台北市大稻埕迪化街一帶,近年來逐漸浮現為文創工作者及其產業匯聚的趨勢。這些新的產業搭配迪化街連續的優美建築立面...

In these years, there are more and more creative workers and industries aggregated around the Dihwa Streets, Dadaocheng area in

  • 殷寶寧
  • 藝術管理與文化政策研究所

本研究目的為探討觀看實體產品或螢幕產品圖時,對不同教育背景受試者的觸摸動機、喜好度及視覺意象的影響。本實驗招募了60位受試...

This study was aimed to investigate the effect of product presentation mode and education background on consumer’s willingness

  • 林志隆
  • 工藝設計學系

展覽已成為大眾普遍所知的行銷媒介,就策展理念轉化為具體展覽規劃而言,「展覽」已不再只是一種內容與型式的展現...

In recent years, the demand of exhibition is increased day by day. How to effectively communicate exhibition

  • 林榮泰
  • 創意產業設計研究所

模內轉印在部分條件上都有所限制,像是彎曲度受限、只能模內轉印在塑膠件上、模具費用高以及不利少量生產等條件,相較之下模外轉印能...

Outside Mold Roller (OMR) is a revolutionary printing process by which objects are 3-dimensionally decorated. The products

  • 陳昌郎
  • 圖文傳播藝術學系

地方商圈發展的模式與工具相近,使得商圈發展漸趨同質化;兼具體驗價值、ICT應用與文創等新世代商圈...

The purpose of this study was to examine the relationships among digital content service, experience value, brand equity

  • 陳俊良

研究為瞭解視覺辨識美術字體設計的效率,採用「促發效應實驗」的概念進行實驗研究,以分析人們判讀美術字體反應的快慢,進而解析其辨識效益。如受試反應快即代表關聯性強,視覺辨識效率高,受試反應時間慢,即代表關聯性不高,其視覺辨識效率差,或是有著其他不同的現象。 實驗研究分為兩階段,第一階段為「內容分析法」,以隨機抽樣的方式,蒐集台灣第32、33屆(2013、2014)新一代設計展之各校「視覺主題之中文字」字形設計作為研究樣本,透過文獻的整理進行編碼與定義,共可分成七種「文字設計樣式」:原筆畫字形設計、減筆畫字形設計、連字設計、字形添加造形元素設計、圖形取代字形設計、具象造形字形設計、筆畫位移重組字形設計,以及一組控制組,作為實驗組。第二階段為「實驗法」,透過隨機60位受試者,以促發效應的程序,進行「文字設計判讀實驗」的判讀反應。透過二因子混合設計變異數分析進行檢定。實驗結果發現(1) 不同「受試者背景」並不影響反應時間的快慢,表示研究對象適用於每位來自不同領域的受試者。(2)整體反應速度由快至慢,依序為:控制組、原筆畫類和減筆畫類、字體添加造形類、位移重類、連字類、圖形取代類、具象造形類,除了非實驗處理的控制組外,最佳辨識度為原筆畫字形設計與減筆畫字形設計,反應最慢者則為具象造形字形設計。 本研究就視覺傳達設計領域而言,除了能提供多元的圖形與認知的判讀觀點外,更能提出文字與圖形組合設計的辨視效率之觀察與分析,透過視覺實驗探究視覺判讀的生理反應,提供相關視覺圖案、字體設計開發之判讀觀點與評估模式,以期建構視覺傳達有關視覺辨識效益之基礎理論。

The experimental research was divided into two stages. The first stage focused on content analysis. Random sampling was used to collect the Chinese characters designed under the visual theme by different schools in the 32nd and 33rd Young Designer exhibitions (in 2013 and 2014) as research samples. Through coding and definition based on literature review, the samples fell into seven categories of character design: characters of the original strokes, characters of reduced strokes, characters of ligature strokes, characters consisting shaping elements, characters replaced by graphics, characters based on concrete image, characters of reconstructed strokes, and regular script characters. The said samples were classified in the control group. The second stage focused on experimental research. 60 subjects were randomly selected to participate in the experiment of character interpretation based on the procedure for priming effect. Experimental results determined by two-way mixed ANOVA shows that (1) the background of the subjects does not have any impact on their speed of response, which suggests that the research subjects are applicable to all subjects from different fields; (2) the overall speed of response ranking from high to low are as follows: control group, characters of the original strokes and characters of reduced strokes, characters consisting shaping elements, characters of reconstructed strokes, characters of ligature strokes, characters replaced by graphics, and characters based on concrete image. Excluding the control group without experimental treatments, the most easily recognized character design is characters of the original strokes and characters of reduced strokes, while the most difficultly recognized one is characters based on concrete image. In the field of visual communication design, this study not only provides multiple views on interpretation of graphics and recognition, but more importantly, intends to establish the basic theories on visual recognition efficiency related to visual communication through observation and analysis of the recognition efficiency of a design combining characters and graphics, physiological responses recorded in visual experiments, provision of relevant visual patterns and interpretation view and evaluation mode of character design and development.

  • 傅銘傳
  • 視覺傳達設計系

本計劃之目的在於研究藝術相關科系學生自我調節:包含記憶策略、目標設定、自我評量、尋求幫忙、環境結構、學習責任、計劃和組織,與...

The study investigates the self-regulatory behaviors of arts students, namely memory strategy, goal-setting, self-evaluation, seeking

  • 曾敏珍
  • 通識教育中心

有些學生的數學成就表現不如其資賦的水準預期,我們稱之為資優低成就學生,或簡稱低成就學生。這些學生在學習...

We call someone underachiever if he was born with gift, but performed worse than his own talent allowed. This study

  • 藝術與人文教學研究所

釉藥是覆蓋在陶瓷器表面的一層玻璃質膜,更給人印象深刻的色彩、光澤等視覺表現能力。釉藥是由無機物...

Glaze as glass membrane that is covered on potteries. Glaze visually attracts people by bringing color and bright together. A glaze is

  • 呂琪昌
  • 工藝設計學系

「釋奠」之名原非孔子祭祀活動的專稱,歷經變遷始成為祀孔的專稱,今釋奠樂主要是指祭孔大典時所使用的音樂,釋奠用樂的基礎來自於「大合樂」思想...

The‘‘Confucius Ceremony‘ (literally ‘display-presentation‘ ceremony) originally is not a specific terminology for sacrifice to Confucius

  • 蔡秉衡
  • 中國音樂學系