光雕投影營造立體感之視覺策略

Visual Strategies for Creating Three-Dimensionality in Projection Mapping

曾靖越(Ching-Yueh Tseng)

光雕投影 ； 對位投影 ； 擴增實境 ； 透視法 ； 歪像 ； projection ； projection mapping ； spatial augmented reality ； perspective ； anamorphosis

藝術學報

107期（2020 / 12 / 01）

1 - 28

繁體中文

光雕投影是近年常見的展演手法，它透過影像投射增益了實體物件的質感，從而消弭虛境與實境的空隙，創造了一種視覺幻象。為了分析這種手法依循的視覺策略，本文第一個部份先整理了基於實物進行映射的相關影像創作，並釐清光雕投影的定義以了解映射創作之內涵。其次，本文分析了建構立體感的三種視覺策略，包含「透視法」、「歪像」、以及「影像增益實物外觀」，分別就各個策略如何形塑光雕投影的影像結構來舉例進行討論。最後，本文在結論中歸納，雖光雕投影在技術與概念上均不是全新技法，但它揉合了古典的法則以及更為完善的媒體形式，透過前述三種策略建構出生動立體的視覺感。

In recent years, projection mapping has been a common technique for exhibition and performance. Through image projection, it enhances the texture of physical objects, thereby eliminating gaps between the virtual and physical environments and creating optical illusions. To analyze visual strategies adopted in this technique, this paper first details image projection works based on physical objects and defines projection mapping to elucidate the meanings of projection works. Then, it analyzes three visual strategies to create three-dimensionality, namely perspective, anamorphosis, and the augmentation of appearance of physical objects through images, and discusses, using examples, the structuring of projection mapping images using each strategy. Finally, the conclusions indicate that projection mapping, as a technology or concept, is not a novel approach; it integrates classical principles and advanced forms of media and can be used to construct animated and 3D visuals through the three aforementioned strategies.

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