근대 그래픽디자인의 선 표현에 있어 동양의 영향

Abstract

The concept of ‘Design’ was formulated in modern society and from the Industrial Revolution to the World War, the graphic design has changed its formative method continuously in order to cope with a new social environment. Formative features of artistic posters and Art Nouveau are completely contradictory to previous expressions. Linear expressions of the modern graphic design could be considered as a product of various trials and attempts for a new artistic expression suitable for mass production and still reflecting the modern features. Such linear expressions were developed under heavy influence of the Orient, including Japonism and inspired many modern designers of the West. This new expression started to transform itself to have a geometrical formative feature, required in industrialization society. Transformation of organic curve expressions to geometrical linear expressions, observed in the Glasgow School and the Succession at the early 20th was also found to be influenced by aesthetical expressions of the Orient. Such trend of the modern graphic design has been also reflected on the design foundation of Bauhaus. Johannes Itten and Wassily Kandinsky, who exerted tremendous influences on design philosophies of Bauhaus, aiming for both subjectification and standardization, were also heavily inspired by philosophy and formative expressions of the Orient and it could be easily seen from their works. Their geometrical formative expressions, which are the ultimate product of expression simplification, shows what the modern graphic design truly aims for. As stated above, linear expressions of the Orient has a significant influence over formative expressions and philosophies of the modern graphic design and therefore, it would be reasonable to assume that artistic expressions of the Orient have significantly contributed to development of the modern graphic design.