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  • 學位論文

「時間」概念轉化之視覺服裝創作—「打開衣櫃然後」

Transforming the Concept of "TIME" into Visual Design via clothing as the Presentation Platform —「___ The Wardrobe be Opened」

指導教授 : 林宏銘

摘要


時間與服裝皆與人類的生活緊密相融著,是日常生活相伴於身體左右。不同領域的學者對「時間」都有不同的解析且無從考證,只有讓我們生活的速度與空間,影響我們解讀「時間」的體認;服裝觸動人體的內在知覺與外在感官,將我們解剖結構後再重新組織,讓身體變得可以閱讀、變得可以理解;時間與服裝就像「內在」與「外在」豐富身體這個中介者。 本創作以「時間」概念轉化視覺服裝設計,創作主題「打開衣櫃然後」系列分為三件作品「 打開衣櫃然後過去」、「 打開衣櫃然後現在」、「 打開衣櫃然後未來」來詮釋我的創作時間觀,「時間」的神祕與奇妙,將它體現於視覺表現時,轉化方式由設計者創作思考的演繹方法;「時間」的無形朦朧,將隨著設計者的表達與訴求有不同的輪廓。「時間」的視覺化即是轉化的過程,將無形轉化為有形;而服裝設計是將有形解構與聚合,並且注入無形的想像,本創作是無形與有形的相容,與透過質感的結合與轉化來表現經驗中時間視覺化的嘗試。 將創作歷程彙整出以下三點:1. 視覺轉化邏輯思考歷程:經過審密的邏輯思考歷程, 將非視覺對象的視覺化,除了理性的理解,更須加上感情的要求,互相作用才能完成傳達的任務。2. 視覺服裝設計的多樣性:服裝成為媒介作用於身體之上,視覺服裝設計將不再將服裝既有的功能性列為首要的考慮,將注重視覺意涵與轉化之應用。 3. 複合媒材運用與質感表現:媒材之間的轉化應用,可以構成更多具有創意與層次感的作品,並且通過瞭解材質的特性,將更利於作品的延伸與視覺構成,可以更容易達成作品的完整度,並將視覺轉化成果應用於其他設計之上。

關鍵字

時間 概念轉化 視覺設計 服裝

並列摘要


Time is so mysterious, and there is no dimension more mysterious than time. We can feel the time and define its measurement but we can never witness its actual form in any sense. Fashion Clothing & time were co-related and close integrated to our life, i.e. we both sense & express within the human body. Time reaches the internal and external sensory perception. Time de-constructed and re-constructed us. Make the body becomes readable and understandable. These creative works transformed the concept of 'time' to visual design via clothing as the major presenting platform, The work: '___ The Wardrobe Opened.' , is divided into three series of works – “Before The Wardrobe Opened.', ' As The Wardrobe Opened.' and 'After The Wardrobe Opened.', were intended to elaborate the mysterious and magical-ness of "Time". The invisible obscurity of "Time" would be transformed and translated via the designer's will of expression and aspirations. The visualization of “Time” is conducted by making things from invisible to visible. Clothing in here is the ultimate physical suspension of the above de-construction and re--construction. The process could be summarized via the following 3 aspects: 1. The logical transformation with emotional supplement: Laws & rules were applied firstly with the latter supplement of emotional elements back to the work, giving a more balanced approach. 2. The visual diversity as main concern: Comfort-ness would not be the main concern but the diverse visualization ability of the clothing itself as a media rather than fulfilling the functional aspects of “Cloth” 3. The semantic diversity: The understanding of the interrelations & the translated semantic thru the application of cross-media materials is crucial in visual translation in clothing.

參考文獻


◎張小虹 著,2001,絕對衣性戀,時報文化,台北。
◎賴香伶、李俊賢 編,2007,第二層皮膚-當代設計新肌體 展覽專刊,財團法人當代藝術基金會/台北當代藝術館,台北。
1. 書籍
◎Anne Kimle 著,魏易熙 譯,2000,服飾業美學,商鼎文化,台北。
◎willy Rotzler 著,吳瑪悧 譯,1991,物體藝術,遠流出版,台北。

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