以往，插畫家很難有機會得以嶄露頭角，然而近年，不少素人插畫家成立了 臉書粉絲團，並透過Line Creators Market等平台逐漸打開知名度，一個原本默默無聞的原創角色可能突然在幾個月間迅速竄紅。社群媒體給了插畫家一個新的舞台，而這些從網路發跡的插畫家藉由角色創作，不僅創造了粉絲、累積了知名度，並逐步開創周邊經濟效益，將台灣角色經濟帶入新的世代。
自媒體的出現，改變了圖文創作者既有商業模式的發展樣貌，當我們回頭 審視，會不由自主地想問：這一切究竟是如何發生的？社群媒體管道對這些內容創作者產生了什麼影響及變化？其變現方式為何？現在的盈利模式能否持續？有鑑於此，本研究試圖從「商業模式」的觀點，藉由Osterwalder&Pigneur提出之商業模式圖（Business Model Canvas）架構，將研究對象設定為「經營自媒體擁有粉絲資產，藉由圖像內容創作朝向IP化（Intellectual Property）發展並具備變現能力之『FB世代』網路插畫家。」並從以下三大方向進行探問：（1）網路插畫家如何選擇社群媒體平台？其在社群平台的經營策略為何？對於收益流又會產生甚麼樣的影響？如何串聯線上及線下通路整合操作？（2）網路插畫家主要之商業模式為何？通路管道與其他商業模式九宮格元素如何互相配套？（3）網路插畫家有哪些未來發展計畫？又有哪些發展契機與挑戰？
本研究透過多個案研究法，綜合深度訪談法和參與觀察法進行資料蒐集和分析，以探討 FB 世代網路插畫家之通路管道經營變現策略及商業模式架構。研究 結果發現：（1）網路插畫家依據經營型態比重，可歸納為「FB內容創作型網路插畫家」、「Line貼圖創作型網路插畫家」及「品牌授權化網路插畫家」等三種經營型態；（2）網路插畫家崛起於Facebook或Line 貼圖之線上單一通路平台，以粉絲為經營核心，形塑著從線上到線下、B2C到B2B的變現收益管道；（3）其價值主張為能引起粉絲共鳴的梗，並在大數據時代藉由分眾化行銷經營著顧客關係；（4）自媒體時代實現接近零成本的網路創業夢想，當進入商業化發展階段需進行最適化關鍵資源與關鍵合作夥伴合作評估。 / In the past years, illustrators had little opportunity to be seen. But in recent years, more and more illustrators joined the competition and posted their artworks on Facebook Fan Pages, or became well known through the Line Creators Market, an original character may suddenly turn famous in just a few months. Social media provides a new stage to the illustrators. With the creation of new characters, they gain more fans, build up their fame, gradually bring up the sales for the related products, and bring the Taiwan character merchandising into the new generation.
The emergence of we media changed the development of business model for graphic creators. When we look back, we cannot help but ask "How did all these happen? What impact and change do social media channels have on these graphic creators? How did they liquidize it? Will the current profit model continue?" In view of this, this study attempts to research from the view of "business model", along with Osterwalder&Pigneur's Business Model Canvas structure, and sets the research object as the illustrators of "FB generation" who operate we media with the asset of fans, make graphic designs that turn into IP (Intellectual Property) and have cashability". The following three main questions will be brought up: (1) How do illustrators choose their social media platform? What is the business strategy for their social media platform? What is the impact on the revenue stream? How do illustrators integrate online and offline channel operations? (2) What is the main business model for internet illustrators? How do the Business Model Canvas elements of the channel pipelines and other business models match each other? (3) What are the future development plans for internet illustrators? What are the development opportunities and challenges?
In this study, the data collection and analysis are carried out by means of multiple case studies, comprehensive and deep interviews, and participant observation to explore the channel management strategy and business model structure of FB generation illustrators. The results show that: (1) The internet illustrators can be grouped as "FB content creation illustrators", "Line sticker creation illustrators" and "brand authorized illustrators" according to the proportion of business type; (2) Internet illustrators emerge from a single online platform, such as Facebook or Line, and use the fans as the business core to shape the liquidizing channels from online to offline and B2C to B2B;(3) The value of the idea is the punchline that resonates with the fans and to operate customer relationship by segment marketing in this big data era;(4) We media makes the dream of starting a business at almost zero cost come true. But when it enters the commercializing development stage, it needs to evaluate the optimization of the key resources and the key partners.
| Identifer | oai:union.ndltd.org:CHENGCHI/G0104941004 |
| Creators | 楊偉苹, Yang, Weiping |
| Publisher | 國立政治大學 |
| Source Sets | National Chengchi University Libraries |
| Language | 中文 |
| Detected Language | English |
| Type | text |
| Rights | Copyright © nccu library on behalf of the copyright holders |
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