一. 造形藝術形式分析
二. 研究與運用造形的基本要素
三. 掌握造形之基本語彙
四. 主題創作表現解析造形藝術與其與不同語彙的運用，在各個時期面對不同的目的與條件，所呈現的樣貌；課堂上將藉由不同階段的重要藝術家及其作品，來分析其表現手法與內涵，並從這些案例來探討媒材轉化的運用。此外，也將探討國際上藝術發展的趨勢及其時代意義，以近年國內、外國際展演等作品賞析為例，配合課程內容，從形式與思想觀念中讓學生對世界當代藝術發展型態及造形的應用有所認知，解析其藝術的內涵及意義，以擴大其創作能量。

1. Analysis of plastic art forms
2. Research and apply the basic elements of modeling
3. Master the basic vocabulary of modeling
4. The theme creation expresses the analysis of plastic art and its use of different vocabularies, and the appearance it presents in the face of different purposes and conditions in each period; the class will analyze its expression techniques and connotations through important artists and their works at different stages, and explore the use of media transformation from these cases. In addition, the trend of international art development and its significance of the times will also be discussed. Taking the appreciation of domestic and international exhibitions and other works in recent years as an example, in conjunction with the course content, students will have an understanding of the development patterns of world contemporary art and the application of shapes from the form and ideological concepts, and analyze its artistic connotation and significance to expand their creative energy.

本學期課程單元為「水墨畫與個人文本」。本課程以強化東方繪畫的審美能力與當代視野為目標，以實際創作為主軸，以理論的閱讀與研究為輔助，著重在重新思考藝術家於特定的歷史階段、社會背景與個人特質所交錯衍生出來的特殊主題、技法、思維與表現途徑。借此引導學生探討相對於歷史洪流中的個人歷史：包括家族系譜、成長經驗與潛在意識等個人化的藝術資源，從而確立獨一無二的創作方向與自我風格。

The course unit this semester is "Ink Painting and Personal Texts". This course aims to strengthen the aesthetic ability and contemporary vision of Eastern painting. It takes practical creation as the main axis and is assisted by theoretical reading and research. It focuses on rethinking the special themes, techniques, thinking and expression methods derived from the intersection of artists in specific historical stages, social backgrounds and personal characteristics. This guides students to explore their personal history relative to the current of history: including family genealogy, growth experience, subconsciousness and other personal artistic resources, thereby establishing a unique creative direction and self-style.

1. 《造形藝術的基礎》約翰．義庭 著/王秀雄譯，大陸書店，1989
2.Henry Focillon 著/吳玉成 譯；《造形的生命》；田園城市文化事業出版；2001；ISBN 9570406410
3. 《設計心理學》The Psychology of Everyday Things，Donald A. Norman 著，卓耀宗 譯， 2000，台北，遠流
4. 《設計的原動力》Shaping Space著，台北：六合
5. 佟景韓/易英 主編《造型藝術美學》；原出版者：春風文藝出版社、遼寧教育出版社；紅葉文化事業有限公司出版；台北；1995。ISBN 9578677634。
6. John Berger(1998)。《影像的閱讀》(劉惠媛譯)。台北市：遠流。(原著出版年：1980年)。
7. 《解讀影像》視覺傳達設計的基本原理（Reading Images- The grammar of Visual Design）Gunther Kress ＆Theo Van Leeuwen 著;桑尼 譯/亞太圖書，1996
8. 《塑造空間》三度空間設計的原動力Paul Zelanski and Mary Pat Fisher 著，陳淑珍 譯，2000，Shaping Space。台北：六合。
9. 王林 著，《美術形態學》；亞太圖書公司出版；1993。ISBN9578510314。
10 《 Le mou et ses formes》 essai sur quelques catégories de la sculpture du XX e siècle, Maurice Fréchuret, 1993, Ecole nationale supérieure des Beaux-Arts, Paris
11 王秀雄（1991）。美術心理學：創造．視覺與造形心理，修訂。台北市：北市美術館。ISBN：957-00-0331-6。

12李長俊 譯（1985）。藝術與視覺心理學，版4。台北市：雄獅。Arnheim,R.（1976），Art and visual perception-a psychology of the creative eye.

13吳瑪俐 譯（1985）。點、線、面。台北市：藝術家。Kandinsky（1926）,Punkt und linie zu flache.

14 張惠蘭 著(2011) ，《寶藏巖 流動的色彩密碼》公館水岸環境色彩計畫，台北：台北市政府文化局

15 張惠蘭 著(2013) ，《八斗子 流動的島嶼色彩》公共藝術計畫，基隆：國立海洋科技博物館

16 S. Kobayashi （1987）, A book of Color, Ｔokyo．New York．London: Kodansha International.

17 J.P. Lenclos（1990）, Couleurs de la France, Paris: Moniteur.

18 Shigenobu Kobayashi（1991）, Color image scale, Ｔokyo．New York．London: Kodansha International.

19 J. Itten（1993）, Art de la Couleur, Paris : edition abregée

20 J.P. Lenclos（1995） Couleurs de l’Europe, Moniteur, Paris.

21 賴瓊琦(1997) 《設計的色彩心理－色彩的意象與色彩文化》。台北：視傳文化事業有限公司。

22 Alexanden Theroux著，冷步梅 譯(1997) 《三原色》The Primary Color，台北：聯經出版社

23 higenobu Kobayashi（1998）COLORIST—A Practical Handbook for Personal and Profssional Use。Kodansha。

24 佟景韓、易英(1995)。《現代西方藝術美學文選：造型藝術美學卷》。台北市：洪葉文化。

25 J.P. Lenclos （1999）， Couleurs du monde, Paris: Moniteur
.
26 山中俊夫 著，黃書倩譯 (2003) ， 《色彩學的基礎》，台北：六合出版社。

27曾啓雄(2003) 《色彩的科學與文化》。台北: 耶魯國際文化。
貝蒂．愛德華(Betty E

1. "The Foundations of the Plastic Arts" John. Written by Yiting/translated by Wang Xiuxiong, Mainland Bookstore, 1989
2. Written by Henry Focillon/Translated by Wu Yucheng; "Shaped Life"; Garden City Cultural Enterprise Publishing; 2001; ISBN 9570406410
3. "The Psychology of Everyday Things", written by Donald A. Norman, translated by Zhuo Yaozong, 2000, Taipei, Yuanliu
4. "The Motive Power of Design" by Shaping Space, Taipei: Liuhe
5. Tong Jinghan/Yi Ying, editor-in-chief of "Aesthetics of Plastic Arts"; original publisher: Chunfeng Literature and Art Publishing House, Liaoning Education Press; published by Hongye Cultural Enterprise Co., Ltd.; Taipei; 1995. ISBN 9578677634.
6. John Berger(1998). "Reading of Images" (translated by Liu Huiyuan). Taipei City: Yuanliu. (Original publication year: 1980).
7. "Reading Images- The grammar of Visual Design" by Gunther Kress & Theo Van Leeuwen; translated by Sonny/Asia Pacific Books, 1996
8. "Shaping Space" The driving force behind three-dimensional space design, written by Paul Zelanski and Mary Pat Fisher, translated by Chen Shuzhen, 2000, Shaping Space. Taipei: Liuhe.
9. Wang Lin, "Art Morphology"; published by Asia Pacific Book Company; 1993. ISBN9578510314.
10 "Le mou et ses formes" essai sur quelques catégories de la sculpture du XX e siècle, Maurice Fréchuret, 1993, Ecole nationale supérieure des Beaux-Arts, Paris
11 Wang Xiuxiong (1991). Art Psychology: Creation. The Psychology of Vision and Form, revised. Taipei City: Taipei Art Museum. ISBN: 957-00-0331-6.

12 Translated by Li Changjun (1985). Art and Visual Psychology, ed. 4. Taipei City: Lion. Arnheim,R. (1976), Art and visual perception-a psychology of the creative eye.

13 Translated by Wu Mali (1985). Point, line, surface. Taipei City: Artist. Kandinsky (1926),Punkt und linie zu flache.

14 Zhang Huilan (2011), "Treasure Rock: Flow Color Code" Mansion Waterfront Environmental Color Plan, Taipei: Taipei City Government Cultural Affairs Bureau

15 Zhang Huilan (2013), "Badouzi: Flowing Island Colors" public art project, Keelung: National Museum of Marine Science and Technology

16 S. Kobayashi (1987), A book of Color, Tokyo. New York. London: Kodansha International.

17 J.P. Lenclos (1990), Couleurs de la France, Paris: Moniteur.

18 Shigenobu Kobayashi (1991), Color image scale, Tokyo. New York. London: Kodansha International.

19 J. Itten (1993), Art de la Couleur, Paris : edition abregée

20 J.P. Lenclos (1995) Couleurs de l’Europe, Moniteur, Paris.

21 Lai Qiongqi (1997) "Color Psychology of Design-Color Imagery and Color Culture". Taipei: Visual Communication Culture Enterprise Co., Ltd.

22 Alexanden Theroux, translated by Leng Bumei (1997) The Primary Color, Taipei: Lianjing Publishing House

23 Higenobu Kobayashi (1998) COLORIST—A Practical Handbook for Personal and Profssional Use. Kodansha.

24 Tong Jinghan, Yi Ying (1995). "Selected Essays on Modern Western Art Aesthetics: Plastic Arts Aesthetics Vol." Taipei City: Hongye Culture.

25 J.P. Lenclos (1999), Couleurs du monde, Paris: Moniteur
.
26 Written by Toshio Yamanaka, translated by Huang Shuqian (2003), "Basics of Color Science", Taipei: Liuhe Publishing House.

27 Zeng Qixiong (2003) "Science and Culture of Color". Taipei: Yale International Culture.
Betty. Betty E