• 제목/요약/키워드: Arts and Craft

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연속적 시·공간관이 반영된 다(多)시점 패션디자인 분석 (An Analysis of Multi-View Fashion Design Reflected in the Perception of Time and Space)

  • 김민지;간호섭
    • 패션비즈니스
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    • 제19권2호
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    • pp.136-148
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    • 2015
  • The purpose of this thesis is to study multi-view fashion design with an analysis of multi-view art's formation and philosophical perspective. The production of unique artwork is dependent on how we see, think and represent what is around us. Multi-view art has great potential as a concept related to the continuity of time and space, it is not limited to space and time but it extends to infinitely, according to the artist's will and imagination. The study of time and space has been used as principles for deriving the formative of multi-view art, and the principles applied for analyzing multi-view fashion design. And the formation of multi-view art is reflected in fashion design. Simultaneity, deconstructivity, continuity and virtuality in terms of multi-view art are support the formation of multi-view fashion design, such as fabrication, expandability, concealment and transparency. As such, it is important to study multi-view fashion design as a creative design method with immense potential for further development.

재료 및 기법의 특성에 기반하는 업사이클 패션 디자인 연구 (A Study on Upcycle Fashion Design Based on the Characteristics of Materials and Techniques)

  • 유해민;전재훈
    • 한국의류학회지
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    • 제44권5호
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    • pp.984-1003
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    • 2020
  • The global fashion industry produces significant carbon emission and micro-plastics in oceans. Studies on sustainable design methods as such environmental issues in fashion are becoming intensely problematic. This study conducted a case study on 100 upcycle fashion brands to propose strategical upcycle fashion designs to compete in a sustainable fashion market. A literature review indicated that 3 types of textile wastes are generated as upcycling materials: post-producer, pre-consumer and post-consumer. Wastes are categorized together with 3 types of techniques: redesigning, reconstruction and handcrafting. This research derived 7 types of upcycle fashion designs that have the following features: to make luxury upcycle fashion products, to make sustainable grunge looks, to re-evaluate deadstocks, to recover vintage clothes, to convert waste into craft-arts, to offer solutions for damaged products, and to make zero-waste small fabric waste. The study results show that key drivers in the upcycle fashion design are the redesignability of materials and technique-related costs. This study implies that adopting appropriate design features can be a useful strategy for designers. New technologies will solve current problems and encourage them to design products in a new circular value system.

지속가능성의 개념이 적용된 가구디자인사례 연구 - 로하스의 3R(Recycle, Reuse, Reduce)을 중심으로 - (Research on cases of furniture design with the idea of sustainability applied - Mainly on Lohas' 3R (Recycle, Reuse, Reduce) -)

  • 백은;이민호
    • 한국가구학회지
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    • 제21권5호
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    • pp.392-402
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    • 2010
  • Although the industrial society gained people with material wealth, they were panic-stricken, felt in lack of everything, not to mention how fast the environment was destroyed. In the midst of this social flow, more and more people who became aware of the problems of the industrial society began to crave happy and beautiful lives through the combination of mental and physical health. This resulted in a new lifestyle called 'well-being'. Lohas, which has become a prominent figure through deep thoughts on social well-being is beyond the persuation of an individual's health and quality of life. Not only does Lohas propose a lifestyle for the mental and physical health of an individual, it also proposes sustainable consumption without hurting the world or the environment. The appearance of the Lohas provided an opportunity not only for people to look in a different aspect on the problems of pollution and ecosystem but to develop and design different products accordingly. Through furniture designs with the idea of lifestyles of health and sustainability applied, this thesis analyses how the main concept of the 3R-Recycle, Reuse, and Reduce is being applied and put to use productively in furniture design.

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지식의 시각화에 의한 창의적 패션디자인 연구 -ATTA 평가항목에 의한 구찌컬렉션을 중심으로- (A Study on Creative Fashion Design by Visualization of Knowledge -Focusing on Gucci Collection by ATTA Evaluation Items-)

  • 김민지
    • 패션비즈니스
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    • 제21권4호
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    • pp.90-104
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    • 2017
  • In a rapidly changing fashion design world, creative ideas are always required. Knowledge has been created as an art, exhibiting a new imagination that surpasses reality, while being visualized from the past. The purpose of this study is to derive types of visualization of knowledge for continuous creation of fashion design. The study consists of literature and empirical studies. ATTA, a creativity evaluation method made by Torrance applied for analyzing of Gucci fashion design collections from 2016-2017. Creativity of the Gucci collection by ATTA evaluation items are that first, a vivid idea was revealed through collection history, myths and animal and plants, second, conceptual incongruity is in the composition of the garment, third, provocative questions are the symbolism of the meaning of the text, fourth, different perspectives derive a new formative beauty through the synthesis of twisted elements, fifth, abstraction is a symbolic expression of animals and plants, sixth, synthesis is a mixture of various materials and techniques by plural inspiration, seventh, context, it is developed as a design accompanied by stories of history and myth and eighth, fantasy is fictitious animals and animals and detail. In addition, formativeness of fashion design by visualization of this knowledge was extracted with contamination, symbolism, enjoyment and fabrication. Visualization of the knowledge is expected to be used as a strategy to attract ongoing ideas for creative fashion designs.

Natural Sections in Product Design

  • Page, Tom;Thorsteinsson, Gisli;Ha, Joong-Gyu
    • International Journal of Contents
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    • 제6권3호
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    • pp.71-82
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    • 2010
  • The golden ratio is a mysterious number that surprisingly appears in science, physics, mathematics, as well as in nature. The number 1.618 seems to be a universal constant, and crops up whenever the subject is of beauty or elegance. Beautiful flowers and sea shells and also attractive people have a common number and that is 1.618 or $\varphi$ (phi). This paper does a study into the story of phi, and describes how the golden ratio is derived. Artists, architects and designers have employed the ratio into dimensioning their works of art to achieve visual appeal. Examples such as the Greek Parthenon of the Acropolis and paintings such as the Last Supper all use this magic number. An investigation was conducted among 50 people to test if looking at golden proportioning was actually appealing, or if it was just a type among overzealous enthusiasts. The results show that the golden ratio may actually be of some use.

게임전공 대학생과 게임디자이너의 색채교육 분야에 대한 인식 연구 (A study on the Perception of Color Education of Game Major College Students and Game Designers)

  • 유명선;이윤진
    • 사물인터넷융복합논문지
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    • 제8권3호
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    • pp.21-28
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    • 2022
  • 본 연구는 게임전공 대학생과 게임 디자이너, 두 그룹의 색채 교육 분야별 인식 차이에 대하여 문헌조사와 질적 연구 방법 및 모바일 설문조사를 통해 수집된 결과를 분석하였다. 그 결과, 게임전공 대학생은 색채 분야에 대한 인식률이 낮고 게임 디자이너는 인식률이 높게 조사되었다. 인식 격차의 해소 방안으로, 게임전공 대학생의 색채의 인식을 높일 수 있도록 다양한 색 경험을 위한 색채 교육과 게임 디자이너의 색 경험 지식을 전문성 확보 측면에서 인식이 낮게 나타난 색 지각, 색이름, 배색과 조화와 관련된 재교육의 필요성이 시사되었다. 게임산업의 경쟁력 확보에 기여하는 색채 전문성을 지닌 게임 디자이너 양성의 방향성을 제시하는 자료가 될 것을 기대한다.

목판 교환 방법을 활용한 다색 협힐 제작기법에 관한 연구 (A study of multicolored clamp resist dyeing techniques using a wooden printing-block exchange method)

  • 이정은;스가노켄이치
    • 복식문화연구
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    • 제28권5호
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    • pp.607-620
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    • 2020
  • The aim of this study is to define the new expressive techniques for multicolored clamp resist (hyuphill) dyeing, based on empirical verification on relics that are estimated to be dyed by the exchange of more than two wood blocks: a previously undiscovered technique. Clamp resist dyeing (assumed to be made by exchanging wood blocks) have uneven resist printing lines or cloudy gradation. These are reproduced as follows: first, they have uneven contour lines, particularly with the color blue. It is possible to exchange wood blocks separately on patterns with uneven resist printing lines, and it has been verified that the exchange of wood blocks makes these irregular resist printing lines. It has also been verified that exchanging the wood blocks according to the gradation (to emphasize the cubic effect on the patterns) yields clamp resist dyeing with no resist printing lines but with cloudy gradations that have accented borders. This study provides basic information that enables methods of multicolored clamp resist dyeing through wood block exchange to be deduced (something that has not been attempted for a long time). Thus, the revival of the modern Korean dyeing culture based on the conservation and perseverance of the traditional dyeing techniques can be achieved.

현행 고등학교 교과서 "미술과 생활" 의 디자인 교육 내용 분석 (The analysis of design education in "Arts & Life")

  • 이지수;정은숙
    • 디자인학연구
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    • 제17권3호
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    • pp.221-230
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    • 2004
  • 전인 교육 차원으로 예술과 기술의 발전적인 접점을 찾게 하는 디자인 교육은 변화하는 세상을 적극적이고 주체적으로 살게 하는 적절하고도 핵심적인 교육임에 틀림없다. 따라서, 재정의 되고 있는 디자인이 어떻게 학습되어 지고 있는 가에 대해 생각해 볼 필요가 있다. 이에 제7차 교육 과정의 교과 재량활동 일환으로서 미술과 생활 교과목에 포함되어 있는 디자인 교육내용에 대한 분석과 현황을 논하고자 한다. 본 연구에서는 개정된 미술과 교육 과정의 이론적 배경을 살펴보고 디자인 교육에 대한 이해도 함께 고찰한다. 아울러, 현행 고등학교 미술과 생활 5종 교과서의 편찬 실태를 조사하고 다음으로 교과서의 디자인 교육 내용 분석을 통하여 디자인 교육이 차지하고 있는 비중과 범위 그리고 도판의 현황을 연구하였다. 마지막으로, 국내외 고등학교 미술과 디자인 교육 과정 비교 분석으로 현행의 미술과 교육 내에서의 디자인 교육의 문제점의 기초 자료를 제시하였다. 교과서 분석을 통해 나온 결과, 디자인 영역 학습 내용의 불균형이 분석되었으며, 시각 디자인 전공자들로만 구성된 대부분의 교과서에서는 제품 디자인과 환경 디자인 학습이 현저히 부족하였다. 또한, 공예 학습 영역에서는 5종 교과서 모두 현대 공예를 제외시켜 전통 공예에만 편중된 교과 내용과 도판의 구성되어 있다. 도판 분석에 대한 결과는 학습 내용의 분포와 같이 시각디자인 내용 위주의 도판이 수록이 되어 있었으며, 출판사별 도판의 수량도 4배 이상의 차이를 보이고 있었다. 더불어 디자인 영역은 미술 감상, 미술 이해, 미술창작 영역에서 미술 창작 단원에만 집중하고 있어 디자인의 기능과 역할을 이해하고 파악하는데 어려움을 주고 있다. 한편 과거 우리나라 미술 교육에 상당한 영향을 끼쳤던 미국, 일본, 디자인 교육 과정을 비교해본 결과 실생활에서 쉽게 활용할 수 있도록 디자인의 이해와 감성적인 접근 학습에 중점을 두고 있었다. 표현 학습에서도 재료의 특성을 살리면서 창의력 신장 내용으로 이루어지고 있다. 또한, 시각적 촉각적 특성에 대한 디자인 미적 의식 확장을 고려하여 교과서 학습 내용이 구성되어 있었다. 제 7 차 교육 과정에서 교과서란 교육 과정의 구현을 위한 다양한 자료중의 하나이다. 창의력, 사고력을 배양할 수 있는 다양한 자료, 사례가 제시되고, 주제와 성격에 따라 전개 체제가 제시되어야 한다. 그러므로 교과서 제작에 들어가기에 앞서 전인 교육과 체험 교과라는 점에서 학습자 중심의 다양한 연구 과정과 실험을 통해 디자인 학습 내용이 구성되어야 할 것이다.

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'연구 업무 전담제'를 통해 살펴보는 국립현대미술관 전시 기획의 새로운 패러다임 (New Paradigm in exhibition organization at the National Museum of Contemporary Art)

  • 최은주
    • 미술이론과 현장
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    • 제3호
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    • pp.67-84
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    • 2005
  • Since the evaluation of its intellectual activities and abilities is done by curator's capabilities, planning exhibition is very important as the final result achieved by their own knowledge, information, and research. ARPA(Advanced Research Project on Arts) is suggested as the system which enables curators responding simultaneously to the society in the times, based on its special characteristics. If this system settles well, which means that the curators at NMCA(National Museum of Contemporary Art, Korea) play their roles as the professionals in each of their fields, the goal of consolidating the status of museum as the representative national museum, and building up competent department of curators, will be achieved at the same time. To clarify above, the curators set up the various assignments of research about the types of arts such as painting, Korean painting, sculpture, installation, new-media, design, craft, photogarphy, architecture, etc. And they establish the art objects classified by the regions, such as the Northern American, Southern American, European, Asian, and other Third World countries. They elaborate art objects more on the history, the work, the artist, and the issue of contemporary art. Furthermore, when the curators devote deeper study to those research subjects, they can have the opportunities to design an exhibition upon the research. Today, the museum of art is 'The Place for Communication and Encounter', it is regarded important to share the aesthetical, creative values with current artists, and to understand mutually with the spectators. It is needed to improve the curator's work, in order to meet the demands of the times and even to advance. Because the form of 'exhibition' is the tool that reveals the identity NMCA aiming at, the motivation, the development, and the realization should be leaded by the curators, who are the mainstream of the museum. ARPA is a system for identifying the exhibition like mentioned above. The main purpose of this system is to produce synergy effect, having the researching, collecting work in liaison with planning exhibition. ARPA will be able to improve the quality of exhibition through the way of developing the exhibition, passing through the stable process in the long run. So far, I have referred to a new paradigm of the exhibition design at NMCA via ARPA. Yet, there still remain missions in reality, such as analyzing the previous exhibition and reshuffling personnel and system, which should be done. When these matters settled, these plans would be suggested practically. At this point, it is the most significant that NMCA is attempting to let others aware of the importance of exhibition planning based on research. when the ARPA and exhibition planning is conjoined together successfully, the competent exhibition will be achieved, which can offer a meaningful exhibition to the art world, strengthen infra structure thru exchanging with public museum in the region, and eventually, establish a network with museum in foreign countries.

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유영국(劉永國)의 초기 구성주의: <랩소디>(1937)에 나타난 유토피아니즘 (Yoo Young-kuk's Early Constructivism: Utopianism in (1937))

  • 유영아
    • 미술이론과 현장
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    • 제9호
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    • pp.93-121
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    • 2010
  • This study is about Yoo Young-kuk's early works which show constructivism, especially focus on his debut painting, for the 7th Dokuritsu Bijutsu Kyokai(獨立美術協會, the Independent Fine Arts Association) in Tokyo in 1937. The work was painted 2 years after he had started his study in Japan in 1935. It was the first painting that applied Constructivism. played an important role for Constructivism to be a leading art in his abstraction. After this picture, Yoo was soon devoted to the principles of Constructivism-- Faktura(material), Tektonika (tectonics), Tekhnika(technique), space, construction-- in his painterly reliefs. This article examined why Yoo concentrated on Constructivism for , what the characteristics were, and what influences were on other works from 1935 to 1949. In addition, I investigated in which period was painted and how Constructivism was spread in 1930s and early 1940s in chapter 2. I scrutinized Rhapsody in chapter 3. When Yoo created Japan was under the Fifteen Years War(1931-1945), and a major discourse was the Japanese Spirit at that time. It was connected with construction of an ideal nation which the Japanese ultra-national fascism pursued. This ideological pursuit was intended to unite the Japanese people for total war system and to restore a national dignity which had been fallen down due to Manchurian Incident(1931). Thus, on the hand, Kokusai Bunka Shinkokai(國際文化振興, The Society for International Cultural Relations) and the Nippon Kosaku Bunka Renmei(日本工作文化連盟, Japanese Werkbund) were supported financially by the Japanese government. On the other hand, the government enacted regulations to opposing parties which would distract Japanese people's unification. As for the Japanese art world, the merge of art groups was carried out through remodeling of Teikoku Bijutsuin(帝國美術院, The Imperial Fine Arts Academy) in 1935. This brought out continuous dispute and disorder. Young artists who felt difficulty of entering an entry of Imperial Fine Arts Exhibition repeatedly grouped and disbanded for small art groups to build their standing, which they pursued Surrealism and Abstract art. Among them Constructivism was considered as the latest trend and was popular in craft, design, architecture as well as fine arts. In the year before he painted , Avant-garde theatres including Constructivism theatre were introduced in a feature article of September, 1936 in Atelier, which was dealing with mainly avant-garde arts. Books related with Constructivism were translated into Japanese, and Gestaltung Education had become active since the publication of A Compendium of Gestaltung Education("構成敎育大系"(1934)), Salvador Dali(1904-1989) was also introduced, so Surrealism was drawn more attention by young artists. reflected popular trends. Yoo analyzed the Japanese avant-gardists' archaic taste in the Independent Art Association that he submitted his painting to. And then he entitled 'Rhapsody' which derives from Ancient Greek's epic poetry and deliberately set up images in a scene. In chapter 3, I examined a theme which was planned carefully by sorting favorite images from the Japanese Surrealism. was a result that Yoo Young-kuk observed objectively the phenomenon that young artists dreamt of Utopia or longed for Nostalgia passively and lethargically under wars. And then he otherized himself from that circumstance. First of all, for he used the typical icons of Japanese Surrealism such as the horizon, flowing clouds, and vast plain that were considered stereotypes of Arcadia. He, however distinguished himself form those Japanese Surrealists. He made his own vision about Utopia by referring Lyubov Popova(1889-1924)'s stage design. His objective point of view was expressed by positive and dynamic images of structure and human's actions. Constructivism which was attempted in had an effect on other early constructive works, and the principles of Constructivism were sought hard in reliefs, paintings, and photos.

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