青少年對當代女性圖像插畫作品風格審美趣味之探討 －以台灣與日本為例

The Discussion of Adolescents' Aesthetic Interest in Contemporary Illustration Styles with Women’s Pictures-Cases of Taiwan and Japan

廖惠英(Hui-Ying Liao)

指導教授 ： 黃琡雅

崑山科技大學/創意媒體學院/視覺傳達設計研究所/碩士(2006年)

https://doi.org/10.6828/KSU.2006.00011

摘要

插畫經歷20世紀中期攝影的黃金時代，並未因此而被淘汰，反因其獨具的表現手法及風格、富有高度的趣味性及人性意味，更顯示其獨特的價值與地位。1980年代之後，由於電腦輔助繪圖與數位設計不斷日異更新，表現之應用媒材及技術也隨之遞變，插畫表現技術也由傳統之手繪轉變為電腦繪圖之形式。綜觀插畫過去表現之主題，向來喜愛以人為基點，其中女性圖像更經常地被運用於視覺傳達設計上。
本研究主要探討1990至2004年間，以女性圖像為主題的台灣與日本插畫家插畫作品風格類型，試圖了解現今青少年對女性插畫圖像的意象認知與喜好差異。本研究分為三個階段進行研究，第一階段為蒐集市售女性圖像插畫之印刷品及網路資料共計200件，以焦點小組法建構視覺表現之分析表，並採用層級式集群分析法（cluster analysis）將作品進行分類；第二階段將分群的樣式種類以語義分析法（method of semantic differential，簡稱SD法)分析其屬性與風格之間的關係性，藉由因素分析，了解受測者對「概念」感受的共同因素，並探討其相互之關係性；第三階段進行問卷調查以分析不同性別及不同背景之受測者對女性圖像插畫作品之視覺意象的認知及偏好差異情況。
由研究結果中可知在1990至2004年間之日本與台灣的插畫家的作品中，古裝或現代的風格是參差各半的。在眾多插畫家中以古裝與具現代風格表現者有日本插畫家中島潔、林靜一與台灣插畫家德珍、陳淑芬、徐秀美、張雅涵等人，此時期插畫之作品多以手繪為主，就風格而言，多以純真風格類型居多。
綜合研究結果得到以下兩個結論：（一）女性圖像插畫家之作品風格類型可歸納為六類：第一類是「成熟嫵媚」，這類是舉手頭足之間都相當有成熟女人的韻味；第二類為「心情抒發」，這類是屬於心情描寫；第三類為「自然純真」，具清新可人帶有小女生天真感覺；第四類為「童話童趣」，顧名思義是屬於有童話背景及富有想像力；第五類為「生活情境」，這類是屬於閒適及有故事情境的；第六類為「自我個性」風格類型，這類是屬於較有自我想法。（二）受測者對女性圖像插畫作品之意象認知與偏好差異部分：不同性別的受測者對於「優雅的－俗氣的」及「鮮艷的－暗沉的」的形容詞對的看法最不相同、而不同教育背景的受測者對於「獨特的－普通的」及「感性的－理性的」的形容詞對的看法最不相同。受測者最喜歡的前三名作品分別是台灣插畫家陳淑芬、德珍、張雅涵等的作品，以古裝具現代感造型為主，呈現出成熟嫵媚姿態的風格；受測者最不喜歡的是日本插畫家中島潔的作品，其作品風格呈現是較具規矩感及生活情境的描寫。同時在320位受測者中超過40％的人喜歡觀看女性圖像插畫作品，並覺得女性圖像插畫作品富有吸引力，能帶來精神上及視覺上的享受；超過45％的受測者認為女性圖像插畫作品代表一種流行文化樣貌。
本研究試圖由建構女性圖像之視覺表現要素與女性圖像意象之相關性，來了解當代女性圖像的插畫風格，並藉由青少年對作品的觀感、意象認知及審美趣味作一泛文化現象的抽樣調查，以探討當代青少年對女性圖像插畫的流行品味，並期研究結果提供作為日後相關插畫家、設計者及文化現象研究者的一個參考。

關鍵字

青少年 ； 流行文化 ； 插畫 ； 女性圖像 ； 風格

並列摘要

Though illustrations have gone through the mid-20th century, a golden age of photography, they have never been eliminated. On the contract, they show their unique value and position because of their remarkable expression and style with high interest and humanistic meaning. After 1980, CAD (computer aided drawing) and digital design have changed the materials and techniques of expression, so the techniques of illustrations have turned from traditional hand drawing to computer graphic. As a whole, the topics of illustrations were focused on "humans", and women's pictures have usually been used in visual communication design.
The study is mainly to discuss the illustration styles with women's pictures in Taiwan and Japan form 1990 to 2004 in order to understand adolescents' cognition and preference. The study is divided into three stages. The first stage is to collect altogether 200 commercial illustrations with women's pictures from print and network information. Then, "focus group discussion" is used to construct analytical tables of visual expression. Besides, "hierarchical clustering" is used to classify these works. The second stage is to analyze the relationship between the attributes and styles of these clustered patterns using semantic differential method. Then factor analysis approach is used to understand subjects' perception of "concepts" and their interrelationship. At the third stage, questionnaire survey is used to analyze the cognition and preference of subjects with different genders and backgrounds for the illustrations with women's pictures.
The study result shows that the works of Taiwanese and Japanese illustrators from 1990 to 2004 can be divided into ancient and modern styles. At this period, the illustrations of Japanese illustrators as Nakajima Kiyosi, Seiichi Hayashi and of Taiwanese illustrators as De-Jen, Shu-Fen Chen, May Hsu, Ya-Han Zhang are mostly hand-drawing, and their style is focused on “innocence”.
There are two conclusions in this study: (1) the styles of illustrators’ works with women’s pictures can be divided into six patterns. The first pattern is “mature and charming”, which describes mature women’s behaviors; the second one is “the expression of mood”, which describes the mood; the third one is “natural and innocent”, which means pure, cute, and childlike; the fourth one is “fairy tales and childhood amusement”, which has the background of fairy tales and imagination; the fifth one is “real life situation”, which is pleasurable and situational; the sixth one is “personal style”, which has more individual thoughts.(2) the subjects’ cognition and preference for the illustrations with women’s pictures: the subjects with different genders have significantly different views for the adjective pairs “elegant-vulgar” and “bright-dark”. The subjects with different educational backgrounds have significantly different views for “unique-common” and “rational- emotional”. The most popular illustrators are Shu-Fen Chen, De-Jen, and Ya-Han Zhang whose drawing style is mainly focused on ancient dresses with modern styles to present mature and charming women. The most dislikeful illustrator is Nakajima Kiyosi, because her works are too prudish and are mostly about real life situations. There are more than 40% of the 320 subjects who enjoy the illustrations with women’s pictures. Besides, they think these works are attractive enough to give them spiritual and visual enjoyment. More than 45% of the subjects think that the illustrations with women’s pictures can represent one kind of popular culture.
The study attempts to construct the relationship between the elements of visual expression and the images of women’s pictures in order to interpret the contemporary illustration styles with women’s pictures. Through adolescents’ views of these works, their cognition of images, and their aesthetic interest, the sampling survey across cultures is conducted to discuss contemporary adolescents’ tastes for the illustrations with women’s pictures. Moreover, the researcher hopes that the suggestions of the study can be given for illustrators, designers, and the researchers of cultural phenomenon afterward.

並列關鍵字

illustration ； adolescent ； popular culture ； women's picture ； style

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