碩士 / 國立臺灣科技大學 / 設計研究所 / 92 / Abstract
This research applies the concepts of “Empathy” and “Isomorphism” theories to explore the aesthetic affectivity in poster design. The “Empathy” (by Theoder Lipps) and “Isomorphism” (by Rudolf Arnheim) theories are the main issues of the literature review and the poster designs with cultural themes are chosen as case studies which include: the works of Taiwan Poster Design Association designers, Kan Tai-Keung (a famous Hung-kung graphic designer) and the European Conceptual Image Style (Günther Kieser and Gunter Rambow).
The questionnaire survey will be conducted to testify the recognition of viewers on three groups’ poster designs, and to find out the key methods or elements that is worthy to apply to the process of practical design. Eventually, an investigation is conducted to examine the result of practical design.
The results of the research are summarized as below：
1.The important viewpoints from Empathy are: (1) the obtainability of Empathy aesthetic subject is Spatial Image of aesthetic object；(2)only under the circumstance of combination of subject and object could arise aesthetic empathy；(3) the object generated by Empathy is absolutely involved in symbolic association. The expression of Chinese literature and calligraphy echo the similar the viewpoints. And “Isomorphism” theory emphasizes aesthetic emotional experiences — that is isomorphic result of an inter-structure among object, mental and physical activities. To the performance of art, it is proposed “the structure of a force is the base in which the performance is brought out”.
2.According to the questionnaire analysis, the samples in Taiwanese design cases show diverse themes which could arise most viewers’ emotions. Among which, the theme of “geography and natural resources” is the most popular representative of Taiwanese culture.
3.Among the three groups of Taiwanese, Mr. Kan and European poster designs, the works of Mr. Kan are the most popular one in the aesthetic emotional aspect, while the works of European designers’ gained the highest recognition in the formal and structural performance. It believes that Mr. Kan contribute his life on Chinese cultural aspect, and inject the essences of Chinese calligraphy into the contemporary poster design; and the works of European designers’ presents a multi-layers and dynamic visual perception, the themes of their creations emphasize the quality and quantity of a poster design whatever the core meanings (content) or the visual effects (form).
4.According to the analysis of the statistics, the strength of artistic response to a poster design echo to the viewers’ emotional reaction. Therefore, a designer has to have a common emotional experience with viewers, the more the designer involves in self emotion, the deeper the viewer echoes. In the aspect of forms, a posters designer has to test various ways of presentation delicately which enable him to develop his taste of art and extend his work in a new way.
| Identifer | oai:union.ndltd.org:TW/092NTUST619029 |
| Date | January 2004 |
| Creators | Feng-Chuan Chen, 陳鳳娟 |
| Contributors | Ming-Huang Lin, 林銘煌 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 126 |
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