조형요소와 원리를 적용한 네일아트 디자인 = Nail art design apply the elements and principles of formative art

국문 초록 (Abstract)

최근 여성들은 경제성장으로 인한 문화수준 향상으로 패션과 미용의 소비생활을 적극적으로 즐기고 있으며 미용 분야 중 네일아트는 손톱 위 좁은 공간에 개성을 표현할 수 있는 패션의 가장 강력한 액세서리로 자리 잡고 있다. 이에 따라 네일샵을 찾는 고객들은 창조적이고 유니크한 디자인을 필요로 하지만 현재 네일 아티스트들은 모방의 수준에 있어 고객들의 만족도를 높이기 위해서는 개성 있는 네일아트 디자인 개발이 필요하다. 따라서 본 연구의 목적은 모든 디자인의 기본이 되는 조형요소와 원리를 적용한 네일아트 디자인을 제시하여 창조적인 네일아트 디자인 발상에 기여하고자 한다.
연구방법은 전문서적과 인터넷 자료, 선행연구 등을 조사하여 조형요소와 원리의 개념 및 사례, 네일아트의 개념 및 표현기법들을 분석한 후 조형 요소와 원리를 적용한 네일아트 디자인 8작품을 제작하였다. 네일아트 기법은 네일샵에서 가장 많이 사용하는 핸드페인팅, 마블, 시스루, 에칭, 엠보, 패치, 오브제 기법을 적용하였다.
본 연구를 통해 얻은 결론은 다음과 같다.
첫째, 작품 Ⅰ은 조형요소의 점과 조형원리의 대칭적 균형을 적용한 작품으로 대칭의 특징을 표현하기 위해 오브제 재료인 찡(스터드)를 이용하여 모티브가 된 이집트의 액세서리 이미지를 표현하였다.
둘쨰, 작품 Ⅱ는 조형요소의 점, 선, 면과 조형원리의 비대칭적 균형을 적용한 작품으로 비대칭의 특징을 표현하기 위해 핸드페인팅기법을 이용하여 기하학적인 도형을 그려 민족의상의 에스닉(Ethnic)문양을 표현하였다.
셋째, 작품 Ⅲ은 조형요소의 점, 선, 면과 조형원리의 방사 대칭적 균형을 적용한 작품으로 고스(Goth)의 어두운 이미지를 표현하기 위해 시스루 기법과 핸드페인팅 기법을 사용하여 방사대칭을 블랙으로 그렸고 오브제 골드색 찡(스터드)을 이용하여 어두움속의 아름다움을 표현하였다.
넷째, 작품 Ⅳ는 조형요소의 점, 선, 면과 조형원리의 강조(색)를 적용한 작품으로 퓨처리즘(Futurism) 이미지를 위해 마블기법으로 우주의 느낌을 표현하였고 조형원리 중 강조(색)의 특징을 표현하기 위해 우주배경과 반대색인 주황색을 선정하여 행성을 엠보기법으로 사용하여 주목성을 높였다.
다섯째, 작품 Ⅴ는 조형요소의 점과 조형원리의 강조(모양)를 적용한 작품으로 서로 다른 두 도형을 배치하여 주가 되는 도형보다 소수의 도형이 강조되는 디자인으로 오브제인 네모 스톤과 별 스톤을 사용하여 유니크(Unique)하게 표현하였다.
여섯째, 작품 Ⅵ은 조형요소의 점, 면과 조형원리의 강조(크기)를 적용한 작품으로 핸드페인팅 기법과 에칭 기법을 사용하여 디자인 하였고 클래식(Classic)한 이미지를 표현하기 위해 서로 반대색상인 브라운 컬러와 블루 컬러를 사용하여 크기를 강조하였다.
일곱째, 작품 Ⅶ은 조형요소의 선과 조형원리의 리듬을 적용한 작품으로 현대적이며 모던(Modern)한 이미지를 표현하기 위해 무채색인 흰색, 검정, 회색을 선택한 후 패치기법을 사용하여 리듬감 있게 표현하였다.
여덟째, 작품 Ⅷ은 조형요소의 면과 조형원리의 통일을 적용한 작품으로 전체적으로 페미닌(Feminine)한 이미지를 표현하였고 도형의 색과 배치를 통해 통일성을 느낄 수 있다.
위와 같은 연구 결과를 통해 조형요소와 원리를 적용한 창의적이고 독창적인 네일아트를 제시할 수 있었다. 이번 연구가 조형예술의 한 분야로 다양한 네일아트가 활용되길 바라며 네일 아티스트들에게 창조적인 네일아트를 하는 데 기초 자료로써 도움이 되길 바란다. 또한 향후 네일아트의 다양한 소재와 디자인을 연구하여 네일 산업의 발전과 K-Beauty의 중심으로 성장하길 기대한다.

목차 (Table of Contents)

• 국문초록 ··············································································· Ⅷ
• Ⅰ. 서론 ················································································· 1
• 1. 연구의 필요성 및 목적 ·················································· 1
• 2. 연구 내용 및 방법 ························································ 3
• Ⅱ. 이론적 배경 ····································································· 4
• 1. 조형요소 개념 및 디자인 사례 ···································· 4
• 1) 점 ·················································································· 4
• 2) 선 ·················································································· 8
• 3) 면 ················································································ 12
• 2. 조형원리 개념 및 디자인 사례 ·································· 14
• 1) 균형 ············································································· 15
• 2) 강조 ············································································· 17
• 3) 리듬 ············································································· 19
• 4) 통일 ············································································· 22
• 3. 네일아트 표현 기법 ····················································· 24
• 1) 핸드페인팅 ································································· 24
• 2) 마블 ············································································· 25
• 3) 시스루 ········································································· 26
• 4) 에칭 ············································································· 26
• 5) 엠보 ············································································· 27
• 6) 패치 ············································································· 28
• 7) 오브제 ········································································· 29
• Ⅲ. 작품제작 및 분석 ·························································· 31
• Ⅳ. 결론 ················································································· 49
• References ··········································································· 52
• Abstract ················································································· 58