線의 조형성을 모티브로 한 도자소품 제작 연구

Abstract

선은 적은 힘으로 짧은 시간에 강렬한 의미를 전달 할 수 있는 가장 효율적인 조형언어로서 다양한 표현 방법을 통해 조형적 의미를 부여할 수 있다. 본 연구는 선을 긋는데 있어 굵기와 속도 조절에 변화를 달리한 반복된 행위를 통해 표현되는 선의 조형성과 풍부한 꽃잎의 자유로운 선의 중첩과의 조형적 조합을 통해 도자 제품 디자인을 연구제작 하는데 목적을 가지고 있다. 따라서 본문에서는 조형 언어로서의 선의개념과 반복된 행위의 조형적 특징을 알아보고 이를 통해 꽃이 가진 선의 조형적 의미를 부여하여 자유로운 곡선을 가진 꽃 장식을 통해 원형의 형태를 가진 캔들, 그릇, 화병, 조명등 제작에 조형성을 더하고자한다. 원형의 형태에서 점에서 직선, 그리고 곡선으로 이어지는 회전 감을 느낄 수 있는 선을 긋기 위해 그릇의 경우 소성 시 원형 변형이 적은 물레성형기법을 이용하여 제작하고, 장식품적인 요소가 큰 조명등과 캔들 홀더는 내부 공간을 적절히 이용하여 조명등의 역할을 할 수 있도록 제형물레를 이용한 회전체 형태를 드레인 슬립캐스팅 하여 제작한다. 꽃 작업에 있어서는 1차적으로 도판성형을 통하여 핀칭 성형을 하고 생화의 관찰을 통해 꽃의 개화와 시듦에 있어 꽃 선의 과 꽃잎 개수의 변화에 주목 하여 작업에 응용하였다.

| Line, as a formative language, is the element with the potential to express maximal meaning and function with small effort, and its meaning and function are defined as the medium that conveys the form of an object and also the basic act of modeling most broadly used to convey the inner feelings, serving as a visual element. Line is used as the basic language and tool for expressing the emotional artistic world of artists through various methods and became the key element with the unlimited possibilities and potentials among the modeling elements of art today. This study intended to analyze the meaning of line and its artistic formativeness and prepare the rationale for the author’s study of work. The production of the ceramic props reflecting the formativeness of the line in the motive did not limited items used, and it focused on the characteristics of prop as a craft work. Line in this study was expressed as the medium for expressing the mental imagery of the author in the moderated form. Line was used as the tool for expressing inner feelings starting from the primary act of drawing the line and was expressed in the form of repeated lines that are sometimes moderated and sometimes boldly embrace the circular mass and divide surfaces between consciousness and unconsciousness. Contrary to expressing the mental imagery through the act of drawing moderate lines repeatedly on the surface, unrestrained natural lines were expressed by combining the reiterating free curves in the form of contour and flowers with the beauty of flexible lines. This adds tension of formativeness through the combination of restrained lines of the circular form of the rotating body and the free wheeling curves of flowers. The reason the rose blossoms were used as formative elements with lines is that the ample number of petals enabled the reiteration of free curves and the rose has a number of languages that can reflect the mental imagery of the author. White porcelain and blue pigment were used as the main ingredients in order to express the moderate lines in relation to the sense of color and the gold pigment was used as an ornamental element. As for the shape of the object on which the lines will be drawn, a circular shape with the characteristics of a rotating body was formed to accommodate both straight lines and curves starting from a single point and jiggering and plaster frame were used to facilitate the act of drawing lines when developing the shape. No limits were applied to the production of ceramic props, and a variety of prototypes from dishes to candles, lighting fixtures, vases, and picture frames to try various designs in relation to their use in living in the future. The author’s mental imagery was reflected in the title of the work, which took the form of story telling about the sense of a person’s presence.