「台風．以XX之名」海報設計創作

摘　要追溯「新台客」在2005-2006年是能量釋放的顛峰，在各種官方論述力的激盪共鳴下，「新台風」此一詞語彙在台灣當代藝術設計中被加冕，成為「台客文化」周邊論述的「再生產」（Reproduction）。「台風」早在「台客」掀起全台波瀾之前，就已存在台灣美術的發展脈絡中。自解嚴後，設計家希望在全球化藝術語彙中，走出一建構台灣的視覺風格，來衝撞過去的舊思維，因此在內容及元素上多從常民文化中汲取集體記憶。因此，本創作研究的形成是因循創作者的創作理念而著，研究內容由「後現代風格」及「台灣當代社會文化視角」兩大主題共同建構，一方面分析後現代主義的文化思潮與設計風格；另一方面從造形、建築、文學、音樂、繪畫、電影、視覺傳達設計等角度探討後現代藝術設計的實踐，進而找出創作的形式與風格。文中分析後現代主義之意涵與理論，探索後現代文化的概念與風格形式的差異；並針對台灣當代文化與社會環境的現況進行探討，以期勾勒出屬於後現代思潮下台灣當代本土與在地的視覺符號與表現形式。所以本創作研究將以「以台風之名」主題精神進行海報創作表現，藉由視覺符號的創新以及文化圖像符碼、象徵意涵、表現手法、色彩運用四面解析所得結果，進行本創作與並舉辨主題個展，作為本創作研究之成果發表；藉由與觀者互動來進行本創作研究的評估。最後將本創作研究之經驗成果與評估撰寫成冊論述，拱後進創作研究者參考。

關鍵字

後現代主義、吹台風、海報設計

並列摘要

Abstract The trend of “neo-TAI-KEI Culture” (Taiwan local culture) reached its peak during 2005 and 2006. Supported by various official explanations, the term “neo- TAI FENG” (Taiwanese style) is recognized as a reproduction of auxiliary notions of “TAI-KEI culture”. As the matter of fact, “TAI FENG” has already existed in the context of the development of arts in Taiwan before the emergence of “TAI-KEI culture”. After the martial law was lifted, designers in Taiwan hoped to create a type of visual communication with Taiwanese style to stimulate previous thoughts about the creation of art. Therefore, they used collective memories in folk cultures as contents and elements for art creation. With design concepts in mind, this study aims to examine “postmodern style” and “contemporary social culture in Taiwan”. It analyzes design styles in the postmodern culture; furthermore, it explores the practice of postmodern design in plastic arts, architecture, literature, painting, cinema, and visual communication. The attempt is to discover the formats and styles of art creations. This study analyzes the contents and theories of postmodernism and the concepts and styles of the post modern culture. It then applies the analyses to the contemporary culture and social settings in Taiwan as an effort to outline local visual signs and presentation formats of contemporary Taiwanese culture. Regarding this, this study takes “In the Name of TAI FENG” as a theme to make posters from four aspects: cultural pictorial semiotics, symbolic meanings, presentation methods, and use of colors. The analyses are applied to the author’s poster creations displayed in the personal exhibition. The results and reviews of this study are compiled into a volume to serve as a reference for future research.