奧運會之視覺設計機能與意象傳達研究

Research on Olympics Visual Design Function and Motif Delivery

霍鵬程(Peng-Cheng Ho) ； 楊清田(Ching-Tien Young)

《藝術學報》 85期 (2009/10) Pp. 131-155

https://doi.org/10.6793/JNTCA.200910.0131

摘要

從19世紀起，國族主義運動已經運作了一個世紀之久，巴巴(Homi Bhabba, 1990)以印度國旗為例：結合原有的黃色、伊斯蘭教的綠色、佛教傳統的法輪；歷屆奧運會的主標誌，大多數以國徽、國旗色彩及傳統圖案為主要設計元素，此為本研究的動機與目的，希望經由客觀的研究方法證實上述觀點是否正確，以做為舉辦國際體育活動之參考。本研究問卷調查結果證實，奧運主要視覺設計物的主標誌與官方海報並非為單純的設計思考，實有關於推銷國家意識形態、傳統文化藝術、設計流行與設計行銷等其他重大因素所致。本研究將歷屆官方海報的「設計表現」與當代「設計流行」相互對照，試圖將奧運海報設計劃分為手繪廣告(1896-1928)、多元組合 (1932-1960)、符號表現(1964-2008)三個時代，以做為設計研究與教育之參考。另外，研究也發現：有設計背景者比無設計背景者，對四種意象的認同度都比較高，而且達顯著性差異。

關鍵字

奧運標誌 ； 奧運海報 ； 設計流行 ； 設計行銷

並列摘要

Nationalism has existed as a concrete ideology for over a century, since it emerged in the 19th Century. Homi Bhabba (1990) pointed out that the Indian flag, for example, was produced by combining the existing yellow color with Islamic green and traditional Buddhist prayer wheels. Most of the logos of the past Olympics used national symbols, national flag colors and traditional patterns as their main design elements. The motive and purpose of this study is to use objective research methodology to determine if the above perspective is valid. This can then be used as a reference when hosting international sporting events.
The results of the questionnaire survey proved that the visual design of the main identities and official posters produced for the Olympics were not a product of pure design. Instead, they were clearly influenced by nationalism, traditional arts and culture, design fashion and other important factors. Analysis showed that changing times and the end of the Cold War has seen visual design shift from emphasizing ”national consciousness” to expressing ”traditional culture”. ”Design fashion” has also gradually been forced to take ”commercial marketing” into account. This study will compare the ”design expression” and contemporary ”design fashion” in past official Olympic posters, then attempt to divide Olympic posters into three periods: hand-drawn advertising (1896~1928), combination of multiple elements (1932~1960) and representative symbols (1864~2008). This can then be used as a reference in future research and teaching. Research has also shown that people from a design background exhibited a significantly higher level of identification with the four motifs than those without.

並列關鍵字

Olympic Logo ； Olympic Poster ； Design Fashion ； Design Marketing

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