美的形式與宇宙萬物的生存形態是共通的,一切美感現象即是此種存在之 展現,因此可以規範其象徵原理及秩序法則。我們無法說每個時代背景與人文都 有同樣之美感體驗,但歸納出人類共同美感做為人類創造、鑒賞、存藏、生活的 依據,卻有其意義與必要,古往今來不論中西,仍舊有它存在且值得深入研究的 價值。縱觀近年來之設計產業發展及其成功之創作表現,皆大量應用基礎原理為 重要之中心概念與構成表現,因此引發筆者採取其實例分析的方法,試圖找尋其 中運用最廣泛之重要元素及構成原理,應用於後續設計創作中。 首先,藉由文獻探究圖形之視覺元素與設計構成之形式原理,更深入了解其 意涵及形態。彙整文獻探討之設計構成形式原理嘗試提出分類,並蒐集現代平面 設計作品進行實例分析,依其分析而得運用廣泛之構成形式為概念主軸,將文獻 中所述之視覺元素與構成原理繪製為單元圖形供實務創作。最後應用複合組構之 形式為依歸,以多元簡明之設計風格於創作中做為驗證,進而提出本研究之結論 及創作心得,並說明後續研究的可能性與方向。 本研究依其結論予以彙整提出設計構成之形式原理進行實例分析結果,以單 純、對比、漸變、群化、動勢等五項為被應用最廣之構成法則,彼此間有著互相 依存關係,就複合組構之形式做為後續創作實務延展,除了包含多樣形態的表現 風格外,更以巧妙之姿向觀者宣告欲傳達之意涵,而達到視覺設計的最終創意表 現。

Any aesthetic form shares common traits with all living organisms in the universe. The very existence of any living beings can be considered as the manifestation of all types of aesthetic appeal. Based on this premise, the normalization of attributing principles and rules governing objects or phenomena we deem as “aesthetic” becomes possible. It would be a baseless assumption to suggest that the experience of anything aesthetic felt by mankind through out history across different cultures be the same. However, there is a definite significance and need to discover the evidence that the common aesthetic views among mankind are the basis of our artistic creations, our appreciation for anything aesthetic, our preservation of aesthetic objects and our very livelihoods. Regardless of era or culture, such evidence still exists and deserves to be the subject of extensive research. By taking a quick look at the development of the design industries and their successful creations in recent years, one can easily recognize the major application of basic principles as the central concept and construction framework for these creations. This view inspired the author to determine the critical element that has been most widely used and its principle of construction, through analysis of actual case studies that may be used in future design creations. Firstly, this study will begin with the reviews of literary works on the topics of the visual elements in units and their principles of construction so that readers may have a better understanding of their underlying significance and forms. The author then attempts to provide a systematic categorization of the different principles of construction that discussed in the literature reviews and offer analyses of case studies from a collection of contemporary works of graphic design. From the results of the analyses, construction formats that have been extensively used were derived to become the core concepts for actual creations based on the single visual units that were drawn from the visual elements and principles of construction in the literature cited. Lastly, the format of compound visual units has been used as supporting evidence in the process of authentication through works constructed in diversified yet simple design styles, to thus arrive at the conclusions of the research. Potential topics and directions for future research is also discussed based on the knowledge acquired in the process of creation.
In the final part of the research, previously mentioned principles of construction were applied for the analysis of case studies based on the conclusions reached. Minimalism, contrast, gradual change, grouping and motion were determined to be the top five rules of construction that have been most widely applied. These rules correlate amongst themselves, and have been used in the actual extension of follow up creations in the form of compound visual units. Apart from encompassing various presentation styles in different forms, the ideas that creators were trying to convey to the audience were presented in a deft manner to achieve the ultimate creative expression of visual designs.

依照出版年代排序
中文
※ 王無邪著,1974《平面設計原理》,〔雄獅出版〕
※ 靳埭強著,1983《平面設計實踐》,〔藝術家出版〕
※ 林品章著,1985《基本設計》,〔藝術家出版〕
※ 朝倉直巳原著,呂清夫翻譯,1985《藝術‧設計的平面構成》,〔北星出版〕
※ 羅慧明主編,1986《基礎造形》,〔東大圖書出版〕
※ 王無邪‧梁巨廷著,1987‭ ‭ 《平面設計基礎》,〔藝術家出版〕
※ 林品章著,1990《基礎設計教育》,〔藝術家出版〕
※ Charles Wallschlaeger Cyntthia Busic-Snyder著,張建成譯,1996《設計基礎 (上)》,〔六和出版〕
※ 朝倉直巳原編著,林品章,陳慶彰審譯,1999《藝術‧設計的色彩構成》, 〔龍溪出版〕
※ 陽裕富著,2000《創意思境》,〔田園出版〕
※ 堤 浪夫原著,劉建國,劉子晴譯,2002《造形的發想》,〔六和出版〕
※ 李天任,2002《 色彩喜好之探索與應用研究》,〔亞太圖書出版〕
※ 王紹強編著,2002《創意空間》,〔嶺南美術出版〕
※ 潘東波編著,2003《設計基礎與基本構成》,〔視傳文化出版〕
※ 潭昕,謝卉編著,2004《創意源》,〔湖北美術出版〕
英文
※ Walter Lurzer,2004,ARCHIVE Ads and Posters worldwide Vol.5-2004,New York.
※ Gisela Kozak&Julius Wiedemann,2003,JAPANESE GRAPHICS NOW!,Tokyo.
論文
※ 李根在,2004《論文:複數相加創意思考法的開發與研究-以視覺傳達設計為例》
網站
※ 教育部國語辭典 http://www.sinica.edu.tw/
※ Corbis影像圖庫 http://pro.corbis.com
※ Google網路搜尋 http:// www.google.com