| Summary: | 碩士 === 嶺東科技大學 === 數位媒體設計研究所 === 101 === Chinese characters refer to the conversion of graphic images into conventional symbols, where rich images are hidden in the strokes and the meaning of characters could be understood through learning. In modern societies, characters are considered as the most direct and accurate visual communication media. The communication with text messages allows readers constantly combining and integrating the received character image and deriving the image communication from the cognition of character image. Nevertheless, being the specific image presentation of symbols, characters also present numerous image characteristics, which are composed of color, form (like point, line, and plane), and texture. For instance, using circles for wheels is a kind of analogy. Moreover, images and the evidences appear similar characteristics that the individual cognition of images is likely to present distinct interpretations by various factors. In this case, several differences are likely to appear in the cognition process, where individual learning and experiences are the major effects. In a learning field, students’ cognition is acquired from the experiences in the educational trainings in various stages and further responded to the sensitivity and quality of image information processing. The relative trainings are designed through dynamic media in the animation field, in which the content performance is presented through audio/video filming and recording. The visualization process therefore is the key point in creation.
Based on Hayao Miyazaki’sanimation works and scripts as the research target and objective, this study tends to discuss the dimensions of Researcher, Learner, and Creator. Regarding Researcher, the composition of the animation works is analyzed for understanding the differences in the relations and the sequence of ideas. In terms of Learner,Two-way Analysis of Variance is utilized for understanding students’ cognition and attitudes towards images with quantitative orientation. In regard to Creator, the scripts of Howl’s Moving Castle are taken as the setting and operation of research tools, and Protocol Analysis and Ex Post Facto are applied to discussing the creator’s thinking process in the conversion of description into visual pictures.
The analyses show that (1) role definition is the major consideration in the model design, (2) Outdoor Suburb scenes are often applied to the space in Hayao Miyazaki’s animation, (3) Theatrical Property is functioned to promote the circumstances in Hayao Miyazaki’s animation, (4) the learners appear obvious differences in image cognition on distinct circumstances, (5) high and low graders do not reveal obvious differences in image cognition, (6) the attributes of pauses in the scripts become the thinking points of storyboard, and (7) A creator’s design thinking relies on individual comprehension and imagination of characters, (8)After the test of the creator, the design thinking of the three situational scripts are distinct.
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