碩士 / 國立臺灣師範大學 / 設計研究所在職進修碩士班 / 96 / Whether it is in the expression format or from aesthetical concern, modern arts seems to be in the trend of pursuing visual tension. A good design for performing arts poster must possess both transmitting function and aesthetical values simultaneously, especially with a kind of mixing in tension and athletic feeling for visual expression effect. Simply put, these are relative contrasts for each word and image element within the composition of picture, in addition to various interactions interplayed from standpoints of conflict, balance, fusion and disintegration. People can acquire the dynamic visual effect from still and static state of the picture itself. Therefore besides instantaneously still frames during athletic events, the balance and contrast are also the causes for creation of dynamic feelings. If following interpretations and theories from Gestalt psychology in principles for tension and movement, the whole idea was anchored on the assumption to destroy the visual balance of humans so as to trigger instinctively balancing tendency from human as result. This research therefore intends to apply these tension concepts unto the playbill design to enhance the transmission aspect of it, and the aestheticism. Lastly this research summarized into the following three categories for conclusion:
(1) Through documentation exploration, this research summarized in concrete fashion regarding the occurrences for visual tension. This is determined and triggered by positioning, coloring, outer shape and movements, etc. Nevertheless those are responsible of generating the sources for each and every tension residing at consciousness level. Thus, the inducement of visual tension for any layout can be properly arranged to produce guidelines for contrast and coloring demands through the balancing quality for static display, and dynamic feeling for dynamic tension and the emotional tension. Amid all of these, the most effective one resides at the tension for picture composition. Even for those pictures lacking dynamics can be rectified through proper cutting and placed at the right location to achieve the effect for visual tension.
(2) Through collecting and analyzing Taiwan’s performing arts posters, it came to our attention that there were more than one single cause and characteristic accounting for any posters to possess visual tension. It normally possesses the dynamic and balancing attributes or all three of them. And the expression also exhibits different characteristics as well. For these characteristics to be able to really generate the desired visual tension, it must achieve the unity effect first. And the purpose of this guiding principle for achieving unity resides at having the layout possessing a kind of design through expression of main body with sense of unity in addition to the layering expression of the layout. Therefore this can integrate the overall visual expressions so as to enhance the transmission efficiency for imbedded messages.
(3) Through posters creation, it discovers the demands for “balancing” on the picture composition with tension are so vital, even exceeding the anticipation as result. If the playbill’s composition loses the balancing feeling or may even acquires an Instantaneous effect of dynamic and attention grabbing, nonetheless, this attention would not even come close to the esthetics feeling, but also lacks the capability of maintaining people’s attention span. Nevertheless, balancing lacking dynamic feeling would fall flat on It face. Thus, both the dynamic feeling and visual balance exhibit some kind of coexistence relationship in the end, just like the commonly known “balance of terror”. Consequently, this must be handled with utmost delicateness.
| Identifer | oai:union.ndltd.org:TW/096NTNU5619006 |
| Date | January 2008 |
| Creators | Cheng,Szu-Wei, 鄭司維 |
| Contributors | Liang,Kuei-Chia, 梁桂嘉 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 155 |
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