世紀風華：百年臺師大、世紀設計史

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1、1922~1946年「臺北高等學校：自由與自治」：

展示臺北高等自由與自治的學校精神，並以多幅校園古蹟的歷史建築照片彰顯百年校史，鹽月桃甫所設計的台北高校徽章，台北高校學生所繪製具有裝飾藝術（Art Deco）風格的第二回紀念祭四枚繪葉書（明信片），以及學校出版品等多種面向展品，形塑當年台北高校的學風；其中由國立高雄師範大學視覺設計系李億勳教授捐贈的台北高校學生頭戴帽子、穿著披風、腳踩木屐的雕塑模型，搭配幾張當年學生紀念祭照片最能傳神寫照當年台北高校的學生風範。

 

1. From 1922 to 1946, “Taihoku High School: Freedom and Autonomy”

Taihoku High School’s spirit of freedom and autonomy is demonstrated. Many photos of the historic buildings on campus highlight the school history of hundred years. The varied exhibits including the Taihoku High School badge designed by Siotuky Toho, the four postcards of the Art Deco style for the second school festival painted by the students, and the school publications represent the campus atmosphere of Taihoku High School in those years. Among them, the sculpture model of a Taihoku High School student wearing a hat, a cape, and wooden clogs donated by Prof. Lee Yi-hsun of Department of Visual Design of National Kaohsiung Normal University is the most vivid portrayal of the demeanor of Taihoku High School students, especially when it is exhibited together with several old photos of the students at the school festival. 

 

2、1922~1946年「臺北高等學校：經營與治理」：

學校校長的辦學理念及治理方式影響師生極為深遠，提倡「自由與自治」精神的第二任校長三澤糾（任期1925~1929），他是建設臺北高校普通教室（今普通大樓）、生徒（今文薈廳）、講堂（今禮堂）的校史發展關鍵人物，這些建築現今名列台北市古蹟；1929~1931第三任校長下村湖人，他不僅是提倡和平、反戰與青年的思想家，更是日本文學的知名作家，本次展出他最廣為人知的作品《次郎物語》、《人生を語る》及他在七十歲時書寫的墨寶。本次也可見到「大正十四年壹月台高增築落成紀念」字樣的彩色封套，其中三枚校園建築明信片，都是受到歐洲新藝術（Art Nouveau）風格影響。

 

2. From 1922 to 1946, “Taihoku High School: Philosophy and Operation”

The headmasters’ educational philosophy and operation method have a significant influence on teachers and students. The second headmaster, Misawa Tadasu (1878-1942) (term of office: 1925-1929), promoted the spirit of “freedom and autonomy.” He was the key person in the development of the school, building the general classrooms (today’s Administration Building), student hall (today’s Wenhui Hall), and lecture hall (today’s Assembly Hall). Now these buildings are on the list of the historic sites of Taipei City. The third headmaster, Shimomura Kojin (1878-1942) (term of office: 1929-1931), was not only a thinker proposing peace, anti-war, and youth but also a famous writer of Japanese literature. His well-known works, Jiro Monogatari and Jinsei O Kataru, and the calligraphy works written when he was seventy are exhibited this time. The colored wrapper with the words of “January of Taisho Year 14 Taihoku High School New Building Completion Commemoration” is also exhibited this time. Besides, there are three postcards of the campus buildings affected by the European style of Art Nouveau.

 

3、1922~1946年「臺北高等學校：學生與成果」：

評估一個學校辦學成功與否可由學生成就窺見一斑，鹿野忠雄是橫跨博物學、昆蟲學、文化人類學、民俗學領域的研究者，他在1941年以研究台灣冰河時期地理及物種變遷的《次高山彙に於ける動物地理學的研究》（雪山動物地理學研究）獲得京都帝國大學理學博士學位。提倡南方文學的中村地平，就讀台北高校時編輯校刊《翔風》，其著作包括《蕃界之女》、《日向民畫集》、《台灣小說集》、《小さい小説》，前兩本是由鹽月桃甫封面設計，後面兩本則是中川一政封面設計，這些各具風格特色的封面，都是台灣近代設計啟蒙時期的重要史料。

 

3. From 1922 to 1946, “Taihoku High School: Students and Achievements”

The students’ achievements can be used to evaluate the success of a school. Kano Tadao (1906~1945) is a cross-field researcher of natural history, entomology, cultural anthropology, and folklore. In 1941, he earned the doctorate in science from Kyoto Imperial University with the study on the geographical and species changes in the Ice Age of Taiwan, A Zoogeographical Study of Xueshan. Nakamura Chihei (1908~1963), who promoted southern literature, edited the school magazine, Flying Wind. His publications include Bankai no Onna, Hyuga Painting Album, Collection of Taiwan Stories, and Small Fiction. Shiotsuki Toho designed the cover of the former two, and Nakagawa Kazumasa designed the cover of the latter two. These book covers with the unique styles and characteristics are the important historical sources for the Enlightenment of modern design in Taiwan.

 

4、1922~1946年「臺灣近代設計啟蒙：鹽月桃甫（Shiotsuki Toho，1886~1954年）」

鹽月桃甫對台灣近代美術發展深具影響，台灣設計口典藏由他經手設計的《生蕃傳說集》、《太陽之目》、《翔風雜誌》，以及2001年宮崎縣立美術館舉辦的《情熱•愛•詩情：鹽月桃甫展》畫冊和1931年鹽月接受台灣總督府遞信部委託設計的風景名勝戳章及繪葉書。其中1948年《太陽の目》與1929年臺北高校校刊《翔風》第八期封面圖設計，都是以一名手持弓箭或佩戴腰刀並且身形威武英姿的原住民，搭配日月星辰而成，以輕鬆寫意的線條繪製，反映出台灣原住民圖騰對鹽月桃甫藝術風格發展的深刻影響。1919年秀英舍出版高濱虛子的《伊豫の湯》，是鹽月桃甫1821年來台之前的設計作品，可作為研究藝術家藝術設計風格發展的重要史料。

 

4. From 1922 to 1946, “Enlightenment of Modern Design in Taiwan: Shiotsuki Toho (1886~1954)”

Shiotsuki Toho has a profound influence on the development of modern art in Taiwan. Taiwan Design Corner collects his design including A Collection of the Indigenous Legends, The Eyes of the Sun, and Flying Wind, the painting album of “Passion, Love, Poetic Sentiment: Shiotsuki Toho Exhibition” organized by Miyazaki Prefectural Art Museum in 2001, and the scenic attraction stamps and postcards commissioned by the Communications Bureau of the Government-General of Taiwan in 1931. Among them, the cover design of The Eyes of the Sun in 1948 and the eighth issue of Flying Wind, the school magazine of Taihoku High School in 1929, features the strong and heroic figure of an indigenous man holding a bow and arrow and wearing a waist knife accompanied by the sun, moon, and stars, which is drawn with the freehand lines. It reflects the profound influence of the Taiwanese indigenous totems on the development of Shiotsuki Toho’s art style. Kyoshi Takahama’s Iyo no Yu published by Shueisha in 1919 is the design work before Shiotsuki Toho came to Taiwan in 1821. It can be the important historical sources to study the development of the artist’s design style.

 

5、1895~1945年「太陽旗下的設計：政治面向」

1895年《日清戰爭實記》封面描繪日清代表於〈公義號台灣引渡〉的版畫，紀錄台灣割讓日本的歷史；臺灣總督府印刷局發行的《官報》，載明日治台灣的官方紀錄；1912年《臺灣總督府第十四統計書》的封面上印有上下兩個三角形構成的台灣總督府徽章「台字章」，上面的三角形象徵台灣新高山（玉山），下方是為太平洋倒影，可謂台灣設計應用的開端；1941年日本遞信省發行「大日本帝国郵便切手：臺湾大屯・次高・タロコ・新高阿里山国立公園」（大屯山、雪山、太魯閣、玉山、阿里山國家公園）郵票。透過政府所發行的報刊、年報、統計、出版、郵票等史實，呈現日治時期政治面向的設計史料。

 

5. From 1895 to 1945, “The design of Political Orientation under the Rule of Japan”

The cover of Sino-Japanese War is the print of the Japanese and Chinese representatives signing the “Taiwan Extradition Treaties on The Righteousness” to record the history of Taiwan ceded to Japan. The Official Papers published by the Printing Bureau of the Government-General of Taiwan were the official record of Taiwan in the Japanese colonial period. The cover of The 14th Statistical Yearbook of The Government-General of Taiwan in 1912 was printed with the “Taiwan Stamp” of the Government-General of Taiwan composed of the upper and lower triangles. The upper triangle symbolizes the new high mountain of Taiwan (Yushan), and the lower one is the reflection of the Pacific Ocean. It could be regarded as the start of design application in Taiwan. In 1941, Ministry of Communications of Japan issued “The Empire of Japan Postal Stamps: Datunshan, Xueshan, Taroko Gorge, Yushan, and Alishan National Park.” The newspapers, annual reports, statistics, publications, and stamps issued by the government are the historical sources of the design of political orientation under the rule of Japan.

 

6、1895~1945年「太陽旗下的設計：產業面向」

以《臺灣の專賣》、《臺灣の林業》、《臺灣工業化の諸問題》等出版品，以及觀光旅遊文宣設計，展現南國華麗島的獨特魅力，另外也可見臺灣糖、鹽、菸、米等不同物產的宣傳設計。其中最為特別的是有號稱「亞洲糖果大王」的森平太郎於1905年創立的「新高製菓」，1917年他於台北古亭區設立牛奶糖工廠，1926年返回東京設立新工廠，奠定了與森永製菓、明治製菓、江崎固力果並列的地位，本次展出新高製菓促銷的紀念徽章，紀錄日治時期台灣製菓行業的輝煌盛事。此外還有「スモカ：壽毛加牙粉」公司的瓶罐包裝設計設計，以及1896年在台北成立的資生堂藥鋪「中煉齒磨」的彩色包裝盒。

 

6. From 1895 to 1945, “The design of Industrial Orientation under the Rule of Japan”

Through the publications such as Taiwan Monopoly, Taiwan Forestry, and The Problems of Industrialization in Taiwan and the sightseeing and tourism promotional design, the unique charm of the beautiful southern island is shown. There is also the promotional design of the different products of Taiwan such as sugar, salt, cigarette, and rice. Among them, the most special is “Shitaka Seika,” founded by the “Candy King of Asia,” Mori Heitaro, in 1905. He established the caramel candy factory in Guting, Taipei, in 1917. He returned to Tokyo and set up a new factory in 1926, laying the foundation abreast with Morinaka Seika, Meiji Seika, and Ezaki Glico. The memorial promotional badge of Shitaka Seika is exhibited here. It records the splendid history of the candy industry during the Japanese colonial period of Taiwan. Besides, there are also the package design of “Smoka Tooth Powder” and the colored toothpaste box of Shiseido drug store established in Taipei in 1896.

 

7、1895~1945年「太陽旗下的設計：教育面向」

透過日治時期小學校、公學校、師範學校所使用的讀本，窺見日本教育政策及印刷設計，其中《臺灣總督府國語讀本》是由鹽月桃甫、宮田彌太郎繪製內頁插圖，可謂是為台灣設計發展的重要成果；另外《臺灣總督府初等圖畫》、《臺灣總督府公學校唱歌》、《臺灣總督府師範學校農業教科書》等讀本，大都採用雙色印刷，封面上的圖案造型如版畫般典雅質樸。

 

7. From 1895 to 1945, “The design of Educational Orientation under the Rule of Japan”

The textbooks used by the elementary school, public school, and normal school during the Japanese colonial period provide a glimpse of the Japanese educational policies and printing design. Among them, the illustrations of The Government-General of Taiwan Chinese Reader were painted by Shiotsuki Toho and Yataro Miyata. These are the important achievements for the design development of Taiwan. Besides, most of the readers such as The Government-General of Taiwan Elementary Drawing, The Government-General of Taiwan Public School Singing, and The Government-General of Taiwan Normal School Agriculture Textbook adopt double-color printing. The patterns on the cover look as elegant and simple as print. 

 

8、1895~1945年「太陽旗下的設計：文化面向」

《民俗臺灣》是台灣第一份探討台灣民俗與民俗學的專門刊物，封面大多由立石鐵臣操刀，是為台灣近代設計的經典圖騰；1942年西川滿、池田敏雄合著的《華麗島民話集》封面可見十二個紅色圓圈及反白的文字與圖案，封底繪製十二生肖，別具親和力；《臺灣繪本》則是1943年由立石鐵臣與西川滿所合作的作品；台北高等學校須藤利一教授著作《南島覺醒》，封面是由立石鐵臣設計，以素雅且具個性的書名設計標題，彰顯日治時期對於「南島」研究的旨趣；1938年的《熱帯柳の種子》由中川一政設計封面，靈感取材自板橋林家花園的蝴蝶窗花，再現他在1937年來台旅居的生活經驗。

 

8. From 1895 to 1945, “The Design of Cultural Orientation under the Rule of Japan”

Folklore Taiwan is the first specialized publication discussing the custom and folklore of Taiwan. Most of the covers designed by Tateishi Tetsuomi have become the classic totems of Taiwanese modern design. On the cover of Tales of the Glamorous Islanders co-written by Nishikawa Mitsuru and Ikeda Toshio in 1942, there are twelve red circles and white characters and patterns. The twelve zodiac signs painted on the back cover make it look friendly. Taiwan Illustrations is the work by Tateishi Tetsuomi and Nishikawa Mitsuru in 1943. The cover of Southern Island Awakening written by Prof. Sudō Riichi of Taihoku High School was designed by Tateishi Tetsuomi. He designed the elegant and personalized book title to highlight the interest in the study of “southern island” during the Japanese colonial period. Nakagawa Kazumasa’s cover design for Tropical Willow’s Seed in 1938 was inspired by the butterfly window grill of The Lin Family Mansion and Garden in Banqiao. It is also a reproduction of his experience of living in Taiwan in 1937. 

 

9、1935年「太陽旗下的博覽會 始政四十周年紀念臺灣博覽會」

始政四十周年紀念臺灣博覽會於1935年10月10日至11月28日舉行，總參觀人次達275萬人，為臺灣有史以來第一次、也是規模最大型的博覽會。《臺灣博覽會寫真帳》、《臺灣博覽會畫帖》，以及塚本閤治所設計的兩幅明信片；還有鹽月桃甫、鄉原古統、郭雪湖三人所設計的三幅明信片。另外有專門繪製鳥瞰圖的吉田初三郎於1935年來臺製作的「臺灣八景十二勝」及「臺灣大鳥瞰圖系列計劃」，本套明信片內容即為基隆旭岡、淡水、八仙山、日月潭、阿里山、壽山、鵝鑾鼻、太魯閣等「臺灣八景」，再加上臺灣神社及新高山「二別格」，即「雙絕」共10幅明信片，紀錄日治時期最為美好的臺灣景象。

 

9. The Year of 1935, “40th Anniversary of the Ruling Expo in Taiwan”

The 40th Anniversary of the Ruling Expo in Taiwan was held from October 10 to November 28 in 1935. The number of the visitors reached 2.75 million. It was the first and largest expo in the history of Taiwan. The showcase displays Taiwan Expo Photo Album, Taiwan Expo Painting Album, the two postcards designed by Tsukamoto Koji, and the three postcards designed by Shiotsuki Toho, Gobara Koto, and Kuo Hsueh-Hu. Besides, there are the postcards of “Eight Scenes and Twelve Attractions of Taiwan” and “Bird’s Eye View of Taiwan,” made by Yoshida Hatsusaburō, who specialized in bird’s eye view painting and came to Taiwan in 1935. The postcard set includes the “eight scenes of Taiwan,” Keelung’s Shugang, Tamsui, Baxianshan, Sun Moon Lake, Alishan, Shoushan, Eluanbi, and Taroko Gorge, and the two additions, Taiwan Jinja and the new high mountain Yushan. The ten pieces of the “double beauty” postcards record the most beautiful Taiwanese scenes in the Japanese colonial period.

 

10、1895~1945年「太陽旗下的設計：戰爭面向」

日本因應皇民化運動出版《皇民事典》以及《畫報躍進之日本》，封面特輯「南方の勇者，台灣青年の生地訪問」是用以鼓勵台灣青年從軍報國的宣傳刊物；以及台灣國防義會防空部編的《台灣防空讀本》，說明當年防範空襲的指引；還有臺灣總督府情報部所編輯的《部報》，封面以臺灣盛產的香蕉作為主題；以及鹽月桃甫的《皇國の道》、藍蔭鼎所繪製《輝く日の丸》封面，訴說著戰爭時期藝術家服膺政治的無奈作法。

 

10. From 1895 to 1945, “The Design of War Orientation under the Rule of Japan” 

Japan published Encyclopedia of Japanization and Advance in Nippon for the Kōminka Movement (Japanization). The cover story, “Southern Braves: Interviews with Taiwanese Youths” was the promotion to encourage the Taiwanese youths to join the army and serve the country. Taiwan Air Defense Reader, edited by Air Defense Department of Taiwan National Defense Association, illustrates the guidelines of the air raid prevention at that time. The cover of the Intelligence Bureau Newspaper edited by the Intelligence Bureau of the Government-General of Taiwan features bananas that bound in Taiwan. The cover of Shiotsuki Toho’s The Way of the Empire and Ran In-Ting’s Glorious Sun Flag reveal the artists’ helplessness to serve politics during the war.

 

11、1946~1955年「臺灣省立師範學院時期」

1947年臺師大設立圖畫勞作專修科，1949年改名為藝術系；1947~1949年莫大元擔任創系主任，本次展覽可見其編著的《用器畫》以及《怎樣教美術》，還有當年的鴨嘴筆、針筆等製圖儀器。為了追溯莫大元於1923年留學日本東京高等師範藝教研究所時所接受的教育思想，以及1947年他主持台灣省立師範學院時期所開設「用器畫」與「圖案」等課程之間的關係，本次特別展出1901年平瀨作五郎所著《用器畫法圖式：透視圖法》以及1925年的《現代之團按工藝》，從中梳理來自日本設計教育的脈絡。

 

11. From 1946 to 1955, “Taiwan Provincial Teachers College”

In 1947, Taiwan Provincial Teachers College set up the Department of the Specialization in Painting and Drawing. In 1949, it was renamed Department of Art. From 1947 to 1949, Mo Ta-Yuan (1891~1981) served as the first Head of Department. The exhibition displays his publications, Instrument Drawing and How to Teach Fine Arts as well as the drawing instruments such as ruling pens and technical pens he used at that time. To trace the educational thinking Mo received when studying at the graduate school of art teaching of Tokyo Higher Normal School and the connection with the courses such as “Instrument Drawing” and “Patterns” he gave when he was the head of Taiwan Provincial Teachers College, the exhibition especially includes Patterns of Instrument Drawing: Perspective written by Hirase sakugorō in 1901 and Modern Workmanship in 1925 to organize the context of design education from Japan.

 

12、1955~1967年「臺灣省立師範大學藝術系時期」

主要展出廖未林（1922~2011年）個人的展品，用以表達對於此位傑出設計師的尊崇。廖未林自1956年起於師大藝術系任教，教授「商業美術設計」課程；其膾炙人口的多套郵票設計如〈 好人好事運動紀念郵票〉、〈凹版中華民國版圖郵票〉、〈日本萬國博覽會郵票〉等，以及《皇冠》與《雄獅美術》封面的仕女圖像，充分展現出他優秀的設計能力。他為王藍著名小說《藍與黑》設計的封面，則採用精簡的兩個矩形色塊，明確傳達書名的極簡風格。2010年國立歷史博物館出版《設計藝術家廖未林88回顧展》展覽與專輯，成為廖未林返回台灣最後的身影。

 

12. From 1955 to 1967, “Art Department of Taiwan Provincial Normal University”

The showcase mainly exhibits the personal works of Liao Wei-Lin (1922~2011) to express the respect for the outstanding designer. Liao started to teach at Art Department of Taiwan Provincial Normal University from 1956, responsible for the course of “Commercial Art Design.” Many of his well-acclaimed stamp design works such as “Good People and Good Deeds Memorial Stamps,” “Gravure ROC Domain Stamps,” and “World Expo in Japan Stamps” as well as the lady portraits on the cover of Crown Magazine and Lion Art fully demonstrate his excellent design ability. His design for Wang Lan’s famous novel The Blue and the Black adopts the two simple rectangular blocks to clearly express the minimalist style of the book title. In 2010, National Museum of History held the exhibition “Liao Wei-Lin 88 Retrospective Exhibition” and published the album. It was his last appearance in Taiwan.

 

13、1955~1967年「臺灣省立師範大學藝術系時期，1962~1963年：黑白展」

1962年師大藝術系校友高山嵐、葉英晉、沈鎧、簡錫圭、黃華成、張國雄、林一峰創立「黑白展」，首開臺灣設計展覽之先例，成為臺灣設計發展歷程的里程碑。本次展品包含兩件「黑白展」的重要專輯，分別是1962年「臺灣觀光」與1963年「鳥」；另外高山嵐的《美術設計123》與《Taiwan Guide》是為臺灣早期現代的經典圖像；黃華成所設計的《劇場》雜誌，從封面標題至內頁編排，可謂是打破傳統鉛字排版的現代字體設計（Typography）之濫觴；簡錫圭為幸福唱片設計的封套，則是跨域藝術的經典代表。

 

13. From 1955 to 1967, “Art Department of Taiwan Provincial Normal University, 1962-1963: Black and White Exhibition”

In 1962, the alumni of Art Department of Taiwan Provincial Normal University, Kao Shan-Lan, Yeh Ying-Chin, Shen Kai, Jian Si-Guei, Huang Hua-Cheng, Chang Kuo-Hsiung, and Lin Yi-Feng, organized the “Black and White Exhibition.” As an unprecedented design exhibition in Taiwan, it became a milestone in the history of the design development in Taiwan. The exhibition includes two important pieces from the “Black and White Exhibition.” They are respectively “Taiwan Tourism” in 1962 and “Birds” in 1963. 

Besides, Kao Shan-Lan’s Modern Design One-Two-Three and Taiwan Guide are the classic images for early modern Taiwan. Huang Hua-Cheng’s design of the cover title and content arrangement of the magazine, Theater, breaks the tradition of modern typography. Juan Si-Guei designs the covers for Lucky Record and becomes the classic representative of interdisciplinary art.

 

14、1955~1967年「臺灣省立師範大學藝術系時期，1964年六藝設計公司」

1964年李再鈐、陳登瑞、余史、沈在勤、王建柱、許常惠創立「6Arts 六藝設計公司」，是師大音樂系與美術系校友的跨界組合，展現追求傳統六藝精神的臺灣第一代專業設計公司。當年成立即承接陽明山中山樓宮燈設計，經濟建設成果展的石油館、鋁業館、工銅礦業館、合作館等展示設計，也為教育部九年國教成果展規劃多媒體展示設計。展覽中可見六藝公司請柬，以及王建柱為中華民俗藝術基金會設計的《阿美族》、《曹、排灣、賽夏、雅美、平埔》唱片封套，以及其影響臺灣設計教育的經典名著《包浩斯》、《室內設計學》、《現代環境的命運》。

 

14. From 1955 to 1967, “Art Department of Taiwan Provincial Normal University, Liuyi Design Company in 1964”

In 1964, Lee Tsai-Chien, Chen Teng-Jui, Yu Shih, Shen Tsai-Chin, Wang Chien-Chu, and Hsu Chang Hui founded “6 Arts Liu Yi Design Company,” which was the interdisciplinary collaboration of the alumni of Art Department and Music Department. It was the first-generation professional design company in Taiwan pursuing the traditional spirit of six arts. After establishment, it undertook the palace lantern design of the Yangmingshan Zhongshan Hall, the exhibition design of the Petroleum Pavilion, Aluminum Pavilion, Industry, Copper, and Mining Pavilion, and Collaboration Pavilion in the Economic Development Exposition, and the multi-media exhibition design of the Ministry of Education Nine-Year Compulsory Education Achievement Exhibition. The showcase includes the invitation cards from Liuyi Design Company, the record covers of “The Amis” and “The Cao, the Paiwan, the Saisiyat, the Yami, and the Pingpu,” which Wang Chien-Chu designed for The Chinese Folk Arts Foundation, and his classic publications that influence design education in Taiwan: Bauhaus, Interior Design, and The Destiny of Modern Environment.

 

15、1955~1967年臺灣省立師範大學藝術系時期

1962年中國美術設計協會成立，後於1980年改名中華民國美術設計協會。在1962年《黑白展》專輯中可見到高山嵐、沈鎧、簡錫圭、黃華成、張國雄、林一峰等人的簡歷上皆註明「中國美術設計協會發起人」。1970年《中國美術設計雜誌》創刊號，是由前輩設計師蕭松根設計封面，以一枝黑色的湯匙盛滿英文字體「Design」組成，象徵要將美味可口的設計放入口中享用；另外還有《1981/82中華民國美術設計年鑑》、《中華民國美術設計協會五十年大事紀要》、《設計界》雜誌，以及創會元老王超光所設計的協會標章，展現臺灣第一個專業設計協會的悠久歷史。協會中多位理事長都是校友。

 

15. From 1955 to 1967, Art Department of Taiwan Provincial Normal University

The Graphic Design Association of China was established in 1962. Afterwards, it was renamed the Graphic Design Association of the Republic of China in 1980. In the album of the “Black and White Exhibition,” the biographies of Kao Shan-Lan, Shen Kai, Jian Si-Guei, Huang Hua-Cheng, Chang Kuo-Hsiung, and Lin Yi-Feng all include “Founder of the Graphic Design Association of China.” In 1970, the cover of the first issue of Chinese Art Design Magazine was designed by the senior designer Hsiao Song-Gen. A black spoon filled with the English letters of “Design” symbolizes sending the delicious design into the mouth. Besides, 1981/82 Yearbook of The Graphic Design of the Republic of China, Major Events of the Fifty Years of The Graphic Design Association of the Republic of China, Design World, and the association mark designed by the founder Wang Chao-Guang show the long history of the first professional design association in Taiwan. Many chairpersons of the association are the alumni.

 

16、1976年~2009年 國立臺灣師範大學美術系設計組時期

1991年由臺師大美術系69級丘永福、高思聖、葉國松、林磐聳、游明龍創立「Taiwan Image臺灣印象海報設計聯誼會」，本次展出1991~1997年Taiwan Image時期的簡介、請柬、專輯等，其中黑龍江科技出版社的《臺灣印象海報設計精選》完整蒐錄1991~1997年臺灣印象海報的作品與大事紀要，是為完整的文獻檔案。2022年臺灣海報設計協會慶祝30週年，邀請國際海報名家參展，並且出版《流光瞬息，設計三十》專輯，紀錄三十年來推動海報設計展覽與全球交流的成果。

 

16. From 1976 to 2009, “Design Division, Art Department of National Taiwan Normal University”

The alumni graduating in the year of 1980 of Art Department of National Taiwan Normal University, Chiu Yung-Fu, Kao Su-Sheng, Yeh Kuo-Sung, Lin Pang-Soong, and Yu Ming-Lung established “Taiwan Image Poster Design Association” in 1991. The introduction, invitation cards, and albums of Taiwan Image from 1991 to 1997 are exhibited here. Among them, A Selection of Taiwan Image Poster Design published by Heilongjiang Science & Technology Press with the complete collection of the works and major events of the association from 1991 to 1997 is the most complete document. To celebrate the 30th anniversary of Taiwan Image Poster Design Association in 2022, it invites the international famous poster artists to join the invitational poster exhibition and publish the album of “Rolling After Generation, Design 30” to record the achievements of promoting poster design exhibition and global communication in the past thirty years. 

 

17、1967年~2009年 國立臺灣師範大學美術系: 封面與藝術

集結師大藝術系歷屆校友在1960年代為臺灣文學著作所設計封面，當時可見許多藝術家以自己的作品作為封面，如楊英風以其雕塑作為周夢蝶《孤獨國》的封面，以版畫作品設計《東方》雜誌的封面。劉國松則將其經典的登陸月球畫作為李魁賢《心靈的側影》的封面；洛夫的詩集《石室之死亡》與《外外集》，則分別可見莊喆與馮鍾睿以自身作品進行的設計。1964年台灣省教育廳配合聯合國兒童基金會援助，成立兒童讀物編輯小組，出版《中華兒童叢書》，臺師大藝術系畢業校友有沈以正、張悅珍、趙國宗等多人參與繪製童書，呈現出各式充滿童趣的書籍裝幀。

 

17. From 1967 to 2009, Art Department of National Taiwan Normal University, “Cover and Art”

The cover design made by the alumni of Art Department of National Taiwan Normal University for the Taiwanese literary works in the 1960s is collected here. At that time, many artists used their own works as the covers. For example, Yu-Yu Yang used his sculpture as the cover of Chou Meng-Tieh’s Lonely Country and designed the cover of The Eastern Miscellany based on his print works. Liu Kuo-Sung made his classic moon landing painting the cover of Lee Kuei-Shien’s The Profile of Mind. In Luo Fu’s collection of poems, Death of a Stone Cell and Poems of Beyond, Chuang Che’s and Feng Jung-Ruei’s design from their own works can be found. In 1964, Department of Education of Taiwan Provincial Government with the assistance of UNICEF established the editorial team of children’s books and published Chinese Children’s Book Series. Many alumni of Art Department of National Taiwan Normal University such as Shen Yi-Cheng, Chang Yueh-Chen, and Zhao Guo-Zong participated in the painting of the children’s books and presented a variety of childlike book design.

 

18、1967年~2009年 國立臺灣師範大學美術系「插圖與繪本」

此處將師大美術系所培養的專業繪畫能力與個人特色，透過報紙、雜誌、封面、郵票等設計領域呈現。其中美術系57級系友林宏澤，1970年代開始在《中國時報•人間副刊》所繪製寫實的插畫，掀起台灣報刊雜誌的插畫革命，打破傳統針筆線稿或黑白色塊的高反差效果，本次特別展出其1980年代親筆繪製的原作，以及他慣用的超現實手法所繪製的《夢的使者》封面設計；另外68級系友楊恩生是1980年代以精密描繪聞名的水彩畫家，1990年代以後倡議生態藝術，並為台灣特有鳥類完整紀錄珍貴圖檔。本次展出楊恩生1980年代為僑委會所繪製的《史前中國》海外青年讀物，另外最具代表性的作品可見1991年與林磐聳、賴吉仁合作為中華郵政繪製的《臺灣溪流鳥類郵票》，當年銷售金額高達新台幣8億元，至今仍是臺灣集郵史上的盛事。

 

18.  From 1967 to 2009, Art Department of National Taiwan Normal University, “Illustrations and Picture Books”

The professional painting abilities and personal characteristics developed by Art Department of National Taiwan Normal University are presented here through the design fields of newspapers, magazines, covers, and stamps. Lin Hung-Tse, the alumnus graduating in the year of 1968, started to paint the realistic illustrations in the literary supplement of China Times in the 1970s, launching the illustration revolution of the newspapers and magazines of Taiwan and breaking the traditional high-contrast effect of the technical pen line drafts or the black and white blocks. His original hand-drawn works in the 1980s and the cover design of The Dream Messenger drawn with his usual surreal style are especially exhibited this time. Besides, Yang En-Sheng(Anderson Yang), the alumnus graduating in the year of 1979, is a watercolor painter famous for detailed depiction. After the 1990s, he promoted ecological art and completely recorded the precious pictures of the endemic bird species in Taiwan. The book for the overseas youths, Prehistoric China, painted by Yang En-Sheng(Anderson Yang) for Overseas Community Affairs Council is exhibited here. Besides, he painted the most representative works “Taiwan Stream Birds Stamps” for Chunghwa Post by collaborating with Lin Pang-Soong and Lai Chi-Jen in 1991. The sales reached NT$800 million at that time, which is still regarded as a grand event in the history of philately in Taiwan.

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