INVESTIGATING ARTISTIC COMMODITY DESIGN THROUGH THE SHIFT BETWEEN ART AND DESIGN
Accompanying the rapid development of cultural and creative industries in recent years, there has been frequent collaboration between art and design fields. Although the dimensions of emphasis vary between these two fields, implying the existence of a divergence, coordination can be achieved by reaching a consensus in communication prior to cooperation, thereby creating an outcome that is beneficial for all involved parties. Based on this concept, we analyzed the divergences between the considerations of artists and designers by examining fundamental art and design concepts. This analysis also considered the differences between these fields. Subsequently, we analyzed the present shifting phenomena between art and design. According to the current trend in which artwork is becoming a design commodity, the following 2 spirit-led models are proposed to describe artistic commodity design: 1) the artist-led model and 2) the designer-led model. These 2 models generate innovative form shifts such as reproduction, decomposition, and innovation. The shifting methods corresponding to these 3 form principles are classified into the “3T” models: transfer, transit, and transform. Therefore, we can achieve a common goal that coordinates varied purposes and styles by determining the sprit-led model, form principle, and 3T method that the artistic commodity should display.
Fashion Creative Practice Exploration Multi-dimensional Performance from Painting to Creative Design
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.
Effect of stress conditions on collapse deformation behavior of a rockfill material
A set of saturated and dry-saturated large-scale triaxial tests were conducted in order to explore the effects of stress conditions on the saturation-induced collapse deformation behavior of a rockfill material. Specimens were tested in different confining pressures and for dry-saturated tests the specimens were submerged in various shear stress levels. The results indicate that in all of the dry-saturated tests a sudden reduction in the volume of the specimens was observed during the submerging process. The ratio of the minimum axial strength of a submerged specimen (at the end of the saturation process) to the shear strength of the specimen before saturation is defined as the coefficient of stress recovery, Csr. Results of the dry-saturated tests showed that this ratio increases as the confining pressure increases and decreases by increasing the shear stress level. According to the results of dry-saturated tests the values of internal friction angle reduction caused by saturation (Δϕc), the ratio of the elasticity modulus of the material after saturation to its elasticity modulus in dry condition, i.e., Ewet/Edry, and also the saturation induced sudden volumetric strain (εvc) decrease as the confining pressure increases. However the shear stress level does not have any meaningful effect on the variation of Dfc, Ewet/Edry and (εvc).