本研究在於：經由文獻探討分析「謊畫」的手法及種類，在並在平面設計中的應用。並試圖將歸納之後的結果及方法，運用於個人創作中，以求理論與實務的均衡發展。
從視覺心理認知的影響切入，先探討視覺的原理。和為什麼知覺概念的認知是存在的。進而得知人在觀看事物時，會以習慣認知的概念先將物體認定成自己所想像的。或因為週遭的環境，我們會先將自己既定的，習慣熟悉的影像概念存放在腦中．
而謊畫就是利用人會習慣的將熟悉的影像概念經驗投射在觀看畫的同時，利用造形、色彩的延續性、相似性或空間意念的模糊性有意的製造出暗藏的玄機，使剛開始看時，看到自己認知的影像，仔細一看，才發現作者想傳達的另一面，是一種注入遊戲精神的藝術。
除此之外，並探討視覺構成中，空間、圖與地、錯視圖形的原理，並將謊畫的種類及手法歸納如下：
一．謊畫的種類:
1 視點的轉換﹙圖地反轉、虛實影像﹚；2 隱藏的畫與字；
3 上下顛倒；4 矛盾的空間
二．謊畫的手法:
1 黑白線條；2 裝飾； 3 擬態（隱藏造形在明暗之中）；
4.相似形、色彩的轉換； 5.關係聯想的思考
並以謊畫種類中的視點的轉換和隱藏的畫兩個方向，替台灣觀光局、台北海洋館、必勝客比薩、西點蛋糕店……等多種性質的商店製作廣告。以其探討它應用的可能性。

The study aims to analyze the techniques and types of "Ambiguous Figure" through literature search and apply it on graphic design. Efforts will be made on applying the inducted results and methods into the creations of each individual in order to have a proportionate development in theory and reality.
The effects of cognition in visual perception should firstly be studied to investigate the principle of vision and the reasons for perception concept of cognition to exist. Furthermore, it can be understood why people are used to apply the concept of cognition by concluding that the object they see is what they imagine and why, perhaps due to the surrounding, people always keep the image concepts they have pre-determined or are familiar with in mind before observation.
Therefore, using the continuation of formation and color, the similarity of shape, the idea of space and the unintelligible scope of lights, "Ambiguous Figure" intentionally creates the hidden mysterious truth to make people see the self-cognitive image when they first look into the painting. It will wait until a closer look is made before they can realize the thought that the painter wishes to express. Thus, "Ambiguous Figure" is an artistic design with game spirit and an expressing technique of optical illusion and surrealism. The imitation technique in "Ambiguous Figure" has certain connection with the protective color and warning color of insects, the Chinese paintings of new year and the arrangement and design of environmental index. However, in this study, investigation will only be made on the application of "Ambiguous Figure" in graphic designs and illustrations and the principles of space, drawing, land and optical illusion diagram during the constitution of visual sensation will also be discussed.
The types and techniques of "Ambiguous Figure" are summarized as below:
1. Type:
(1) Visual transformation (reverse-rotating and vague and real images generated by figure and ground )
(2) Hidden paintings and letters
(3) Drawings that can be looked upside down
(4) Unimaginable space
2. Techniques:
(1) Black and white stripes
(2) Adornment
(3) Imitation form
(4) Transformation between similar shapes and colors
(5) Creative and associative thinking
Based on the two directions of "Visual transformation" and "Hidden painting" in the types of "Ambiguous Figure", the works of this study have been selected for the advertisements of businesses with different attributes, including Tourism Bureau and Taipei Ocean Aquarium. Due to that the original perceptive image and the hidden image in the past "Ambiguous Figures" were rather irrelevant, efforts have been put in to apply the transformation of two relevant images on advertisement so as to investigate the possibility of application.

★書籍
◎日本Graphic Design協會教育委員會原書 編撰 1995《JAGDA教科書∕VISUAL
DESIGN volume 1：平面、色彩、立體構成》台北：龍溪圖書
◎劉思量 1992 《藝術心理學—藝術與創造》台北：藝術家出版
◎安海姆 著.李長俊 譯1985《藝術與視覺心理學ART AND VISUAL PERCEPTION-
a psychology of the creative eye》台北：雄獅圖書
◎王秀雄 1991《美術心理學：創造視覺與造形心理 THE PSYCHOLOGY OF ART》
台北：台北市立美術館
◎陳俊宏、楊東民 1998《視覺傳達設計概論 》台北：全華科技
◎曾啟雄 1999 《色彩的科學與文化》台北：思想生活屋國際文化有限公司
◎林書堯 1993《色彩學》台北：三民書局
◎林文昌 1989《色彩計劃》台北：藝術圖書公司
◎楊清田 1997《構成（一） 》
◎Edward de Bono 原著．李宏偉譯《應用水平思考法一、二》 台北：桂冠
圖書
◎高山嵐 1982 《美術設計123Modern design one-two-three by kao san lan》
台北：藝術圖書
◎張恬君、王鼎銘、葉立誠、孫春望 編著1997《映像藝術》台北縣：國立空中
大學印行
◎陳秋瑾 1989《現代西洋繪畫的空間表現》台北：藝風堂
◎陳俊宏 1997 《視覺傳達設計visual communication design》雲林科技大學視
覺傳達設計系講義 ：雲林〕
◎〔楊清田 1992《反轉錯視原理與圖形設計研究 》台北：藝風堂〕
◎陳淑娥 1984 《超現實的美術設計》台北：徐氏
◎朝倉直巳 原著．呂清夫 翻譯 1993《藝術．設計的平面構成Fundamental
Problem of Creating in the Two-Dimensional Space》台北縣：北星圖書
◎Ronald G Carraher Jacqueline B.Thurston原著．蘇茂生 譯 1982《錯視與視覺
美術OPTICAL ILLUSIONS AND THE VISUAL ARTS》大陸書局
◎新形象出版編輯部1992《名畫的藝術思想：隱藏在作品背後畫家的話》台北縣：北
星圖書
◎呂清夫 1986《造形原理》 台北：雄獅圖書〕
◎今井省吾 著，沙興亞 譯 1994《錯視圖形》〕台北：遠流出版
◎劉其偉 1993《現代繪畫基本理論》台北：雄獅圖書
◎《大英視覺藝術百科全書THE ENCY CLOPEDIA OF VISUAL ART 1.3.4》台北：
台灣大英百科股份有限公司
◎劉振源1998《超現實畫派》台北：藝術圖書
◎Johannes Itten 原著.王秀雄 譯.1971《造形藝術的基礎》台北：大陸書局
◎官政能 1995《產品物徑-設計創意之生成、發展與應用》台北：藝術圖書
◎林品章 1994 《商業設計》台北：藝術家
◎Nicholas Roukes著.呂靜修譯.1995《設計的表現形式》台北：六和
◎高橋正人 1992《視覺設計概論》台北：藝風堂
◎小林重順 1991《造形構成心理》台北：藝風堂

★外文書籍
◎Freanor R.Morse1997《THE WORK THE MAN> SALVADOR DALI-ROBERT DESCHARNES》ABRADALE
◎Waiter Herdeg 1985《Graphis Posters 85》
◎《illustration volume 8》1985 American Showcase /American Showcase
◎《SHGEO FUKUDA 福田繁雄偉作集》1992誠文堂新光社　日本：東京ISBN 4-
416-69205-6
◎福田繁雄 1983《ARTS KNOW-HOW SERIES系列.視覺原理的設計表現》東京：美術出
版
◎勝井三雄、田中一光、向井周太郎 監修1987《DICTIONARY OF TODAY'S DESIGN
1987 現代設計事典》東京：平凡社
◎PRINT XLIX:IV-PRINT'S REGIONAL DESIGN ANNUAL 1995.1998
◎Edition Braus《JOE HACKBARTH》ISBN 3-89466-067-8
◎《REDSTONE MATCHBOX NO1:24 POSTCARDS》1998by Redstone Press.China.
ISBN0-8118-1980-9
◎ANIMALS IN ART .Edward Lucie～Smith 1998《ZOO》WATSON GUPTILL.
Print Hong Kong
◎J.l. lOCHER《ESCHER-The Complete Graphic Work》T＆H.printin the
Netherlands
◎《IDEA97-international advertising art》 誠文堂新光社1969-11月
◎《IDEA83-international advertising art》-RENE MAGRITTE 誠文堂新光社
1967-7月
◎Keizo Matsui 1990《Gallery Announcement Seibu Department Store 》
Atelier Nouveau.Tokyo
◎Cincinnati,Ohio 1981《FANTASY ART-BRUCE ROBERTSON》NORTH LIGHT
BOOKS
◎ETIENNE DELESSERT《ETIENNE DELESSERT》1991 Stewart,Tabori＆
Chang,inc.
◎《3-DIMENSIONAL ILLUSTRATORS AWARDS ANNUALⅡ》
◎Editor:YUSAKU KAMEKURA《CREATION-international graphic design,art＆illustration.number3》PRINTING:TOPPAN PRINTING CO.,LTD.

★期刊、雜誌、論文
◎蕭嘉猷 1991《影響插畫意象組構因素探討》台中商專學報-商業設計（11）
◎詹玉艷 1987《插畫演進歷史介紹》台中商專學報-商業設計（7）
◎郭世謀、林加雯 1997《論圖像語言的選擇對視覺傳達效果之影響》設計：教育、文化、科技-視覺傳達設計.台北：亞太