The Study of the Application of Form-Spirit Theory in Environmental Poster Design

• Main Authors: Kuo, Yu-Chun, 郭豫君
• Other Authors: Lin, Chun-Liang
• Format: Others
• Language: zh-TW
• Published: 2016
• Online Access: http://ndltd.ncl.edu.tw/handle/19238350037083793903

碩士 === 國立臺灣師範大學 === 設計學系 === 104 === When faced with the decision between the hundreds of different design theories, cultural background becomes the most important characterization of each regions design style. If we are able to perfectly unify a design work’s outward appearance to portray its deeper meanings while also fully incorporating one’s own culture’s unique characteristics and logical cognition into the designs, then it would give us the ability to standout on the stage of global design styles, allowing us to highlight the designs exclusive qualities. Chinese painting theory isn’t merely the cumulative wisdoms left behind by our forefathers, it also utilizes both the ideals of conceptualization and creation in order to contemplate essence of visual art, of which ‘form-spirit’ is a widely influential theory of aesthetics; not only being a theoretical foundation with a long-standing history, but rich in cultural and historical importance. In consideration of the above, this study will adopt the concept of ‘form-spirit’ found in Chinese painting theory as the basis for its research, comprehensively reinterpreting its most important principles through the language of graphic design (including language of form and language of visual rhetoric), in order to identify the correlations between the processes of painting and design, and subsequently discovering how best to implement the concept of ‘form-spirit’ into design. Finally, this study will utilize the findings by implementing those principles into the design of posters related to environ-mental issues. Hoping this study can conceive new creative possibilities and inspirations from the fragments of this artistic collision between traditional Chinese culture and graphic design. The findings of the research show that ‘form-spirit’ has four manners of manifestation: expression of form through form; expression of spirit through form; expression of form through spirit; expression of spirit through spirit. It also concludes the following: 1. The concept of ‘form-spirit’ found in Chinese painting theory can be applied to graphic design works. 2. The concept of ‘form-spirit’ are not limited to any one region or culture as it is wide-ly incorporated into the graphic design process. 3. If you want to analyze the relationship between form-spirit within a design, it neces-sary to first understand the artwork’s visuals and concept. 4. No matter which manner of manifestation is incorporated, the most essentially goal is to create works with vividity. 5. The most commonly implemented ‘form-spirit’ principle during the process of graphic design is ‘expressing spirit through form’.