從小培養國家幼苗具備帶動時代變遷的創造力思維是當代的重要議題。以往創造力訓練多給予示範，以協助說明與構思。但示範可能造成無意識地順從，反而侷限創意想法的廣度；過去研究也顯示顏色對創造力確有影響。因此，如何預防知識造成的負面效應，有效的提供「適當的知識」以促進學童的創造力，才不至於讓學生產生固著或一昧模仿。過去相關研究中發現研究者用各種方式降低固著，其中又分為兩個面向，一個為示範本身呈現的方式，另一個則是外在環境以刺激創造力。
本研究之研究目的在於透過示範呈現時間與色彩對學童在創意作業上面的表現的影響。本論文共分為三個實驗，實驗一以探討有無示範對學童在創意作業上之流暢力、變通力、獨創力、非固著的影響；實驗二為示範呈現時間對學童在創意作業上之流暢力、變通力、獨創力、非固著的影響；實驗三則為色彩對學童在創意作業上之流暢力、變通力、獨創力、非固著的影響。
實驗一針對30位國內具備不同先備創造能力的國小三年級生，探討有無示範對學童創意作業的影響。本研究受測者依Williams創造力測驗分出高低創造力個體，隨機指派至無示範組或有示範組之教室後，使用畫圖方式進行兩項創意作業。創作依流暢力、變通力、獨創力和非固著的表現予以評價。根據實驗結果發現，有示範的學童比在無示範的學童更來得會模仿。顯示示範會導致受試者無意識的順從，反而限制了創意想法的產生。
因此，實驗二根據遺忘曲線理論而採用20分鐘作為示範呈現時間的基礎，主要目的為利用示範呈現時間藉以降低固著。故實驗二將加上示範呈現時間（無示範、示範後休息20分鐘再創作）以探討學童是否因示範呈現時間的不同而有所差異性。實驗結果顯示兩項創意作業皆無顯著影響，這也表示是延後延長時間創作，順從的效果會隨著時間而減弱，因此降低其遵從效應。
而實驗三主要目的為利用色彩因子藉以提升學童創造力表現，實驗結果發現，在兩項創意作業的表現上，紅色環境之受測者整體表現優於藍色環境之受測者。與國外文獻的研究結果不太一致，可能是因為文化上的差異導致有不同的研究結果。針對研究結果可提供兒童創造力教學上指引，後續研究可選擇不同模式的創意作業等，例如七巧板拼圖、帶有問題解決的題目。未來建議針對不同示範類型對創造力的影響作進一步探討。

Cultivating the youth of our country to think creatively is critical in the present time. In the past, creativity training mainly involved providing demonstrations to facilitate clarification and idea construction. However, demonstrations can cause subconscious compliance in children, limiting the width of creative thought. Previous studies have proven that color effects creativity. By preventing the negative effects of knowledge and providing children with the appropriate amount of knowledge to promote their creativity, children can be freed of fixated thought patterns or mindless imitation behaviors. Researchers of previous related studies have used various approaches for reducing fixation, and these methods can be categorized into two aspects: a) the manner in which the demonstration is presented, and b) the external environment that stimulates creativity.
The objective of this study was to investigate the effects of demonstration presentation time and color on the performance of children in creative tasks. The study involved three experiments. Experiment I investigated whether the existence or lack of demonstration exerted effects on the fluency, flexibility, originality, and nonfixation of children; Experiment II evaluated the effects of demonstration presentation time on the aforementioned qualities; and Experiment III investigated the effects of color on these qualities.
Experiment I targeted 30 third-grade students exhibiting different levels of creativity and investigated whether demonstration affected their performance in creative tasks. William’s Creativity Assessment Packet was used to categorize the students according to their creativity level, after which they were randomly assigned to classrooms with or without demonstration. They were asked to complete two creative drawing tasks. The study results revealed that the children who received a demonstration showed more obvious signs of imitation than did children who did not receive a demonstration, suggesting that the demonstration caused subconscious compliance in the children, hampering their production of creative ideas.
Thus, Experiment II applied forgetting curve theory, and 20 min were allotted for the demonstration. The purpose was to lower fixation by manipulating the demonstration presentation time. The experimental results indicated no significant effects for the two tasks, suggesting that by postponing the creative tasks, the compliance of students decreased as time increased, and their compliance was reduced.
The purpose of Experiment III was to enhance the creative performance of the children by using color factors. The results showed that for the two creative tasks, students in the red environment demonstrated more favorable overall performance than did the students in the blue environment. These results were inconsistent with those of foreign studies, which was likely due to cultural differences.
The study results can serve as guidance for teaching creativity to children, and future studies can apply different modes of creative tasks, such as Tangram puzzles or problem solving questions. Future studies can further investigate the effects of different demonstration types on creativity.

一、中文部分
MB記憶銀行（2000年5月31日）。艾賓豪斯的遺忘曲線。2014年6月19日。取自：http://memobank.pixnet.net/blog/post/24950161-艾賓豪斯的遺忘曲線。
大山正（2000）。色彩心理學。台北市：台北斯坦，四刷。
山中俊夫著，黃書倩譯（2003）。色彩學的基礎。台北市，六和出版社。
方建明（1991）。校園中的色彩。國教天地，88，22-28。
王強強（2006）。色彩在文化中的象徵意義--以臺灣和美國為例。國立臺灣師範大學設計研究所碩士論文，未出版，台北市。
王有福（2002）。創造性戲劇教學對國小四年級兒童創造力影響之研究。國立台北教育大學課程與教學研究所碩士論文，未出版，台北市。
朱介英（1994）。色彩設計計劃。台北市：美工圖書社。
朱漢崙（2001）。推動知識經濟法令應先鬆綁。自由時報。2008 年7 月21 日，取自http//www.epoch.org.tw/pdf/mediaphoto_2001_readnews_03_01.pdf
李錫津（1987）。創造思考教學研究。台北市：台灣書店。
林書堯（1989）。色彩學。台北：三民書局。
林幸台、王木榮（1994）。威廉斯創造力測驗。台北市：心理。
林姬瑩（2005）。色彩意象在居住空間的應用設計。私立銘傳大學設計研究所碩士論文，未出版，台北市。
吳婉舒（2001）。影響國小學童於教室情境中繪畫模仿因素之研究。國立臺灣師範大學美術研究所碩士論文，未出版，台北市。
吳信毅、張玉山（2011）。以實作性問題解決為導向的國小科技教學活動設計 --以風力車設計製作為例。教師專業發展電子報，17。2011年12月26日，取自http://inservice.edu.tw/EPaper/ep2/indexView.aspx?EID=470
洪懿妍（2001）。世界向美走。天下雜誌2001年教育特刊，24-30。
張慶仁（1987）。淺談圖書館的色彩設計問題。書府，8，79-85。
張素紋（2007）。幼兒創造想像作業的發展與其相關因素探討。臺灣師範大學創造力發展碩士在職專班學位論文，未出版，台北市。
張世彗（2003）。創造力－理論、技術∕技法與教育。台北市，五南。
陳銘宗（譯）（1995）。Dr. Morton Walker 著。色彩的力量。台北市：號角。
陳其澎（2000）。 色彩美學與城鄉景觀關係之研究--以城鄉聚落中的色彩經驗為例。中原設計學報， 3(1)， 1-20。
陳龍安（2006) 。創造思考教學的理論與實際。台北市：心理。
曾啓雄（2003）。色彩的科學與文化。新北市，耶魯國際文化出版。
彭聃齡、張必隱（2000）。 認知心理學。台北市：東華書局。
黃雅卿、陳俊宏（1997）。1996色彩嗜好調查研究報告。國立台中商專學報，29，265-294。
黃作后（2001）。基本形狀的繪畫能力培養對幼兒創造思考力的影響研究。臺北市立師範學院國民教育研究所碩士論文，未出版，台北市。
黃書倩（譯）（2003）。山中俊夫著。色彩學的基礎（色彩学の基礎）。台北市：六合出版社。
楊永鳳（2007）。色彩密碼－專業設計的色彩美學。台北市：碁峰資訊。
董奇（1995）。兒童創造力發展心理學。台北市：五南。
葉玉珠、吳靜吉、鄭英耀（2000）。影響科技與資訊產業人員創意發展的因素之量表發展。師大學報，45(2)，39-63。
賴淑雅（2004）。立體書設計與兒童創造力啟發之探討。中原大學商業設計研究所碩士論文，未出版，桃園縣。
歐秀明（1999）。應用色彩學。台北市：雄獅圖書。
鄭柏左（譯）（2004）。色彩理論與數位影像。台北市：新文京。
盧台華（2000）。環境因素對國小資優生學習成效之影響研究。特殊教育研究學刊，20，221-239。
顏慶祥、湯維玲（1994）。教育百科辭典。台北市：五南。
戴博文（1965）。從色彩心理談到學校建築色調的改進。臺灣教育輔導月刊，15(5)，13-14。
龍開誠（2006）。室內空間色彩意象與與色彩偏好之研究。中原大學室內設計研究所碩士論文，未出版，桃園縣。
蘇婕（2011）。淺議中西方文化中顏色的象徵意義。2011年10月29日，取自http://big.hi138.com/wenhua/xifangwenhua/201110/355785.asp#.U5XVmvm1bc8
 
二、外文部分
Abraham, A., & Windmann, S. (2007). Creative cognition: The diverse operations and the prospect of applying a cognitive neuroscience perspective. Methods, 42(1), 38-48.
Abraham, A., Windmann, S., Siefen, R., Daum, I., & Gunturkun, O. (2006).　Creative thinking in adolescents with attention deficit hyperactivity　disorder (ADHD). Child Neuropsychology, 12(2), 111-123.
Amabile, T. M. (1983). The social psychology of creativity. NewYork: Springer-Verlag.
Amabile, T. M. (1996). Creativity in the contest: Update to the social psychology of creativity. Boulder, CO: Westview Press.
Barsalou, L. W. (1987). The instability of graded structure: Implications for the nature of concepts. In U. Neisser (Ed.), Concepts and conceptual development: Ecological and intellectual factors in categorization (pp.101-140). NewYork: Cambridge University Press.
Bellows, B. G., Higgins, J. F., Smith, M. A., & Youmans, R. J. (2012, September). The dffects of individual differences in working memory capacity and design environment on design fixation. Paper presented at the Proceedings of the Human Factors and Ergonomics Society Annual Meeting, U.S.
Bakker, I., van der Voordt, T. J., de Boon, J., & Vink, P. (2013). Red or blue meeting rooms: Does it matter? The impact of colour on perceived productivity, social cohesion and wellbeing. Facilities, 31(1-2), 68-83.
Burnham, R., Hanes, R., & Bartleson, C. J. (1963). Color: A guide to basic facts and concepts. NewYork: John Wiley.
Cardoso, C., & Badke-Schaub, P. (2011). The influence of different pictorial representations during idea generation. The Journal of Creative Behavior, 45, 130-146.
Cardoso, C., Gonçalves, M., & Badke-Schaub, P. (2012, December). Searching for inspiration during idea generation: pictures or words? Paper presented at the Proceedings of the 12th International Design Conference DESIGN 2012, Republic of Croatia.
Christensen, B. T., & Schunn, C. D. (2007). The relationship of analogical distanceto analogical function and preinventive structure: The case of engineering design. Memory & Cognition, 35(1), 29-38.
Chrysikou, E. G., & Weisberg, R. W. (2005). Following the wrong footsteps: Fixation effects of pictorial examples in a design problem-solving task. Journal of Experimental Psychology-Learning Memory and Cognition, 31(5), 1134-1148.
Cheng, P., Mugge, R. & Schoormans, P. L. (2014). A new strategy to reduce design fixation: Presenting partial photographs to designers. Design Studies, 35, 374-391.
Clark, B. (1988). Growing up gifted (3th Ed.). Columbus, Ohio: Merrill.
Csikszentmihalyi, M. (1990). The domain of creativity. Theories of creativity, 4, 61-91.
Dacey, J. S. (1989). Peak periods of creative growth across the lifespan. The Journal of Creative Behavior, 23(4), 224-247.
Fink, R. A., Ward, T. B., & Smith, S. M. (1992). Creative cognition: Theory, research, and applications. Cambridge, MA: MIT Press.
Guilford, J. P. (1967). The nature of human intelligence. NewYork: McGraw-Hill.
Jansson, D. G., & Smith, S. M. (1991). Design fixation. Design Studies, 12, 3-11.
 
Kershaw, T. C., Hölttä-Otto, K., & Lee, Y. S. (2011). The effect of prototyping and critical feedback on fixation in engineering design. Paper presented at the Proceedings of the 33rd Annual Conference of the Cognitive Science Society CogSci’11, Boston, MA.
Lichtenfeld, S., Elliot, A. J., Maier, M. A., & Pekrun, R. (2012). Fertile green green facilitates creative performance. Personality and Social Psychology Bulletin, 38(6), 784-797.
Mehta, R., & Zhu, R. J. (2009). Blue or red? Exploring the effect of color on cognitive task performances. Science, 323(5918), 1226-1229.
Nicholl, B., & McLellan, R. (2007). Oh yeah, yeah you get a lot of love hearts. The year 9s are notorious for love hearts. Everything is love hearts. Fixation in pupils design and technology work (11-16 years). Design and Technology Education: an International Journal, 12(1), 34-44.
Perttula, M., & Sipila, P. (2007). The idea exposure paradigm in design idea generation. Journal or Engineering Design, 18, 93-102.
Perttula, M., & Liikkanen, L. (2006, August). Exposure effects in design idea generation: Unconscious conformity or a product of sampling probability? Paper presented at the Proceedings of NordDesign, Reykjavik, Iceland.
Pruitt, P. R. (1989). Fostering creativity: The innovative classroom. Education Horizons, 68(10), 51-54.
Quilici, J. L., & Mayer, R. E. (1996). Role of examples in how students learn to categorize statistics word problems. Journal of Educational Psychology, 88(1), 144-161.
Simonton, D. K. (2000). Creativity: Cognitive, personal, developmental, and social aspects. American Psychologist, 55(1), 151-158.
 
Smith, S. M., Ward, T. B., & Schumacher, J. S. (1993). Constraining effects of examples in a creative generation task. Memory & Cognition, 21, 837-845.
Toh, C., Miller, S., & Kremer, G. (2012). Mitigating design fixation effects in engineering design through product dissection activities. Paper presented at the Design Computing and Cognition2012, College Station, TX.
Torrance, E. P. (1969). Prediction of adult creative achievement among high school seniors. Gifted Child Quarterly, 13, 223-229.
Torrance, E. P. (1984). Pupil experience. London: Croon Helm.
University of British Columbia. (2009, February). Effect of colors: Blue boosts creativity, while red enhances attention to detail. ScienceDaily. Retrieved May 27, 2014 from www.sciencedaily.com/releases/2009/02/090205142143.htm
Viswanathan, V. K., & Linsey, J. S. (2009, October). Enhancing student innovation: Physical models in the idea generation process. Paper presented at the Frontiers in Education Conference, 2009. FIE'09. 39th IEEE, TX, USA.
Waugh, N. C., & Norman, D. A. (1965). Primary memory. Psychological review,72(2), 89.
Ward, T. B. (1994). Structured imagination: The role of conceptual structure in exemplar generation. Cognitive Psychology, 27, 1-40
Ward, T. B. (2007). Creative cognition as a window on creativity. Methods, 42(1), 28-37.
Williams, F. E. (1980). Creativity Assessment Packet (CAP): Manual. Buffalo: D. O. K. Publishers, Inc.
Young, T. (1802). The Bakerian lecture: On the theory of light and colours. Philosophical transactions of the Royal Society of London, 92, 12-48.