Online Ceramics 기법을 응용한 티셔츠 그래픽 디자인 개발 = Development of T-shirt Graphic Design Applying Online Ceramics Techniques

국문 초록 (Abstract)

글로벌 패션 산업의 빠른 발전으로 패스트 패션（Fast Fashion） 모 델은 대중의 소비 요구를 일정 부분 충족시켰으나, 상품의 보편화와 문 화적 가치결여, 그리고 환경 오염 등의 여러 문제를 초래 하였다. 이러한 상황에서 현대 디자인의 맥락에서 공예 전통과 디자인 혁신, 그리고 지 속 가능한 발전 간의 균형을 어떻게 실현할 것인지가 의상 디자인 분야 에서 매우 중요한 과제가 되었다. 교염은 오랜 역사를 가진 전통 수공예 로서, 색상의 유연성과 패턴 형성의 비반복성으로 인해 우연성 세계 섬 유 예술에서 오랫동안 주목을 받고 있다. 21세기에 들어서면서 수공예 상품의 가치가 다시 주목을 받고 소비자의 개성 있는 소비 트렌드 및 지 속 가능성에 대한 인식이 확산되면서, 교염은 디자이너와 기업에게 다시 주목을 받게 되었다. 본 연구는 미국 독립 의상 브랜드 온라인 세라믹스(Online Ceramics) 중점으로 하여진행되었다. 의상 디자인에서 교염(絞染) 공예의 현대적 변형 경로를 체계적으로 탐구하고자 한다. 이에 따라 문헌 분류 및 사례 분석 방법을 종합적으로 활용하여 동양 및 서양 전통에서 교염 공예의 유변학적 및 현대 흐름의 진화 과정을 검토하고 온라인 세라믹스의 공예 수준 융합 전략을 분석하였다. 그런 다음으로 수작업 교염과 실크스크린 프린트를 결합하고, 시각 체계에서 고포화도 색채와 자연 토템, 그리고 종교 기호 및 비판적 담론을 병치함으로써 독창적 문화적 풍경을 구축하며, 최종적으로 디자인을 적용하여 이 브랜드를 소량 생산과 생태 의식 구축, 그리고 하위문화 서사 전달 방면에서 당대 의상디자인에 대한 참 고 가치를 귀납하고자 하였다. 연구 결과, 온라인 세라믹스(Online Ceramics)가 구축한 디자인 모델 은 전통공예의 현대적 전환을 실현했을 뿐만 아니라 문화적 의미와 사회 적 가치의 현대적 기록도 완성하였다. 기술적으로는 수공예 및 인쇄를 융합하였고, 미학적으로는 차이점과 개성을 강조하였으며, 이념적으로는 지속 가능성과 반소비 주장을 반영하였다. 따라서 이것은 현대 문맥에서 전통 공예의 혁신적 응용을 위한 전형적인 사례라고 할 수 있다. 본 연 구는 수공예의 현대 언어 전환을 탐구하고, 의상 디자인의 지속 가능한 발전을 촉진하며, 독립 브랜드의 문화 경쟁력을 강화하는 데 필요한 이 론적 및 실철적 지침을 제공하였다. 최종적으로 본 연구는 ‘Venom & Bloom’ 시리즈의 디자인 실천을 통 해 이론적 탐구에서 제품 개발로의 전환 가능성을 실험하였다. 본 시리즈는 전통 교염(絞染) 공예와 생태적 의제를 결합하여 이를 시각 적 전이(visual translation)로 구현할 수 있는 가능 경로를 모색하는 것 을 목적으로 하였다. 실제 디자인 과정을 통해 확인된 바와 같이, 체계적인 주제 설정과 시 각 이미지의 확장(예: Q버전 캐릭터 등)을 통해 교염(絞染) 공예는 단순 한 장식 기능을 넘어 현대적 가치관을 전달하는 서사적 매개체로 전환될 수 있음이 입증되었다. 이러한 과정은 전통 공예의 현대 디자인 적용 가능성과 지속가능한 패 션 디자인 실천의 의미있는 사례가 될 것이다.

다국어 초록 (Multilingual Abstract)

The fast fashion model, which is based on the rapid development of the global fashion industry, partially met the public's consumption needs, but it also caused a series of problems such as product generalization, lack of cultural meaning, and environmental pollution. Against this backdrop, how to realize the balance between the craft transmission in the context of modern design, design innovation, and sustainable development has become a very important agenda in the field of clothing design. Gyoyeom is a traditional handicraft with a long history and has long attracted attention in textile art around the world due to the randomness of colors and the non-repetitive nature of pattern formation. Entering the 21st century, the value of handicraft products was attracting attention again, and as consumers' unique consumption trends and sustainable concepts deepen, Gyoyeom has regained attention from designers and independent brand companies, and is exerting a new vitality in the trend culture system. This study focused on the American independent clothing brand Online Ceramics. The purpose of this study was to systematically explore the modern transformation path of crosslinking crafts in costume design. As a result, we first examined the evolution of rheological and modern flows of bridging crafts in Eastern and Western traditions and analyzed the craft-level convergence strategy of online ceramics by comprehensively using literature classification and case analysis methods. We then combined manual bridging and silk screen prints to create a cultural landscape that combines high-saturation colors, natural totems, religious symbols, and critical discourse in the visual system, and finally combined design practice to guide the brand's reference value for contemporary costume design in terms of small-scale production, ecological consciousness construction, and subcultural narrative delivery. According to the results of the study, the design model built by Online Ceramics not only realized the modern transition of traditional crafts, but also completed the modern record of cultural meaning and social value. His work technically fused handicrafts and printing, emphasized differences and individuality aesthetically, and reflected sustainability and anti-consumerism ideologically. Therefore, it can be said that this provided a typical example for the innovative application of traditional crafts in the modern context. This study attempted to explore the modern language transformation of handicrafts, promote the sustainable development of costume design, and present the significance of theoretical references and practical guidelines needed to strengthen the cultural competitiveness of independent brands.

목차 (Table of Contents)

• I. 서론 ··········································································································1
• 1. 연구의 배경과 목적 ·····················································································1
• 1) 연구 배경 ··································································································1
• 2) 연구 목적 ··································································································2
• 2. 연구 범위와 방법 ·························································································4
• 1) 연구 범위 ··································································································4
• 2) 연구 방법 ··································································································5
• 3. 연구 구성도 ···································································································6
• II. 이론적 배경 ·························································································7
• 1. 교염 공예 개요 ·····························································································7
• 2. 교염 공예의 분류 ·······················································································10
• 1) 전통 공예의 염색 방식(Dyeing Method) ········································ 10
• 2) 표현 방식(Expression Method) ·························································11
• 3. 교염 의상 디자인 요소 분석 ···································································17
• 1) 패턴 구성 ································································································17
• 2) 색상 구성 ································································································20
• 3) 문화 및 창의 요소 ················································································21
• III. 온라인 세라믹스 브랜드 사례 연구 ············································· 24
• 1. 온라인 세라믹스 브랜드 소개 ·································································24
• 1) 브랜드 문화 및 배경 ············································································24
• 2) 디자인 스타일 및 미학 특징 ······························································27
• 2. 온라인 세라믹스 교염 기술 및 패턴의 결합 ·······································31
• 1) 온라인 세라믹스에서 활욜한 교염 기법 ··········································31
• 2) 온라인 세라믹스 교염 및 패턴 디자인의 결합 응용 분석 ·········· 34
• IV. 설문 조사 ···························································································49
• 1. 조사 대상과 방식 ·······················································································49
• 2. 구체적인 문제 자료 분석 ·········································································50
• 3. 설문지 분석 요약 ·······················································································57
• V. "Venom & Bloom – 생태 공생 시리즈" 일러스트레이션 창작 실천 ········ 58
• 1. 창작 구상 분석 ·························································································58
• 1) 창작 방향 ······························································································58
• 2) 일러스트레이션 내용 설정 ··································································61
• 3) 일러스트 캐릭터 설정 ··········································································62
• 2. 창작 실천 과정 ·························································································65
• 1) 일러스트레이션 선화 디자인 분석 ····················································65
• 2) 일러스트 색채 적용 분석 ····································································69
• 3) 서체 디자인 분석 ··················································································72
• 3. 작품 완성도 시연 ·······················································································74
• 4. "Venom & Bloom – 생태 공생 시리즈"의 티셔츠 적용 및 디자인 · 77
• 5. 교염 티셔츠 제작 과정 ·············································································84
• 6. 동물（만화풍으로 단순화 한 디자인） 캐릭터 디자인 ·····················88
• 7. Q판 동물 캐릭터 이모티콘 디자인 파생 상품 ····································91
• VI. 결론 ·····································································································92
• 참고문헌 ································································································ 94
• 부록 ········································································································ 96
• Abstract ·······························································································104