變形紙：介於平面－立體、靜態－動態之間的造形創作研究

Metamorphosis of Paper：Research On the Plastic Design of 2D/3D and Static/Dynamic Paper Art

蕭如君(Hsiao Ru-jyun)

指導教授 ： 林達隆

國立臺灣師範大學/藝術學院/美術學系/碩士(2011年)

摘要

本研究以「變形紙（Metamorphosis of Paper）」為主軸，意在探討「變形包含過程」的概念在視覺造形上的應用。完整的「變形」包含了三個重要內涵：原本的形式、結構與超越了原本的形式、結構而形成在此之後的形式、結構，以及超越本身，也就是包含了原始（開始）、轉化（過程）與結果（結束）的形式轉換歷程。很多時候我們可以清楚知道一個物體是經過變形的，是因為對此物體的原始形態已經有既定的概念，所以即使看到的只是變形後的結果，還是能意識到它經過變形，但卻無法得知如何變形，所以單看結果是無法瞭解完整的變形，唯有包含始末才是完整的變形。
依照上述對「變形」的解釋，本文以兩個層面對其進行分析，其一是就「形式」而論，也就是原始→轉化→結果的造形轉換過程。主要從平面、立體與色彩三個要素交叉排列，構成變形的主體並歸結出造形變形的九個種類。其二以「時間」來談，是針對開始→過程→結束的時間歷程而言。分析變形主體（造形本身）與觀者之間的關係，而時間就是構成兩者連結的關鍵。並以完形心理探討視覺功能如何促成變形以及變形作品的「整體」與「部份」概念。
本研究創作則是結合「變形」的表現方式以「紙」為素材來進行，所以將「紙」分為素材特性、加工方法與紙藝類型及作品分析，並以此為基礎思考紙在變形的概念下如何達到效果與目的。

關鍵字

變形 ； 紙藝 ； 靜態/動態 ； 平面/立體

並列摘要

This thesis focuses on ‘Metamorphoses of Paper,’in an attempt to explore the application of the idea, ‘process is a part of metamorphosis,’in visual design. A complete ‘metamorphosis’includes three basic elements: the original form and structure, the envolved form and structure (from the original), and theevolution itself. That is to say, the changing process of form involves the original (the beginning), the transformation (the process), and the result (the end). There are times when we can clearly observe that the shape of a certaain object is changed. This is because we have already established come concepts of its original mode. Though we only see the result of its transformation, we are still able to guess what it has undergone. However, the result does not show the entire process of transformation; a metamorphosis is dynamic from the beginning till the end.
Based on the explanation of “metamorphosis” provided above, this thesis further analyzes this concept from two perspectives. First, the writer starts with a discussion of form, that is, the transforming process of a shape that includes the original, the shape-changing, and the result. The writer cross displays three ingredients that constitute the main body of metamorphosis: the 2D, the 3D, and color, and comes up with nine types of metamorphosis. Second, the writer discusses time, that is, the entire time span of the beginning, the middle, and the end. Time is crucial in linking and developing the relationship between the main body of metamorphosis (the design itself) and the viewer. Then, the writer uses the ideas of Gestalt psychology to discuss how visual capability contributes to metamorphosis and explores the concepts of “whole” and “part” in designing metamorphosis.
The paper art splayed in the thesis is inspired by the expressive ways of “metamorphosis. The writer probes into how paper art reaches its effect and goal under the concept of “metamorphosis” through discussions of the characteristics of material, processing methods, types of paper art, and analysis of her paper art.

並列關鍵字

Metamorphosis ； Paper Art ； 2D/3D ； Static/Dynamic

參考文獻

1. 安海姆(Arnheim, Rudolf)，《藝術與視覺心理（Art and visual perception : a psychology of the creative eye）》，李長俊譯，臺北市：雄獅，1976。

5. 馬克斯•本澤（Max Bense），伊莉莎白•瓦爾特（Elisabeth Walther），《廣義符號學及其在設計中的應用》，徐恒醇編譯，北京：中國社會科學出版社，1992年。

1. Arnheim, Rudolf，Art and visual perception : a psychology of the creative eye / Rudolf Arnheim，London : University of California Press，2004。

一、中文

1. 王秀雄，《造形心裡學動勢篇》，高雄市：三信出版社，1973年初版。