薄膜色彩或我們所說的環境色，在最近幾年的cmf設計中大熱。我們不再是直視物體本身，而是在物品表面形成或自帶一層環境光或光暈，讓物品成為虛實結合的存在。
XVII Film color and volume color — 2 natural effects
Surface colors
Film colors: cosmological, celestial/atmospheric, reflective/environmental,
薄膜色彩：宇宙的，天空/空氣氛圍的，反射/環境的
They appear as a thin, transparent, translucent layer between the eye and an object, independent of the object’s surface color.
薄膜色彩呈現為一層薄薄、透明、半投層，在眼睛和物品之間，獨立於物體表面的色彩而存在。
Here we are dealing with volume color, which exists and is perceived in 3-dimensional fluids.
這裡我們討論的是容積色彩，存在並覺察於三維液體中。
Only transparent fluids present volume color.
只有透明液體才顯現容積色彩。
In practice, most water colors are volume colors; several layers on top of each other increase the darkness, weight, and intensity of a color. The reverse effect of increased lightness is seen in fingerpaintings.
實際運用中，大部分水彩是容積色彩；一層又一層的疊加讓色彩變暗、變重，同時更飽和。反向增強明度的效果則出現在手指畫中。
Since film color is not the result of physiological or psychological transformation, it is a physical phenomenon. Both film color and volume color might be considered tricks of nature.
因為薄膜色不是生理或心理變化的產物，它是一種物理現象。薄膜色和容積色彩可以被看作自然的魔法。
ochre黃土/赭石色，foliage葉，lawn草坪，eave屋簷，stem柱，percolator咖啡壺，silex硅，aquarell水彩畫，opalescent乳白色，tracing paper複寫紙，physiological生理的，cast投影，acetate醋酸（人造絲布），opaque不透明的
