Victor Vasarely for different years is as below: 1. Construct of Shape list by the frequency of using: Abstractbetween Abstract and ConcreteConcrete.

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1 A Study on the Application of Shape of Victor Vasarely s Artifacts, Sue-Ya Huang* Tao-Chi Yu** (Optical Art) (Victor Vasarely) / / Abstract The study is an advanced research on the application of shape applied on the artifacts of Victor Vasarely, one of the progenitors of Optical Art. The study analyzed 720 artifacts of Victor Vasarely from year 1929 to 1992 by the Cluster Analysis method and Expert method. The analysis and statistic are proceeding based on five portions: Construct of Shape, Shape Element, Visual Perception, Principles of form and Principles of Composition. The analysis is generalized to a result that the trend of the application of shape applied on the artifacts of 55

2 Victor Vasarely for different years is as below: 1. Construct of Shape list by the frequency of using: Abstractbetween Abstract and ConcreteConcrete. 2. Shape Element list by the frequency of using: Compound Combination(PointLineCurvePlaneSolid)Single Combination(Point LineCurvePlaneSolid). 3. Visual Perception list by the frequency of using: SpaceTexture3 DimensionVolumeSpeedTransparent. 4. Principles of form list by the frequency of using: ProportionOrderBalanceHarmonyUnityRepetitionRhythmContrastSimplicity SymmetryGradation. 5. Principles of Composition list by the frequency of using: DivisionProportionPerspectiveSeries and ProgressionDeformationConnect SpreadCentralityReproduceSeparateMoire effectoverlap. To generalize the analysis result listed above. We can get a trend from the 720 artifacts of Victor Vasarely since year 1929 to The items of Abstract, Compound Combination, SpaceTexture, ProportionOrder, and Division are applied most frequent in the trend of the application of shape. Besides, these items get the most application frequency of shape during year 1966 to 1970 and the second application frequency of shape during year 1971 to KeywordOptical Art, shape, Victor Vasarely, Expert method, Cluster Analysis method

3 )(5) ( 1. (Victor Vasarely) (Optical Art) (Bauhaus) 3. (Mondrian) (Kandinsky) 1. (1) [3] Gestaltung ( ) (geometrical abstraction) (Planetary Folklore) (Gestalt theory) (1990) (two-dimensional surface) (Plastic Unity) (optical illusion) (2002) 2. (1) ( ) (2) ( (1979) (1984) (1984) (1990) ) (1990) (1991) (1991) (3) ( (2002) (2002) )(4) ( FormShapeplastic (Abstraction) (1) (2)

4 2002 (1) (2) ( ) (Semiabstract) (nonrepresentational) (nonobjective) p pp pp1-3 (2) (Kandinsky) (Hiroshi Ohchi1984) (Tension) () P pp P ( ) (CS ) pp (1999) (mass) (volume) pp pp pp pp pp pp.131 (3) (1996)

5 p pp.154 (1999 pp.164) 1984 p pp pp.130 (4) 7 (1991) (Unity of Multiplicty) 8 7. (emphasis) 8. (1999 pp ) 1990 pp.121 (Composition of Centrifugal) (Composition of Centripetal) (1997) (1996) (1997) ( ) (a) (b) 9 10

6 9. (Proportion) ( ) (Golden mean) (Arithmetic Progression) (Harmonic Progression) (Geometric Progression) (Fibonacci Series) (Pell s Series) moiré 10. (progressive ) [18] (Crystal Period) (Kinetic period) (White-Black) (Plastic unity) (Planetary Folklore) MC p.20 pp.145 p Victor Vasarely ( ) (Moholy 3. Victor Vasarely Nogy) (Checkerboards) (Harlequins) (Zebras) (Tigers) (Martians) 1940 (1) (Graphic work) 1947 form-color( ) 爲顔 form () (wrong roads) (Plastic Unity)[20]1947 Denfert Rochereau 1947 Belle Isle (Plastic 1948 Gordes unity) 1948 Crystal period( )1955 Crystal period( )1950 (biform) (bicolor) 1955 [14] (Yellow Manifesto) 1956 (Cinetic Art) 1960

7 [10] [21] - [5] (2) [15] 11 (4) [5] [11] [5] (3) [1] (5) [5] [4] MC 10 [12] Victor Vasarely 4. (Gestalt theory) 1960 (Visual perception) Optical Art (Retinal Art) (Max Wertheimer ) Moire( WaterSilk) (Gestalt) [5] 12 (Gestalt gesetz) (Gestalt laws 12. of organization) Moire

8 [19] 1. (Perceptual segregation) 720 Thus identifiable things are transmuted into abstractions, and, passing over the threshold of the Gestalt, begin their own independent life.[20] 8 2. (1) (plastic unity) 爲 (13) (a) (b) (c) (d) (e) (f) (g) (h) (i) (j) (k) (l)

10 (2) (14) ( ) SPSS ( ) 2. (. ) ( ) 1. ( () ) 2. ( ) 3. ( ) (3) 720 SPSS SPSS

11 (1) (2) / (3) / (4) / / (5) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) (1966 (1966 (1966 (1966 (1966 ( ) -1970) -1970) -1970) -1970) -1970) (1966 (1966 (1966 (1966 (1966 (1966 (1966 (1966 (1966 ( ) -1970) -1970) -1970) -1970) -1970) -1970) -1970) -1970) -1970) ( )

12 a (1971 (1966 (1966 (1966 (1966 (1966 (1966 (1966 (1966 (1966 (1966 ( ) -1970) -1970) -1970) -1970) -1970) -1970) -1970) -1970) -1970) -1970) -1970) 162 b (a b ) (1) (2) (3) (4) (5) SPSS (1) (2) (3) (4) (5)

13 (6) ( ) 爲 p p p pp

14 pp pp p () pp pp pp Henry Gleitman 1997 p Joray Marcel Chevalier Haakon 1965VASARELY:Plastic Arts Of The 20th Century NO.1ed, Griffon Neuchatel, Switzerland4th edition 1974p.4p Phaidon Press Limited p.47

ISSN 1021-4542

ISSN 1021-4542 背景圖像動態化對文字視認性的影響研究 151 國立高雄師範大學高雄師大學報 007,,151-166 背景圖像動態化對文字視認性的影響研究楊清田 1 黃睿友摘要視覺設計者往往為了吸引觀者的注意而一味地賦予圖像動態效果對於觀者而言動態化的圖像雖能引起注意卻也增加文字辨識上的困擾致使文字訊息讀取不易甚至產生認知上的誤解為了更有效地運用動態圖像的特性本研究採取