連續圖形應用在木質鑲嵌之創作研究－以蘭科植物為例

連續圖形之快速編排及豐富的視覺效果，大量地使用在包裝、服裝及建築等領域；木質材料具備再生、多變的紋理及色彩等特性，在生活中亦有相當廣泛的應用。蘭花自古發展出特有的文化，在台灣的花卉外銷中，以蘭花之出口金額比重最高，也證明蘭花不只受到華人的喜愛。目前連續圖形之相關研究甚多，但應用於木質元素之研究卻較少被探討，因此本創作研究以連續圖形為主軸，並試圖從木質元素及蘭科植物，找出三者間發展之可能性。本創作研究在文獻探討中包括，蘭科植物之分析，目的為瞭解蘭花的各種特性；木質材料相關研究為後續創作材料選用之參考；木質鑲嵌類型研究則可以釐清各種加工技法的差異；圖案定義與構成形式則做為連續圖形設計之依據；第三章為木質鑲嵌飾板及鑲嵌木盒相關案例研究，透過分析以找出發展脈絡及趨勢；第四章為系統性分析「蕙蘭」之瓣形、花形、葉紋及株形，進行造形意象萃取，並轉換成幾何單位形後，與連續圖形法則及上述研究所得之結論相互結合，並運用電腦輔助設計(CAD)之工具排列組合，進行木質鑲嵌飾板之創作研究，再以數值控制加工(CAM) 之方式切割零件，使軟硬體整合產生數位連續性(Digital Continuum)，最後創作出花蘭系列之「櫛比」及「棋布」與藝蘭系列之「蕩漾」及「搖曳」四項木質鑲嵌作品。經文獻、案例分析及創作實證中獲得以下幾項結論；一、蘭科植物中以蕙蘭之花蘭萃取造形意象時，識別度最高；藝蘭則略顯不足。二、蕙蘭與木質元素應用於鑲嵌中更顯兩者氣質。三、系統化之單元形，使設計具有脈絡性。四、以文化蘊涵帶入，使木質鑲嵌具獨特性。五、以蕙蘭為題之木質鑲嵌，適合使用網格構圖。六、單元圖形之圖與地須使用明暗差異大之材質。

關鍵字

蕙蘭；連續圖形；數值控制加工；木質飾板

並列摘要

Continuous patterns, which feature rapid layout and arrangement and vivid visual effects, are considerably applied in packaging, clothing, and architectural creations. Wood has regenerative characteristics and exhibits diverse textures and colors; thus, it is widely applied as a material in everyday life. Since ancient times, orchids have been developed as special cultural products. Among the flower exports of Taiwan, orchids account for the highest export percent. This indicates that orchids are attractive to more than ethnic Chinese people. Many studies regarding continuous patterns have been conducted, but few have explored their applications in wooden elements. As a result, the present creation study focused on the application of continuous patterns in combination with wooden elements and Orchidaceae to determine the relevant development possibility. This study involved literature review of analysis of Orchidaceae to understand orchid characteristics and research related to wood as a material to serve as a reference for subsequent selection of creation materials. Wooden parquetry types were studied to clarify the differences between processing techniques. Pattern definition and composition styles were used as the basis of continuous pattern design. In the third chapter, cases related to wooden cartouche panel and parquetry wooden boxes were studied and analyzed to identify relevant development contexts and trends. The fourth chapter involved systematic analysis of Cymbidium petal shapes, inflorescence shapes, leaf patterns, and plant form to facilitate extracting form images. After the images were converted into geometric units, they were combined with continuous pattern laws and results obtained in aforementioned studies. Computer-aided design was used to arrange and assemble the units and patterns to create wooden parquetry; then, computer-aided manufacturing was used to cut components and produce digital continuum through hardware and software integration. Consequently, four wooden parquetry works were created: Jie-Bi (compact arrangement) and Chi-Bu (intense multiplicity) of floral orchids and Dang-Yang (wavy vibration) and Yao-Yi (swaying) of artistic orchids. Through literature review, case analysis, and creation evidence, the following conclusions were drawn. (a) Extracting design form images from floral orchids of the Cymbidium genus showed the most notable recognition rate among Orchidaceae, whereas images from artistic orchids were less recognizable. (b) Cymbidium and wooden elements applied in parquetry manifested the characteristics of both. (c) Systemized unit forms enabled contextual designs (d) Embedding cultural connotations into the design created the uniqueness of the wooden parquetries. (e) Wooden parquetries featuring Cymbidium are suitable to be used for grid composition. (f) Materials with great brightness differences should be used for the figure and ground of the unit patterns.