功夫標幟通俗設計的跨文化研究與初探
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2008
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Abstract
本論文旨在武術學校的標誌之設計表徵，數據文獻包含了全世界共51所的武術學校，其中設定了相同數量的設計師logo作品為對照組。筆者歸納出團體中的武術標誌具有幾點特徵：多數的標誌符號與其武術類別思想及歷史根源有複雜的關係，而多數標誌皆是由師家或是與其類別有關聯的人設計，並非專業設計師。此外，這些標誌雖然以其原創構圖為主要視覺設計元素，大部份也都結合了傳統符號的概念。
筆者採用了符號學、分類學、效果層次等理論，試分析出這些標誌，並確敍認其設計特徵的共同內涵。筆者進而發現在肖像式及述式符號，具有代表性及活潑內涵者，通常展現出某一個武術類別顯而易見的動作招式。相對的，象徵式或非象徵式的符號，具有代表性及抽象內涵者，通常被用於傳達其思想概念。筆者從這三種理論比較及分析後得此結論，進而設計出四種武術標誌，並實際應用得宜至善。
The thesis is a study of the design characteristics of martial arts schools’ logos. The data was gathered from 51 martial arts schools around the world, and an identical amount of designer’s logo that served as a control group. The researcher proved that as a group, martial arts’ logos portray unique characteristics: the majority of the logos communicate complex ideas that are connected to the martial art style’s philosophy and historical roots; most of the logos are designed by the teachers or people connected to the style, and most of the designers are non-professionals; and although the majority of logos depict original images as their main graphic element, a great number of them combine traditional symbols. She applied semiotics, taxonomy and affectivity classes to analyse the logos and identified common qualities that characterised their design. She discovered that iconic, descriptive marks, high on representative and active qualities were prominent in portraying a style’s characteristics movement, whereas symbolic, non-figurative marks, high on representative and abstract qualities, were usually employed to express philosophical ideas. After comparing and analysing the results of the three classes, and following the conclusions, the researcher designed four martial arts logos and applied them to a variety of applications.
The thesis is a study of the design characteristics of martial arts schools’ logos. The data was gathered from 51 martial arts schools around the world, and an identical amount of designer’s logo that served as a control group. The researcher proved that as a group, martial arts’ logos portray unique characteristics: the majority of the logos communicate complex ideas that are connected to the martial art style’s philosophy and historical roots; most of the logos are designed by the teachers or people connected to the style, and most of the designers are non-professionals; and although the majority of logos depict original images as their main graphic element, a great number of them combine traditional symbols. She applied semiotics, taxonomy and affectivity classes to analyse the logos and identified common qualities that characterised their design. She discovered that iconic, descriptive marks, high on representative and active qualities were prominent in portraying a style’s characteristics movement, whereas symbolic, non-figurative marks, high on representative and abstract qualities, were usually employed to express philosophical ideas. After comparing and analysing the results of the three classes, and following the conclusions, the researcher designed four martial arts logos and applied them to a variety of applications.
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Keywords
標幟, 功夫, Logos, Martial Arts