流行音樂唱片封套設計如同流行音樂一樣，除了反映出社會的流行文化，同時也結合了人們對流行文化的品味與欣賞的態度，它象徵著某一個時代背景、社會價值與觀念下的產物。「唱片」代表著是複製音樂藝術的載體，而封套設計則是銜接載體轉換媒材的素材。唱片和封套設計不僅是複製媒材，俱有印刷複製與量產的特性，它還包括字體設計(Typography)、版面編排(Layout)、插圖(Illustration)和視覺影像(Image)等要素，而唱片封套設計同時也再現了「視覺文化」中的日常生活空間，傳遞著人們對於音藥內容的表達與不同時空背景下的觀點。 本研究主要是在探討臺灣早期唱片幫套設計與當時社會現象所呈現之視覺文化對舟應關係，這一期期的臺灣唱片工業經歷了兩個重要的分水嶺，包含了臺灣流行音樂唱片脫離仰賴進口時期，轉型成本土唱片工業的興起(1957-1961)，以及臺灣唱片開始走向繁榮並外銷至東南亞(1962-1971)的階段。本研究將透過文獻分析與唱片封套作為研究樣本，從宏觀的角度來審論，還原這時期臺灣唱片封套設計所呈現的視覺文化。全文依序是：臺、緒論，貳、研究方法---設計脈絡與風格分析，參、文本分析與個案研究，肆、結論。

　　　　　Like popular music, popular album design reflects the popular culture of a society, combines people's tastes and appreciation for the popular culture, and symbolizes the background of certain period and value. In other words, albums are the media which reproduce musical content and album design also is the bridge between the medium and media. It not only needs printing and mass production but also includes graphic design such as Typography, Layout, Illustration, and Image. Meanwhile, the album and its design represent the Visual Culture in a certain period of time which transmissions our daily life in both music and design. The main ideas of this research center on the period from 1954 to 1971 because there are two turning points in Taiwanese record industry then. The goal of this paper is to investigate (1)the transition from the first Taiwan-made album to the raise of local music industries, doing away with the import of albums (1954-1961) and (2)process of the prosperity of the music industry to the export to South-East Asia (1962-1971). By taking literature analyses and album covers as research samples, we examine the development of Taiwanese post-war music industry and social background from a macro view. Moreover, we tried to recover the phenomenon reflected by the popular album design at that time by inferring the context analysis from the trend of the history of graphic design. This paper is arranged as follows: 1.Introduction, 2.Mehtod, 3.Results and discussions, and 4.Conclusions.