隨著汽車市場產業的成熟，汽車品牌除了開發出更多車型來滿足更多樣化的市場需求外，許多消費者也追求汽車造形的獨特性，促使相關製造商也開發出各式各式的汽車改裝品來滿足其需求，其中又以運動化改裝風格最為主流。著眼於此，本研究的目標在探討有效提高運動化意象的造形特徵，以及探討受測者背景與運動化意象感受度差異。
本研究包含兩部份實驗：(1) 前導性實驗：首先邀請6位專家討論，區分出7種常見汽車改裝部位，並於每一個部位挑選具運動感的5種造形特徵，共35種造形特徵樣本，以此製作問卷進行細部調查，讓受測者針對此35種改裝造形去評價運動化意象提升多寡，研究結果顯示7種改裝部位所提供改裝意象相互之間並無差異，不過改裝造形語彙，如具有張揚的進氣孔造形、順暢的稜線、菱角分明的線條、葉片鰭片造形、銳利刀削的線條...等改裝造形語彙，具有較多運動化意象。(2) 驗證實驗：依據前導性實驗歸納的造形特徵進行汽車造形改裝設計，並製作問卷讓受測者評價同一款車改裝前後運動化意象的變化，研究結果顯示把運動感造形特徵應用在改裝設計確實可提升整車運動化意象，但仍需注意整車造形均衡度與整體美感才能達到更好的效果。

With the maturity of the automotive industry, car brands have not only developed more car models to meet diversified market demands, but also consumers are seeking for the uniqueness of car styling, prompting related manufacturers to develop a variety of car tuning products to meet their needs, among which sporty tuning style is the most mainstream. With this in mind, the purpose of this study is to investigate the effective ways to improve the styling features of sporty imagery and the differences in perception between the participants’ background and the sporty imagery.

This study consists of a two-part experiment. (1) Pilot experimental: 6 experts are invited to discuss and distinguish 7 types of common tuning parts, and for each part, 5 types of sporty styling features are selected, totaling 35 styling feature samples, which are used to create a questionnaire for detailed investigation for participants to evaluate the improvement of sporty imagery based on these 35 types of tuning styles. The results show that there are no differences between the 7 types of common tuning parts. However, the tuning & styling vocabulary, such as striking air intake, smooth curves, sharp ridge lines, blade fin styling, and sharp cut line has more sporty imagery. (2) Validation experiment: to make a car styling and tuning design based on the styling features derived from the pilot experiment, and to create a questionnaire for the participants to evaluate the variation of sporty imagery before and after tuning the same model of car. The results show that applying sporty features to tuning design can improve the sporty image of the whole car, but it is still necessary to pay attention to the balance of the car styling and the overall aesthetics to achieve a better effect.

中文文獻
(1)Philip. G. Zimbardo，游恆山譯 (2000) 。心理學導論三版。五南出版社
(2)小林重順 (1991)。造形構成心理。台北藝風堂
(3)李薦宏 (1995)。 形‧生活與設計。亞太圖書出版社。
(4)杜海濱 (2006)。汽車造型設計。遼寧美術出版社。
(5)林美和(2006)。成人發展、性別與學習。台北：五南
(6)林銘璋 (2009)。動態意象在汽車造形風格影響之探討。國立台灣科技大學設計研究所碩士論文
(7)馬嘉莉 (2010)。性別角色是社會文化對於兩性行為與性格的期待
(8)國語辭典。台灣商務印書館
(9)康獻章 (2006)。汽車造形局部特徵置換對於感性意象認知之關係研究。國立台灣科技大學設計研究所碩士論文
(10)陳芬苓 (2014)。性別與性別主流化。行政院性別平等處編，識讀性別平等與案例分析。
(11)彭聃齡、張必隱 (2000)。認知心理學。東華出版
(12)黃宇軒(2009)。女性消費者對汽車外形之偏好探討。銘傳大學設計管理研究所碩士論文
(13)黃淑玲、游美惠 (2008)。性別向度與台灣社會。台北：巨流
(14)劉秀娟(1997)。兩性關係與教育。台北：揚智文化
(15)劉其偉 (1991)。現代繪畫基本理論。雄獅出版社(P.188~190)
(16)蔡子瑋 (1994)。產品意象語意研究-以本土性意象研究。國立成功大學工業設計研究所碩士論文。
(17)蔡詩怡 (2003)。汽車造形輪廓之型態特徵辨識與認知之研究。國立雲林科技大學工業設計系碩士論文
(18)鄭昭明 (1993)。認知心理學-理論與實踐。桂冠圖書公司。
(19)鄭麗玉 (2006)。認知心理學-理論與應用。五南出版社

英文文獻
(1)Anderson, J.R.(1990). Cognitive psychology and its implications (3rd) (p.59). New York: W.H Freeman and Company
(2)Baxter, M., (1995). Product Design Practical Methods for the Systematic Development of New Products, Cgapman & Hall, London.
(3)Berlyne, D. E (1960). Conflict, Arousal, and Curiosity. New York: McGraw-Hill.
(4)Chan, C. S. (2000). Can style be measured Design Studies. 21. pp277~291.
(5)Finke, R. A., & Freyd, J. J. (1994). Imagery. In R. Sternberg (Ed.), Encyclopedia of intelligence, 1 (pp. 561-563). New York: Macmillan.
(6)Jay P. McCormack and Jonathan Cagan., (2003). Speaking the Buick language: capturing, understanding, and exploring brand identity with shape grammars. Design Studies Vol25, No1, Jan, p.1~p29.
(7)Reynolds, A.G. & Flagg, P.W(1983). Cognitive psychology(2nd)(p.71). Boston: Little, Brown and Company.
(8)Vogel, D., Wester, S., Heesacker, M., & Madon, S. (2003). Confirming gender stereotypes:A social role perspective. Sex Roles, 48(11), 519-528
(9)Wardle, G & S. Macey, (2009). H-POINT The Fundamentals Of Car Design & Packaging. CA：Design Studio Press. pp. 25