「印外求印」即採用璽印之外的文字資料入印，是清季以來篆刻創作的重要門徑，尤其是商周時代的古籀文字，隨著甲骨金石簡帛文字史料大量出土以及古文字學研究日益增進，印人取資入印創作亦獲得豐厚的成果。 王壯為先生是臺灣印壇的泰斗，印風豐彩而創作手法迭新多樣，也是近代篆刻藝創作發展中集大成的典範人物。本文主要選取其以商周文字入印創作的部分作品，依其自述或是我們搜尋所見，將其製印時可能採集參考的古籀文字相關資料與作品互相參照，解析其研究取資的創作方法與理念情思，並賞讀作品表現的旨趣妙境，期能較深入地領益王壯為篆刻藝術的成就內涵；同時，藉由其研究精神、創作思維、表現手法與作品成就相互印證，其傑出的研創實踐歷程典範，將可提供印壇後學者借鏡學習與省思效法。 王壯為光生對古籀篆文有精深的研究，於古代文字學理與書法創作均積長年淬煉而造詣高妙，其篆刻創作商周文字入印之際，猶本嚴謹縝密地多方詳考，於文字結體與形神之考察資用則出入自如，表現的形質巧能高逸而且理念情思迭出新構，細加賞讀愈覺醇厚雋永。

The distinguished Taiwan-born seal cutter, Wang Chuang Wei came into contact with the art of seal carvings as a child, and was inspired by numerous experienced seal cutters to pursue his talent for seal carving. He gradually established his personal style over the years, indeed, this calligraphy and seal carvings art quite outstanding. Although calligraphy and seal carving are different in names, the two share the same origin, only they developed in separated directions. The distinct developments of the two are like separated branches stemming from the same trunk. The relationship between calligraphy, paintings and seals has been a close one ever since the literati of the Ming dynasty because involved in the development of seal carvings. During the Qing dynasty, the study of bronze and stone inscriptions started to boom. And the pass-time, common among the literati of caring inscriptions on tables beauty of the lines corresponded to that of the writing and the painting. Afterward, Chao Zi-chien and seal carvings bringing them to their aesthetic peak. The profound influence of seals cannot therefore be ignored simply because of their small size.