| 摘要: | 日常生活中毛筆書寫功能，早已被硬筆取代，在現今電腦化時代，硬筆也有逐漸被鍵盤取代的趨勢，在這加速劇變的時代，科技革命改變著思想的傳播方式，思想的傳播方式在改變著書法藝術的走向。 在西方藝術及日本、大陸等前衛書道之影響下，台灣當代書法家意識到書法創作勢必要有所變革，在「傳統與實驗」中，意圖求新、求變，展現書法藝術的多元多樣，從非書法元素中汲取養分與素材，跳脫傳統，將書法創作轉化成當代藝術的各種可能性，開展出新的視覺經驗，賦予它新的時代意涵與美學觀。 當前台灣整體書法環境發展契機，必須立足於「時代精神」，數位科技近幾年來急速的發展，以數位創作書法的案例逐漸出現，本研究期望書法應該是自由自主，從平面走向立體，從靜態走向動態的時代精神，嘗試以數位筆（繪圖筆） 及滑鼠等數位工具來書寫書法，透過數位科技、程式語言與相關軟、硬體設備，進行數位書法創作，由輸入、運算、輸出而呈現的一種數位3D書法。 本研究的結構為：第一章敘述研究背景、動機及目的，研究方法採文獻研究法、比較研究法及視覺藝術創作研究法，並說明研究之限制；第二章為文獻探討，整理台灣現代書法發展概況，進而探討代表性書法家徐永進、董陽孜等人現代書藝創作方式，及現代書法藝術的表現形式；探討數位藝術相關理論及數位化製作技術，簡介數位3D軟體之功能，以及台灣數位書法發展現況；第三章是研究者以數位筆（繪圖筆），在Photoshop、e筆書法軟體，創作2D數位書法作品，再於Maya Paint Effect中以研究者2D數位書法當素材，使用凹凸貼圖原理轉換為3D模型，應用相關工具指令、燈光設置及攝影機360度拍攝，創作數位3D書法動畫，並紀錄整個數位書法創作的過程與步驟；第四章則是比較傳統書法與數位書法，在創作媒材、內容形式，呈現的時間與空間之異同，並探討書位書法應用在立體模型輸出、電腦動畫、虛擬實境、網頁設計及商業上之用途；第五章為本研究的結論與建議。 本研究結論有1、數位書法有別於傳統書法，是一新型態數位藝術。2、數位書法創作者需兼具軟體程式操作能力。3、數位書法創作者需具備深厚傳統書法內涵。4、Maya軟體於數位書法創作尚有相當大的發展空間。建議有1、數位書法應朝整合專業技能的團隊創作表現。2、建立數位書法藝術理論，提供數位書法創作新的方向。3、推動美術館等展覽空間，多樣性的展現數位創作媒材。4、後續相關研究。
Due to the trend of computerization, the function of writing brush is replaced by pens and keyboards. The use of technology changes the way ideas and thoughts are spread, which in turn changes the direction in which Chinese calligraphy develops. Influenced by avant-garde art in western countries, Japan, and mainland China, calligraphers in Taiwan realize that we must change the way art works are compared. Taiwanese artists start to make revolutions to bring traditional calligraphy into a new generation by absorbing elements from other fields, giving calligraphy a different look and bringing forth many possibilities. Such new virtual experiences give it a new esthetic definition. The ＂Tradition and Experiment＂ exhibition shows the intention of innovation and change, and gains calligraphy elements from other materials with breaking the traditional calligraphy. The contemporary art of calligraphy makes various possibilities to carry out a new visual experience, giving it new meaning to aesthetics of the times. Taiwan's overall environment for the development of calligraphy should be based on ＂Zeitgeist＂. With the rapid advance of digital technology, numerous works of calligraphy have been digitally created. It is expected that calligraphy develops from a flat surface into three dimensions, and from static to dynamic spirit of times. It is also expected that calligraphy will be created using digital pens, mouse and other digital tools. With the application of digital technology, software programming and related hardware equipment, calligraphy can be inputted, processed and outputted, namely, digitalized. The structures of this study are as follows: The first chapter describes the background, motivation and purpose. This study adopts literature review, comparative study and the visual arts study, and explains the limitations of this study. The second chapter reviews the development of calligraphy in Taiwan and further explores representative calligraphers Xu Jin and Tung Yang-tzu, both of whom create calligraphy in a modern way, and how modern calligraphy is represented. This chapter also examines related theories of digital art and technology of digital production. Functions of digital 3-D softwares will be briefly introduced, and the present development of Taiwanese calligraphy will be investigated.The third chapter details the process in which the researchers of this study created 3-D works of calligraphy. First it was created with digital pens in Photoshop, e pen calligraphy software. The 2-D work was then transformed into a 3-D model by applying bump mapping principle with Maya Paint Effect. The creation process and procedures, as well application tool instructions, lighting setup and 360-degree photography, are recorded in this chapter. The fourth chapter compares traditional calligraphy with digital calligraphy in terms of tools and materials, content and form, the differences and the similarities of time and space represented, and discuss how digital calligraphy can be applied in the output of 3-D model, computer animation, virtual reality, web design and business fields. Chapter five concludes the present study and proposes suggestions. The conclusion are as follows: (a) digital calligraphy is a new type of digital art, and it is different from traditional calligraphy, (b) the ability to operate computer software programs are required in the creation of digital calligraphy, (c) solid bases on traditional calligraphy is required in the creation of digital calligraphy, (d) still have a lot of space in the development of digital calligraphy with Maya software. It is suggested here that (a) digital calligraphy should be integrated by professional skills and developed on team works, (b) theoretical basis on digital calligraphy art should be established in order to provide new directions for creation of digital calligraphy, (c) show the diversity of digital media creation by promoting the art gallery exhibition space, and (d) follow-up research should be encouraged. |
