動態圖像應用於新詩視覺意象之創作

隨著數位科技的發展和新媒體需求的日益增長，詩作文學不再侷限於純傳統文字形式，開始出現結合動態效果及圖像表現方式，並逐漸朝著視覺化方向發展。而在東方詩作中，漢字以其獨特的視覺象形特性，也發展出圖樣化的詩作表現形式，成為詩意視覺表達的獨特載體。在呈現上，是通過筆畫和結構，使其能傳達出豐富的情感和意象，並從中感受到詩中所述之情景，進而產生較具體的視覺意象。鑑於此，本創作將以漢字形體的圖像性為主體，並深入瞭解詩詞情感內容，使其轉化為具有動態效果的詩意表現，藉此作為新詩意象的傳達方法，以此呈現出更為豐富之視覺表現。

本創作以文本分析、問卷調查、實驗創作與文獻調查等方式進行創作，望能探索詩詞文本的視覺化可能性。其規劃共以三個階段進行，第一階段是以文獻探討為核心，分析漢字與圖像的關係、新詩意象的視覺呈現、動態圖像的傳達方式，並探討相關研究與創作案例，為後續創作奠定理論基礎。第二階段則進入實驗創作，透過五件作品的創作成果結合讀者回饋，調查作品的效果與受眾的感受，進一步修正和完善創作策略。最後，第三階段進入正式創作，其成果共完成七件作品，並以系統化方式規劃創作過程，嘗試其方法的有效性，以達成本次創作目標。

在創作成果方面，亦得出以下結論：一、漢字作為東方文化的符號載體，因一脈相傳的特性使其具高度視覺表現力。透過整理與實驗創作，本創作亦歸納出四種表現形式，並以筆畫的拆解與重構，展現漢字作為視覺媒介在詩詞情感意象傳遞中的可行性。二、通過各式動態效果的表現，動態圖像在新詩視覺化中，情感和視覺效果呈現增強作用。其效果在相關作品和本創作的使用上，亦可發現經常是以輔助形式將視覺焦點擺放置字形上，因此可得知其表現是較著重於字形整體辨識度。三、經問卷調查、讀者回饋與創作成果，本創作測試了「動態圖像詮釋詩詞在情感傳遞與跨媒介融合上的創造力」，表現出其內涵的延伸與深化，望能為未來詩詞視覺化創作提供參考，並開辟不同創新途徑。

With the development of digital technology and the growing demand for new media, poetic literature is no longer confined to traditional textual forms. It has begun to incorporate dynamic effects and visual expressions, gradually moving toward visualized presentations. In Eastern poetry, Chinese characters, with their unique visual and pictographic qualities, have also evolved into graphic poetic forms, becoming distinctive carriers of poetic visual expression. Through strokes and structures, these characters convey rich emotions and imagery, enabling readers to experience the scenes described in the poetry and form more concrete visual impressions. This creation focuses on the pictorial nature of Chinese characters while delving into the emotional content of poetry to transform it into poetic expressions with dynamic effects. This serves as a method for conveying new poetic imagery, presenting a richer visual experience.

The creative process employs methods such as textual analysis, surveys, experimental creation, and literature reviews to explore the possibilities of visualizing poetic texts. It is planned in three phases. The first phase centers on literature review, analyzing the relationship between Chinese characters and imagery, the visual presentation of new poetic imagery, and the communication methods of Motion Graphics, along with related research and case studies, to lay the theoretical foundation for subsequent creations. The second phase involves experimental creation, where feedback from five works and audience responses are used to investigate the effectiveness of the creations and refine the creative strategies. The final phase is dedicated to formal creations, resulting in seven completed works. A systematic approach was applied to organize the creative process, testing the efficacy of the methods to achieve the goals of this project.

The results yielded the following conclusions: 1. As symbolic carriers of Eastern culture, Chinese characters possess a high degree of visual expressiveness due to their enduring heritage. Through analysis and experimental creation, this project identified four expressive forms, demonstrating the feasibility of using Chinese characters as visual media for conveying poetic emotions and imagery through the deconstruction and reconstruction of strokes. 2. Motion Graphics enhance emotional and visual effects in the visualization of New Poetry. The use of dynamic effects often emphasizes the overall recognizability of character forms, with visual focus typically centered on the glyphs themselves. 3. Based on surveys, reader feedback, and creative outcomes, this project tested the creative potential of "interpreting poetry through Motion Graphics for emotional communication and cross-media integration." The results highlighted an extension and deepening of poetic content, offering a reference for future visualized poetic creations and exploring new innovative approaches.