幾何造形網格系統於漢字設計之創作研究

漢字在海報上應用形式相當廣泛，除了傳達訊息外也是另一種情感抒發展現美感涵養的媒介，於造形外觀上的呈現能反映出對字的認知與暸解，從理性及感性當中達到共同見解啟發出不同面向。然而過往文獻案例顯示以文字為主的海報設計在使用手法上較相似，大多皆是由單一幾何形構成網格，因此期望能透過此研究歷程探尋新的表現方法，豐富並延伸不同的網格模組建構方式以創作多樣的作品內容，將幾何造形與網格系統體現在漢字之美，本研究以文獻分析法來理解相關設計發展的歷史脈絡並歸納組成網格的結構；案例研究部分根據設計師、設計競賽與設計年鑑等發表作品為分析對象，而著重於文字造形表現上的形式探討。建構其字形設計之網格系統模組化的創作軌跡，歸納網格結構型態有「單結構」、「複合結構」兩種，共運用基本幾何造形有「三角形」、「正方形」、「圓形」三類，驗證歸類出「變形」、「反覆」、「比例」、「交疊」、「律動」、「錯移」等技法並以佛學辭彙為內容，將主要代表典籍中統整佛家意象和勸世語句之關鍵字世界觀、人生觀兩部分作主題，如「三昧」、「大千世界」、「回向」、「空」、「色即是空。空即是色」、「法子」等，最後創作出12件漢字海報作品，透過研究成果的結論與建議，希望提供未來相關研究者參考。

關鍵字

幾何造形；網格系統；漢字設計

並列摘要

There is a wide application of Chinese characters in posters. Other than conveying messages, Chinese characters are also a means to express emotions and display aesthetic cultivation. The representation of the appearances of Chinese characters can reflect our recognition and understanding of the words, and thus, common insights can be achieved in sense and sensibility to unfold different aspects. The literature and various cases have shown that posters with words as their theme share similar techniques of design, and most of the words are composed of grids formed by one kind of geometrical shape. This study, thus, expects to explore new techniques of expression through a research process to enrich and develop different methods to construct grid modules. Diverse contents of works can thus be combined by these newly developed methods to display the beauty of Chinese characters with geometrical shapes and grid systems. This study applied document analysis and the case study method to grasp the related historical context and induce the structures that form grids. Based on the works released by designers, design competitions, and design yearbooks, the study emphasized the analysis of forms concerning the expression of word shapes. After constructing the creative trace of the grid systems of word shape design, the study induced that the grid structures include the “single structure” and the “compound structure.” Basic geometrical shapes as “triangles,” “squares,” and “circles” were used. Techniques as “transformation,” “repetition,” “proportion,” “superimposition,” “rhythmic movement,” and “displacement” were recognized and categorized. Words and sentences from major Buddhist sutras standing for Buddhist imagery and advising mottos including “samadhi,” “Buddhist cosmology,” “transfer of merit,” “emptiness,” “form is emptiness and the very emptiness is form,” and “following the Buddhist path and being supported by dharma” were used to create 12 new posters of Chinese characters. I hope the results of this study could benefit future researchers of related research.