幾何擬態應用於社會現象海報創作研究

dc.contributor劉建成zh_TW
dc.contributorLiu, Chien-Chengen_US
dc.contributor.author朱俊達zh_TW
dc.contributor.authorChu,Chun-Taen_US
dc.date.accessioned2022-06-08T03:02:43Z
dc.date.available2021-08-10
dc.date.available2022-06-08T03:02:43Z
dc.date.issued2021
dc.description.abstract幾何圖形常見於各類藝術及設計的創作當中,包含平面設計、繪畫、雕塑、產品、建築等,在造形定義上,幾何圖形被歸類於抽象造形,模擬自然物態則是具象造形,兩者似乎為光譜的兩端,但以現今的設計觀點,兩者並非絕對的壁壘分明,故想探討不同的主題下具象與非具象之間的各種可能性。透過幾何圖形做為基礎視覺元素,以仿效各類事物的樣態做為模擬的視覺構成方式,將幾何圖形透過物像擬態的方式建構出視覺,明確表現其核心主題甚至呈現抽象延展概念。 本研究以案例分析法分析Tokoy ADC東京藝術指導俱樂部年鑑(Tokyo Art Directors Club)2009-2018年間一百件幾何擬態相關海報作品,針對其幾何形狀以及色彩進行分析與檢視,得知形狀特徵以及使用頻率與主題的關聯性,聚焦擬態對象以及構成方法加以探究,並整合學理文獻之相關內容,定義出幾何擬態的構成表現形式,將其分析並彙整其資料作於後續創作驗證之指標。創作實證的部分,將幾何擬態的構成表現手法應用於社會現象的海報創作案當中,以客觀的角度呈現社會現象,透過視覺海報創作探討社會單一問題的多面向性,期盼使人重新思考社會上不同的立場與角度。本創作研究分為七個系列及兩張單件作品,共十六張社會現象的海報作品,透過創作過程的驗證後,所獲結論如下:(1)定義幾何擬態的構成表現方法,分別有「重複」、「大小對比」、「網格」、「散落」、「陣列」、「方向性」、「配置」、「拆分」、「分隔」、「重合」、「透明」、「漸層」、「虛實」、「變形」、「漸變」、「堆疊」、「透視」等,形式多元且樣貌豐富;(2)幾何擬態的構成表現可單一使用,亦可混合多種方法同時使用,幾乎無固定的表現模式,須依主題概念或視覺實驗性去選擇使用;(3)幾何擬態的構成表現需緊扣擬態對象與作品主題,使其視覺具不同層次的深度性;(4)幾何擬態的「配置」是最常使用的構成表現,做為幾何擬態的變化基礎,作用在讓幾何圖形間產生連結關係,而後易於延展;(5)部分幾何擬態對象會因色彩的色相等改變,而無法判定其內容導致訊息錯誤;(6)幾何擬態的視覺表現需具有足夠象徵性,才能與觀者產生連結與共鳴;(7)幾何擬態可以透過群化原則有目的性的編排視覺元素,利用圖形間的交互關係產生良好的敘事性。zh_TW
dc.description.abstractGeometric figures are commonly seen in all forms of art and design creations, such as graphic design, painting, sculpture, products, and architecture. In the definition of form, geometric figures are classified as abstract forms, while imitating natural objects are defined as tangible forms. Though these two kinds of forms seem to be on the opposite ends, it is not that black and white with the perspective of modern design. The study aims to explore the possibilities under different subjects between concrete and abstract forms. The author presents each poster theme to be concrete and abstract by using geometric figures to build visual elements, applying these elements to imitate various objects. This study applies case study research to analyze 100 posters related to geometric mimicry in the yearbook from 2009 to 2018 of Tokyo ADC (Tokyo Art Directors Club). The author combs through the correlation between characteristics and themes by inspecting geometric figures, choice of colors, frequency of use in shapes, mimicry objects, and composition method. Integrating relative contents of academic research to define the composition and expression of geometric mimicry, the author later consolidates and analyzes the data for subsequent verification. In the empirical part of this study, the author wants to discuss social phenomena by using the techniques of geometric mimicry to design posters. In each design, a single social problem is revealed through various aspects. The author hopes to make people rethink different perspectives in society. The study is implemented by seven series and two independent pieces, in which 16 designed posters of social phenomena. After verification through poster design, the results are as followed:(1) Define the composition and expression of geometric mimicry, which are: repetition, size contrast, grid, array, directionality, configuration, split, arrangement, decomposition, separation, overlapping, transparency, gradient, fullness and emptiness, deformation, gradation, stacking, and perspective, containing diverse forms and diverse appearance.(2) The composition and expression of geometric mimicry can be applied either solely or utilized with other techniques. It has no regular expression. The usage depends on its theme concept or experiment techniques.(3) The composition and expression of geometric mimicry need to be closely linked to the imitating object and theme. The design will have a different level of depth in visual appearance.(4) Arrangement is the most frequently used technique in geometric mimicry. Because it can be applied as the transforming foundation, making geometric figures have connections and easy to extend.(5) Part of the subjects of geometric mimicry cannot be recognized due to changing hues or other color factors, which leads to misidentify in messages.(6) The result of geometric mimicry should be specific enough so the audience can feel and resonate with the artwork.(7) Geometric mimicry can be arranged properly through the rules of grouping. The interactions between graphics can create harmonious narratives.en_US
dc.description.sponsorship設計學系zh_TW
dc.identifier60468006T-39869
dc.identifier.urihttps://etds.lib.ntnu.edu.tw/thesis/detail/7bce794ed6443f5154c3711ca63d3a6c/
dc.identifier.urihttp://rportal.lib.ntnu.edu.tw/handle/20.500.12235/118404
dc.language中文
dc.subject幾何擬態zh_TW
dc.subject社會現象zh_TW
dc.subject海報創作zh_TW
dc.subjectGeometric Mimicryen_US
dc.subjectPoster designen_US
dc.subjectSocial phenomenonen_US
dc.title幾何擬態應用於社會現象海報創作研究zh_TW
dc.titleA Study of Applying Geometric Mimicry to Social Phenomenonon Poster Designen_US
dc.type學術論文

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