科技日新月異，隨著電腦的出現，設計的方式也產生了嶄新的變革，破格式字體排版（grunge typography）應運而生，並於設計史中扮演著至關重要的角色，它突破了1950 年代蔚為風行的經典瑞士派網格系統排版風格，為文字排版注入全新的姿態與樣貌。1990年代《Ray Gun》的出現更將該手法發揮得淋漓盡致，並奠定該手法之地位，流傳甚廣，對平面設計產生了深遠的影響，其重要性可見一斑。本研究以「破格式字體排版應用於漢字海報設計」為研究主題，並以文獻分析法、內容分析法、創作實證進行分析與探討。透過文獻分析法來探討破格式字體排版之特性與漢字文字之發展過程；破格式字體排版部分從文字造形、版面編排、圖像表現等層面來進行分析歸納；漢字部分則從漢字的起源與發展、基本構成、現代字體發展過程與特性等面向切入。再經由內容分析法以國際平面設計師聯盟（AGI, Alliance Graphique Internationale）之官方網站與視覺化探索平台Pinterest 蒐集之歐文與漢字文字造形案例，得出四大表現特性群集：「拆解變形」、「排列組合」、「質感肌理」、「重疊覆蓋」，並歸結出漢字海報設計之設計方法，共15 種破格式字體排版之構成方式：「分割」、「錯置」、「扭轉」、「擠壓」、「拆解」、「散落」、「不規則」、「轉向」、「重複」、「模糊」、「粗糙」、「殘缺」、「透疊」、「堆疊」、「差集」。創作實證的部分則以王家衛電影作品為題，將所建構之模組應用至15件海報創作中，再加以驗證。最終本研究共歸結出以下列結論：（一）不對稱的版面佈局是破格式字體排版的主要特徵；（二）經由文獻的探討與樣本的彙整共歸納出四大表現特性群集，加以分析後得到15種破格式字體排版之表現手法；（三）漢字與歐文由於本身結構上的不同，歐文於畫面構成的表現上，較易體現出空間感及律動感；（四）散落的文字排列組合方式更能展現出破格式字體排版之特點；（五）肌理質感經過層層堆疊能夠為畫面增添豐富性。

The emergence of computers has brought about a revolutionary change in design possibilities. Grunge Typography, born out of this context, marks a key milestone in design history. It breaks away from the popular Swiss Design of the 1950s and injects a fresh attitude and aesthetic into typography. The appearance of the Ray Gun magazine in the 1990s further showcased this style to its fullest extent, solidifying its position in the field of typography and leaving a profound and evidential impact on graphic design. This study employs document analysis, content analysis, and creative practice to conduct analysis and investigation on the application of grunge typography in Chinese character poster designs. Through document analysis, the characteristics of grunge typography and the developmental process of Chinese characters are explored. The analysis of grunge typography encompasses aspects such as typography, editorial design, and graphic expression, while the examination of Chinese characters delves into their origins, development, basic structure, contemporary typeface development, and characteristics. Content analysis is conducted on examples of both Western and Chinese character typographic expressions collected from the official website of the Alliance Graphique Internationale (AGI) and the visual discovery engine Pinterest. The study identifies four major clusters of expressive features observed across both Western and Chinese character designs: "deconstruction and distortion," "spatial arrangement and distribution," "texture and tactile quality," and "overlap and overlay." Additionally, the research derives 15 methods of grunge typography composition for Chinese character poster design: segmentation, misplacement, rotation, compression, deconstruction, dispersion, irregularity, orientation, repetition, blurring, roughness, incompleteness, transparent overlapping, stacking, and differences. In the section on creative practice, the researcher has created 15 poster designs based on Wong Kar-Wai's films and carried out an analysis on these posters to determine which of the 15 methods were used, and in what combinations. In summary, this research arrives at the following conclusions: (1) Asymmetrical layout is a key characteristic of grunge typography; (2) Through literature review and sample collection, four major clusters of expressive characteristics are derived, following detailed analysis, leading to the identification of 15 distinctive techniques for grunge typography composition; (3) Due to inherent structural differences, Chinese characters and European scripts vary in their visual compositions. European scripts offer more possibilities in conveying a sense of spatiality and rhythm in the visual arrangement; (4) The scattered arrangement of text composition further emphasizes the distinctive features of grunge typography; (5) The stacking of design materials to create a multi-layered texture can enhance the richness of the visual composition.

中文專書
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Kimberly Elam. （2018）。文字排印設計系統（呂奕欣譯）。臺北市：臉譜出版。（原著出版於2007）
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Rob Carter（2000）。Working with Computer Type #4字體的編排設計與應用 （許明潔譯）。新北市：龍溪國際圖書有限公司。（原著出版於1997）
日本Graphic Designer協會教育委員會：粟津潔、佐野寬、渡邊嘉子編（1997）。VISUAL DESIGN: 2 字體設計．標誌符號（汪平、井上聰譯）。新北市：龍溪國際圖書有限公司。（原著出版於1993）
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王明嘉、李宗焜、李歐梵 等著（2018）。漢字的華麗轉身：漢字的源流、演進與未來的生命。 臺北市：臺北市政府文化局。
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英文專書
Bryony Gomez-Palacio, Armin Vit. (2011). Graphic Design, Referenced: A Visual Guide to the Language, Applications, and History of Graphic Design. Beverly, MA: Rockport Publishers
Lewis Blackwell, David Carson. (1995). The End of Print: The Grafik Design of David Carson. San Francisco: Chronicle Books.
Lewis Blackwell, David Carson. (1997). David Carson 2ndsight: Grafik Design after the End of Print. New York: Random House Inc.
Philip B. Meggs. (1998). A history of graphic design. New York: John Wiley
Timothy Samara. (2006). Making and Breaking the Grid: A Graphic Design Layout Workshop. Singapore: Page One Publishing.

學位論文
Stefanie Barbara Wollenberg. (2013). The stylistically adaptive publication designer: questions of variation, contradiction and convention in magazine layout. University Of Wollongong, Australia.

期刊雜誌
IdN國家設計連網中文版，第12期（一九九七年十一月/ 十二月，第貳卷第陸期）。（1997）。臺北市：長松出版，國際設計家連網雜誌發行。
IdN國家設計連網中文版，第14期（一九九八年第一冊）。（1998）。臺北市：長松出版，國際設計家連網雜誌發行。
IdN國家設計連網中文版，第18期（一九九八年第五冊）。（1998）。臺北市：長松出版，國際設計家連網雜誌發行。
吳鼎武（1997）。顛覆傳統視覺設計語彙的新主張解放式的設計風格。中原學報，25卷（4期）， 43 – 51。

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