視覺故事設計之研究-以產品平面廣告為例

The Research of Visual Story Design – with a Focus on Products Print Advertisements

莊妙仙(Miao-Hsien Chuang)

指導教授 ： 黃啟梧

國立臺北科技大學/設計學院/設計研究所/博士(2014年)

https://doi.org/10.6841/NTUT.2014.00554

摘要

後現代主義特徵如複雜、矛盾、遊戲、趣味、歷史感等，一掃現代主義模組化、形隨機能之設計準則，也帶動敘事設計之熱烈討論。設計師們喜歡以作品說故事，而讀者（或產品使用者）地位提升，其想法、感知與情感反應亦舉足輕重。本研究以產品平面廣告為例，主要目的在探討視覺故事設計作品之構成特徵、讀者情感反應與喜好因子、圖文交互瀏覽之時間分布與瀏覽偏好，並對外顯瀏覽與事後內省回顧作差異分析。本研究結合Chatman等敘事結構與視覺表現結構等理論，將｢視覺故事｣分為（一）視覺故事內容（視覺結構、讀者情感反應）與（二）視覺論述手法（版面編排、圖文元素）兩大類，研究方法包括開放性譯碼分析、個案分析、問卷調查法、眼球追蹤等。

本研究發現視覺故事設計具兩大特徵：（一）視覺構成：包含高度視覺認知、典故童話角色、誇張之人物表情、戲劇性豐富細節、手寫塗鴉；（二）情感反應：包含溫馨趣味等正面情感、熟悉感、懷舊、期待故事情節等。喜好因子分析依序命名為：感受到故事、喜好與期待、想像空間、產品與情感之聯結。其中受測者對感受到故事與故事型文案瀏覽時間在迴歸分析中呈負相關，想像空間之感受程度與文案瀏覽時間在迴歸分析中呈正相關。本研究亦假設：讀者對故事感感受程度會有高中低之差異、不同年齡層讀者對故事感之感受有差異，以混合設計二因子變異數分析獲得證實，實用顯著性亦達中等水準。另外，三成受測者在眼動追蹤實驗的瀏覽時間與事後內省認知有所不同，顯示內隱觀察與外顯記憶確有差異。

本研究探討視覺故事設計之特徵與編排，作為藝術設計教學之參考，並啟發學子視覺影像創作與思考詮釋之能力；不同背景者對故事感高中低之感受差異，對產品廣告圖像、文字與logo等編排偏好，期望提供設計師針對不同讀者，採用有力的圖文敘事方式，以達訊息告知與影響決策之目的；另外，本研究也建議以外顯眼球追蹤實驗與內省問卷兩種以上之研究方法併用，以增加研究之可靠性。

關鍵字

視覺故事設計 ； 讀者情感反應 ； 圖文編排 ； 眼球追蹤 ； 外顯內隱記憶

並列摘要

As a successor to postmodern design, story narration emphasizes paradox and intricacy, entertainment, amusement, and historic styles and designers use the rich expression of story-telling to attract the attention of viewers. This study focused on print advertisements in an exploration of the characteristics of visual composition, reader response, and preference-related factors associated with the design of visual stories. We also examined the flow associated with browsing habits and the differences between viewing actual advertisements and retained perceptions.

This study referred to Chatman’s narrative theory to divide the design of visual stories into two parts. One involves the content of the visual story, including composition and emotional response. The other involves expression in visual stories, including the layout of images and text. This study adopted open-coding analysis of grounded theory, a questionnaire survey, statistical analysis, and eye-tracking as research methods.

First, analysis results have demonstrated that a sense of storytelling is derived from two main categories: (1) visual composition that includes strong visual elements, fairytales and allusions, exaggerated facial expressions of characters, dramatic or rich details, and hand-written or diary-style writing; (2) emotional responses that comprise interest, warmth, and positive emotions as well as feelings of familiarity, nostalgia and expectation. Text browsing time and two of the items in our factor analysis (Story Experience and Imaginary Space) presented significant explanatory power in regression analysis.

Second, this study proposed the following hypothesis: Different viewers perceive storytelling to varying degrees (high, medium, or low), and viewers of different age groups also differ in the manner in which they perceive narrative design. This hypothesis was verified using two-way mixed design analysis of variance (ANOVA), Post Hoc, and simple main effect tests. In addition, different results were obtained from thirty percent of the viewers in the eye tracking and questionnaire.

The results of this study could help students to incorporate elements of visual and heart felt communication in their work and inspire interpersonal feelings and a sense of exploration when engaging in visual story design. It may also encourage designers to consider the age of viewers and how they will perceive storytelling features in order to maximize the impact of their works. To improve reliability, two explicit and implicit measurements were employed.

並列關鍵字

Visual story design ； Emotional response ； Layout ； Eye movement ； Implicit memory and Explicit memory

參考文獻

18. 王文進（2011）。敘述學與敘事學的擺盪與抉擇-清華中文學報編輯委員會議側記。清華中文學報，5，167-170。

27. 李茂能（2010）。虛無假設顯著性考驗的演進、議題與迷思。測驗統計年刊，18（1），1-22。

20. 伊彬、林演慶（2006）。視覺影像處理之眼球運動相關研究探討。設計學報，

37. 黃光玉（2006）。說故事打造品牌：一個分析的架構。廣告學研究。26：

30. 林東泰（2011）。電視新聞敘事結構初探。新聞學研究。108：225-264。