在高達三萬餘種字型的英文字體世界,如何著手做意象研究較為棘手。本研究採逆向思考,以現象學直觀還原的精神為基礎,遍尋六種指定意象並經實際應用的英文字型,爾後經KJ法、順位排序法、語義分析法等進行兩階段之測試研究。主要目的在於探尋經直觀手法找出的意象字型有無形式上的一致性?探討同一字型的意象在「編排應用」前後之意象上有何差異?兩性間在這兩次測試中文有何意象認知上的差異?…等課題。本研究得到的主要結論如下:1. 透過適當編排的字型(第一階段)對意象的一致性有強化的效果,而原形字型(第二階段)則易產生意象認知上的分歧(含兩性間)。2. 英文字型本身具有多種特質,透過不同的編排可展現不同的意象型態。3. 六種意象字型仍有相關「特定形式」上的傾向。如Italic字型易產生動感、Swash 字體易生高雅感、Square Serif或Sans Serif(one weight)字型較有工業感...等。4. 教育界與設計界可就本研究的結果思考英文字學教育與實務應用的種種課題。因為整個研究結果顯示:一個好的編排才是主導文字意象傳達的最大力量。
In the world of more than 30,000 kinds of English fonts, it's quite difficult to do image research. Based on the spirit of intuition recovery of phenomenology, this study uses counterthinking to find out the English fonts with six indicated images and are practically used, and then the two-stage test study is performed by way of KI Method, Sequentially-Indexing Method and Method of Semantic Differential, etc. The main purpose is to explore whether the image fonts discovered by intuitive method has consensus in forms? What's the difference of the image of the same font before and after editing and application? What's the difference of both genders on the recognition of image in the two tests? ... and the like subjects. The major conclusion drawn by this study is as follows:1. Through the properly edited fonts (the first stage), the effect of image consensus is strengthened; while the original-type font (the second stage) easily results in the difference on the recognition of image (including both genders).2. There are many characteristics in English fonts themselves. The same font can mean differently through different editing.3. The six image fonts tend to have related ”specific forms”. For example, the Italic font has the style of motion; the Swash font has the style of elegance; the Square Serif or Sans Serif font (one weight) has the style of industry, etc.4. The educational and design circles can survey the subjects about the instruction and application of English fonts according to the results of this study, because it shows that a good editing is the greatest power dominating the conveyance of word image.