錯視圖形被廣泛運用在廣告設計、插畫藝術等商業活動中，也被延伸應用到建築和裝置藝術等環境空間中。錯視圖形顛覆了觀看者長久以往建立的視覺與認知的經驗與慣性，提供了觀看時更多趣味性與新奇感受。藉由認識錯視圖形的圖形特徵對觀看者的心理影響，設計者更能深入的瞭解錯視的設計，從而建構設計曖昧錯視圖形設計模式，設計出能達成其預期效果的錯視圖形。再者，辨識錯視圖形是種複雜的認知過程，腦電位可透過神經機制反應大腦在不同階段的直覺認知活動，相較於錯視行為數據則無法對於辨識出錯視即刻反應。本研究利用腦電位以客觀的量測工具，去建立解謎的大腦反應指標，進而瞭解錯視圖形的設計特徵與大腦認知反應的相關性。

本研究以「建構曖昩錯視圖形設計之研究」為主題，提出錯視圖形的操作型定義。透過錯視設計的實證研究，建構錯視圖形的設計方法，進而探討錯視圖形設計模組對腦電位的影響。本研究目的：（1）探討錯視圖形的設計特徵與設計形式，提出錯視圖形操作型定義。（2）以設計創作實證探討錯視圖形設計模組。（3）以腦電位實驗探討錯視圖形之「構圖與圖義」對「腦電位」與「認知行為」的影響。
研究結果發現：
（1）本研究將錯視圖形拆解成圖形成分，提出「構圖」、「圖義」、「視點」三種可「量化」的操作型定義。「構圖」依平面構成中圖形成分位置關係，提出「分離」、「相切」和「重疊」；「圖義」依圖像意涵提出「單義」、「雙義」和「多義」；「視點」依錯視圖形的透視點提出「單視點」、「雙視點」和「多視點」。由「構圖」、「圖義」、「視點」互相組合，建立27種錯視圖形設計模組。
（2）透過錯視實作調查與錯視專書錯視圖形分析發現：運用錯視設計模組的實驗組、與無運用錯視設計模組的對照組，和錯視專書的大師作品在「構圖」與「圖義」的偏好運用，以「構圖」而言，實驗組最多的為「重疊」構圖，對照組最多的為「相切」構圖，錯視大師作品以「分離」構圖最多。以「圖義」而言，實驗組與對照組和錯視大師作品皆以「雙義」為最多設計操作的方法。在「視點」的比較，實驗組以「雙視點」最多，對照組和錯視大師作品以「單視點」最多。經過錯視設計模組教學的實驗組，使用的錯視設計模式組合較對照組多。實驗組與對照組學生創作皆偏好「相切+雙義+單視點」設計模組；錯視設計的大師組作品則偏好「分離+雙義+單視點」設計模組。
（3）腦電位實驗結果發現：從「N170」波段發現，「雙義」圖形較「單義」圖形對觀者而言較具熟悉感，辨識度較高。從「P200」波段發現，在左腦頂葉與枕葉有反應，「單義」圖形花較少的選擇性注意力，對觀者而言較不具有美感。新穎性「P300」在左腦頂葉、中間與枕葉有顯著性反應，「重疊」構圖和「單義」圖形較具新穎性。「N400」在左腦頂葉、中間與枕葉區，「雙義」圖形較具語意認知不一致性。記憶喚醒的「LPC」在左腦頂葉、中間區，「重疊」構圖和「單義」圖形較「雙義」圖形更具有記憶喚醒度。從錯視圖形的認知行為數據發現：「構圖」會影響「辨識度」與「驚喜度」。「辨識度」高的錯視圖形為「分離」錯視圖形；「驚喜度」高的錯視圖形為「重疊」錯視圖形。錯視圖形的「圖義」會影響創意度，「創意度」高的錯視圖形為「雙義」錯視圖形。不同構圖的錯視圖形其「辨識度（高／低）」顯著相關性的ERSP腦區，發現分離和重疊二種錯視圖形在中央區、頂葉區和枕葉區皆為顯著相關的腦區。由此推論，辨識錯視圖形時會運用到空間知覺、記憶存取和注意力的中央區，視覺圖像感知的枕葉區和語意情緒的頂葉區。
希冀本研究以科學的步驟程序去分析設計行為，其結果能在設計教育上提出系統化的錯視圖形之設計模組，使設計者在創作時有所依循，並為藝術家在藝術創作時能夠作為在設計錯視圖形時的參考依據。

Ambiguous illusion design is widely used in commercial advertising, illustration art, fashion design and environmental space design. Works of optical illusion design are inherently interesting and seemingly changing all the time, thus overcoming the visual and cognitive inertia of the audience. With a proper understanding of optical illusion graphic design, we will be able to appreciate the design significance of two-dimensional composition and its influence on audience’s cognition. Elaborating on the topic of “Study on Production of Optical Illusion Images”, this study explores the cognitive relations between the “composition” and the “meaning” of graphic artworks while at the same time investigating “brain potential”. It aims to: (1) find out the features and forms of optical illusion graphic design; put forward the operational definition of optical illusion images using literature and relevant graphic design methods, as well as analyze optical illusion images using the content analysis method in order to find out the trend of features of optical illusion graphic design; (2) examine and analyze optical illusion works of design students to determine the pattern of optical illusion graphic design; (3) measure the effect of the “composition” and the “meaning” of graphic artworks on electric brain signals.
It is a complicated cognitive process to identify optical illusion images because brain potential cannot produce immediate response to optical illusion data, though it is able to reflect the intuitive cognitive activities of the brain at different stages via the neural mechanism. In order to solve this puzzle, objective tools were used in this study to measure the brain potential of the subjects so as to develop certain brain response indicators which will offer a better understanding of the relevance between the features of optical illusion graphic design and the cognitive response of human brains.
Results and discoveries:
(1)The modules of optical illusion graphic design consist of “composition” (“separation”, “tangency”, and “overlapping”), “meaning” (“single meaning”, “double meanings”, and “multiple meanings”), and “viewpoint” (“single viewpoint”, “double viewpoints”, and “multiple viewpoints”). These three components can generate 27 different types of combinations in total.
(2)After the experimental group was taught about the design modules, it was discovered that the experimental group was able to make more combinations than the control group. Specifically, both groups preferred the design module of “tangency + double meanings + single viewpoint” while the master group preferred the design module of “separation + double meanings + single viewpoint”; in terms of the identifiability of the creative optical illusion data, the composition of “separation” was more identifiable than that of “overlapping”; as for the degree of surprise, the composition of “separation” was more surprising than that of “overlapping”; when it came to creativity, “double meanings” was more creative than “single meaning”.
(3)The ERP test results show that: When a subject was viewing an optical illusion image, N170 response was detected in the middle part and parietal lobe of the left brain; in terms of identifiability, “double meanings” images were more familiar to the viewers than “single meaning” ones. As for the P200 in relation to visual search and attention, response was detected in the parietal lobe and occipital lobe of the left brain; “single meaning” images captured less selective attention than “double meanings” ones for they were of less aesthetic value to the viewers. Significant response of the novelty P300 was detected in the parietal lobe, middle part and occipital lobe of the left brain; “overlapping” images were more novel than “separation” ones while “single meaning” images than “double meanings” ones. N400 for semantic incongruity was also detected in the parietal lobe, middle part and occipital lobe of the left brain, with “double meanings” images more incongruent than “single meaning” ones. The late positive component (LPC) was detected in the parietal lobe and middle part of the left brain, and “overlapping” images had a larger LPC than “separation” ones while “single meaning” images than “double meanings” ones.
It is hoped that in this study design behaviors could be analyzed according to scientific steps and procedures, and that the results could contribute to a systematic pattern of optical illusion graphic design to be adopted for design education so that students would have a rule to follow during creation and furthermore, artists would have a basis of reference for their artistic creation when designing optical illusion images.

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（三）參考網站
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