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Title: 線畫風格表現手法用於兒童圖畫書之創作與研究
A Creation and Study on Applying the Line Drawing Expression Technique in Children’s Storybooks
Authors: 張柏舟
Po Chou Chang
Pei Yun Tasi
Keywords: 線畫
Line drawings
Children’s storybooks
Line drawing expression techniques
Issue Date: 2008
Abstract: 線為點移動的軌跡,線主要可分為直線或曲線,而不同的工具所繪出來的線條,其情感與風格意象都不同,線條風格插畫其表現效果,既可以表現寧靜筆觸的堅韌性,也可以表現活潑可愛的開朗性,風格多樣引人入勝。 利用簡單的線條元素,鎔鑄筆者對兒童圖畫書喜愛之情感,繪製出「友情」相關題材插畫。創作中,線條、顏色表達出現圖畫故事中的活潑與趣味性,以單純的線條、結合幻想性的繪畫表現方式;另一方面期望作品中可以和觀者做心靈上的互動與溝通,傳遞圖畫書的可親與美好性。 第一章陳述了我創作的動機、目的等。第二章中則探究了圖畫書、插畫、線畫以及影響筆者創作的藝術風格、線條表現形式相關文獻。在接下來的第三章裡,分析國內外名圖畫書作家相關作品,進而延伸個人藝術創作的意念、內在思考的因素,以及創作歷程的介紹。第四章則為筆者作品解說,以作品內容、色彩與造形的表現手法等做個別的描述和作品意涵分析。在最後一章裡,總結整篇論述,並展望未來的創作思維與走向。 本研究共歸納出以下三項結論: (一)藉由文獻探討得知,線畫表現手法豐富,如粗細、直弧、長短表現方式皆是,媒材工具多樣,在圖畫書應用上會有新面貌呈現。 (二)彙集國內外名圖畫書畫家的線畫大作,皆運用統一風格的線畫呈現,故本創作上如何拿捏畫面協調性和線條的應用面,是重點所在。 (三)多種媒材和元素讓畫面豐富,如蠟筆刮畫線條的質感、植物紋飾風格曲線浪漫,讓圖畫書風格豐富有層次感,了解到插畫的表現精神在於創新,大膽嘗試。
With lines and dots depicting the traces of movement, lines can largely be divided into straight lines or curved lines, while lines sketched by different tools also bear varied emotional and stylistic significance. Adopting the line-drawing style in illustrations not only produces an expression effect that is capable of depicting the tenacity of a tranquil pen stroke, and is also capable of capturing an engaging and adoring openness in diverse styles to draw the viewer’s attention. The simple line element has been deployed to shape the author’s emotional passion for children’s storybooks, and to sketch illustrations revolving around the subject of “Friendship”. In the creation, the lines and color highlight the storybook’s liveliness and whimsy, where the simplistic lines are integrated with a fantasy-like drawing expression mode. On the other hand, it has also been anticipated that the work can bridge a spiritual interaction and communication with the viewer, conveying the storybook’s approachability and wholesomeness. Chapter I describes the motive and objective of my creation. Chapter II explores storybooks, illustrations, line drawings and the artistic style that influences the author’s creation, as well as relevant archival literature on the Art Nuevo period’s line expression forms. What follows in Chapter III, it analyzes pertinent works by local and foreign storybook authors, and in turn extending to cover my individual artistic creation concept, inner thinking elements, and an introduction on the author’s creative process. Chapter IV covers the interpretation of the author’s works focusing on the content of work, coloration and styling expression techniques with individual description and analysis on the significance of the works. In the final chapter, it recaps the overall assertion, and envisions the future creation thoughts and focus. The study has summarized with the following three conclusions, (I) As can be extrapolated from the archival literature review, the line-drawing expression technique offers enrichment in how it can be expressed in a wide range of expression techniques, i.e. bold lines versus fine lines, straight lines versus curves, long lines versus short lines, and is versatile with an array of medium tools to foster a new presentation when applied in storybooks. (II) With the expression of a uniformed style in line drawing found among the major line drawing works by renowned storybook painters, local and foreign, hence a crucial point of the creation lies in how best to grapple the coordination of imagery and the application of lines. (III) The multiple mediums and elements bring forth an enriching imagery, as can be found on the texture shown in crayon-scrapped lines, the romantic curvature of the plant ornamental pattern style, all contributing to adding the storybook style with a rich and profound perspective, and bringing the awareness that the very spirit of illustration lies in innovation and a bold attempt to try.
Other Identifiers: GN0095632114
Appears in Collections:學位論文

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