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    Title: 似顏繪的像與不像 — 圖像創作的感知研究
    The Study of the Likeness of Nigaoe:Exploring the Way Illustrators Perceive
    Authors: 徐晟軒
    Hsu, Cheng-Hsuan
    Contributors: 林玲遠
    Lin, Ling-Yuan
    徐晟軒
    Hsu, Cheng-Hsuan
    Keywords: 似顏繪
    肖像畫
    符號理論
    資訊拾取
    能供性
    符擔性
    Nigaoe
    Portrait
    Semiotics
    Affordance
    Date: 2021
    Issue Date: 2021-03-02 14:59:38 (UTC+8)
    Abstract:   似顏繪創作是現今十分流行的圖像創作主題,不論是在廣告界、遊戲圈,或是在文創市集中都能看見與似顏繪相關的元素出現。似顏繪的主要目的是要讓圖像與被描繪的人物連結,但創作者間對於似顏繪的看法各有不同,他們有不同的創作手法,最後作品的樣貌也都各有特色。因此令筆者好奇創作者們是如何感知他所觀察的對象,如何讓創作出的作品與被畫者相似?

      本研究首先比較三種圖像感知與再現的理論,最後以能供性理論為本,使用深度訪談法及觀察法的方式探討似顏繪創作者如何感知被畫者的能供性,似顏繪創作者的自我結構、文化共識、創作情境這三個方面如何影響創作者對被畫者特徵的拾取。研究發現創作者本身在創作方面的成長、學習、模仿過程會建立屬於他的獨特內在結構,經過經驗的累積與對社會、文化的觀察,內化形成相對穩定的創作方法。最後在每次的創作中受情境影響而動態改變他的創作決定,藉此建立獨特卻又合理的創作內容。
    Nigaoe figures are very popular nowadays. Whether in the advertising industry, video games, or in the cultural and creative product market, we can see a wide application of Nigaoe. The meaning of the term “ Nigaoe” indicates the resemblance between the image and the character being portrayed. However, different Nigaoe creators have different views on resemblance. They have different creative methods, and their final works are diverse in appearance. Therefore, this research intends to explore how creators perceive and how they determine that a work has sufficient resemblance to the object.

    First, this research compares three theories about perception and representation. It then uses in-depth interviews and observational methods, based on ecological perspectives, to explore how Nigaoe creators perceive the affordance of the context. The results show that the creators, based on their own peculiar structure, perceive and act upon cultural and social agreement, as well as the situational feedback from their customers while they pick up the characteristics of their customer. In the continuous process of discovering social and cultural agreements, the creators develop certain styles based on their own personal structure. In the meantime, creators also dynamically change their creative decisions according to situational feedback from customers. As a result of the interaction, unique and reasonable works are produced.
    Reference: 書籍
    伍美華(2012)。〈本質上中國:十九世紀攝影的中國肖像照主體〉。載於劉瑞琪(主編),《近代肖像畫意義的辯論》,(348-379頁)。台北:遠流出版社。
    朱浩一譯(2017)。《漫畫原來要這樣看》,臺北:愛米粒出版社。(原書 McCloud, Scott. (1994) Understanding comics :the invisible art. New York : HarperPerennial. )
    李長俊譯(1982)。《藝術與視覺心理學》(再版),台北市:雄獅圖書。(原書 Arnheim, R. (1974). Art and visual perception: a psychology of the creative eye. New version. Berkeley, Calif. ; London: University of California Press.)
    陳怡錚譯(2019)。《現代藝術的故事:這個作品,為什麼這麼貴?那款設計,到底好在哪裡?經典作品來臺,我該怎麼欣賞?本書讓你笑著看懂》(三版),臺北市:大是文化。(原書 Will Gompertz (2012). What Are You Looking At?: 150 Years of Modern Art in the Blink of an Eye. London:Viking.)
    羅亞琪譯(2016)。《看得見的符號:154個設計藝術案例 理解符號學基本知識》,臺北:麥浩斯出版社。(原書David Crow (2016).Visible Signs - An Introduction to Semiotics in the Visual Arts. 3rd Edition. )
    蘇碩斌(2012)。〈傳神式寫實:日治台灣的攝影認知與民間肖像〉。載於劉瑞琪(主編),《近代肖像畫意義的辯論》,(380-410頁)。台北:遠流出版社。
    Eco, U. (1979). A Theory of Semiotics. Bloomington. Indiana University Press.
    Gombrich, E. H. 1. (1969). Art and illusion: a study in the psychology of pictorial representation. [2d ed., 3d print. [Princeton, N.J.]: Princeton University Press.
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    Kepes, G. (1944). Language of vision. Chicago: P. Theobald.

    期刊論文
    張政偀、黃怡甄、吳宜珊(2019)。〈提升臺灣文創市集消費者購買意願探討-以臺北地區創意市集為例〉,《圖文傳播藝術學報》,15(1)239-258。
    單國強(1988)。〈試論古代肖像畫性質〉。《故宮博物院院刊》,4:50-60。
    劉俊蘭(2000)。〈自省與觀人:藝術家的自畫像與肖像畫(1)-畢卡索〉,《視覺藝術》,3:75-92。
    Gibson, J. (1971). The Information Available in Pictures. Leonardo, 4(1) , 27-35.
    Gold, J. M., Mundy, P. J., & Tjan, B. S. (2012). The perception of a face is no more than the sum of its parts. Psychological science, 23(4), 427–434. https://doi.org/10.1177/0956797611427407
    Goodman, N. (1971). On J. J. Gibson`s New Perspective. Leonardo, 4(4), 359-360.
    Perkins, D. (1975). A definition of caricature and caricature and recognition. Studies in The Anthropology of Visual Communication, 2, 1-24.
    Sabine Trepte, Leonard Reinecke (2010). Avatar Creation and Video Game Enjoyment. Effects of Life-Satisfaction, Game Competitiveness, and Identification with the Avatar. Journal of Media Psychology, 22, 171-184.
    Windsor, W. L (2004). An ecological approach to semiotics. Journal for the Theory of Social Behaviour, 34, 179–198.

    碩博士學位論文
    胡家紋(2016)。《劇場理論與自媒體行銷以似顏繪網路漫畫為例》。台灣科技大學管理研究所碩士論文。
    陳懿如(2016)。《中國古代肖像畫研究》。國立高雄師範大學美術學系美術教學碩士班碩士論文。
    Description: 碩士
    國立政治大學
    傳播學院傳播碩士學位學程
    105464034
    Source URI: http://thesis.lib.nccu.edu.tw/record/#G0105464034
    Data Type: thesis
    DOI: 10.6814/NCCU202100343
    Appears in Collections:[傳播學院傳播碩士學位學程] 學位論文

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