(1) Theme This study is the third in a series of papers dealing with topic, "Experimental Study on Man's Behavior in Space". The first of these papers includes living daily behavior and the experimental study of this behavior and is entitled, "Study Methods of Living-Scale". This was presented at the Eleventh Design Congress and the second paper was presented at the Thirteenth Design Congress. This paper is a further development of the first two papers and attempts to bring together the following three themes: 1) In accordance with the principles of motivation of man's behavior, space is considered to be an incentive and living need a drive. This experiment on man's behavior is done from the point of view that the motivation of living behavior is derived when an incentive and a drive meet. 2) Prior to the experiment, subjects are shown to a certain experimental space. Then their reaction to the space's image and scale is to be analyzed. 3) A control method is adopted by which one space remains the same as a standard and the other space varies so that the results of man's behavior in each space can be compared to analyze and obtain necessary data for interior planning. (2) Study Methods 1) Experimental Space 3.6 m × 3.6 m × 2.7 m are the measurements of the standard space and the other space to be compared with it is [figure] shaped space, missing one corner. (the size of the missing corner is varied) 2) The Subjects 12 male students and 12 female students are devided into six groups so that each group has two students of each sex and the some average height. Each group behaves as appointed in the space. 3) Fixed Way of Behavior In order to move around the space unconsciously, the subjects are to match the cut out paper patterns placed along the four walls. 4) Question and Answer A written test is given to the subjects which seeks to get unconsious answers about their reaction to the image and scale of the space. This is done by asking various direct and indirect questions. As a pretest before entering the space, the subjects are given tests on the chart. (3) Conclusion 1) If the shape (Gestalt) is geometrically simple, almost no difference is observed between the test on the chart and the space experiment. 2) If one corner of the square is taken away in a square shape, when the ratio of the side of the taken-away-square and the side of the original square is within 0.43%, the shape creates an image of oppression and when it is over 0.43%, the whole space gives the feeling of L-shaped space which rather creates an image of extending. 3) The space with Pragnant image creates a more relaxed atmoshere than the space with ambiguous image.

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(1) Theme In an attempt to further develop the response distribution of the syntactic image of colors, that is the compositive and associative imege of colors, which is essential in color planning in visual design, the theme of our paper deals with the quantitative and the qualitative analysis of the image of colors. Combinations of contrasts found in systematic color tone observed from the Color Name System are used for the analysis. (2) Study Methods 1. Pretest First, we made a survey on the names of colors customarily and traditionally used in Japan as well as in foreign countries in defining colors. We also observed the parts on the Tone Field where these "named" colors are mostly concentrated. Then, by refering to the other studies that have been continued up to the present, we have now made a Color Tone System which consists of 12 fields. 2. Each tone in the 36 pairs of hues found on the Munsell System Chart is paired with every other tone. Then further study was done on the 5964 two-toned colors in regard to the interrelation between the two-toned color's value and chroma and how the contrasts found in two-toned colors disperse and concentrate against the harmonic order according to Moon and Spencer's theory. As a result we have observed 4108 so-called pleasing-intervals and 1856 displeasing-intervals. 3. Test on Images A semantic differential method was adopted in analyzing a human response to images of colors by using 20 color arrangements with homogeneous tones, 3 achromatic colors (9 colors are used in the color arrangement for both) and 10 color arrangements with heterogeneous tones (18 colors). All 33 color arrangements are chosen from the Color Tone System. 42 S. D. Words were paired, and these words were presented to 101 subjects to get their reaction in relation to all 33 color arrangements. (3) Qualitative Analysis The color arrangements used for the test are 357 pleasing-intervals and 93 dispreasing-intervals whicg are irregular if compared with the quantitative harmonic orders. By applicating two kinds of factor analysis, we have observed how the "irregular" contrasts found in color tones greatly contributed to the images. (4) Conclusion a. It is correct to say that color arrangements with a homogeneous tone and color arrangements with a heterogenous tone are obviously responsive to the similarity and contrasts found on the image's human reaction according to the Image Scale completed by analyzing factors. b. Vivid, very pale and dark tones exist in the factor space one imagines as if each tone shows the extreme of each character and opposes each other tone. c. In dealing with images that cause synaesthesia and images that helps to evaluate things, color tones have been proved by the F. Examination to have a very high contributive degree on human response to the images.

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Generally, a Perspective Projection is the base of all Rendering Drawing for Industrial Design. And, the principles of Perspective Projection are determined by the eye lines which the lines of sight of the obects intersect in the Picture plane. It is therefore necessary to locate the Picture plane which is perpendicular to the Horizontal plane. But, as we consider an optical agency to take a photograph, an apex of the object is tied up with a visual line-the relation between an film plane and an optical axis is perpendicular at all times. So that, we will be found a difference in appearance between its Perspective projection and an image of photograph. For example, as we graphically consider the principle of an image formation in the three dimention of the Optical Geometry, we will understand this method of Pinhole's Drawing. Accordingly, both an sketch of the drawing and an image of photograph are completly alike in appearance. Therefore, we will be able to get the true length of the actual scale from the given photograph by the inverse method. And a drawing of shade and shadow in this image is to get the image which ties a point P to the traces-the parrallel rays project on that plane in the three elevation views. So that, by this Pinholes's Drawing, we will be able to draw completely the same form as a photograph on the similiar condition.

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