基于符号学思想的制服设计方法研究
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摘要
在物质化社会中,工作单位是个人作为主要生活来源的载体,制服是企业和个人文化表达的符号载体。在社会化大分工日趋精细、社会节奏日趋变快的当代社会,符号化思维以其独特的模式成为人们提高效率的重要方法,制服的发展也需要这一思维模式作为指导,以寻求设计方法的突破和创新。
本课题围绕着符号学理论对制服的设计理念和设计方法进行了探讨。通过对相关制服设计、符号学文献的查阅和研究,阐述了制服作为一种标识符号的发展历程和在CIS中的重要作用。通过分析符号学两大门派的特点,分别构建了基于索绪尔语言符号学理念和基于皮尔斯广义符号学理念的制服符号系统,运用奥斯古德——施拉姆模式论述了制服两大符号系统的传达过程和符号的无限循环发展理念。制服符号系统具有物质稳定性、寓意象征性和差异衍生性这三个基本特性;任意性、组合性和约定性这三个构成特性;传授性和跨越性这两个传播特性。
课题结合设计实例阐述了制服符号系统编码的主要内容。根据制服两大符号系统各自的优势,将索绪尔语言符号系统运用于制服实践设计方法论的指导,皮尔斯制服符号系统用于制服设计思维的构建。构建了制服的符号化设计思维后,依据该思维对制服的编码设计方法进行了论述,并指出在编码过程中必须遵循针对性、整体性和提升性原则,并结合实际案例分析了制服符号系统的编码流程。
符号系统编码是一个无限符号过程,在这个过程中要使制服和品牌文化一直保持新鲜感和标识性,就必然需要丰富的灵感源泉。剪纸作为民族性差异化的艺术元素,是民族品牌得天独厚的非物质财富,将其运用与制服符号编码中是一个必然趋势。在符号学的视域下,分析了剪纸符号系统显性符号和隐性符号的结构和构成法则,围绕着剪纸的象征内涵,从造型、图案、色彩的角度介绍了剪纸在制服隐性视觉传达符号中的运用。
课题旨在通过符号学角度和实践设计探讨制服设计的方法,并尝试通过遵循符号的编码规则为制服设计提供有意义的设计模式。剪纸的运用只是民族符号使用的一个案例,其运用方法与其他民族艺术符号的运用具有共通性,需要更多的学者对其进行研究,将民族文化升华为两栖或多栖的符号,促使它的传承和发展。
In the materialistic society, the working unit is the main source of the carrier of the individual, Uniform is a symbol of cultural expression vector of companies and individuals.With the social division of labor becomingincreasingly sophisticated, increasingly faster paced society of contemporary social, symbolic of its unique mode of thinking becomes an important way to improve efficiency, the development of the uniform also requires the mode of thinking as a guide to seek to design breakthroughs and innovation.
The subject of semiotics theory are discussed arounding the uniform design concepts and design methods. Through the relevant design of uniform, symbol of access and the research of literature, the uniform is explained as a symbol for the development process and the important role in the CIS. By analyzing the characteristics of semiotics, two sects were constructed, the one is based on Saussure Semiotics and philosophy and semiotics, the other one is based on the concept of the generalized Peirce uniform system of signs, the Osgood-Schramm discussing the uniform mode of the two symbols system processes and symbols is used to convey the infinite cycle of development concepts. Symbol system has the stability of uniform material, symbolic and moral differences between the three basic characteristics of derivative; rbitrary, combination and agreement of the three constituent properties; to teach and spread across the sexual characteristics of both.By the two main advantages Uniform system of signs, Saussure's linguistic sign systems are used in the uniform design methodology guiding practice, Pierce uniform sign systems are used for the construction of uniform design thinking.
Uniform symbol system is an infinite symbol encoding process. In order to make uniforms and brand culture and identification remains fresh in the process, we require a rich source of inspiration inevitably.Paper-cut as differences of nation of the artistic elements, is the national brand unique non-material wealth, it is an inevitable trend to be used with the uniform coding symbols. In the perspective of semiotics, the dominant symbol systems of the paper-cut symbols and hidden symbols of the structure and composition rules are analyzed, arounding,the symbolic meaning of the paper-cut. From the point of view on the shape, pattern, color, we introduced the use of symbols in the paper-cut uniforms hidden in visual communication.
The issue is conducted to investigate the method of uniform design by semiotic perspective and practices, what’s more , it try to provide the meaningful design for the uniform design by following Symbol encoding rules. The use of paper-cut is just a case of national symbols. More scholars need to study it to sublime national culture as habitat for the amphibians and symbols and make it can be heritaged and developed.
本课题围绕着符号学理论对制服的设计理念和设计方法进行了探讨。通过对相关制服设计、符号学文献的查阅和研究,阐述了制服作为一种标识符号的发展历程和在CIS中的重要作用。通过分析符号学两大门派的特点,分别构建了基于索绪尔语言符号学理念和基于皮尔斯广义符号学理念的制服符号系统,运用奥斯古德——施拉姆模式论述了制服两大符号系统的传达过程和符号的无限循环发展理念。制服符号系统具有物质稳定性、寓意象征性和差异衍生性这三个基本特性;任意性、组合性和约定性这三个构成特性;传授性和跨越性这两个传播特性。
课题结合设计实例阐述了制服符号系统编码的主要内容。根据制服两大符号系统各自的优势,将索绪尔语言符号系统运用于制服实践设计方法论的指导,皮尔斯制服符号系统用于制服设计思维的构建。构建了制服的符号化设计思维后,依据该思维对制服的编码设计方法进行了论述,并指出在编码过程中必须遵循针对性、整体性和提升性原则,并结合实际案例分析了制服符号系统的编码流程。
符号系统编码是一个无限符号过程,在这个过程中要使制服和品牌文化一直保持新鲜感和标识性,就必然需要丰富的灵感源泉。剪纸作为民族性差异化的艺术元素,是民族品牌得天独厚的非物质财富,将其运用与制服符号编码中是一个必然趋势。在符号学的视域下,分析了剪纸符号系统显性符号和隐性符号的结构和构成法则,围绕着剪纸的象征内涵,从造型、图案、色彩的角度介绍了剪纸在制服隐性视觉传达符号中的运用。
课题旨在通过符号学角度和实践设计探讨制服设计的方法,并尝试通过遵循符号的编码规则为制服设计提供有意义的设计模式。剪纸的运用只是民族符号使用的一个案例,其运用方法与其他民族艺术符号的运用具有共通性,需要更多的学者对其进行研究,将民族文化升华为两栖或多栖的符号,促使它的传承和发展。
In the materialistic society, the working unit is the main source of the carrier of the individual, Uniform is a symbol of cultural expression vector of companies and individuals.With the social division of labor becomingincreasingly sophisticated, increasingly faster paced society of contemporary social, symbolic of its unique mode of thinking becomes an important way to improve efficiency, the development of the uniform also requires the mode of thinking as a guide to seek to design breakthroughs and innovation.
The subject of semiotics theory are discussed arounding the uniform design concepts and design methods. Through the relevant design of uniform, symbol of access and the research of literature, the uniform is explained as a symbol for the development process and the important role in the CIS. By analyzing the characteristics of semiotics, two sects were constructed, the one is based on Saussure Semiotics and philosophy and semiotics, the other one is based on the concept of the generalized Peirce uniform system of signs, the Osgood-Schramm discussing the uniform mode of the two symbols system processes and symbols is used to convey the infinite cycle of development concepts. Symbol system has the stability of uniform material, symbolic and moral differences between the three basic characteristics of derivative; rbitrary, combination and agreement of the three constituent properties; to teach and spread across the sexual characteristics of both.By the two main advantages Uniform system of signs, Saussure's linguistic sign systems are used in the uniform design methodology guiding practice, Pierce uniform sign systems are used for the construction of uniform design thinking.
Uniform symbol system is an infinite symbol encoding process. In order to make uniforms and brand culture and identification remains fresh in the process, we require a rich source of inspiration inevitably.Paper-cut as differences of nation of the artistic elements, is the national brand unique non-material wealth, it is an inevitable trend to be used with the uniform coding symbols. In the perspective of semiotics, the dominant symbol systems of the paper-cut symbols and hidden symbols of the structure and composition rules are analyzed, arounding,the symbolic meaning of the paper-cut. From the point of view on the shape, pattern, color, we introduced the use of symbols in the paper-cut uniforms hidden in visual communication.
The issue is conducted to investigate the method of uniform design by semiotic perspective and practices, what’s more , it try to provide the meaningful design for the uniform design by following Symbol encoding rules. The use of paper-cut is just a case of national symbols. More scholars need to study it to sublime national culture as habitat for the amphibians and symbols and make it can be heritaged and developed.
引文
1.徐加娟.论中国空姐制服设计的探索与研究——民族传统元素在中国空姐制服计中的运用[D].上海:东华大学纺织学院, 2006.
2.万棣.论民航制服的设计特征[J].装饰,2006(08):118.
3.史珊珊.服装——种审美的社会文化表征符号[J].南方论刊,2006(12):55-56.
4.周锡保.中国古代服饰史[M].北京:中国戏剧出版社,1991:457.
5.吴静芳.服装配饰学[M].上海:东华大学出版社,2004:22.
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8.刘晓刚.专项服装设计[M].上海:东华大学出版社,2008:165.
9.国家职业分类大典和职业资格工作委员会.中华人民共和国职业装分类大典[M].中国劳动社会保障出版社,1999:9.
10.杨梅.浅析企业形象中的制服效应[J].天津纺织科技,2002,40(1):53-55.
11.楼海洋.价值经济时代的企业CI观念[J].新美术,2005,26(03):90-91.
12.鹏力.动感:酷炫时代的肢体印象[M].新疆:新疆人民出版社,2004:6.
13.冯洁.酒店制服的功能设计与实现研究——当代中国酒店制服现状调查分析及对策[D]. [硕士学位论文].南京:南京艺术学院,2003.
14.张剑峰.职业制服与企业CI文化[J].装饰,2003(07):88-89.
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16.何新.艺术分析与美学思辨[M].北京:北京时事出版社,2001:67.
17. Ortonny,A. Metaphor and Thought[M].Cambridge University Press,1993:41.
18.周丽丹.基于设计符号学的儿童游乐产品设计研究[D].南昌大学,2008.
19.郭鸿.现代西方符号学纲要[M].上海:复旦大学出版社,2008:52-54.
20.罗越.视觉传达[M].黑龙江科技出版社,1996:60.
21. Yule,G. Pragmatics[M].Shanghai:Shanghai Foreign Language Teaching Press,1996:32.
22. Topolkaraev Shape-memory materials[J].Medical Textiles,2004,(4):6-8.
23.丁瑛.论服饰设计中装饰语言的符号特征[J].现代艺术与设计,2004(03):23-24.
24. Muller Florence.Art & Fashion [M].London: Thames&Hudson Ltd,2000:61-63.
25.张娜.传统元素在服装设计中的创新与整合[J].商业文化(下半月), 2010,(6):271.
26.马强.分析传统装饰符号在现代环境艺术中所体现的符号特[J].2006, (12):88-89.
27.胡亚兵.剪纸艺术在服装设计中的运用[J].内江科技,2007,28(05):43-44.
28.胡飞,杨瑞.设计符号与产品语意:理论、方法及应用[M].中国建筑工业出版社,2003:1-2.
29.王思琪.符号学中的能指和所指在服装设计中的体现[J]。美术之友,2008,(2):98-99.
30. Steinberg, D.Psycholinguistics.Language, Mind and Word [M].New York: Longman,1984:18.
31.辛海霞.后现代服饰设计中装饰元素符号学研究[D].青岛:青岛大学,2007.
32.薛青.设计符号学及其在观光缆车造型设计中的应用研究[D].北京:中国地质大学,2008.
33.封丽静.服装的社会符号意义及对人际关系的功效探究[D].苏州:苏州大学,2008.
34.鲁闽.传统服饰与现代制服设计的比较[J].装饰,2003(03):68.
35.肖劲蓉.论服装中设计元素的符号化. 2010,31(11):122-125.
36. LI Jun,LIU Xiaogang,CAO Xinojie.Study of the apparel product visual symbol system[J].Journal of Donghua University:SociAl Science Edition, 2007(3):222-223.
37.郭宏.现代符号学纲要[M].上海:复旦大学出版社,2008:79-82.
38. LIU Xiaogang.Branded Apparel Design[M].Shanghai:China Textile University Press。2001:182.
39. QIAN Xin.Discussion on imitation of fashion design[J].Journal of Textile Research,2009,27(4):91—92.
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41.封丽静.服装的社会符号意义及其对人际关系的功效探究[D].苏州:苏州大学,2008.
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60.杨威.关于民族化与职业装设计的思考[J].天津工业大学学报, 2001,20(5):62-64.
61.宋浚,徐东.中国民族服饰的符号特征分析[J].纺织学报,2007(04):100-103.
2.万棣.论民航制服的设计特征[J].装饰,2006(08):118.
3.史珊珊.服装——种审美的社会文化表征符号[J].南方论刊,2006(12):55-56.
4.周锡保.中国古代服饰史[M].北京:中国戏剧出版社,1991:457.
5.吴静芳.服装配饰学[M].上海:东华大学出版社,2004:22.
6.田宝华.酒店职业着装规范性设计的研究[M].西安:西安工程科技学院,2006.
7. Lakoff,G.&Johnson,M.Metaphors We Live By[M].Chicago:The University of Chicago Press,1980:19.
8.刘晓刚.专项服装设计[M].上海:东华大学出版社,2008:165.
9.国家职业分类大典和职业资格工作委员会.中华人民共和国职业装分类大典[M].中国劳动社会保障出版社,1999:9.
10.杨梅.浅析企业形象中的制服效应[J].天津纺织科技,2002,40(1):53-55.
11.楼海洋.价值经济时代的企业CI观念[J].新美术,2005,26(03):90-91.
12.鹏力.动感:酷炫时代的肢体印象[M].新疆:新疆人民出版社,2004:6.
13.冯洁.酒店制服的功能设计与实现研究——当代中国酒店制服现状调查分析及对策[D]. [硕士学位论文].南京:南京艺术学院,2003.
14.张剑峰.职业制服与企业CI文化[J].装饰,2003(07):88-89.
15.吴风.艺术符号美学:苏珊·朗格美学思想研究[M].北京:北京广播学院出版社,2002:29.
16.何新.艺术分析与美学思辨[M].北京:北京时事出版社,2001:67.
17. Ortonny,A. Metaphor and Thought[M].Cambridge University Press,1993:41.
18.周丽丹.基于设计符号学的儿童游乐产品设计研究[D].南昌大学,2008.
19.郭鸿.现代西方符号学纲要[M].上海:复旦大学出版社,2008:52-54.
20.罗越.视觉传达[M].黑龙江科技出版社,1996:60.
21. Yule,G. Pragmatics[M].Shanghai:Shanghai Foreign Language Teaching Press,1996:32.
22. Topolkaraev Shape-memory materials[J].Medical Textiles,2004,(4):6-8.
23.丁瑛.论服饰设计中装饰语言的符号特征[J].现代艺术与设计,2004(03):23-24.
24. Muller Florence.Art & Fashion [M].London: Thames&Hudson Ltd,2000:61-63.
25.张娜.传统元素在服装设计中的创新与整合[J].商业文化(下半月), 2010,(6):271.
26.马强.分析传统装饰符号在现代环境艺术中所体现的符号特[J].2006, (12):88-89.
27.胡亚兵.剪纸艺术在服装设计中的运用[J].内江科技,2007,28(05):43-44.
28.胡飞,杨瑞.设计符号与产品语意:理论、方法及应用[M].中国建筑工业出版社,2003:1-2.
29.王思琪.符号学中的能指和所指在服装设计中的体现[J]。美术之友,2008,(2):98-99.
30. Steinberg, D.Psycholinguistics.Language, Mind and Word [M].New York: Longman,1984:18.
31.辛海霞.后现代服饰设计中装饰元素符号学研究[D].青岛:青岛大学,2007.
32.薛青.设计符号学及其在观光缆车造型设计中的应用研究[D].北京:中国地质大学,2008.
33.封丽静.服装的社会符号意义及对人际关系的功效探究[D].苏州:苏州大学,2008.
34.鲁闽.传统服饰与现代制服设计的比较[J].装饰,2003(03):68.
35.肖劲蓉.论服装中设计元素的符号化. 2010,31(11):122-125.
36. LI Jun,LIU Xiaogang,CAO Xinojie.Study of the apparel product visual symbol system[J].Journal of Donghua University:SociAl Science Edition, 2007(3):222-223.
37.郭宏.现代符号学纲要[M].上海:复旦大学出版社,2008:79-82.
38. LIU Xiaogang.Branded Apparel Design[M].Shanghai:China Textile University Press。2001:182.
39. QIAN Xin.Discussion on imitation of fashion design[J].Journal of Textile Research,2009,27(4):91—92.
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