漫畫式圖像在視覺藝術表現上之創作

Comic-like graphics of Creative Work on Visual Arts Presentation

施智仁

指導教授 ： 張柏舟

國立臺灣師範大學/藝術學院/設計研究所/碩士(2007年)

摘要

漫畫的自由表現形式與天馬行空的內容，讓為漫畫著迷的人遍佈世界各地，是學生下課後逃避現實的幻想園地，也是藝術家抒發己見的創作媒介。漫畫發源自原始人類在洞穴上的塗鴉，18世紀時是歐洲漫畫家針貶時事、陳述事件的利器，19世紀末的美國人看完報紙上主要新聞後則會看四格漫畫輕鬆一下，二次大戰後的日本漫畫撫慰了日本的民心更開拓了漫畫的視野，在台灣的50年代的『諸葛四郎』風靡了當時的青少年，卻也曾被視為傷風敗俗的不良刊物。漫畫與藝術間原本存在著一道鴻溝，達達運動（DA DA）與普普藝術(POP ART)出現後，漫畫的發展有了不一樣的轉折，漫畫中的圖像躍入了美術館，達達與普普的藝術家讓漫畫不再只是輕鬆、詼諧的娛樂小品，而是具有社會意涵、時代意義的圖像訊息，他們透過漫畫式的圖像，重新定義通俗藝術與純藝術間的區隔，影響了後來視覺藝術的演進，更擴及到商業設計的範疇。
全文分為文獻分析與個人創作研究兩部分，文獻分析部分首先透過對漫畫相關文獻的探討、蒐集、分析與整理漫畫的定義，接下來介紹漫畫在歐美、日本、中國與臺灣的發展軌跡，藉以釐清漫畫對於當地藝術發展與社會文化的影響，並解構各種與漫畫圖像相關的藝術運動以及其所形成的視覺特色，同時探討漫畫式圖像對視覺傳達設計的影響。接著研究構成漫畫的主要視覺元素與符號特徵，探討漫畫圖像元素的應用範圍。
最後是個人創作部分，以漫畫式圖像為主要創作元素，運用各種漫畫式圖像的視覺語言與色彩，挪用各種歐美、亞洲的政治與文化圖像，透過數位影像的創作手法與特性，轉化出具主題性的視覺創作，內容呈現個人在歐美、日本與中國視覺文化影響下的圖像創作，作品背後隱喻臺灣的當代社會文化現像。結論則是總結對於個人漫畫式圖像創作的發展與期望，並期待在視覺傳達設計與商業價值上的應用與發揮。

關鍵字

漫畫 ； 漫畫式圖像 ； 普普藝術 ； 視覺傳達設計

並列摘要

The free manifestation and unrestrained contents of comics, has spread its fans all over the world, it is a getaway fantasy land from reality for students, also a creation media for artists to express their opinions. Comics were originated from the cave paintings of the prehistoric men, it was a tool for European cartoonists to criticize current affairs and describe events in 18th century; at the end of 19th century, the Americans would read the comic strips after the major news in the papers for entertainment; the comics in Japan comforted the people’s hearts, also expanding the comic’s horizon, post WWII; the “ZhuGe SiLang” in the 50’s of Taiwan, raged the youngsters at the time, but it was also considered to be an immoral publication.
There was a gap between comics and the arts, but since the appearance of the Dada Movement and the Pop Art, the development of comics has taken a different turn. The pictures of comics have jumped into museums, and the artists of Dada and Pop transformed the comics to graphic messages with social and timely meanings, which means they are no longer just a funny entertaining sketch. Through the comic-like graphics, they redefined the division between the popular arts and pure arts, influenced the revolution of subsequent visual arts, and further expanded into the commercial design scope.
The paper is divided into two parts of literature analysis and personal creation to research. Regarding the literature analysis, firstly through the treatment, collection and analysis of the relevant literature of comics, sort the definition of comics, and then introduce its developmental traces in Europe, America, Japan, China and Taiwan, to clarify its influences to the local arts development, societies and cultures. Meanwhile deconstruct various art movements relating to comic images and their visual features, and to probe the influence of comic-like graphics to visual communication design. Following, study the major visual elements and symbolic characteristics that structure the comics, thus probing the usages of comic-like graphic elements.
Lastly is the personal creation. Aimed at the comic-like graphics as major creation elements, by using all sorts of visual language and colors of comic-like graphics, and political and cultural pictures of Europe, America and Asia, together thru the creation techniques and features of digital images, transformed to the visual creations of the theme. Its contents present the personal graphic creations which were influenced by the European, American, Japanese and Chinese cultures, and behind the creation was hidden the modern society and culture phenomenon of Taiwan. The conclusion is the creation development and expectation of the personal comic-like graphics, and expecting its application and amplification on the visual communication design and commercial value.

並列關鍵字

comics ； comic-like graphics ； pop art ； visual communication design

參考文獻

6.周文鵬（2007.6）。論漫畫的定位與定義 。問學集。頁136-147。

59. Paul Martin Lester著（2003）。視覺傳播 Visual Communication Images with Messages/3E。台北：新加坡商亞洲湯姆生國際出版有限公司。

6. The Art of the Funnies An Aesthetic History/Robert C.Harvey USA 1994

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