green room” to relax.


• Green is thought to relieve stress and help heal. Those who have a green work environment experience fewer stomachaches.


• Consider how green is used in language: green thumb, green with envy, greenhorn.

Yellow

Cheerful sunny yellow is an attention getter. While it is considered an optimistic color, people lose their tempers more often in yellow rooms, and babies will cry more. It is the most difficult color for the eye to take in, so it can be overpowering if overused. Yellow enhances concentration, hence its use for legal pads. It also speeds metabolism.

How wonderful yellow is. It stands for the sun. -Vincent Van Gogh

• Yellow is a bright that is often described as cheery and warm.


• Yellow is also the most fatiguing to the eye due to the high amount of light that is reflected. Using yellow as a background on paper or computer monitors can lead to eyestrain or vision loss in extreme cases.


• Yellow can also create feelings of frustration and anger. While it is considered a cheerful color, people are more likely to lose their tempers in yellow rooms and babies tend to cry more in yellow rooms.


• Yellow can also increase the metabolism.


• Since yellow is the most visible color, it is also the most attention-getting color. Yellow can be used in small amount to draw notice, such as on traffic sign or advertisements.

Purple

The color of royalty, purple connotes luxury, wealth, and sophistication. It is also feminine and romantic. However, because it is rare in nature, purple can appear artificial.

• Purple is the symbol of royalty and wealth.


• Purple also represents wisdom and spirituality.


• Purple does not often occur in nature, it can sometimes appear exotic or artificial.

Reference:
http://psychology.about.com/od/sensationandperception/a/colorpsych.htm
http://www.infoplease.com/spot/colors1.html

Floral Bloom

Just browsed throughout internet and found there is a website with very beloved beautiful flowers.. http://www.flowerbud.com/




You know the feeling. The slighter breezes and the softer sunshine of early spring days, long before summer's heat builds and shimmers. A smattering of the first fresh produce on the rustic stand at farm track end. The pride of place goes to buckets, cans and jars of fresh, fresh flowers. Enough for an armful.


Intoxicating, irresistible, and infused with a classic romance, our Roses are nearly as captivating as she is. Imported from the mountains of Ecuador, where the intensely luminous sky, temperate climate, and clean volcanic soil allow skilled farmers to produce the world's most perfect roses.




From whitecaps to wedding dresses, breezy linen pants to those awful loafers your father-in-law busts out every Memorial Day weekend, icy white is almost the commensurate color of summer.




A breathtaking lily, the Casablanca is known for its dramatic white blossoms and irresistible scent. Among the most famous of Lilies from the Oriental family, it's as elegant as the name implies.



Color your entry way, tabletop or windowsill with our abundant, long-stemmed Irises. We've especially selected these Telstar Irises for their prolonged vase life and striking color.




Graceful, multi-branched stems appear to create movement. Delicate, ruffled petals in subtle colors, from solids to half tones, infuse charm into any situation.

Fresh, simple, and stunning, our classic bouquet of Lilies, Freesia, and Eucalyptus is almost deceptively lovely, more impressive than the sum of its parts. A rich combination of colors, shapes, and scents, it's as intriguing as good perfume, slightly spicy, and shot through with subtle hints of green.

Munsell's Color

In the early 1900s, the American Albert Munsell developed a system of color analysis based around hue, value and chroma. These elements form a three-dimensional model: Starting with a circular relationship of hues, Munsell established a decimal notational system to describe the transitional relationship as one color is identified from another.

Munsell's Color Sphere


In Munsell's system, hue is arranged around the perimeter of a sphere, value as it moves from the top pole (light) to the bottom (dark), and chroma as it moves toward the center. Munsell also developed nomenclature that made it easy to identify any color in his system. R 5/10 would be red, value 5, chroma 10.

Hue, Saturation and Brightness

In most software applications, color can be chosen using Hue, Saturation, and Brightness (HSB) model ( also referred to as Hue, degrees from 0-360; saturation determines the vibrancy as the color moves toward white; and brightness changes the darkness of a color, Saturation and brightness are measured in percentages.

Munsell also limited the nomenclature of his color system, referring to orange as red-yellow to avoid confusion. His second term, value, describe the light or dark qualities of a color, on a scale from 1(dark) to 10(light). His final term, chroma, identifies a color as it moves inward from hue band to the value pole. Other color models refer to this as saturation.
To account for variation in strength of a color ( red is considered to be twice as strong as in chroma as blue-green), Munsell developed what he called the color tree.

These systems serve as a starting point in understanding the complex relationship of balance, proportion, harmony, and effect that combinations of colors can produce.
Each has its merits and applications for an interior design practice. Furthermore, their translation to a three dimensional design space needs to be tested in-situ to observe the results.

Reference URL: http://www.georgehernandez.com/h/xzMisc/Color/Systems.asp

The Munsell Model

(Munsell Color System) 孟塞爾顏色系統

圖示孟塞爾顏色系統之中中等明度(5)而中等略偏高色度(6)的色相環、明度由全暗(0)到全亮(10)的黑白漸變色柱、中等明度(5)的紫藍色(5PB)色度漸進帶。

色彩體系 (color order system)是指依據某種色彩理論，以某些準則將色彩作系統化的組織，如：色彩的知覺、色彩的感覺或是色票、色樣等。

在色彩體系中，我們可以運用準確的數字或是符號來表示不同的色彩；這種表示色彩的方法，稱為色彩體系的「表色法」 (color notation)。

色彩體系通常分成：

1. 以色光混色的表色系(或稱為混色系)

2. 以色料調色為準的表色系(或稱顯色系)

　

混色系－以光學儀器測量顏色，表示色彩非常精確，但是設備昂貴，CIE 表色法即是代表性例子。

顯色性－以色票、色樣為比對的標準，例如曼塞爾和奧斯華德表色法。

早期的色系圖為平面幾何形狀，十八世紀時立體化。自古至今有資料可考察的表色系大約有80個，而其中廿世紀發展出且較具影響力者有9個。在色彩科學研究上首要者為國際照明委員會訂定的CIE色度空間(CIE Colour Space) ，為現代測色學(colorimetry)的基礎，但它並非色彩次序體系；在設計應用上首推孟賽爾(Munsell)色彩體系及自然色彩體系(NCS)，它們分別在美國系統國家及歐洲地區成為工業標準。

　　

◎廿世紀重要色彩體系

年度	色彩次序系統名稱	創建者
1905	Munsell System	Albert H. Munsell [Munsell 1905, 1969;
		Graves 1951]
1916	Ostwald System	Wilhelm Ostwald [Ostwald 1916, Evans 1948]
1947	OSA-UCS	Optical Society of America
(Optical Society of America-		Judd, MacAdam, Nickerson, Newhall, Wyszecki
Uniform Color Scale)		[MacAdam 1974, Nickerson 1977, 1979]
1955	DIN System	Manfred Richter [Richter 1955, 1986]
		German Standardization Institute
1968	Natural Colour System (NCS)	Anders Hård & Lars Sivik [Hard & Sivik 1981]
		Swedish Colour Centre Foundation [Swedish
		1979]
1962	Coloroid Colour System	Antal Nemcsics [Nemcsics 1980, 1987]
		Technical University of Budapast Experimental
		Technique

◎常見的顯色系統有以下幾種：

一、Munsell color system(曼塞爾表色系)

Munsell color system是在1905年由Munsell所創立的，於1915年確立其表色系，並於1927年出版Munsell Book of Color，1940年，美國光學會之測色委員會為了測色起見，將此書加以修正，於1943年發表「修正曼塞爾色彩體系」，成為國際通用的色彩體系。

曼塞爾的色相分為10個，每色相再細分為10，共有100個色相，以5為代表色相，色相之多幾乎是人類分辨色相的極限。曼塞爾的明度共分為11階段，N0（黑色）、N1、N2...N10（白色），N是Neutral的縮寫，是灰色的意思。而彩度從0（無彩色）開始，也因各純色而長短不同，例如5R純紅有14階段，而5BG只有6階段，其表色樹狀體也因而呈不規則狀，其表示法為 /1、/2、、等。

標色法：色相 明度／彩度 = Hue Value/Chroma = H V/C

H：5個主色 (5R，5Y，5G，5B，5P) ，其間插入YR、GY、BG、PB、RP成10階，再細分為100階色相。

V：0（黑）～10（白）(無彩色者為N0～N10)

C：0（無彩色）～16（艷色）

圖一 孟賽爾色相環（左），與10YR色相面之彩度及明度色樣

在最高色度的情況之下的孟塞爾顏色系統色相環-孟塞爾顏色系統 (Munsell Color System)是美國藝術家阿爾伯特孟塞爾Albert H. Munsell（1858-1918）在1898年創制的顏色描述系統。至今仍是比較色法的標準。
孟塞爾顏色系統的空間大致成一個圓柱形：
•南北軸=明度（value），從全黑（1）到全白（10）。
•經度=色相（hue）。把一周均分成五種主色調和五種中間色：

红(R)、红黄(YR)、黄绿(GY)、绿(G)、绿蓝(BG)、蓝(B)、蓝紫(PB)、紫(P)、紫红(RP)。

相鄰的兩個位置之間再均分10份，共100份。
•距軸的距離=色度（chroma），表示色調的純度。其數值從中間（0）向外隨著色調的純度增加，沒有理論上的上限（普通的顏色實際上限為10左右，反光、螢光等材料可高達30）。由於人眼對各種顏色的的敏感度不同，色度不一定與每個色調和明度組合相匹配。
具體顏色的標識形式為：色相+明度+色度。例如5B 5/10 是中等明度（5），高色度（10）的正藍色（5B）。

　

　

二、自然色彩體系(Natural Colour System, NCS)

自然色色彩體系(Natural Colour System, NCS)係瑞典之斯堪地那維亞色彩機構(Scandinavian Colour Institute)兩位色彩學家哈德(Hård)與西維克(Sivic)於1968年所發表。

NCS的原理奠基於心理上對六個主色白、黑、紅、黃、綠、藍之獨立色感。其色相之色階係依據主色成份之比例而訂，而非依據對主色之色差比例而訂。

圖二 NCS色立體

NCS 以兩個相鄰之心理主色（紅、黃、綠、藍）之百分比標示色彩，例如60% 紅與40%黃為Y60R。NCS之彩度 (chromaticness, c) 為色樣之色彩與同色相色彩之最大可能彩量的比例。NCS 黑度 (blackness, s) 為色樣黑量對理想黑之比值，而白度 (whiteness, w) 為色樣白量對理想白(perfect white) 之比值。

圖三 NCS 色相環

　

圖四 NCS 等色相面之彩度及黑度分佈三角圖

NCS 表色法：s c f (黑度　彩度　色相)

w + s + c = 100

其中 c = r + y + g + b

且 f = R + Y + G + B = 100

r = c (R/100)

y = c (Y/100)

g = c (G/100)

b = c (B/100)

例如：30 60 Y70R

s = 30

c = 60

其中　w + s + c = 100

w = 100 - s - c = 100 - 30 - 60 = 10

Y = 30

R = 70

r = 60 (70/100) = 42

y = 60 (30/100) = 18

g = 60 (0/100) = 0

b = 60 (0/100) = 0

　　因此上例之色彩包含黑度(s) 30%，白度(w) 10% 及彩度(c)60%，而彩度所佔之60%中，黃度(y)佔總色量的18%, 紅度(r)佔總色量的42%。

三、OSA-UCS色彩體系(Optical Society of America-Uniform Color Scale)

此系統是由美國光學委員會(Optical Society of America)依據同等視覺空間所製作。根據紅－綠，黃－藍和明度組成558色空間，除了邊緣色樣外，每一色樣周圍都有12色樣，有4色樣是同明度，有4色樣是較亮。12色樣離中心色樣在色彩方面均感覺有同等距離。

四、Colorcurve

Colorcurve是一種以視覺的（perceptual）和混色系統（color-mixing syetems）為基礎的混合系統，Colorcurve是以CIELAB為基礎的系統，但卻是屬於以明度、紅-綠、黃-藍為主軸的矩形模型。8種色料的混合都是在同一明度層中，只有增加紅綠黃藍的色相，彩度不會增加，每一格色塊的混合都是由色料都是加上黑與白色料調配而成的，第9種的色料混合是由黑和白混合成的灰色。

每一種混合都是依據光譜反射率曲線決定，三色加上灰色的混合是以四色各占25﹪來混合的，而且都符合光譜反射率曲線。雖然Colorcurve只是一種接近均勻的視覺空間，但是它卻可以很容易定義出各式各樣的物質，而不會有條件等色的問題存在。

五、奧斯華德色彩體系(Ostwald Colour Order System)

德國化學家奧斯華德(Wilhelm F. Ostwald, 1853-1932)認為色彩可分為相關色(related colour)與非相關色(unrelated colour)。發光體自行產生色光，為非相關色。物體表面的顏色因反射光而來，為相關色。他採用色相、明度、純度為三屬性，架構出奧斯華德色彩體系。

標色法：色相　白量　黑量

　　色相(Hue)：依據Hering的對立學說將四原色黃Y(yellow)、羣青UB(ultramarine blue)、紅R(red)、 海綠SG(seagreen)等距置於圓周，再插入橙O(orange)、土耳其藍T(turquoise)、紫P(purple)、黃綠LG(leaf green)成8個色相，每色相再細分為3色，構成24色相，共具12對補色對。每色編號由1至3，如1Y、2Y、3Y，其中2Y為正黃

無彩色的明度階段，共有8個階段，從白到黑以8個英文字母表示，a是最明亮的白色票，p是最暗的黑色票。

記號	a	c	e	g	i	l	n	p
白量	89	56	35	32	14	8.9	5.6	3.5
黑量	11	44	65	78	86	91.1	94.4	96.5

EX: l的明度為：白量8.9﹪加上黑量91.1﹪混合的灰

公式：F（純色含量）+W（白色含量）+B（黑色含量）=100

六、ISCC-NBS色名體系(Inter-Society Color Council-National Bureau of Standards System)

美國國家標準局屬下之跨羣體色彩會議曾訂定了267個色名作為形容塗料色彩之用。各色名均有一色票與之對應，其色彩適用範圍以孟賽爾表色法界訂。此色名表色法遂以制訂機關為名，稱為Inter-Society Color Council - National Bureau of Standards System，簡稱ISCC-NIBS。

此色彩體系採用了以下28個基礎色相：

色相名		縮寫
紅	Red	R
帶橙的紅	reddish orange	rO
橙	orange	O
黃	yellow	Y
帶綠的黃	greenish yellow	gY
黃綠	yellow green	YG
帶黃的綠	yellowish green	yG
綠	green	G
帶藍的綠	bluish green	bG
帶綠的藍	greenish blue	gB
藍	blue	B
帶紫的藍	purplish blue	pB
紫羅蘭紫	violet	V
紫	purple	P
帶紅的紫	reddish purple	rP
帶紫的紅	purplish red	pR
粉紅	pink	Pk
帶黃的粉紅	yellowish pink	yPk
帶褐的粉紅	brownish pink	brPk
帶褐的橙	brownish orange	brO
帶紅的褐	reddish brown	rBr
褐	Brown	Br
帶黃的褐	yellowish brown	yBr
橄欖褐	olive brown	OlBr
橄欖	olive	Ol
橄欖綠	olive green	OlG

附加之副詞及形容詞亦與上述色相名綜合使用，以便能清楚地標示267個基礎色樣。所採用的副詞及形容詞如下：

微	Light	很	Very	強	Strong
中	Medium	灰	Grayish	艷	Vivid
暗	Dark	濁	Moderate	亮	Brilliant
深	Deep	淡	Pale

其中濁之原文moderated意為適中，在彩度－明度切面之位置為中間，其色貌為不艷、不亮也不暗的濁色，故採用管倖生之譯法，以避免與medium（中，例如中灰）相混淆。

七、DIN色彩體系(Deutsche Industrie Nomung Colour System)

DIN是德國官方規定標準表色系統，跟Munsell系統一樣採用色票的表色方式，其三屬性是色相T(Farbton)，飽和度S(Sattigung)，相對明度D(Dunkelstufe)。色相是根據主波長，劃分24個色相，以S=0表無色彩，飽和度增加時，S值隨著增大，相對明度D=1~8，DIN色度圖是以CIE x,y色度圖為基礎做成的。

◎最常見的混色系統以CIE體系為主：

CIE體系為「國際照明委員會」(International Commission of Illumination)【補充資料】在西元1931年正式採用的國際測色標準。

CIE體系的理論基礎是由楊 (Young)和赫姆豪茲 (Helmholtz)的色光三原色理論為基礎【補充資料】，利用光學儀器測量色彩，是一種科學、準確的色彩體系。

CIE體系是以色光三原色RGB為準，以光源、物體反射和配色函數計算出X、Y、Z刺激值，任何的色彩都可以由RGB混色而成，再經過儀器測出光譜輻射能量和反射率值，即可計算出XYZ值，CIE體系即是用XYZ值所表示出來的 (圖3-3)，也可以用Yxy表示。

CIE體系的進一步修正

由於CIE XYZ馬蹄形色度圖為，色彩表現不符合人眼視覺情況，所以，後來以人類視覺四原色紅、黃、綠、藍作為修正基礎，西元1976年發表了CIE LAB表色法和CIE LUV表色法。