梵高绘画艺术在现代女装设计中的应用研究
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摘要
作为19世纪末西方绘画史上的传奇人物,梵高绘画艺术以其特有的审美趣味在庞杂的时装王国里呈现着独一无二的个性,并逐渐成为现代女装设计的热点。采用文献资料法,提取归纳出梵高绘画作品中的主要元素,并结合现代女装设计中的典型案例,进行相应的设计实践。研究认为:梵高绘画艺术中的笔触元素,可以通过纱线织造和染色方法的变化应用于女装设计中,形成特殊的肌理效果;其绘画作品作为图案元素,通过不同的排列方式和工艺手法予以表达,使女装设计更加丰富;色彩元素可通过高纯度的色彩并置或大色块的对比形成强有力的视觉冲击力。这一设计为女装设计形式和设计手法的多样化提供了更多的可能性,以期对今后的女装设计提供一种设计指导。
As a legendary figure in the history of W estern painting at the end of the 19 th century, Van Gogh's painting art with its unique aesthetic implication presents a unique personality in the complex fashion Kingdom and has gradually become a hot spot for modern women's wear design. This paper used literature research to extract and summarize the main elements in Van Gogh's paintings, and the corresponding design practice was carried out in the light of typical cases in modern women's dress design. The research showed that the brushwork in Van Gogh's painting art can be applied to the design of women's dresses through the changes of yarn weaving and dyeing methods to form a special texture effect. As a pattern element, his painting works are expressed through different arrangement methods and techniques, which makes the design of women's wear more diversified. The color element can form a powerful visual impact through high-purity color juxtaposition or the comparison of large color blocks,which provides more possibilities for the diversification of women's design forms and design techniques so as to provide a kind of design guidance for future women's wear design.
As a legendary figure in the history of W estern painting at the end of the 19 th century, Van Gogh's painting art with its unique aesthetic implication presents a unique personality in the complex fashion Kingdom and has gradually become a hot spot for modern women's wear design. This paper used literature research to extract and summarize the main elements in Van Gogh's paintings, and the corresponding design practice was carried out in the light of typical cases in modern women's dress design. The research showed that the brushwork in Van Gogh's painting art can be applied to the design of women's dresses through the changes of yarn weaving and dyeing methods to form a special texture effect. As a pattern element, his painting works are expressed through different arrangement methods and techniques, which makes the design of women's wear more diversified. The color element can form a powerful visual impact through high-purity color juxtaposition or the comparison of large color blocks,which provides more possibilities for the diversification of women's design forms and design techniques so as to provide a kind of design guidance for future women's wear design.
引文
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[8]张为海.数码印花图案的设计及应用[J].染整技术,2016(4):4-9.ZHANG Wei-hai.Design and application of digital printing patterns[J].Textile Dyeing and Finishing Journal,2016(4):4-9.
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[11]李鑫.梵高绘画艺术中色彩的表现性[J].艺术百家,2009(S1):136-137.LI Xin.Expressiveness of Colors in Van Gogh's Painting Art[J].Hundred Schools in Arts,2009(S1):136-137.
[12]于琳琳.从梵高《向日葵》看油画之美[J].艺术评论,2016(12):166-169.YU Lin-lin.Looking at the beauty of oil painting from Van Gogh's Sunflower[J].Arts Criticism,2016(12):166-169.
[13]蔡志蔚.印象派绘画的视觉革命[J].文艺争鸣,2010(16):108-110.CAI Zhi-wei.Visual Revolution of Impressionist[J].Literature Contend,2010(16):108-110.
[14]李婷玲.论补色关系在油画创作中的应用[D].福建师范大学,2012.LI Ting-ling.On the relationship of complementary Colrs in oil painting[D].Fujiang Normal University,2012.
[2]王珺英.当时装遇见绘画艺术---谈绘画与服装设计之融合[J].艺术工作,2016(5):90-92.WANG Jun-ying.When Fashion encounter Painting Art---On the Integration of Painting and Fashion Design[J].Art Work,2016(5):90-92.
[3]吴昱霏.后印象派绘画在针织服装设计上的应用研究---以梵高绘画表现形式为例[D].浙江理工大学,2014.WU Yu-fei.Research on application of post-impressionism in knitwear-case study of manifestation in Van Gogh's paintings[D].Zhejiang Sci-Tech University,2014.
[4]谢中霞.油画中的笔触运用[J].南京艺术学院学报:美术与设计版,2004(1):84-87.XIE Zhong-xia.the Use of Touches in Oil Paintings[J].Journal of Nanjing Arts Institute(Fine Arts&Design),2004(1):84-87.
[5]李守真,张玉,柳鸣.凡高画风[M].重庆:重庆出版社,1992.LI Shou-z hen,ZHANG Yu,LIU Ming.Van Gogh's Painting style[M].Chongqing:Chongqing press,1992.
[6]桂亚夫.浅谈色彩艺术与色纺技术[J].棉纺织技术,2015(8):77-80.GUI Ya-fu.Discussion on Color Art and Colored Spinning Techno logy[J].Cotton Textile Technology2015(8):77-80.
[7]孟婷.印象派绘画艺术图案在服装设计中的应用[D].天津科技大学,2017.MENG Ting.The Application of Impressionist Painting Art Patterns in Fashion Design[D].Tianjin University of Science&Technology,2017.
[8]张为海.数码印花图案的设计及应用[J].染整技术,2016(4):4-9.ZHANG Wei-hai.Design and application of digital printing patterns[J].Textile Dyeing and Finishing Journal,2016(4):4-9.
[9]W·阿德,周锡福.温森特·梵高的生平[J].世界美术,1981(2):31-38.W·Ade,ZHOU Xi-fu.The Life of Vincent Van Gogh[J].World Art,1981(2):31-38.
[10]约翰·雷华德,贝纳·顿斯坦.印象派绘画大师[M].南宁:广西师范大学出版社,2002.John Redwald,Benard Donstein.The Master of Impressinism[M].Nanning:Guangxi Normal University Press,2002.
[11]李鑫.梵高绘画艺术中色彩的表现性[J].艺术百家,2009(S1):136-137.LI Xin.Expressiveness of Colors in Van Gogh's Painting Art[J].Hundred Schools in Arts,2009(S1):136-137.
[12]于琳琳.从梵高《向日葵》看油画之美[J].艺术评论,2016(12):166-169.YU Lin-lin.Looking at the beauty of oil painting from Van Gogh's Sunflower[J].Arts Criticism,2016(12):166-169.
[13]蔡志蔚.印象派绘画的视觉革命[J].文艺争鸣,2010(16):108-110.CAI Zhi-wei.Visual Revolution of Impressionist[J].Literature Contend,2010(16):108-110.
[14]李婷玲.论补色关系在油画创作中的应用[D].福建师范大学,2012.LI Ting-ling.On the relationship of complementary Colrs in oil painting[D].Fujiang Normal University,2012.