Fashion Creative Practice Exploration Multi-dimensional Performance from Painting to Creative Design
Fashion Creative Practice Exploration Multi-dimensional Performance from Painting to Creative Design
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时尚创意实践探索从绘画到创意设计的多维度表现
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发表时间：
2019
期刊：
影响因子：
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通讯作者：
Manqian Wang
中科院分区：
文献类型：
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作者：
Bo Du;Y. Nagai;Manqian Wang
文化精神已成为当今设计的重要发展趋势。传统绘画多为二维媒介，具有流动性、无形性、随意性的语言特征。但在创意设计领域，绘画具有很强的扩展性，适合多维度的形式发展。通过探索东方绘画语言的多维表达与时尚配饰设计的结合，将东方水墨的语言拓展至具有时尚传承的多维形式。文章提出了一种采用“项目激活-继承”方法的创意设计模型，将交互设计的理论与实践相结合，讨论了理解传统与交互创意的问题。 “物品-激活-传承”的创作方法是对传统文化艺术理念的传承形式的理解和重新设计。它包含两层含义：一是现代设计作品继承传统文化元素。其次，在传承过程中创新发展，将东方文化中人与自然和谐相处的思维方式运用到现代设计中并继承和发扬。该模型源于对传统文化与艺术创意设计互动的实证研究；它关注创意实践和设计工作的创作过程，让文化、艺术和创意之间循环循环的可持续发展。图案装饰是服装设计的本质；也是传播和弘扬东方文化理念的审美精神。因此，设计师应提炼水墨语言，利用形式美学规则解构和重构艺术美学中的笔墨效果，将形态认知方法的空间形式与水墨语言的创造力相结合，设计并实现“神韵灵动”的服饰形象。他们必须分析源自实际创意设计的系列设计案例 时尚创意实践探索 从绘画到创意设计的多维表现 近代大学创意管理与创新研究所 55 引言 追踪创意设计的根源，设计过程不仅限于创造一个新物体（McDonald，2011）。中国当代创意设计注重对未解之谜的传承。我们首先学习传统的文化理念，然后用现代的眼光、理念和态度来完成创意设计作品。在创意作品中融入文化元素已成为当今设计的重要发展趋势（Ruppert & Hawley，2014；Geng，2007）。创意设计继承了传统人文思维的精神（Zhao＆Zhao，2012）。当代水墨画的发展常常与传统观念纠缠在一起，反映了中国画继承和发展的现状（黄，2010）。水墨语言之所以重要，是因为它是中国画中独特的审美观念。中国画讲究用书法，用毛笔“写”故事。这与书法的抽象表达有关。水墨画旨在体现生命的灵性。笔、纸、墨本身的物理特性决定了表现主义的倾向。笔尖的水和深浅不同的墨水与纸张直接接触。正是这样的直接性，使得画家似乎具有其他艺术所不具备的优势。原本借用客观物体的意象已经融入到抽象舞台的表达中。水与墨的演变在画家的控制下产生墨色的偶然性，达到对水与墨本质的认识，进而进行自由实验。中国画在当代发展面临的主要问题是水墨与当代审美标准的同步（王，2016）。本研究的目的是将中国传统绘画元素融入创意设计过程中。本研究中，我们以孤立的水墨语言作为研究对象。文章提出了运用“物品-激活传承”创意方法的创意设计模式，结合传承形式有效循环发展理论与实践，通过实践中的改进与调整，探索文化元素与现代设计理念的融合，在设计实践中时尚创新，丰富人们的文化生活。从绘画的多维表现到创意设计，具有理论和应用研究意义。需要解决的问题包括： Q1：如何通过中国画美学的充分融合来提升设计作品的品质？ Q2：以丝巾为例，如何实现水墨语言与时尚创意实践的结合？论文的其余部分通过吉祥图案的组织、图案的实现、制作工艺以及模态系统的研究来论证中国文化元素与现代设计的融合。经过近代和多维的发展，它会继续前行，成为下一个遗产的延续。模型。设计作为一种象征，承载着人们的精神寄托和东方美学。人们佩戴它是为了满足情感需求。传统元素与创新思维互动，通过先进的科技传播文化产品，参与者与设计师之间的交流。知识不断通过创意转化，产生市场经济效益，创意组合的良性循环，优化创意实践的体验。创造力是创新的重要关键；它成为时尚潮流的驱动力，并形成互动设计过程。
Cultural spirit has become an important development trend in today’s design. Traditional paintings constitute a mostly two-dimensional medium, with flowing, intangible, and casual language features. However, in the field of creative design, paintings possess strong extensibility and are thus suitable for the development of multidimensional forms. Through the exploration of the combination of multidimensional expressions of Oriental painting language and the design of fashion accessories, the languages of Oriental ink paintings are expanded to the multidimensional form with fashion inheritance. The article presents a creative design model using the “ItemsActivation-Inheritance”, method, which combines the theory and practice of interactive design and discusses the problem of understanding tradition and interactive creativity. The “Items-Activation-Inheritance” creativity method is the understanding and redesigning of the inherited forms of traditional cultural and artistic ideas. It contains two layers: firstly, modern design works inherit elements of traditional culture. Secondly, innovation and development in the process of inheritance, the way of thinking that the harmony between human and nature in Eastern culture is applied to modern design and inherited and promoted. This model derives from the empirical study of the interaction between traditional culture and art creative design; it focuses on the creative process of creative practice and design work and allows the sustainable development of recycling between culture, art, and creativity. Pattern decoration is the essence of apparel design; it is also the aesthetic spirit that spreads and promotes oriental culture concept. Therefore, designers should refine the language of ink painting, utilize the formal aesthetic rules to deconstruct and reconstruct the brush and ink effect in the artistic aesthetics, and combine the spatial form of the morphological cognition method with the creativity of ink language to design and realize the “lively spirit and charm” costume image. They must analyze the series of design cases derived from the practical creative design Fashion Creative Practice Exploration Multi-dimensional Performance from Painting to Creative Design The Institute for Creative Management and Innovation, Kindai University 55 INTRODUCTION Tracking the roots of creative design, the design process is not limited to the creation of a new object (McDonald, 2011). Contemporary creative designs in China focus on the inheritance of unsolved. We first learn the traditional cultural ideas and then use modern vision, ideas and attitudes to complete the creative design works. Embracing cultural elements in creative works has become an important development trend in today’s design (Ruppert & Hawley, 2014; Geng, 2007). Creative design inherits the spirit of traditional humanistic thinking (Zhao & Zhao, 2012). The development of ink painting in contemporary times is often entangled with traditional concepts, reflecting the status of the inheritance and development of Chinese painting (Hwang, 2010). Ink language is important because it is a unique aesthetic concept present in Chinese painting. Chinese painting stresses on the usage of calligraphy to “write” down a story using the brush. This is related to the abstract expression of calligraphy. Painting through ink aims to reflect the spirituality of life. The physical characteristics of the brush, the paper, and the ink itself determine the tendency to adopt an expressionist. The water on the tip of the brush and the ink of different shades are in direct contact with the paper. It is such directness that the painter seems to have an advantage that other art does not have. The original image of borrowing objective objects has been integrated into the expression of the abstract stage. The evolution of water and ink under the control of the painter produces ink-colored contingency, reaching the understanding of the nature of water and ink and then conducting free experiments. The main problem facing Chinese painting in contemporary development is the synchronization of ink with contemporary aesthetic standards (Wang, 2016). The aim of this study is to incorporate elements of Chinese traditional painting into the creative design process. In this study, we isolated ink language as the research object. The article presents a creative design model using the “Items-ActivationInheritance” creativity method, combined with the inheritance form to effectively cycle the development of theory and practice, through improvement and adjustment in practice, explore the integration of cultural elements and modern design concepts, fashion innovation in design practice to enrich people’s cultural life. From the multi-dimensional representation of painting to creative design, it has theoretical and applied research significance. The problems that need to be solved include: Q1: How to improve the quality of design works through the adequate integration of Chinese painting aesthetics? Q2: Taking silk scarves as an example, how to achieve the combination of ink language and fashion creative practice? The rest of the paper demonstrates the integration of Chinese cultural elements and modern design through the organization of auspicious patterns, the realization of patterns, the craftsmanship of production, and the study of modal systems. After the development of modern times and multidimensionality, it will move forward and become the continuation of the next heritage. model. The design works as a symbol to carry people’s sustenance for spirituality and oriental aesthetics. People wear it to fulfill emotional needs. Interactions exist between traditional elements and innovative thinking, spreading cultural products through advanced science and technology, and communication between participants and designers. Knowledge is constantly transformed through creativity, resulting in economic benefits in the market, a positive cycle of creative combinations to optimize the experience of creative practice. Creativity is an important key to innovation; it becomes the driving force of fashion trends and forms an interactive design process.