디지털 건축의 조형기법을 활용한 텍스타일 표면디자인의 표현특성 = (The) Expression Characteristics of Textile Surface Design adapting Digital Architecture's Formal Tools

다국어 초록 (Multilingual Abstract)

As the significance of image has been emphasized in modern times, the textile designs are more surfacing than silhouette or detail in the contemporary fashion design. Thus the textile designs are reestimated as the creative element reflecting a sensitive and a new visual sense and leading a trend by the change of design environment and the discovery of new textiles.
Following the 19th century, the artists, the critics and the fashion designers have shown the parallelism of the trend in the costume and in the architecture that reflects aesthetic sense of the times. In the 21st century, the fashion design is focusing on the architectural paradigm as a creative expression methodology for the time being, including architecture conditions as well as architectural form and designer's work style.
The study on visual elements of design in digital age is unsatisfactory since previous studies of textile designs were attached importance to the analysis of textile trend and the development of motif by using CAD. Therefore, the purpose of this study is to create the formal tools of textile surface designs which reflect a human emotion and satisfy the sense in the new digital age by analyzing various digital properties.
This study also tries to analyze an expression characteristics and inner meanings of textile surface designs by reclassifying today's textile designs on advanced technology and suggesting the digital formal tools for textile surface designs.
For the analysis of textile surface designs in contemporary fashion on the base of digital architecture's formal tools, fashion pictures were collected from the pret-a-porter collections of fashion magazines and web site such as www.firstview.com, www.style.com, and www.cft.or.kr centering around Paris, Milan, London and New York. The temporal scope was from 2000 to 2008, S/S. Designs were selected from the collections and their characteristics were analyzed by focusing on textile surface designs, prints and finishes designs.
The works of Greg Lynn and Peter Eisenmann, the representative digital architects, were used for inspecting digital formal tools for textile surface designs and digital images and digital image's properties were redefined for theoretical study.
The results of this study are as follows.
The digital and eco-friendly aspects are appearing in textile designs, under the influence of well-being culture and technology. So the contemporary textile designs are recomposed the structural parts as a weave design and a knit design and the surface parts as a print design and a finishing design by the trend. The textile's surface design consists of the print design and the finishing design of fold and luster in this study.
1. The digital formal tools of textile surface design derived from architecture formal tools of Greg Lynn and Peter Eisenmann are shown following.
Print Design: The BLOB & BLEB creates an organic shape's of motif and pattern and the STRIATION is a linear shape and makes parallel pattern. The BRANCH is kind of paintings and makes a single or independent prints and the GRID is a all over prints. The TRACE has an orientation or a time in motif's arrangement and the LAYER expresses overlap of digitals. The BLUR makes the boundary obscurely between prints and textiles, the DISTORT is a transformation of all tools above and digital images in computer graphic can be recovery easily.
Finish Design: The FOLD covers a deep or shallow, a regular or irregular pleats and crease in textiles and the LUSTER means luster or coating of textiles by finishing.
2. This study categorized the expression characteristics of digital formal tools in textile surface design into the topological characteristics, the non-hierarchical characteristics and the immaterial characteristics.
First, the topological characteristic is connected with 3 dimensional expression of 2 dimensional textile. And FOLD and LUSTER tools are dominant. Pleats finishing and Luster finishing build space sense of surface, the distorted print Image produces irregular visual form, pleats finish makes 3 dimensional the depth and the relief effect.
Second, the non-hierarchical characteristics is based on the diversity and complexity of print design, the irregularity and variability of BLOB & BLEB, and the repetition of FOLD. The elements and tools of form showed the hybrid in producing and arranging of motif like the in-determinacy and combination of fractal geometry.
Third, the immaterial characteristics escaping from materiality is related to the rise of textile's transparency and luster by lightweight trend in fashion design, like that contemporary architecture uses variable materials to construct an exchangeable surface according to time's flow and to escapes from the gravity.
3. Based on the above analysis, textile surface design through the digital formal tools led us to characterize expansion, continuity, inter-combination, and recurrence.
First, the expansion in textile surface design expressed through arrangement by de-central, non-hierarchical motif and shape is summarized in the spatial and surface expansion by FOLD and the psychological expansion by OPTICAL and DISTORT.
Second, the continuity means the continuity of time and space perceived through textile's transparency and non-boundary. In other words, passage of time is expressed and perceived through continuous transformation process and the mixture of textile print designs at the same time.
Third, the inter-combination means the superimposition of time and space like digital's properties and is expressed through repetition, overlapping, arrangement and mixture of formal tools. The inter-combination is a representative characteristic of textile surface design where the variety coexists, including an 2 dimensional expression of 3 dimensional reality.
Fourth, the recurrence means concerns with a essence of the body and nature. The luster that emits from transparent textile comes to focus on the body and expresses an interest in light, an origin of visual images
As a conclusion of this study of the textile surface design by digital formal tools, the designer's work area will be expanded and the needs of collaboration between technician and designers will be recognized. Through this study, I suggest the sample that promotes a designer's creativity by the exchange of learning and the practicability of educational methodology by designing and producing an actual works based on digital formal tools.

목차 (Table of Contents)

• 제 1 장 서론 = 1
• 제 1 절 연구 배경 및 목적 = 1
• 제 2 절 연구 내용 및 구성 = 5
• 제 3 절 연구 범위와 방법 = 7
• 제 4 절 용어 정의 = 8
• 제 2 장 텍스타일 표면디자인의 구성과 조형요소 = 9
• 제 1 절 텍스타일디자인의 개념과 변화요인 = 9
• 1. 텍스타일디자인의 개념 = 9
• 2. 텍스타일디자인의 변화요인 = 11
• 제 2 절 현대 텍스타일디자인의 구성 = 20
• 1. 직물구조에 따른 분류 = 20
• 2. 표면형태에 따른 분류 = 24
• 제 3 절 현대 텍스타일 표면디자인의 분류 = 30
• 1. 프린트디자인 = 30
• 2. 가공디자인 = 36
• 제 3 장 현대 건축의 디지털 이미지와 조형기법 = 43
• 제 1 절 디지털 이미지의 개념과 구성요소 = 43
• 1. 디지털 이미지의 개념 = 43
• 2. 디지털 이미지의 구성요소 = 45
• 제 2 절 건축의 디지털 이미지와 조형기법 = 52
• 1. 건축의 디지털 이미지 = 52
• 2. 건축의 디지털 조형기법 = 64
• 3. 디지털 건축 조형기법의 범주화 = 70
• 제 4 장 현대 패션에 나타난 텍스타일 표면디자인의 디지털 조형기법 = 76
• 제 1 절 텍스타일 표면디자인의 디지털 조형기법 = 76
• 1. 표면디자인의 디지털 조형기법 개념 = 78
• 2. 컬렉션에 나타난 텍스타일 표면디자인의 디지털 조형기법 = 86
• 제 2 절 현대 텍스타일 표면디자인에 나타난 디지털 조형기법의 표현특성 = 132
• 1. 위상학적 특성 = 132
• 2. 비위계적 특성 = 134
• 3. 비물질적 특성 = 138
• 제 3 절 텍스타일 표면디자인에 나타난 디지털 조형기법의 내적 의미 = 141
• 1. 확장성 = 141
• 2. 연속성 = 143
• 3. 상호결합성 = 144
• 4. 회귀성 = 146
• 제 5 장 결론 및 제언 = 148
• 제 1 절 요약 및 결론 = 148
• 1. 텍스타일 표면디자인의 디지털 조형기법 = 148
• 2. 텍스타일 표면디자인의 디지털 조형기법의 표현특성 = 149
• 3. 텍스타일 표면디자인의 디지털 조형기법의 내적 의미 = 150
• 제 2 절 연구 한계와 제언 = 151
• 참고문헌 = 153
• (Abstract) = 164