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題名 | 1936∼2004年奧運運動圖像符號之風格研究=The Study on the Style of Olympic Sport Pictogram during 1936∼2004 |
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作者 | 葉懿心; 李淙柏; Yeh, Yi-shin; Lee, Tsung-po; |
期刊 | 商業設計學報 |
出版日期 | 20040700 |
卷期 | 8 2004.07[民93.07] |
頁次 | 頁313-330 |
分類號 | 962 |
語文 | chi |
關鍵詞 | 圖像符號; 風格; Pictogram; Style; |
中文摘要 | 圖像符號(Pictogram)為具傳達指示功能的圖形符號(pictorial sign),形式若可標準化,則更能傳達正確的意義。奧林匹克運動會乃全球性運動盛會,然而圖像符號的風格表現形式,近年來卻愈趨豐富多元,打破標準化的形式。本研究目的,即透過文獻整理,探討從1936年柏林奧運至2004年雅典奧運期間,運動項目圖像符號的視覺風格表現與演變因素。首先擇取田徑、馬術、游泳、水球四項圖像符號,進行造形風格的分析、比較、歸納,再分析其與政治、藝術、時代思潮的關聯。研究結果發現:1972年前,奧運圖像符號的風格表現牽涉政治民族意識;1972年至1988年奧運期間則呈現標準化的趨勢,與國際主義平面設計、全球化現象相關;1992年後,圖像符號設計卻開始盛行徒手繪(free-hand)的造形表現,並汲取本土的藝術文化作為風格來源,受後現代主義設計的影響,呈現反璞歸真、重視地域文化的趨向。此項研究結論可予設計先進在設計上的省思與啟發。 |
英文摘要 | Pictogram is one kind of pictorial signs to communicate or indicate meanings. Standardized forms could assist in correct representation. The Olympic Games are global festivals for sports, but the style of Olympic pictogram are becoming colorful in the recent years, breaking standard forms. Making researches into the performance and evolution of the style of sport pictogram is the purpose. First, Olympic sport pictogram including athletics, equestrianism, swimming, and water polo were elected, then we analyze and take their visual representation into comparison, inducing the relations between style and government, art and zeitgeist. From the research, we find the style of Olympic sport pictogram is influenced by politic and ethnic ideology before 1972. The standardized form of Olympic sport pictogram is related with the International Style on graphic design and Globalism during 1972 to 1988. After 1992, the free-hand style is used widely on the pictogram-design sourced from local art and culture. Because of the affect from Post Modernism, the style of Olympic sport pictogram is moved from rationality toward innocence. Designers could gain instruction information of design from the research. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。