數位媒體介面圖像設計語意脈絡轉換方法之研究： 以MP3 隨身聽為例 數位媒體介面圖像設計語意脈絡轉換方法之研究：以MP3 隨身聽為例

The Study of a Convergence Approach to Digital Media Interface Icon Design for a Semantic Context：MP3 Player as an Example

韓宜廷(Yi-Ting Han)

指導教授 ： 連德仁

國立臺中科技大學/設計學群/商業設計系碩士班/碩士(2005年)

摘要

隨著時代與科技的變遷，人類的生活已邁入資訊科技時代，不論是研發者或是使用者，無不投入這數位世界，企圖將語言國際化。除了一般的傳統語言之外，有一項更方便更簡潔的語言，主要是以圖像符號來溝通，我們稱之為「圖像語言」，將大眾所熟知的訊息予以圖像化，這即是近幾年電子產品最愛用的人性化裝置，例如家電中的微波爐、冷氣機、洗衣機；通訊用品中的手機、電話機，其他如相機、音響等，都是圖像語言的愛用者。當然，近幾年急速竄紅的MP3隨身聽也是設計重點，此時，藉由圖像的溝通與互動變得更為重要。而自我國加入WTO之後，許多產品都有跨足國際的機會，因此，此種國際語言（圖像語言）要設計得能跨越傳統語言溝通障礙與文化差異，將是一項重要的議題。
本研究首先就認知心理、圖像設計、介面設計與使用性工程等相關文獻進行探討，歸納出圖像設計與使用者介面所需注意的設計原則及考量因素，並依此進行問卷設計。以MP3隨身聽之圖像符號做為主要的研究方向，探討MP3圖像符號的種種特性與功能，並了解「使用者」與「圖像」的溝通途徑及解讀歷程，佐以視覺心理與認知心理學的論點分析MP3隨身聽之圖像符號，探討如何設計出能夠讓使用者一眼就看懂的Icon。透過問卷調查，了解使用者對現有市售MP3隨身聽圖像的滿意度與功能表的重新建構，再將滿意度未達ISO圖像識認標準的MP3隨身聽圖像，依據以使用者為中心的圖像語意聯想表進行圖像的重新設計，再次施測得到以下幾項發現：
（1） 本研究發現，既有之圖像在圖像滿意度評價大都介於不滿意至滿意之間，而重新設計後之圖像，評價介於普通至滿意之間，且均高於圖像識認標準值之上，顯示本研究中之圖像語意聯想表確實符合使用者的思考邏輯，因此所設計出來的圖像真正做到了以使用者為中心。
（2） 不同教育背景受測者，對於既有圖像的滿意度與認知有一定程度上的差異，但對於重新設計過的圖像，評價較為一致，顯示重新設計過的圖像較既有的圖像符合使用者的思考模式，不會因為使用者的教育背景不同而對圖像有不同的解讀，再次驗證以使用者為中心設計的重要性。
（3） MP3隨身聽圖像設計雖然受限於小螢幕而必須將圖像簡化，但是若太過簡化，導致辨識度降低時，便失去原本的意義，使得使用者在觀看圖像時無法與功能名稱連結起來。
（4） 許多功能的圖像雖然簡潔，但是由於使用的象徵符號無法使人直接聯想到其功能，也因此失去圖像與意義之連結。
最後本研究希望MP3隨身聽業者以及圖像設計人員能更重視使用者的心智模型與需求，「知其所求，供其所需」，以使用者為中心出發，做為設計之參考依據。

關鍵字

MP3隨身聽 ； 認知心理 ； 圖像設計 ； 使用性評估

並列摘要

With the changes of time and technology, our life has walked into an information age. No matter the researchers or users they are, they all embrace their digital world and, with great ambition, tend to make the language as international as possible. Except for the traditional written language, we have other alternatives—which are clearer—that is, the “icon symbols.” To make the information visually known by most people is, in the recent years, our favorite humanized equipment among the electronic products. For example, the domestic equipment (such as microwaves, air-conditioning, clothes washer), the communication equipment (such as mobile phones, telephones), and others like cameras, audio-sets are all the focal point of design, especially the hot hunt-for MP3 players. At this moment, it is of prime importance if the users communicate and interact with the equipment of the products visually. After entering into WTO, we all have the possibility of possessing many international products. Therefore, this kind of internationally known language—i.e., the icon language—becomes a crucial task to design beyond the linguistic boundaries and cultural differences.
This study aims to explore the literatures related to cognitive psychology, icon design, and the usage of the interface design. From the literatures, we may induce the icon design, the designing principles of user’s interface and the elements that we should consider by survey. My study aspect is the ICON on the MP3 players, which discusses the various features and functions of the MP3 ICON symbols. Meanwhile, my study tries to understand the communicative avenues and process of interpretation between “users” and “ICON.” It may analyze the ICON symbols of the MP3 players by visual psychology and cognitive psychology; moreover, it discusses how to design an ICON that can be easily recognized by users. After surveys, understanding how much the user feels satisfied with the MP3 ICON in the market, and redesigning by means of the tablet of the user-centric icon connotation, we discover:
（1）The evaluation of the existing ICON cannot satisfy the users; it ranges from “unsatisfactory” to “satisfactory.” After the ICON redesigned, the evaluation may range from “normal” to “satisfactory,” and it is even higher than the standard value of icon recognition. This indicates that the icon connotation may accurately account for users’ thinking logic and, thus, the icon that I designed may truly achieve my user-centric purpose.
（2）Different testees with different educational backgrounds may to some extent have different levels of satisfaction and recognition. However, when the icon revised and redesigned, the icon design may satisfy most users. This suggests that the redesigned icons can explain and follow most users’ thinking process; the redesigned icons will not lead to different interpretation due to users’ different educational backgrounds. Again, it proves the importance of user-center.
（3）Although the design of MP3 has to be simplified due to its small screen, it will unrecognizably loose its original meaning. Thus, the users may fail to associate its icon meaning with the function of the product.
（4）Because the symbol signs may obstruct our association to the functions—although concise the icons appear—they will thus lose the link with the icon meanings.
Last but not the least, I hope that MP3 manufacturers and the icon designers will be more attentive to the mental model and the needs of users. There is a saying that goes that “knowing what they desire and provide what they need”; thus, it will be wiser if we can design in terms of the user’s needs.

並列關鍵字

MP3 Player ； Cognitive Psychology ； ICON design ； Usability Evaluation

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