Morfologias da Moda: ensaios analíticos do estilo gráfico da figura de moda e possíveis contribuições ao ensino de artes
The dissertation aims to investigate the presence of visual style in the drawing and illustration of the student and the professional who works or will work directly with the graphic expression of the human figure applied to fashion and the forms that these contents are approached in the differen...
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| Formato: | Dissertação |
| Idioma: | pt_BR |
| Publicado em: |
Brasil
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| Endereço do item: | https://repositorio.ufrn.br/jspui/handle/123456789/27514 |
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| Resumo: | The dissertation aims to investigate the presence of visual style in the drawing and
illustration of the student and the professional who works or will work directly with the
graphic expression of the human figure applied to fashion and the forms that these
contents are approached in the different levels of art teaching. The need to catalog
the world as an authentic vehicle for the knowledge of truth is an inherent
characteristic of one's own reasoning ability. Even behind the study of such
subjective subjects as history, aesthetics and the theory of the arts, logical-analytical
thinking is necessary for the development and better understanding of its specific
contents. By analyzing and comparing the different categories, chains or schools of
basic styles, a better understanding of the multiple profiles found in them is possible,
even if they seem to sometimes seem to be incoherent, since they depend on
individual external influences and peculiar to each one, as well as the means used. In
the visual arts, style is the ultimate synthesis of all forces and factors, unification,
integration of numerous decisions and degrees. At the first level is the election of the
medium and the influence of this medium on form and content. We then have the
purpose, the reason why something was done: for survival, for communication, or for
personal expression. The present realization presents / displays a series of options:
the search of compositive decisions by means of the election of elements and the
recognition of the elementary character; the manipulation of the elements through the
election of appropriate techniques. The end result is an individual expression, even
though it sometimes appears as collective; directed by most of the above mentioned
factors, but mainly and deeply embedded by what is occurring in the social, physical,
political and psychological environment, spaces that are crucial to everything we do
or express visually. I investigate the perceptive influence of external forces on the
realization of any class of visual objects and on the expression of ideas. Thus, one
must take into account physiological conditions and social conditions, as well as
group behavior; because these aspects also have an enormous influence on
perception and expression. Politics, economics, the environment, and social
schemas together create a group psychology. These same forces, which give rise to
individual languages in verbal use, combine in visual mode to create a common style
of expression. Following these concepts, we propose a way of classifying the visual
style of the figure for fashion, not emphasizing the spelling in the style of the clothing
itself, but without despising it, since it is inserted within the trilogy fashion-style-art
and their different forms of presentation; being part of the reflection of his time and
his society, as well as the visual style applied to the fashion figure and the purposes
for which it is intended, and not to the design or design, within the different
professions that require its use. I focus on aspects of graphic expression in fashion
and its presence and use in the teaching of fashion in the different levels of
education, through the visual arts, checking the means (dry or liquid), namely
drawing or painting, using the tools that are use for this, varied materials, including
the natural / local in mixed techniques. Scribers, cut out, built, pasted or virtual also
as relevant items. |
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