似顏繪的像與不像 — 圖像創作的感知研究

Abstract

似顏繪創作是現今十分流行的圖像創作主題，不論是在廣告界、遊戲圈，或是在文創市集中都能看見與似顏繪相關的元素出現。似顏繪的主要目的是要讓圖像與被描繪的人物連結，但創作者間對於似顏繪的看法各有不同，他們有不同的創作手法，最後作品的樣貌也都各有特色。因此令筆者好奇創作者們是如何感知他所觀察的對象，如何讓創作出的作品與被畫者相似？\n\n 本研究首先比較三種圖像感知與再現的理論，最後以能供性理論為本，使用深度訪談法及觀察法的方式探討似顏繪創作者如何感知被畫者的能供性，似顏繪創作者的自我結構、文化共識、創作情境這三個方面如何影響創作者對被畫者特徵的拾取。研究發現創作者本身在創作方面的成長、學習、模仿過程會建立屬於他的獨特內在結構，經過經驗的累積與對社會、文化的觀察，內化形成相對穩定的創作方法。最後在每次的創作中受情境影響而動態改變他的創作決定，藉此建立獨特卻又合理的創作內容。

Nigaoe figures are very popular nowadays. Whether in the advertising industry, video games, or in the cultural and creative product market, we can see a wide application of Nigaoe. The meaning of the term “ Nigaoe” indicates the resemblance between the image and the character being portrayed. However, different Nigaoe creators have different views on resemblance. They have different creative methods, and their final works are diverse in appearance. Therefore, this research intends to explore how creators perceive and how they determine that a work has sufficient resemblance to the object.\n\nFirst, this research compares three theories about perception and representation. It then uses in-depth interviews and observational methods, based on ecological perspectives, to explore how Nigaoe creators perceive the affordance of the context. The results show that the creators, based on their own peculiar structure, perceive and act upon cultural and social agreement, as well as the situational feedback from their customers while they pick up the characteristics of their customer. In the continuous process of discovering social and cultural agreements, the creators develop certain styles based on their own personal structure. In the meantime, creators also dynamically change their creative decisions according to situational feedback from customers. As a result of the interaction, unique and reasonable works are produced.