臺灣妖怪動態圖像創作表現研究

Abstract

臺灣妖怪因長期遭遇外來文化衝擊，以及欠缺系譜化、圖像化梳理，以致取材困難，至今未能蓬勃發展。有鑒於此，本研究以傳承臺灣妖怪文化為理念，希望將臺灣民間傳說裡的妖怪進行圖像化的創作推廣，並以動態圖像的創作形式應用於LINE動態貼圖中，以期藉由LINE行動通訊平台提高臺灣妖怪之能見度。在文獻探討中，透過史料的爬梳，對妖怪文化起源、妖怪造型方法、動態圖像的動態表現技法及通訊貼圖發展趨勢進行通盤了解；在個案研究上，分析探討典範貼圖案例之構成要素及妖怪貼圖案例之題材類型與表現風格，彙整出可供參考之設計論點。而在創作流程規劃裡，首先進行臺灣妖怪文本分析的創作準備程序，從文本中拆解出臺灣妖怪之造型特徵、動作特徵及文本大意；而後根據妖怪文本解讀出之訊息，從臺灣特有種、地理環境及知識經驗三面向擬定出臺灣妖怪之原生造型，再輔以何觀州妖怪造型方法發展出一套臺灣妖怪的想像策略，最終達成臺灣妖怪動態貼圖創作目標。臺灣妖怪動態貼圖創作劃分為角色造型設計及動態表現設計，角色造型設計為根據造型特徵及想像策略之創作步驟來進行角色的繪製發想；動態表現設計則依據動作特徵及文本大意來進行貼圖的分鏡創作，並運用動態表現技法來進行分鏡間的轉換。從創作實證研究過程中可得出，以動態圖像作為創作表現形式，能將臺灣妖怪的多變形貌更具體、完整的呈現，打破靜態圖像之侷限性；臺灣妖怪想像策略之擬定，則輔助將發想過程轉譯成文字記錄，保留下學術研究上之參考價值，並推動實務創作的進展。而本研究選擇以LINE行動通訊軟體為傳播平台，藉由LINE動態貼圖來打造臺灣妖怪形象，也為臺灣妖怪提供了另一展示的場域。

Due to the long-term impact of foreign cultural shock and lack of genealogical and graphic collection, to this day there is not much resource about Taiwan-Originated Bogy. In light of the above, the study is based on the culture of Taiwan-originated bogy in the hope of promoting graphic creation of the bogies from Taiwanese folktales and applying them to LINE animated stickers in motion graphics format, in order to raise the publicity of Taiwan-originated bogies via LINE and other mobile communication platforms. In the literature review, it helps us know the origin of the culture of bogies, appearance design, technique of motion design and developing trend of stickers. In the case study, we analyze and discuss the elements of sample stickers, as well as genres and style of Taiwan-Originated Bogy stickers, which sum up the design idea for reference. In the planning process of creation, firstly we prepare the text analysis of Taiwan-originated bogies. From the text, we speculate on the modeling characteristics of Taiwan-originated bogies, their action features, and the main ideas of the text. Secondly, according to the textual analysis, we sketch out the original shapes of Taiwan-originated bogies from three aspects: endemic species in Taiwan, geographic environment, knowledge and experience. Next, we come up with an imagining strategy of Taiwan-originated bogies accompanied by Ho Kuan-chou’s outlooking design of bogies. Finally, we reach the goal of making animated stickers of Taiwan-originated bogies. Animated stickers of Taiwan-originated bogies can be categorized into character design and motion design. Character design is developed to draw the characters based on modeling characteristics and imagining strategy. Motion design is developed to create stickers with storyboards based on action features and main ideas of the text, and represents the techniques of storyboard transformation. From the research process of creation, it concludes that motion graphics can present various appearances of Taiwan-originated bogies in more substantial and complete forms, and breaks through the limitations of static images. The imagining strategy of Taiwan-originated bogies is designed to assist in converting the thinking process into transcript, reserve value in academic research, and promote the practice for creation. We choose LINE as the platform in the study. LINE animated stickers build the image of Taiwan-originated bogies and provide Taiwan-originated bogies a stage to be shown.