線條情緒在簡約風格繪本之創作研究

Abstract

在六朝時代謝赫提出了「骨法用筆」的觀念，說明了對所摹物象的線條有所關注，而線條經過時間的洗鍊發展出種種樣貌，在人物畫中，畫肌膚的線條較細，而畫衣紋的線條則有粗細轉折之分；山水畫中的山石樹木有方稜轉折的銳角，與畫水波的細柔圓轉的線條也大不相同。線條雖是繪畫、設計的元素之一、但足以表現出情緒與質感的呈現!

本研究旨在針對線條與簡約主義（Minimalism）的理論脈絡和簡約主義在現代藝術及設計相關領域的呈現，以文獻資料分析及個案分析作一廣度的探討。對於現代設計所帶來的影響涵蓋了形式表現、思維觀念、甚至是情緒表現；在簡約主義之定義中所提及之論點，分別以簡約的、且只以線條為表現的插畫繪本及其圖像表現逐一探討與簡約風格的應用關係。

本創作研究以單色線條為繪本形式作為作品架構，繪圖的表現手法以簡約風格展現，藉著大家熟知的寓言故事彰顯思考造型本質的意義，把繪畫語言削減至僅僅是線條與形的關係，用單色線條的粗細和線條造型去簡化畫面，摒棄一切干擾主體的不必要的東西；作為一種生活方式或風格，加以改編；在熟悉的基礎下建立一種簡約的生活觀。研究結果發現簡約概念超越了地域及不同文化，在思想上雖不涉及個人情感，卻非常個人化；回到人文思考上的目的不是空無，而是回歸本質。將簡約主義的觀念於平面表現分類時利用形態線條製造出空間感或畫面張力。運用簡單的形式，顛覆傳統的價值判斷。最後將簡約主義的思維在繪本的影響歸納出「單純」「刪去」「反思」三種角度。在簡約風格的基礎架構之下，並將之運用於圖文插畫繪本創作之中；以「北風與太陽」、「三隻小豬」、「商人與鹽與驢子」的寓言故事作為創作試驗，提出線條與簡約主義相結合的創作研究，為相關業界與學界應用之參考。In Six Dynasties, He Xie proposed the concept of “the writing like a bone” to explain the relationship of the objects’ lines. And lines experience the trainings of time and develop several shapes. For example, in character painting, the lines of the skins are thinner, but there are thickness and thinness in clothing lines. Acute angles in stones, trees, and mountains in landscape painting are very different from lines of thinness, softness, and round in water waves. Lines are one of the elements in painting and design, but they are enough to show the representation of the emotion and the high quality.

This research focuses on the representations of the lines, the theory of Minimalism and Minimalism in Modern art and design fields and the extensive discussions of the literature information analyses and case analyses. The modern designs have great influence on the form, the concepts, and the feelings. The points at issue in the definitions of Minimalism are involved in the illustrations and picture books which are brief and show lines, the one-by-one discussion of the picture representation and the application of the Minimal style.

The creative research is based on the single line as the picture book form. The pictures make use of the Minimal style to show. By means of the well-known fables highlighting the meaning of the shape qualities, we cut the picture language to only the relationship between lines and shapes. We use the thickness and the thinness of the single lines, and the line modeling to simplify the general appearance of the pictures. We get rid of every unnecessary thing that will disturb the subjects. We revise a living way or a style. We establish a simple living philosophy on the familiar basis. The result shows that the brief concepts go beyond regions and cultures. Though it is not involved in the individual feelings in the thinking, it is very individual. The purpose of the human thinking is not in nothingness but in the essence.

For the Minimalism in the plane surface categories, we take good advantage of the different lines to make a spatial sense and the picture tension. We apply the simple forms to subvert the traditional value judgment. Finally, we induce the three angles of the simplicity, the omission, and the reflection from Minimal thinking.

We apply the basic framework of the Minimal style to the creations of the illustrations and picture books. We use the fables of “The Wind and the Sun,” Three Pigs,” and “The merchant the donkey and the salt” as the creative tests and propose the creative study combining lines and Minimalism to make the related industrial circle and the academic circle to refer to.