메뉴 건너뛰기
.. 내서재 .. 알림
소속 기관/학교 인증
인증하면 논문, 학술자료 등을  무료로 열람할 수 있어요.
한국대학교, 누리자동차, 시립도서관 등 나의 기관을 확인해보세요
(국내 대학 90% 이상 구독 중)
로그인 회원가입 고객센터 ENG
주제분류

추천
검색

논문 기본 정보

자료유형
학위논문
저자정보

임순자 (대구가톨릭대학교, 대구가톨릭대학교 대학원)

지도교수
유태순
발행연도
2017
저작권
대구가톨릭대학교 논문은 저작권에 의해 보호받습니다.

이용수18

표지
AI에게 요청하기
추천
검색

이 논문의 연구 히스토리 (2)

초록· 키워드

오류제보하기
This study aims to assign formativeness from the painterly aspects of art by establishing the concept and classification of Hair Art, producing works and widening the range of creation as Hair Art which is a part of formative art; also, this study is intending to confirm the aesthetic value of Hair Art works through the work expression method using a hair piece after making a design by borrowing images from Roy Lichtenstein’s pop art works. Further, this study want to offer assistance to Hair Art design in its acceptance as a part of new expression of art.
To this end, this study produced works based on the design created through theoretical consideration by collecting and analyzing various pieces of information through the papers at home & abroad, academic journals, and technical books, etc.
The result based on the research is as follows.

First, the characteristic of Roy Lichtenstein’s works is that he produced works mostly by borrowing the image of comic-style advertising as a means of properly expressing the US mass society in the 1960s. In addition, Roy Lichtenstein’s expressive techniques can be roughly divided into the three sorts, i.e. Ben-day dot & use of a slide projector, outlines, and cartoony image & narrative balloon.
The Ben-day dot technique can be rated to be the most representative expressive technique which characterizes Roy Lichtenstein’s works as his unique style and the printing process of photos used in commercial printing to show the degree of a soft and deep shadow. Also, use of a slide projector was essential to production of works of enormous size, and the dot discovered in an enlarged comic can be also said to be a by-product found by use of a slide projector.
The frequently found characteristic as much as Ben-day dot in Roy Lichtenstein’s works is that he assigned a sense of close unity to the whole of the picture using outlines to give well-arranged feelings like commercial printed matter by repetitiously expressing borders vividly.
Also, taking note of the visibility, linguistic power of delivery, and power of communication possessed by a comic as a mass media in the form mixed with a form and letters with a cartoon-like image, Roy Lichtenstein expressed them by parodying such a form and including the parodied form as it is.
Second, Hair Art can be classified into headdress Hair Art, painterly Hair Art, and formative Hair Art. The headdress Hair Art is one which does expression by making a solid sculpture through the use of a model, or manikin, and it can be practicably applied to hair cosmetic, and can be used for a hair show by creating a work through a real person, and it’s possible to design the headdress Hair Art using diverse materials without restrictions on materials like hair piece. etc.
In painterly Hair Art, a work is produced using hair as a material, but it has a painterly characteristic as Hair Art irrelevant to practicability, so it was named painterly Hair Art.
Formative Hair Art is expressed with artistic aspects and an author’s diverse inspirations as motifs, and it assumes the form of Hair Art, in which formative properties are much emphasized.
Third, this study drew illustrations through the subdivision of a picture by borrowing Roy Lichtenstein’s paintings, and then did coloring with acrylic paint, and created a hair piece colored by menikyueo on illustrations, finally producing a total of 4 works using various collage techniques, sprinkling method, braiding method and putting method, etc.
This study produced works by bringing the images from ‘Whamm!, 1963’, ‘Look Mickey, 1961’, ‘A girl with hair ribbons, 1965’ and ‘Happy tears, 1964’.

Through the conclusion drawn by the study above, it is found that Roy Lichtenstein''s pop art paintings played a role as a new motif for the development of a colorful but simple form of Hair Art works.
These day when diverse kinds of molding work about Hair Art, this study is intending to propose the possibility of Hair Art generalization by making use of Hair Art as materials for exhibition of Hair Art works, and education of Hair Art from the positive, creative perspective for the purpose of broadening the understanding of it as a new style of art form. This study expects that there will be the researches on a lot more individual, creative Hair Art design using diverse expressive techniques of hair piece in the follow-up researches on the basis of this research.

목차

Ⅰ. 서론 1
1. 연구의 필요성 1
2. 연구의 내용 및 방법 4
Ⅱ. 이론적 배경 5
1. 로이 리히텐슈타인의 회화작품의 표현기법 5
1) 벤 데이 망점과 환등기사용 6
2) 윤곽선(Outlines) 9
3) 만화적인 이미지와 대화풍선 10
2. 헤어아트 14
1) 헤어아트의 개념 및 특성 14
2) 헤어아트의 분류 17
Ⅲ. 작품 제작 21
1. 디자인의 의도 및 방법 21
2. 로이 리히텐슈타인의‘꽝(Whaam!)’을 응용한 작품 23
3. ‘이것 좀 봐, 미키(Look Mickey)’를 응용한 작품 29
4. ‘헤어리본을 한 소녀(A gril with hair ribbons)’를 응용한 작품 35
5. ‘행복한 눈물(Happy tears)’을 응용한 작품 41
6. 4가지 제작 작품의 특징 47
Ⅳ. 결론 및 제언 48
참고 문헌 50

최근 본 자료

전체보기

댓글(0)

0