後現代主義特徵如複雜矛盾、遊戲、趣味、歷史感等，一掃現代主義模組化、形隨機能之設計準則，也帶動敘述設計之熱烈討論。設計師們喜歡以作品說故事，而讀者大眾（或產品使用者）地位提升，其想法、感知與情感反應也變得舉足輕重。本研究採開放性譯碼分析、問卷調查法等，探討影像閱讀者對平面設計故事感形成原因。結果發現高故事感具兩大特徵：（1）視覺構成：包含高度視覺認知、典故童話角色、誇張之人物表情、戲劇性豐富細節、手寫塗鴉；（2）情感反應：包含溫馨趣味等正面情感、熟悉感、懷舊、期待故事情節等。本研究亦假設：影像閱讀者對故事感感受程度會有高中低之差異，不同年齡層讀者對故事感之感受亦有差異，以混合設計二因子變異數分析分析獲得證實，實用顯著性亦達中等水準。本研究期望作為往後藝術設計教學之參考，並啟發學子視覺影像創作與思考詮釋之能力。

The features of postmodernism, such as complexity and contradiction, playfulness, fun, and a sense of history, have replaced the modernist design principles of "form follows function", modularization, and rapid production. This study explored how viewers develop a sense of visual storytelling from graphic design and the differences in storytelling perception by using open-coding analysis of grounded theory, a questionnaire survey, and statistical analysis. Analysis results show that a sense of storytelling is derived from two main categories: (1) visual composition that includes strong visual elements, fairytales and allusions, exaggerated facial expressions of characters, dramatic or rich details, and hand-written or diary-style writing; (2) emotional response that comprises interest, warmth, and positive emotions as well as feelings of familiarity, nostalgia and expectation. The study proposed the following hypothesis: Different viewers perceive storytelling to varying degrees (high, medium, or low), and viewers of different age groups also differ in the manner in which they perceive narrative design. This hypothesis was verified using two-way mixed design analysis of variance (ANOVA), Post Hoc, and simple main effect tests. The results of this study could help students to incorporate elements of visual and emotional communication and inspire their humanities thought and exploration when engaging in narrative design. It should encourage designers to consider the age of viewers and how they will perceive storytelling features, to maximize the impact of their works.