The 4 th National Academic Conference And International Creative Exhibition (2022) International Art and Designs Collaboration Exhibition 2022 Theme: Transforming the Country through Art, Culture and Innovation บทความประกอบผลงานสร้างสรรค์ นิทรรศการแสดงผลงานสร้างสรรค์นานาชาติ ครั้งที่ 4 ประจำปี 2565 ในโครงการประชุมวิชาการระดับชาติและนิทรรศการแสดงผลงานสร้างสรรค์นานาชาติ ครั้งที่ 4 ประจำปี 2565 ภายใต้หัวข้อ : ศิลปะ วัฒนธรรมและนวัตกรรมพลิกโฉมประเทศ
The 4 th National Academic Conference And International Creative Exhibition (2022) “Theme: Transforming the Country through Art, Culture, and Innovation” The 4th National Academic Conference and International Creative Exhibition (2022) is organized to serve as a platform for the exchange of academic knowledge and creative works between artists, art instructors, art students, and other arts enthusiasts specializing in the various areas of visual arts, architecture, design, and other allied fields. The theme of the event changes every year, in response to foregoing trends, issues, and ideologies. This project is made possible through the cooperation of four universities collectively referred to as the 4U PLUS Network – dedicated to the pedagogy of arts and design. The 4U Network consists of: Prince of Songkhla University – Faculty of Fine and Applied Arts (Pattani Campus); Dhurakij Pundit University – Faculty of Fine and Applied Arts; Burapha University – Faculty of Fine and Applied Arts; and Bunditpatanasilpa Institute – Faculty of Fine Arts. The event will provide artists, art instructors, art students, and other arts enthusiasts an opportunity to present their academic researches (during the Academic Conference) and/or exhibit their creative works (at the Creative Exhibition) to the public. Submitted works will be scrutinized by a review committee which consists of national experts before presentation and/or exhibition. Universities, organizations, institutes, individual artists and designers from Malaysia, Indonesia, Singapore, China, Republic of Korea, Taiwan, India, Italy, and our partner organizations from other parts of Asia and Europe will also be invited to present their academic researches and/or exhibit their creative works. This event will be a splendid opportunity to engage in the development artistic heritages and to experience the rich artistic and cultural exchanges through the exhibition, publication, and networking of art works and researches from local, national, and international artists.
โครงการประชุมวิชาการระดับชาติและนิทรรศการแสดงผลงานสร้างสรรค์นานาชาติ ครั้งที่ 4 ประจำปี 2565 ภายใต้หัวข้อ : ศิลปะ วัฒนธรรมและนวัตกรรมพลิกโฉมประเทศ (Transforming the Country through Art, Culture and Innovation) โครงการประชุมวิชาการระดับชาติและนิทรรศการแสดงผลงานสร้างสรรค์นานาชาติ ครั้งที่ 4 ประจำปี 2565 จัดขึ้นเพื่อเป็นเวทีแลกเปลี่ยนความรู้ด้านผลงานสร้างสรรค์ระหว่างศิลปิน คณาจารย์ และ นักศึกษา ทั้งงานด้านศิลปกรรมทุกแขนง งานสถาปัตยกรรม และงานการออกแบบในสาขาศิลปะอื่น ๆ ภายใต้ หัวข้อที่กำหนดในแต่ละปี โครงการฯดังกล่าวเป็นผลสืบเนื่องมาจากความร่วมมือของมหาวิทยาลัยทั้งจากภาครัฐและ ภาคเอกชนที่มีการเรียนการสอนด้านศิลปะและการออกแบบประกอบด้วย คณะศิลปกรรมศาสตร์ มหาวิทยาลัยสงขลานครินทร์ วิทยาเขตปัตตานี คณะศิลปกรรมศาสตร์ มหาวิทยาลัยธุรกิจบัณฑิตย์ คณะ ศิลปกรรมศาสตร์ มหาวิทยาลัยบูรพา และคณะศิลปวิจิตร สถาบันบัณฑิตพัฒนศิลป์ (ภาคีเครือข่าย 4U PLUS) โดยมีจุดมุ่งหมายของโครงการเพื่อเป็นเวทีให้คณาจารย์ นิสิต นักศึกษา และบุคคลผู้สนใจ ได้นำเสนอผลงาน ทางวิชาการและผลงานสร้างสรรค์ด้านศิลปกรรม ผลงานด้านการออกแบบ ต่อสาธารณชน ในรูปแบบของการ จัดประชุมวิชาการและการจัดแสดงนิทรรศการ โดยผลงานที่นำเสนอและจัดแสดงจะผ่านการพิจารณาจาก ผู้ทรงคุณวุฒิระดับชาติ การจัดทำโครงการครั้งนี้ นอกจากเป็นการสร้างความร่วมมือของ 4 สถาบันแล้ว ยังมี องค์กร สถาบันศิลปะ และศิลปินนักออกแบบจากต่างประเทศทั้งในทวีปเอเชียและยุโรปส่งผลงานเข้าร่วม นำเสนอ อาทิ มาเลเซีย อินโดนีเซีย สิงคโปร์ จีน สาธารณรัฐเกาหลี ไต้หวัน อินเดีย อิตาลี ฯลฯ ซึ่งนับเป็น โอกาสสำคัญที่จะก่อให้เกิดการแลกเปลี่ยนองค์ความรู้ ประสบการณ์ และวัฒนธรรม ในการสร้างสรรค์ผลงาน การออกแบบในลักษณะต่าง ๆ อันจะเป็นประโยชน์ต่อการพัฒนางานวิชาการด้านผลงานสร้างสรรค์ต่อไปใน อนาคต
รายชื่อผู้ทรงคุณวุฒิผู้ประเมินบทความ (Peer Reviewers) Mr.Somsak Chowtadapong National Artist for Visual Arts (Painting) อาจารย์สมศักดิ์ เชาวน์ธาดาพงศ์ ศิลปินแห่งชาติ สาขาทัศนศิลป์ (จิตรกรรม) Associate Professor Dr. Chaiyasit Dankittikul Expert Evaluator for Architecture รองศาสตราจารย์ดร. ชัยสิทธิ์ ด่านกิตติกุล ผู้เชี่ยวชาญด้านสถาปัตยกรรมศาสตร์ Associate Professor Prasert Pichayasoonthorn Expert Evaluator for Visual Arts รองศาสตราจารย์ประเสริฐ พิชยะสุนทร ผู้เชี่ยวชาญด้านทัศนศิลป์
สารบัญ 1. KLONG PAKPID BAG……………………………………………………………………………….…………………………..1 Jakrapan Suraprasert 2. From virtual reality to virtual realized--"Metaverse" and art with metaverse ……….…...8 LIN ZHU 3. Harmony and Simplicity: The Creation of Experimental Sculpture ……….………………….12 Lung-Chi Lin 4. Colour Lifeye of Cats: Montage to Imagery Record of Digital Arts ……………………..……..20 Shian-Heng Lee 5. Face Mask Brace Prototype Design by RecycledMaterials …………………………………………..27 Yu-Pei Kuo 6. ความสวยงามของความไม่สมบูรณ์................................…..…………………………………………………........34 ฐานิญา รวิชวกรณ์ 7. การพัฒนาผลิตภัณฑ์สินค้าแฟชั่นไลฟ์สไตล์สำหรับ Gen Z จากผ้าขาวม้าทอมือกรณีศึกษา ชุมชนนา หมื่นศรี อำเภอนาโยง จังหวัดตรัง…………………………………………………..………….…………………………..40 กมลศิริ วงศ์หมึก 8. BitBrain Cards Game ปูรากฐานความคิดสร้างสรรค์สู่จักรวาลนฤมิต………………………..……………..49 ทิพย์ลักษณ์ โกมลวณิช 9. รู้อนันต์………………………………………………………………………………………………………………………………..58 โกเมศ กาญจนพายัพ 10. การพัฒนาเครื่องแต่งกายบุรุษจากผ้ามัดย้อมสีเปลือกโกงกางด้วยแนวโน้มการออกแบบแฟชั่นฤดูกาล ใบไม้ผลิและฤดูร้อน 2022…………………………………………………………………………………………………..63 กมลวรรณ พัชรพรพิพัฒน์ สารสุข 11. ความทรงจำอีกฟากแม่น้ำ....................................………………………………………………………….………..70 กฤติน ดลภักนิยมกุล 12. การออกแบบการแสดงอารมณ์ด้วยสายตาสำหรับหุ่นยนตร์บริกร……………………………………….……..73 กิรติ ศรีสุชาติ 13. การสร้างสรรค์ผลงานศิลปะชุด “วัฏจักรของชีวิต”….……………….……………………………………………..78 เกรียงไกร กงกะนันทน์ 14. “เรื่องเล่าจากอุมมี”………………………………….……………………………………………………….………………..84 คีต์ตา อิสรั่น 15. รูปร่างบนเรือนร่าง….……………………………………………………….……………………………………………..…..93 จารุวรรณ นครจารุพงศ์
สารบัญ (ต่อ) 16. โครงการปรับปรุงโรงเรียนสอนโยคะฟลาย…………………..…….………………………….……………………..100 จิณณ์ธิศา สุระประเสริฐ, ธนิต จึงดำรงกิจ 17. “จินตนาการสิ่งมีชีวิตสายพันธุ์ใหม่”……………………………………………..………………….…………………106 ชยันต์ พลอาสา 18. การสร้างสรรค์ลวดลายสีสันแห่งป่าฮาลา-บาลา………………………………………..…………………………..110 ชิสา สุวรรณนาวิน 19. ในห้วงแห่งมนต์เสน่ห์อารยธรรมจีนโบราณ………………………….……………..………………………………..117 ณธกร อุไรรัตน์ 20. การสร้างสรรค์งานศิลปะจากผ้าทอนาหมื่นศรี จ.ตรัง………………………………………….………..………..124 ณมณ ขันธชวะนะ 21. กามกิเลส………………….……………………………………………………….……………………………………………..131 เด่นพงษ์ วงศาโรจน์ 22. Mine – Mask - Me ………………………….…………………………………………………………………………….137 ทรงเกียรติ ภาวดี 23. การสร้าง Wearable สำหรับ Metaverse ……………………………………….………………………………..144 ทักษิณา พิพิธกุล 24. การพังทลายของโลกใบเก่า……………………………………………….………………………………………………..151 ธนพร งามจิตร 25. สื่อวีดีทัศน์ “จิตรกรรมดิจิทัลสันนิษฐานจากจิตรกรรมฝาผนังอุโบสถวัดชมภูเวก (ภาพมารผจญ)”……..154 ธนพล จุลกะเศียน 26. จิตรกรรมญี่ปุ่น คิจิมะ เรียวกัง จากภาพยนตร์เรื่อง เคท 2021……………………………..……..…..……..161 ธรรมศักดิ์ เอื้อรักสกุล 27. มิติสัมพันธ์แห่งชีวิต….………….…………………………………………….……………………………………………..169 นพอนันต์ บาลิสี 28. การออกแบบจดหมายข่าวสภาคณบดีคณะสถาปัตยกรรมศาสตร์แห่งประเทศไทย……………………..178 นลินา องคสิงห 29. การสะท้อนจิตใจมนุษย์ผ่านภาพประกอบเวกเตอร์………….…………………………………..………………..185 นิภัทร์ ปัญญวานันท์ 30. สติ ความกลัว และที่ว่าง..............………………………………….………………………..……………….…………190 ปรวรรณ ดวงรัตน์ 31. ภิกษุ……………………..………………………………………………………….……………………………………………..200 ประชารักษ์ วงษ์ศรีแก้ว
สารบัญ (ต่อ) 32. การออกแบบเครื่องแต่งกายบุรุษเพื่อพัฒนาสินค้าชุมชนโดยใช้แนวคิดการออกแบบจากศิลปะรูปแบบ เมมฟิส: กรณีศึกษาผ้าขาวม้านาหมื่นศรีอำเภอนาโยง จังหวัดตรัง…….…………………………….………206 ปรัชญา พิระตระกูล 33. ลีลาวิถีชีวิต………………………………………………………………………………..………………………….…………214 ปัทมาสน์ พิณนุกูล 34. มิติแห่งความสงบร่มเย็น…………………………….…………………………………………………………….………..219 พงศกร ฉิ่งกังวานชัย 35. ชุดการเรียนรู้ “ถอดรหัสฮูปแต้มสู่การออกแบบผลิตภัณฑ์”…….……………………………………….……..223 พชร วงชัยวรรณ์, อินทิรา พรมพันธุ์ 36. ลวดลายอัตลักษณ์: ท่าฉลอม…………………………………………….………………………………………………..231 พรพิมล ศักดา, ชฎาพร ศรีรินทร์ 37. ละครทดลองในห้องทดลอง:กระบวนการสร้างสรรค์ละครเวทีเรื่อง Laboratory..……………………..235 พลฤทธิ์ สมุทรกลิน 38. เส้นและสีแสดงภาพลักษณ์เคลื่อนไหว….…….…………………….……………………………………….………..242 พิบูลย์ มังกร 39. “น้ำต้น” : เครื่องประดับเงินเชิงวัฒนธรรมล้านนาสไตล์……………………………………….…….….………250 ภาณุพงศ์ จงชานสิทโธ 40. การออกแบบคาแรคเตอร์ดีไซน์ : The Vengeance …………….…………….……………….………….……258 ภาณุวัฒน์ เสงี่ยม 41. งานสร้างสรรค์ออกแบบเครื่องแต่งกายชุดประจำชาติสุภาพบุรุษ ถิ่นสยาม จังหวัดสุราษฎร์ธานี 2556……………………………………………………………………………………………….……………………………..266 ยุทธนา บุญอาชาทอง, เบ็ญจมาภรณ์ สุธิราวุธ 42. The crazy twisted antagonists ………………………………………………….………………………………..273 วัชรพล หงษ์ทอง 43. ความสุขในความไม่สมบูรณ์แบบ……………………………….………………………………………………………..280 วัชราพร ศรีสุข 44. การออกแบบสปาและนวดแผนไทย “สาทร สปา”…..…….…….………………………………………………..285 ศรีดารา ติเพียร 45. การออกแบบตัวละครสำหรับว็อกเซลเกม………………….………………………………………………………....293 ศิริเดช ศิริสมบูรณ์ 46. ร่องรอยของความโดดเดี่ยว……………………..……………………………………………………….…………………299 สิทธิธรรม โรหิตะสุข
สารบัญ (ต่อ) 47. การสร้างสรรค์ผลงานศิลปะชุด “ขอให้เราโชคดี”…………………………………………..……………………..306 สิริภา จันทะบูลย์ 48. จิตรกรรมและหนังสือกรีด (Flipbook) จากจินตนาการแห่งความทรงจำที่สะท้อนความสุขความรัก และความผูกพัน………………………….………………….………………………………………………………………..312 สุทธาสินีย์ สุวุฒโฑ 49. ภาพร่างเพียงรางเงา………………………………………….………………………………………….…………………..320 สุพจน์ ศิริรัชนีกร 50. “ช้าง” การอนุรักษ์ในภาวะการณ์ปัจจุบัน………………………………………………………………..…………..325 สุวดี ประดับ 51. ถอดรหัสอัตลักษณ์ไทยร่วมสมัย…………..……………………………………………….……………………………..330 อรทยา สารมาศ 52. ปอดกลางเมือง…………………………………..……………………….…………………..………………………………..338 อุกฤษ วรรณประภา 53. จิตรกรรมสีน้ำ กวนเกษียรสมุทร………………………………………………………………………….………….…..343 เอกราช วรสมุทรปราการ
1 KLONG PAKPID BAG Jakrapan Suraprasert Fashion Design and Fashion Business, Faculty of Fine and Applied Arts, Dhurakij Pundit University E-mail : [email protected] Abstract This study was initiated by the Klong Pakpid Ecotourism Community under the brand, Faculty of Fineand Applied Arts, Dhurakij Pundit University, sponsored by Pracharath Rak Samakkhi Company, Thai Beverage Limited (Public Company), ISA Project has organized a project to develop tie-dyed fabrics as a guideline to increase customer groups and restore tourist attractions to the community by the guidelines for the design of tie-dye fabric products has used the new community-created tie-dye fabric patterns in the design creating an identity for the productwhich focuses on the bag design. Because it is a product that the community has experience and can produce themselves by incorporating the form of sports product pattern into the design. After visiting the area of preliminary information study at the Klong Pakpid Ecotourism Community, it was found that the community has the potential to dye cloth from the mangrove bark that has been passed down from old to new generation. It has a distinctive identity from the newly developed mud cloth pattern and having the ability to sew from basic templates and produce in different types of products. Therefore, the researcher uses a sporty style to design a variety of bag products for the community. Keywords: tie-dye fabric, bag product, sport style 1. The importance or background of the problem Tourism or tourism industry in local communitybecomes a tourism industry that has expanded the territory of economic activities closer to the way of life of the community while the country's trend is experiencing economic problems, it affects the development of various sectorsincluding the tourism industry that has formerly become the main industry that earns the top income of the countrycausing the tourism of Thailand to be affected by the crisis therefore, in solving the problem of tourism the government has formulated a policy to strengthen the key strategies to promote greater strength, giving more importance to community-based tourism. From the announcement of Thai styles tourism as the national
2 agenda, there is a community-based tourism strategic plan for developing community-based tourismin a sustainable direction. This includes upgrading the potential of the resources that the community has existedmore valuable and can make the entrepreneurs still stay incommunity-based tourism. That is the community doing tourism activities from human resources, natural resources, way of life, local wisdom, culture and good traditions of the locality in order to create added value for the ecotourism community entrepreneurs while bringing rural lifestyle and traditional culture as a selling point including products made from the use of raw materials and craftsmanship of people in the community are becoming interesting to tourists. (Tourism Authority of Thailand, 2020) Prachuap Khiri Khan Province has many natural attractions, abundant with beautiful nature, unique localities that have prospered from the past, invaluable folk culture, simple lifestyles, there are charming tourists attracting with a variety of folklores. There are natural raw materials such as mangrove bark, mangrove leaves and seed from the mangrove forest that can be used to make fabric dyes then the dyed fabric can be developed into various forms of products. After visiting Klong Pakpid ecotourism community, it is located at Moo 1 Ban Fay Tha, Tumbol Phongprasat, Bang Saphan District, Prachuap Khiri Khan Province. It is a natural learning resource. There are tourism promotion activities such as kayaking, seeing the nature of the mangrove forest. This is a good eco-tourism attraction suitable for everyone who loves nature moreover, there are also activities and products made from mangrove dyed fabrics such as bags, hats and shirts.But at the present, product development has been halted due to the COVID-19 pandemic situation and the nature of the pattern with the tiedye pattern look similar to that of other communities. Thesemake tourists and consumers unable to remember the original products of this community affecting new pattern development of tie-dye fabrics by the cooperation project between Just Piangpordee× FADPU Faculty of Fine and Applied Arts Dhura kij Pundit University, sponsored by Pracharath Rak Samakkhi Company, Thai Beverage Limited (Public Company) and ISA Project. And in order to forward identity of the cloth dyed pattern from the bark and leaves of the mangrovein a new style to be remembered therefore, the researcher has applied the concept of designing a modern sporty product for expanding the customer groups and generate incomes for the Klong Pakpid Ecotourism Community.
3 2. Related Concepts and Theories 2.1 Tie dye with mangrove bark Tie-dyeing is to cause the fabric to become colored or to create various marks using techniques of making patterns by tying, folding, sewing and other equipment to the desired pattern which has been around since ancient times.Each area will be different depending on the culture of each area and various environments affecting the raw materials for making tiedye fabrics as well. For the area, Pak Nam Pran Subdistrict, It has been tied to dyed calico since the past, the raw materials used for dyeing are bark tree in mangrove forest that are easily found in areas such as mangrove bark. The process of tie dyeing calico with mangrove bark of Pak Nam Pran sub-district villagers in the past. It starts by smashing the bark of the mangrove tree from the trunk to be used as a raw material for tie dyeing calico. When smashing the bark of the mangrove tree, it will bring the muddy soil under the base of the tree and to mask the area of the trunk where the bark was beaten It is believed that it will help the mangrove trees to regenerate the bark. It is the utilization of resources while caring and maintaining that resource as well. When the mangrove bark is obtained, it is cut and boiled until the color of the mangrove bark turns brown so bring the calico to boil until the desired color is obtained. Then take the calico from the boiler, wash and dry it. Most of the calico tie-dyeing in the Pak Nam Pran sub-district often tied dyed calico for making sails and fishing in the past as has been presented on the sailing ships in the past week. It is not a tie-dyeing garment like in other areas. As a result, the tie-dyeing with mangrove bark has disappeared from the present Pak Nam Pran Sub-district along with changing fishing practices when the sailboat is not used in fishing then the tie-dye here that was lost as well. Picture 1 Mangrove bark Source : https://www.facebook.com/SirinartCenter
4 Picture 2 Tie-dye Source : https://www.facebook.com/SirinartCenter Picture 3 Traditional fabrics and tie-dye products of the community Source : https://www.facebook.com/productofbangsaphan Picture 4 Mud-dyed fabric pattern Source : https://www.facebook.com/productofbangsaphan 2.2Principles in product design (SakornKanthachot, 1985 :34-35) must take into accountsas follow: 1. Functional utilization should be designed to have the function of correct use according to the goals set. 2. Safety is the design that must take into account the safety of the user, such as contains no potentially life-threatening toxins.
5 3. Strength, the product should be designed to have a strong structure and taking into account the savings. 4. Convenience to use, in product design should take into account the proper proportion of use. 5. Beautifulness and usable product, it should be designed to be exquisite, which makes it attractive to use. 6. Reasonable price, designers should take into account the use of materials and easy and convenient production methods. 7. Repairment should be designed to be easy to fix. 8. Materials, should use materials that are suitable for the job, easy to buy, and the price is suitable for the type of product. 9. Production process, It should be designed to be able to produce easily, quickly, saving materials, saving labor costs and other expenses. 2.3 Bag product form 1. Tote Bag, a bag designed for walking, playing at the beach, go shopping, or any time when you're going outside, usually the bags are large and have two handles. 2. Backpack, the form of use is suitable for carrying on the back. The highlight of the bag is having 2 straps for shoulder on both sides. Sometimes you may find these words used to call this type of bag as well as Rucksack, Knapsack, Packsack, Pack or Bergen. 3. Baguette, the shape of the bag is long like a French bread, the body of bag is usually longer than the height. Most are found in small-medium sized bags. 4. Box Bag, the shape looks like a normal box. There are both square and round forms. The bag has a hard texture. Most of them are designed for small to medium sized bags. 5. Bucket Bag, the shape looks like a bucket, may have a handle, sometimes it may be combined by bringing a tote bag to decorate. 6. Change Purse, it includes a wallet with a compartment for changing coins. 7. Clutch Bag, a small handbag without straps or handles. Most shapes are wider than heightand often have an open-close at the top of the bag. The style is designed to be used both day and night event including on the occasion of parties as well. Most of them are clamped under the armpits or held normally.
6 8. Demi Handbag, a handbag with a handle or shoulder strap on top, where the shoulder strap or handle is long enough to be worn over the shoulder but it's not as long as a handbag. 9. Drawstring bag, to open and close by swiping and loosening the straps. 10. Hip/Waist Bag, this bag is designed to have a strap or belt for fastening around the waist. 11. Flap Bag (Fold Over Lap Bag), this bag has a protruding part outside the bag to be used to fold down to open and close the bag. 12. Hobo Bags, most are designed for shoulder bags medium-large sizes when looking down from the top of the bag will be seen as shaped like a crescent moon. The shoulder straps are medium to very long then giving the bag a wrinkled look. 13. Pocket Book, the shape is flat and foldable for putting money or personal documents, cards such as business cards or credit cards, etc. 3. The process of creating 3.1 Searching information about bag products. 3.2 Analyzing of mud dyeing fabrics. 3.3 Choosing a design approach by presenting the mud-dyed fabric pattern through the bag form of sporty pattern. 3.4 Creating prototypes through adobe illustrator program. 4. Analysis of the results Picture 5 Klong PakpidBag Source : Assistant Professor ChakphanSuraprasert/ The 1st IADCE2019, 17-24 May 2019/(p.)
7 From the design of bags made from tie-dyed fabrics with mud-dyed fabric pattern of Klong Pakpid community, the designer has combined the bag design concept with sporty materials. The result has resulted in a bag style that is different from the original style of the communityboth in terms of the identity of the fabric and sportiness. 5. Summary The guidelines for bag design made from tie-dyed fabrics with mud -dyed fabrics with mud-dyed fabric pattern of Klong Pakpid community, it can help to develop a product that is different from the original, to create new customer groups and can also increase more income for the community. References ArunWanichkorn. (2016). Local product design. Bangkok: Chulalongkorn University Press. www.bagpig.com www.facebook.com/productofbangsaphan www.facebook.com/SirinartCenter PanchatInkong. (2017). Cultural Product Design. Bangkok: Unlimited Printing. WatcharinCharungjitsunthorn. (2005). Principles and concepts of product design. Bangkok: APPA Printing Group.
8 From virtual reality to virtual realized --"Metaverse" and art with metaverse LIN ZHU Address, City and Postcode, Country, Dhurakij Pundit University Bangkok Thailand Email : [email protected] Abstract The design of the work is a poster design that expresses the idea of metaverse and "meta-cosmology" of the art. The inspiration for the creation of this poster is that since 2021, a new "metaverse" with the nature of science and technology mythology was born. This new virtual world that transcends the real world and is parallel to the real world. The new science, new technology, new material, and new power represented by the "metaverse" are becoming the in vitro extension of human life. It will change the course of human civilization with incredible breadth, depth, and speed. The Metaverse also affects the creation of art. Although it is still in its initial stage, various trendy arts related to the Metaverse, such as VR art, game art, AI art, immersive art, and NFT art, have sprung up one after another. The author wants to use poster design to express my creative theme - the new space of metaverse and art. In the process of creating this work, the author considered the important elements of the poster: The theme color of the poster is blue for technology and purple for psychedelic. Elements select the inverted building body and the erected mirror surface. This all represents the parallel universes and immersive experiences that the Metaverse emphasizes. The author hopes that through this work, I can bring to everyone the thinking of the metacompilation of art and can open the door of another angle for everyone in artistic creation. Keywords: Meta-cosmology, Virtual reality, AI art 1. Introduction The inspiration for the creation of this poster comes from the fact that since 2021, a new "metaverse" with the nature of science and technology mythology was born. This is a new virtual world that goes beyond the real world and parallels the real world. For this "parallel world", people are full of expectations and doubts. Is it another peak of technological and commercial innovation in human society, or is it a dangerous road for
9 human society to the brink of "collapse” The author believe that no one can answer today and want to take this opportunity to express myself for the Metaverse through an artistic design. The purpose is to attract new ideas, hoping to get more colleagues and friends to think and share. 2. Concepts or principle theories What is the Metaverse? Simply put, it is a digital space that allows people to immerse themselves in a virtual reality situation through the combination of human perception technology and the digital Internet. The increasing affordability and simplicity of AR, VR, and MR devices has allowed more and more people to use the technology to come together to play, socialize, and trade. So, a virtual reality world that is relatively similar to the real world is formed. Therefore, art, as a form of expression that usually pursues "fashion", will naturally be combined with the metaverse. The final result is the metacosmization of art. It is conceivable that the development of the metaverse may bring some new changes to the current art as follows: 1. The Emergence of "Parallel Reality" Art; 2. The Consciousness and Prosperity of "Metaverse Creation"; 3. The development of virtual reality technology has opened up a kind of "immersive art". From this point of view, the creation of the metaverse for a new field of art space is always related to such a new situation. On the one hand, art is no longer a spiritual soul outside the body, but a perceptual soul rooted in bodily experience. From virtual reality to virtual becoming "reality", the Metaverse reverses the relationship between art and reality and reshapes the aesthetic paradigm of art. 3. Process of working In the process of creating this work, the author considered the important elements of the poster firstly. Including the meaning of blue and purple main colors: Blue usually represents the profound thoughts and highly developed technology of human beings. Purple represents the confusion and fantasy of human beings about new things. The realm of the sky in the center of the poster not only represents the virtual into reality, but also represents human beings from the past into the future. At the same time, it is difficult for readers to clearly answer which side is virtual and which side is reality. This is what represents the current state of the Metaverse: both a virtual reality of reality and perhaps a
10 virtual reality. Just as the famous novel "A Dream of Red Mansions" wrote : when the false is true, the true is also false, and there is something inactive and there is nothing. In addition, there are upside-down buildings. This is actually the author's artistic expression of the mirage, a natural phenomenon that is virtualized in reality. It is also a tribute to the classic parallel world artwork such as Inception and Ready player one. Finally, combining these thoughts, I completed this meaningful poster design through Photoshop and Illustrator software. Figure 1 From virtual reality to virtual realized --"Metaverse" and art with metaverse 4. Analysis Because a good poster design must meet the four basic elements of poster design: 1. Sufficient visual impact, which can be achieved through images and colors; 2. The content expressed by the poster is refined and the main appeal points are grasped; 3. The theme font is eye-catching, and the content should not be too much; 4. Generally, pictures are the main, and copy is supplemented. After the author has mastered the theoretical points of poster design, he will carry out creative design. This poster design work fully conforms to the four elements of poster design, the most basic starting point of color, graphics, text and
11 meaning. Let’s analyze by color first: The main colors are blue and purple, giving a technologically advanced yet psychedelic feel. At the same time, the secondary color adopts high-brightness white, which is mainly used to highlight key words. Let’s talk about graphics. In the picture, we use graphics with deep meaning, such as empty mirrors, alien planets, upside-down buildings, technological steps, etc., to make point hints. In addition, in terms of text, adhering to the design concept that the words are not as shown in the picture, the text is minimized. At the same time, a special style font is used to highlight the meaning of the entire poster. Overall, this poster really conforms to the four elements of poster design, and at the same time fully expresses the meaning that the poster wants to tell. 5. Conclusions Throughin-depth research and design thinking, the author finally uses photoshop and IIIustrator software to design this poster which is both sensual and realistic. The author hopes that this poster can help everyone to pay attention to and think about the phenomenon-level situation of the metaverse. I hope that with all the efforts, the concept of the metaverse can be better applied to artistic creation and even social development. I wish the world a better place! References B.S. BrownCommunicate your science!.Producing punchy posters Trends Cell Biol., 6 (1996), pp. 37-39 K.Pearlman, M.Magnano, R.Cameron and S.Visner;Simulation interoperability Report: Securing the Metaverse-Virtual Worlds Need Real Governance; 27 (2021), pp. 406-409 L. Blognini, Diritto Economia e TecnlogiedellaPrivacy: The future of personal data in Metaverse (2020), pp. 138-141 N. Kratay, Information and Communication technologies in tourism 2022: Mixed Reality (MR) for Generation Z in Cultural Heritage Tourism Towards Metaverse; 14(2) (2022), pp.100-104 M.H. BriscoePreparing Scientific Illustrations. A Guide to Better Posters, Presentations, and Publications (second ed.), Springer-Verlag, New York, London (1996), pp. 131-149
12 Harmony and Simplicity: The Creation of Experimental Sculpture Lung-Chi Lin Art & Design at Chinese International College, Dhurakij Pundit University 110/1-4 Pracha Chuen Road, Thung Song Hong, Lak Si, Bangkok, 10210, Thailand E-mail : [email protected] Abstract Creating a sculptural creation with a sense of harmony and simplicity is not stress-free and especially today is a radical change in taste that aspires to become a radical change in art. Artists and designers have explored different creative possibilities in an unpredictable post-pandemic world. In recent years, artists and designers cannot deny the most important issue, which is the importance of making a creation with a sense of harmony and simplicity. In this research on healing people's inner feelings by creating harmonious creations in the Post COVID-19 era, artists and designers have not been fully explored on this important issue, as they should have been doing. Artists and designers have an important and quite daunting role to create a creation for healing people’s anxiety, stressful feeling in the Post COVID-19 era. This article aims to illustrate the process of creating experimental sculptural artworks to facilitate and provide a better understanding dramatic change of the importance of inner peace and harmony in people’s lives. The proposed design method employs a visual research approach, utilizing creative thinking, conceptual processing and experimental works. The purpose of this article is to combine conceptual thinking with material experimentation to create a sense of harmony and simple creation to people's lives. This research delivers practical insights into experimental creation and apply theoretical knowledge, to experiment different media, to explore different creative possibilities, and to adopt Talad Noi: Chinatown as a metaphor to generate visual elements to create a creation. Keywords: Design Concept, Creative Process, Experimentation, Sculpture, Talad Noi 1. Introduction From past to present, sculpture as an artistic expression of visual arts, it conveys specific thoughts and feelings. According to modersculptureartists (2018), the most important sculptural materials are stone, wood, metal, lay, ivory and gypsum. Sculptural materials include clay, wax, stone, metal, fabric, glass, wood, plaster, rubber, recycled materials, ready-made objects, mixed media and more recently digital forms including digital print, light, sound and more. Sculpture integrates a variety of media and gives a visual interpretation through a 3-dimensional form. Most importantly, sculpture can create emotional connections that deliver people with emotional responses, such as relieving,
13 healing and soothing. A captivating piece of sculptural work can provide an emotional connection that people can feel alleviated. Sculptures have always had the tremendous power of delivering a profoundly significant visual message and emotional feelings to people. Rogers (2020) said that sculpture can be natural, man-made, or pure art. It is used to express a wide range of human emotions and feelings, from the calm to the most chaotic, and even the terse simplicity. There is no denying that sculptural creation can deliver an emotional response to humans. In the Post COVID-19 era, people have to deal with both physical and mental problems, such as depression, anxiety and other mental disorders. There is not an exception that artists and designers have been struggling under the threat of the mental disorders. Designers and artists have been trying to find creative ways to deal with their individual situations. Moreover, designers and artists have been trying to make the full use of them to create soothing, inspiring and meaningful artworks which can appeal to people’s inner feelings and bring peace and harmony to life. In the Post COVID-19 era, designers and artists have the potential to assist people in developing the capability to heal fear, anxiety and worries. The importance of calmness and harmony is taken for granted by most people and especially when using sculptural works to create an impact on both physical and spiritual influences is very rare. People do not always consciously recognize that creating inspiring, meaningful and effective sculptural works can help people to understand the importance of harmony and simplicity in people’s lives. An inspiring sculptural work is both influential and aesthetic; however, its importance and impact are not always appreciated. Specifically, this is true in relation to the topic of harmony and simplicity in people’s lives. This study provides a conceptual framework for the creative process that illustrates how experimental sculptures can play an important role in this specific topic by complementing and being mutually beneficial to the aspiring effort during the creative process. 2. Concepts This paper aims to study the significance of the use of ready-made objects to create sculptural works to bring a sense of harmony and simplicity in people’s lives. Lauer and Pentak (2008) claimed that knowing what one is doing must precede one’s actions. To accomplish this, the author developed a conceptual framework (see Figure 1) known as “the creative process” that is geared towards a creative process that aims to solve a problem.
14 The design concept was discovered through an inspirational and creative journey, which the author visited Talad Noi in Bangkok in December 2021. Iverson (2017) mentioned that Talad Noi is known as the famous Bangkok’s Chinatown. It has been home to various ethnic Chinese communities. Talad Noi is a cultural attraction. It is a favorite place for teenagers as well as hipsters, and also offers the charm of authenticity to foreign tourists who want to experience traditional Chinese culture. In these days, there are numerous second-hand auto parts shops in Talad Noi. Talad Noi is full of dark, dirty, greasy, rusted used auto parts stores. The mixed cultures and unique historical background inspired the author to take action to travel there during last December 2021. The author traveled to Talad Noi for creative observation. During the observation, the author took photographs for visual data that inspired the author's creative inspiration and creativity. During the observation, the author visited several second-hand auto parts stores for collecting some ready-made objects, such as raw wood, rusted metals, wires and second-hand auto parts. In the Post COVID-19 era, a large number of people still feel anxious, afraid and depressed. Artists and designers use sculpture as a medium to address people's protracted isolation and look for ways to alleviate mental stress. Nevertheless, most people may not think sculptural works can help to lower their mental stress. Due to the differences in social values and the understanding of artistic creation, it may be an unfamiliar task for them. It is an indisputable fact that having a great design concept enables the creation of a significantly enhanced design that is in context. As previously mentioned, the author developed the design concept through the creative thinking, such as while traveling in Talad Noi for inspiration and discovering inspiring photographs, collecting ready-made objects and providing a great solution that gives a sense of harmony and simplicity in life when facing the Post COVID-19 era. Figure 1 The Creative Process
15 3. Work process The present project is based on the author's travel experience to Talad Noi, Bangkok in the December 2021. Traveling to Talad Noi, the author felt inspired amidst the chaos of the Post COVID-19 era and experienced true inner peace. In the Post COVID-19 era, a number of infected patients with COVID-19 have experienced stress, fear, worry, sadness, exhaustion, anxiety and depression. Designers and artists have embraced their travel experiences as an open source resource to acquire inspiration and creativity. This study utilized personal experience and experimentation with ready-made objects to create a soothing, warming and inspiring artwork to heal people's inner fears. The author hopes to create a meaningful sculptural artwork that can bring a sense of harmony and calmness in people's lives in the Post COVID-19 era. First, the author focused on creative thinking to capture the essence of inner feelings by traveling in Talad Noi, Bangkok. While visiting Talad Noi, the author observed the district of Talad Noi to obtain a sense of calm and harmony (see Figure 2). Finding and adopting ready-made objects such as raw wood, rusty auto parts, metals as the visual contents that indicate deeper and emotional feelings that imply a completely different level of engagement. Second, the author constructed the ready-made objects, which were unexpected materials to create 3 dimensional forms (see Figure 3). Third, the author tried different compositions and created an emotional feeling and visual attraction on the viewers for conveying the value of warm feeling and the sense of harmony (see Figure 4). Fourth, the author experimented with a diverse range of materials to explore various possibilities for sculptural creation (see Figure 5). Lastly, the author made the final adjustment and changes before the artwork was completed. The final resulting artwork is shown in Figure 6 and Figure 7. Figure 2 Talad Noi Figure 3 Ready-Made Objects
16 Figure 5 Material Experimentations Figure 4 Compositions Figure 6 Final Artwork by Lung-Chi Lin
17 4. Analysis The great creation requires a design method that has been carefully considered and planned. In this project, the design approach was visual research and material experimentation. Noble and Bestley (2005) asserted that visual research is primarily concerned with the composition of visual elements. Visual research follows similar investigations of the visual content of the designed object. In this project, the process of visual research entailed photo-capturing intriguing visual data that concentrated on the images of Talad Noi, Bangkok (see Figure 8). The Author captured various photographs that were taken when traveling to Talad Noi. These inspiring, striking and remarkable photographs were great visual data collection for the author to use as reference to create the artworks. George (2014) mentioned that sculpture has fourteen design elements including material, Figure 7 Final Artwork by Lung-Chi Lin
18 place, surface, edge, texture, color, scale, volume, space, mass, center of gravity, movement, light, and memory. In order to create meaningful artwork, the choice of materials is essential. In today's diversification of materials, artists can explore the creative possibilities of new materials, and can create forms beyond materials. The author used ready-made objects, raw materials and natural materials to create experimental sculptures with a sense of harmony and simplicity. The author expanded the scope of the design approach by visiting Talad Noi in Bangkok, visually collecting photographs related to the subject, and applying suitable materials to the artworks. Exploring the essence of creation by going to Talad Noi to collect visual data and experimenting with various materials can make creation engaging and inspiring. Therefore, visual research through exploration and experimentation is an effective method to promote the understanding and identification of the entire design process. 5. Conclusions This study explored how sculptural works can be utilized to express the significance of the sense of harmony and simplicity in people’s lives while facing fear, depression and anxiety during the Post COVID-19 era. Harmony and simplicity are essentials for human beings. People have fears and worries in the Post COVID-19 era, but the inspired, peaceful and meaningful artworks can help and navigate the world with less fear and worry. In the Figure 8: Visual Research
19 world, people need some creative and inspiring artworks to illuminate our inner lives and bring a sense of inner peace, so individuals can feel a sense of harmony and simplicity in their lives. The focus of this study was to explore the development of a design process using visual research and material experimentation. This project demonstrated how the design concept and creative process could have a great and significant impact to create an inspiring and memorable artwork. The results of this study explores a new way of understanding people’s inner feelings through the sculptural artwork. Therefore, it will bring a peaceful, calm, and harmonious feeling to people. All artists and designers should aspire to create inspiring, meaningful, remarkable artwork that helps people to reconnect with their inner feelings and be more open to new ideas. References Doyle, Susan, & Grove, Jaleen, & Sherman, Whitney. (2018). History of Illustration. pp.11. New York, New York: Bloomsbury Publishing Plc. George, Herbert. (2014). The Element of Sculpture. pp.6. London, United Kingdom: Phaidon Press. Iverson, Kelly (2017, March 30). A Guide to Talad Noi, One of Bangkok’s Oldest Neighborhoods. Culture Lauer, David A., & Pentak, Stephen. (2008). Design Basic. pp.8. Boston, MA: Thomson Higher Education. Modernsculptureartists (2018, August 20). Sculpture definition - blog. Modern Sculpture Artists. Retrieved May 19, 2022, from https://www.modernsculptureartists.com/2018/ 08/20/sculpture-definition/ Noble, Lav, & Bestley, Russell. (2005). Visual Research. pp.149. Lausanne, Switzerland: AVA Publishing SA. Rogers, Leonard R. (2020, Nov.19). "sculpture". Encyclopedia Britannica. Retrieved May 19, 2022, from https://www.britannica.com/art/sculpture Trip. Retrieved May 12, 2022, from https://theculturetrip.com/asia/thailand/articles/a-guideto- talad-noi-one-of-bangkoks-oldest-neighborhoods/
20 Colour Lifeye of Cats: Montage to Imagery Record of Digital Arts Shian-Heng Lee 110/1-4 Pracha Chuen Rd, Thung Song Hong, Lak Si, Bangkok 10210 E-mail : [email protected] Abstract The culture, in fact, is accumulated by a group of people who have the collective habits after living together for a long time and share the value and the sense of identity. Relatively, the subculture is formed owing to the social cultural varieties that one would encounter when becomes an adult. Street photographers: Experienced documentary, realistic, and digital photographers have their characteristic narrative ways in their works in recent years. The most heard theory of photography is that “the only nature of photography is to take mental imagery as the records of reality.” In other words, when most people talk about mental imagery, it means “keeping the facts, phenomenon, the material itself, and real scenario.” On the other hand, mental imagery record is a portrayal of living culture. This work conducts the analysis of subcultural mental imagery digital art through Montage narration perspective for in-depth analysis of the context of subculture, the meaning of the existence, and how the art is linked to the digital art.To sum up, the research uses document analysis and observation as the main research foundation, along with evidence from digital photography works, and explores the art value of the subcultural art of digital mental imagery art through Montage narrative arguments. Keywords: Cat, Mental Imagery Record, Montage Narrative, Digital Arts, Photography 1. Introduction Culture is the pattern of values and sense of identity that a group of people develops over a long period of time. In contrast, subculture is the social and cultural atmosphere developed after adulthood. For the mainstream, it refers to a group of people with many similar social backgrounds and personal living habits; in other words, these people have been together for a long time. The interaction with life gradually produces a norm of mutual understanding, recognition and acceptance, and there are certain common beliefs in terms of values, lifestyle and life.
21 If the subcultural atmosphere is explained from a narrative perspective, in front of a work, there is always a desire to seek knowledge, whether it is a poem, a piece of music, a painting, a photographic work, a digital art work… Etc., eager to grasp the whole picture and deep artistic conception of the work, through exploring and understanding the author's creative meaning, wanting to know what a work is conveying, what situational secrets it contains, these are the directions that can be explored by the subculture. In addition, Wu Jiabao (1997) pointed out: "The conclusion obtained through vision is not because of what we see, but because of what we want to see", "Except for the truth of the photographer's inner world, photography has never and cannot faithfully record what external reality. The most heard theory of photography is that “the only nature of photography is to take mental imagery as the records of reality.” In other words, when most people talk about mental imagery, it means “keeping the facts, phenomenon, the material itself, and real scenario.” On the other hand, mental imagery record is a portrayal of living culture. This work conducts the analysis of subcultural mental imagery digital art through Montage narration perspective for in-depth analysis of the context of subculture, the meaning of the existence, and how the art is linked to the digital art. To sum up, the research uses document analysis and observation as the main research foundation, along with evidence from digital photography works, and explores the art value of the subcultural art of digital mental imagery art through Montage narrative arguments. 2. Concept In order to achieve the purpose of this creation, this research is through the literature analysis methodand observation method, using the collection and analysis of literature materials, as well as the first-hand data obtained by field observation, to explore the "montage narrative point of view analysis of sub-cultural mental image photography digital art" to conduct research, to further understand the evolution and development of subculture, and In-depth discussion of the ingenious application value between photography and digital art, the ingenious application value of the montage narrative point of view, hoping to create the future feasible development of digital art, as well as its advantages, vision, and ability to respond to technological and technological problems. And from sorting out the performance of digital art creation in the "virtual and real space", and discussing related subcultural issues of life, through observation, analysis and induction to discuss the existence value of mental image photography.
22 However, literature analysis and observation are the most commonly used research methods, and they are the most basic and common methods in art and design research, but not the only ones. This research method mainly narrates the issues related to the expression of artistic creation in the history of art, and the intellectual space since the ancient Egyptian art period, the scientific space formed by the invention of perspective in the Renaissance, and the "virtual space" about the digital influence on the content of artistic creation. Therefore, this study also obtained relevant literature data through this method. 3. Content This creation explores the meaning of the expression method of "Montage", and the psychological law of Gestalt after graffiti completely changes the original message into another meaning. This extends the formal characteristics of new concepts of thinking, which can also be read as concepts of visual cognition. So far, no researcher has systematically reorganized photography. In addition, in today's digital age of computers, the boundaries between photography, composition, and montage are gradually blurring. New terms like Digital Collage and Digital Montage are used. It seems that in the process of creating photographic montages, in addition to pasting, processing at the negative stage, multiple exposures, mid-exposures, and remakes are all effective techniques. Photographic montages have not necessarily been based on pasting technology since the collection of photos of Art PhotographsFinish. Use photography taken over 2020-2021two years.
23 Figure 1 stray cats, total 278 phots,phots by shian-heng lee
24 A total of 278 photos were used for this digital manipulation. Do major digital processing on one of the photos (Figure 2) Figure 2 stray cats, phots by shian-heng lee Figure 1+Figure 2is the creative work(Figure 3) Figure 3 stray cats, phots by shian-heng lee
25 4. Results This creation particularly emphasizes the practical application of the reproduction effect of digital photography. The original part of the photographic image and the photographic reproduction part are ingeniously used, so that the work has a great shock in the sense of space, three-dimensionality and visual tension. In the process of interpretation of the work (Figure 4), the search for the meaning, sense of value and purpose of the creative life is the distinctive feature of this work (Figure 4). And the past, present and future are full of self-conscious imagination, but imagination is a state of creative existence. Figure 4 Colour Lifeye of Cats by Shian-Heng Lee (2021) 5. Discussion and Conclusions In the works of art creators, one can directly or indirectly see the creator's inner needs for images or the association of narrative, and use the back-end technology of digital art to present the concept of visual coding, and Spread digital artworks far and wide. In addition, the advent of the era of multimedia network technology allows most people to understand the application and development of information technology, and more importantly, to reconstruct the so-called "digital art" environment through digital technology to make life more lively
26 References Druckman, Daniel, ed. (1977). Negotiations. Beverly Hills: Sage. Kosslyn, S. M., & Ochsner, K. (1994). In search of occipital activation during visual mental imagery. Trends in Neurosciences. 17.pp.290–292. Wu Jiabao. (1997). Thereality photography can record. http://www.fotosoft.com.tw/papers /library-1-4015.htm
27 Face Mask Brace Prototype Design by RecycledMaterials Yu-Pei Kuo 110/1-4PrachaChuen Rd, Thung Song Hong, Lak Si, Bangkok 10210 E-mail : [email protected] Abstract During the coronavirus pandemic, people correctly wore medical masks to protect themselves as a common consensus and regulation in most countries. However, masks as a universal design are challenging to fit with individual faces to avoid the gap for the virus. Moreover, the disposable mask also produced mass waste and environmental problems. This research aims to develop a sustainable mask brace prototype for improving the face fitting problem and adapt the material and tools into a flexible one capable of suiting local conditions and personal limitations by rationalizing recycling materials. This research follows the process based on design practice methodology to consist of product problem definition, design rationalization, prototype development, testing, and user verification. Research outcomes suggest the designer abandons the solid product design but shares the prototype into the guideline to promote widely within benefit the public. The guideline provides a simple way for the public to produce their mask brace easily with the reuse of mask ropes. As a feasible, low-cost solution, the flexible prototype of the mask brace enables adaptation to individual needs and functional requirements or to cope with existing site conditions. The coronavirus disease pandemic looks to ease but is unlikely to be put to an end yet, and no one knows when the new infections will arise. The concern motivates the project to seek solutions and coping mechanisms by design to develop knowledge and know-how relevant to today's situation while also preparing for unexpected challenges. Keywords: Mask brace, Reuse, mask rope. Sustainable design, social design 1. Introduction The coronavirus disease pandemic looks to ease but is still unlikely to end, and nobody knows when the new infections will arise. The concern motivates the designer to seek solutions and coping mechanisms by design to develop knowledge and know-how relevant to today's situation while also preparing for unexpected challenges.
28 Due to the pandemic worldwide, the mask occupies a person's face all the time. With these years of Propaganda in the World Health Organization and the Centers for Disease Control and Prevention of each country, the public knows and accepts the importance of masks. The use of masks is part of a comprehensive prevention and control measures package that can restrict the spread of certain respiratory viral diseases. Medical masks can be used to protect healthy persons by being worn to protect oneself when in contact with an infected individual. Alternatively, source control is worn by an infected individual to prevent onward transmission. Correct and consistent mask use is a critical step that everyone easily ignores, checking if they are wearing a mask correctly, such as completely covering the nose and mouth and fitting snugly against the sides of the face and not having gaps for the virus. Most consumer-available masks are loose-fitting, and users are challenged to fit with the face to avoid the gap for the virus. To solve the problem, the US CDC guides people on improving the fitting of the mask with the face; the suggestions are fabric plus a medical mask or using a "mask brace" to prevent getting and spreading pandemic. However, the way of fabric plus medical mask may not be suitable for some areas, such as the area with hot weather, people are difficult to wear two masks. Therefore, the designer wants to develop a mask brace prototype designed by household materials to help people produce mask braces. Eventually, to reach the target that improves the universal mask's fitting problem. 2. Concepts Selecting a correct mask is essential; however, correctly wearing the mask is also essential. From the design view, the mask is a universal design product for the public, which means that it happens a lot that the mask does not fit the user's face because of size or shape. For the ergonomics causes, the US CDC guideline also points to suggestions to improve the fitting in three ways; the first way is wearing a mask brace or brace on the mask. The second way is to wear one disposable mask underneath a cloth mask with multiple layers of fabric. The second mask should push the edges of the inner mask against the face and brace, and the third way is to knot the mask rope. People wear two masks, one medical mask and one fabric mask, to increase protection. However, it causes users to take more effort into breathing. In addition, some people would be challenged to keep wearing the mask because it is uncomfortable and airtight in some situations, such as under hot weather. Therefore, considering the climate and
29 temperature and the breathing problem, the project would focus on the brace design to aim the public group not to be comfortable wearing two masks for a long time in certain areas or conditions. Therefore, the project aims to design a sustainable mask brace to improve fit and reuse the waste mask ropes. The outcome provides a simple manner for the public to produce mask braces with the reused mask ropes. However, no matter which way people choose to wear it, the most critical point is that it is comfortable to wear for a long time; the user should make sure the user can easily see and breathe consistently for the best protection. Otherwise, it is more dangerous if users need to adjust their masks with their hands. The designer would like to experiment to explore the mask brace prototype by understanding the mask structure and virus leaking path to be involved in a broad range of activities in response to the pandemic by the design practice, supported by experimenting and sharing conditions in daily use and the impact on health services. The design explores the ideas from studies to set up the prototype design. It follows the process based on design practice methodology to consist of product problem definition, design rationalization, prototype development, testing, and user verification. The product problem definition was based on typical methods of designer individual exploring and comparative study review to set up the hypothesis. Design rationalization then used the gathered information to program the design and prototype development. During the experience prototyping phase, as the designer, the participants will gain first-hand experience in the situations involved and receive a substantial sensory experience and a subjective emotional experience. Implementing it aims to discover potential problems of a product or user experience in practical applications to allow the designer to analyze the product or service from the user's direct perspective. The prototype and material testing involve application trials, defect detection, and evaluation to determine the suitability of a prototype and material for its designed use. The developed prototype was classified as a flexible, functional brace, tested by users, and eventually upgraded for the guideline for the public to benefit more areas.
30 3. Work process It is good that people try to wear masks correctly to avoid viruses with all the methods but fit different conditions. The project would like to design a brace that people can use household tools and materials to produce the brace easily and free. The design follows the USA CDC guideline as the beginning sample to analyze the structure of the mask brace. First, the project explored the mechanic's structure to predigest into line structure and then drew the 2D pattern. Next, the project expanded from the CDC sample prototype into four hypothesis structures and applied actual flexible materials to test the condition. The design set up the position in social design to benefit the low-income groups or goods and materials in limitation. Therefore, it is better to acquire the material from daily or household materials which would be easier for the public. Moreover, the designer suggests textiles that the cloth could be clean by washing to inactivate the virus. The project collected cloth, elastic, and rubber bands applied with the test structure in practical application and listed the result. Considering the previous study about mask pollution and waste, the designer decided to add the mask ropes to the materials. Compare the materials' practical results and consider reducing the pollution and waste of masks. The designers decided to set up the mask rope as the primary material and modify the test structure to fit the mask rope's fixed length to reduce mask waste. Combine the consideration of user experience and materials about easy to gain and clean, moreover reuse the materials to protect the earth in we can do. The project decided to combine the prototype with the reuse mask rope. Since the fixed length of the mask rope, the line structure needs to be modified. The project collected mask ropes tested the knot and connected them to complete the prototype structure. Figure 1 : The steps of wearingthe mask brace.
31 Figure 2 : The mask brace presentation by user. 4. Analysis As a practical research, the designer recorded the experiment process from the collecting mask ropes to tie the ropes in knots, and the user presented the wearing process. To benefit to public broader, the project would like to expand the aspect from product design to social design. Therefore, the outcome is not just a product design, a mask brace prototype, but a guideline for the public to improve the fitting and making by reusing waste mask ropes. Therefore, the project draws each step of producing the mask brace described below: Figure 3 : The step of making a brace by reusing mask ropes: (1) cut off the mask ropes from the waste mask and clean and dry the mask ropes. (2) collect five or six clean mask ropes. (3) use 3 or 4 ropes to tie fixed circle by personal condition. (4) use 1 rope ties an unfixed knot across the circle on one side. (5) use another rope to tie an unfixed knot across the circle on another side. (6) Wear the mask correctly follows by the CDC guidelines. (7) Wear the mask brace. (8) adjusted the unfixed knot to fit with the personal face. (9) check the comfort and fitting by the CDC guidelines.
32 5. Conclusions During the coronavirus pandemic worldwide, wearing a medical mask is essential to protect ourselves. However, the mask is a universal design and challenging to fit with an individual face to avoid the gap for the virus. On the other hand, the disposable mask also produces mass waste and environmental problems. The study aims to design a mask brace to improve the fitting with the face and reuse the waste mask rope. The project outcome provides a simple brace design to produce mask braces easily with the reuse of mask ropes and sustainable design principles. During the prototype design phase, the study analyzed the structure to build the prototype and applied it in actual practice to improve. The study also tested the prototype with different household materials. There are no unique materials or high technology in this project. The objectives of the material and technology are to gain the needs efficiently and quickly in daily life. Therefore, it is better to acquire the material from daily or household materials. It would be easier for the public to set up household tools or handy ways to fit with the possible conditions of the users. In addition, the study's outcome is not just a product design, a mask brace prototype, but a guideline for the public to improve the fit and making by reusing waste mask ropes. To reach the objectives to benefit more people and areas, the users of experience feedback is significantly essential when improving a guideline design for the further phase. The coronavirus disease pandemic looks to ease but is unlikely to be put to an end yet, and no one knows when the new infections will arise. The concern motivates the project to seek solutions and coping mechanisms by design to develop knowledge and know-how relevant to today's situation while also preparing for unexpected challenges. References BBC News. (2020, July 20). Coronavirus: Gull caught in PPE face mask in Chelmsford. BBC. https://www.bbc.com/news/uk-england-essex-53474772 accessed on December 17, 2021 Bellus3D. (2021). How to Make Bellus3D’s face mask fitter. Bellus3D: High-Quality 3D Face Scanning. https://www.bellus3d.com/solutions/facemask accessed on March 18, 2022 CDC. (2022, April 9). Masks and respirators. Centers for Disease Control and Prevention. https://www.cdc.gov/coronavirus/2019-ncov/prevent-getting-sick/types-of-masks.html accessed on April 21, 2022
33 FIX THE MASK. (2020, July 23). Essential Mask Brace. Kickstarter. https://www.kickstarter.com /projects/essentialbrace/essential-brace-designed-to-seal-your-loose-fitting-mask accessed on April 24, 2022 Fix The Mask. (2022). Fix the mask. Fix The Mask. https://www.fixthemask.com/ accessed on April 24, 2022 Lee, B. Y. (2020, May 1). How Long Does COVID-19 Coronavirus Live On Clothes? How to Wash Them. Forbes Magazine. https://www.forbes.com/sites/brucelee/2020/05/01/howlong-does-covid-19-coronavirus-survive-on-clothes-how-to-wash-them/ accessed May 1, 2022 Linder, C. (2021, February 17). Everything you need to know about mask braces: Do they work? Can you make your own? Popular Mechanics. https://www.popularmechanics. com/science/health/a35520817/what-is-a-mask-brace/ accessed on April 24, 2022 McCallum, K. (2020). How long can Coronavirus survive on clothes? https://www.houstonmethodist.org/blog/articles/2020/apr/how-long-can-coronavirussurvive-on-clothes/ accessed on December 17, 2021 Preparedness, E. (2020). Advice on the use of masks in the community, during home care and in healthcare settings in the context of the novel coronavirus (COVID-19) outbreak. World Health Organization. https://www.who.int/publications/i/item/advice-on-theuse-of-masks-in-the-community-during-home-care-and-in-healthcare-settings-in-thecontext-of-the-novel-coronavirus-(2019-ncov)-outbreak RSPCA. (2020). “Snip the straps” off face masks as Great British September Clean launches. https://www.rspca.org.uk/-/news-face-masks-spring-clean accessed on December 17, 2021 World Health Organization. (2020). Coronavirus disease (COVID-19) advice for the public: When and how to use masks. https://www.who.int/emergencies/diseases/novel-coronavirus2019/advice-for-public/when-and-how-to-use-masks accessed on December 17, 2021
34 ความสวยงามของความไม่สมบูรณ์ The beauty of imperfection ฐานิญา รวิชวกรณ์, Thaniya Rawichawakorn คณะศิลปกรรมศาสตร์ มหาวิทยาลัยเทคโนโลยีราชมงคลธัญบุรี 39 หมู่ 1(คลองหก) อำเภอธัญบุรี ปทุมธานี 12110 Faculty: Fine and Applied Arts, 39 Moo 1, Klong 6, Khlong Luang Pathum Thani 12110 Thailand E-mail : [email protected] Abstract The purpose of this artwork is to explore the Raku firing and Coiling techniques. This artwork was based on the concept of “The beauty of imperfection” which involves the use of the abstract technique. This artwork is inspired by WabiSabi’s concept of Japanese aesthetics Beth (2018), which mentioned that “Wabi-sabi helps us to see beauty in imperfection, appreciate simplicity accept the transient nature things”. This philosophy shows how to see beauty in imperfections, admire and accept the simplicity of the artwork. The artist relies on the above statement to inspire and create the artwork. The word “imperfection” is shown through the shape of this artwork which has lots of cracks that resulted from the Raku firing technique. Keywords: beauty, imperfection, Raku, Wabi-Sabi 1. Introduction The artist discovered the book ‘WabiSabi: Japanese wisdom for a perfectly imperfect life’ by Beth Kempton, which shows how to see beauty in imperfection, appreciate simplicity and accept the transient nature of all things. The artist has begun to focus on a result that is surprisingly different from the Raku technique. In addition, American Raku artist Michele (2007) said that Raku is a marvelous lesson in non-attachment that guides through a deeper understanding of the process, and abundant possibility. According to Zhu (2016), said “Every ceramicist will tell you about dealing with failure. Greenware cracks when clay dries too quickly, some part of the piece explodes in a kiln, and the glaze doesn't turn out right after firing. So, you have to accept what happened that is very common in ceramics works.” The artist would
35 like to combine Raku's technique and the concept of “The beauty of imperfection” by using such words to inspire create this artwork. 2. Concept The artist was impressed by the concept of wabi-sabi which is the idea of finding beauty in all aspects of the imperfections in nature. It is about the aesthetics of things that exist which are "Imperfect, impermanent, and incomplete." This study discussed revealed a broad spectrum of connections between the design concept of Wabi-Sabi and the Raku firing technique for the idea of creating artwork. According to, Steven (2010) said that sometimes find the raku process unpredictable, seemingly uncontrollable, and possibly frustrating. The magic process of the Raku technique is when the artwork will be scrubbed after cooling to remove excess soot because it shows unpredictable results. Another ceramicist artist, Zhu (2016) said She is also fascinated by Wabi-Sabi and uses this concept to explain to her work that it's okay to be unattractive as the definition of beauty. It's okay to fail the judgment of beauty like that. This is challenging the artist along the process through the final artwork. 3. Creative Process Figure 1 : Idea sketch
36 Starting from figure 1 shows the idea sketch to create shape and form followed by the concept of Wabi-Sabi. The artist was on the concept of “the beauty of imperfection” and used such words to inspire for cratered this artwork by considering the abstract form from imagination through the creation. The process of the Raku firing technique Raku or Rakuyaki is from Japanese pottery, often glazed with lead glazes, low temperatures firing, and using a method of forming by hand as a simple bowl. The important process is removing the pottery from the kiln while it is still hot. In 2010, Steven’s book of Mastering Raku: Making Ware, Glazes, Building Kilns, Firing found that “Traditional raku pieces the exquisitely simple but beautiful earthenware bowls produced for the Japanese tea ceremony-were fired at low temperatures, removed from the kiln while still hot, and either immediately placed in water or cooled in the open air”. The challenge of the Raku firing technique is when the artist takes the artwork out of the extremely hot kiln. Then rapidly placed in masses of combustible material coconut hush to provide a reducing atmosphere for the glaze. Normally the equipment that needs includes long tongs, heavy leather gloves, a safety mask, a bucket, water, and combustible material (e.g., coconut hush, straw, sawdust, or newspaper). As the artwork burst into flame, causing a rapid decrease in oxygen which intentionally made it black with soot.
37 Figure 2 : the process of the Raku firing technique. Figure 2 shows the process of the Raku firing technique and the unpredictable results of the raku process, seemingly uncontrollable "crack" emphasized by the black soot stain of the Raku firing.
38 Figure 3 : the final artwork 4. Results Analysis This artwork, "The beauty of imperfection" is the creation of pottery art that is consistent with the concept and meaning of Wabi-Sabi. According to, this philosophy describes what is natural and pure and to acknowledge the beauty of any substance or being in its most natural and raw form to embrace the beauty of flaws and rawness is another way of a beautiful. This artwork is formed by coiling and Raku firing techniques to show roughness from the material that occurs through defects that reflect the design concept. By using visual elements, such as Form, Colour, Scale, Space, Texture, and Line to arrange the composition. 5. Conclusion The creation of this artwork achieved the purpose of the artist with design ideas between the concept of Wabi – Sabi and Raku firing technique used as inspiration for the creation of this artwork. The artist would like to show the meaning concept of Wabi-Sabi philosophy and the effect on the surface of this artwork that could have a major impact on people, especially audiences' emotions with form and texture. The artist chose to use symbols
39 of imperfection such as cracked from the texture of the surface and glaze colors that flow along the cracks of the workpiece while firing in a reproductive atmosphere. All effect that happens on this workpiece shown how uncontrollable that can always happen in this field. These are a fascination of Raku technique that the artist attempted to represent the imperfection that occurred, to reflect on the concept of beauty of imprecation. That conveys to the audience to see how the beauty and value of impermanence imperfection and the incompleteness that is the reality of everything in this world. Seeing beauty in imperfections admire the simplicity and accept the temporal nature of everything. References BethKempton. (2018). WabiSabi: Japanese wisdom for a perfectly imperfect life. United States:Harper Design Intl. Branfman Steven.(2010). Mastering Raku: Making Ware, Glazes, Building Kilns, Firing. Asheville, United States: Lark Books, U.S. HabituslivingEditorial Team. (2016). Zhu Ohmu’s Coiled Ceramics. Retrieved from https://www. habitusliving.com/design-hunters/zhu-ohmu?fbclid=IwAR2rTb12327VLZ88cdLkTav7w2ski P_Nhc81qJ-kyChRLuzzF37tfvG_Y44 New World Encyclopedia. (2007). Raku. Retrieved from https://www.newworldencyclopedia.org/entry/Raku Richard R. Powell. (2004). WabiSabi Simple: Create beauty. Value imperfection. Live deeply. United States: Adams Media.
40 การพัฒนาผลิตภัณฑ์สินค้าแฟชั่นไลฟ์สไตล์สำหรับ Gen Z จากผ้าขาวม้าทอมือ กรณีศึกษา ชุมชนนาหมื่นศรี อำเภอนาโยง จังหวัดตรัง Fashion Lifestyle Products Development for Gen Z from hand-woven loincloth : A case of Na Muen Sri Community, Trang, Thailand กมลศิริ วงศ์หมึก, Kamonsiri Wongmuek มหาวิทยาลัยธุรกิจบัณพิตย์ 110/1-4 ถนนประชาชื่น หลักสี่ กทม 10210 Dhurakij Pundit University110/1-4 Prachachuen Rd., Laksi, Bangkok 10210 E-mail : [email protected] บทคัดย่อ การออกแบบคอลเลคชั่นผลิตภัณฑ์แฟชั่นไลฟ์สไตล์จากผ้าขาวม้าทอมือของชุมชนนาหมื่นศรี จ.ตรัง พัฒนาจากการเก็บรวบรวมช้อมูลจากการสัมภาษณ์คนในชุมชนเรื่องผ้าขาวม้าและแนวทางในการผลิตสินค้า ของชุมชน รวมทั้งการศึกษาวรรณกรรมที่เกี่ยวข้อง การทำแบบสอบถามกลุ่มลูกค้า Gen Z จำนวน 131 คน ทำให้ได้ข้อมูลมาใช้พัฒนาต้นแบบสินค้าไลฟ์สไตล์ที่เน้นลูกค้ากลุ่ม Gen Z เพื่อสร้างโอกาสในการขายออนไลน์ ให้กับชุมชนในอนาคตผลการศึกษาทำให้ได้แนวทางการสร้างดีเทลโดยใช้วัสดุทางแฟชั่นที่แปลกใหม่และ หลากหลายที่ชุมชนไม่เคยใช้ เข้าไปเป็นส่วนประกอบเพื่อสร้างภาพลักษณ์ใหม่สไตล์สปอร์ตลำลองเชื่อมโยง สีสันและดีเทลบนตัวผลิตภัณฑ์ให้เกิดเป็นคอลเลคชั่นสร้างความน่าสนใจในการนำเสนอและเพิ่มโอกาสการขาย หากการพัฒนารูปแบบครั้งนี้ได้ผลสำรวจความพึงพอใจเป็นที่น่าพอใจก็จะมีแนวทางในการพัฒนาแบรนด์ สินค้าของชุมชนเพื่อลูกค้าในวงกว้างมากขึ้น เพิ่มโอกาสการสร้างรายได้ให้ลูกค้ากลุ่มใหม่ผ่านช่องทางออนไลน์ ที่ไม่ใช่เพียงแค่ลูกค้าที่มาเยี่ยมชมร้านค้าที่กลุ่มวิสาหกิจแต่เพียงอย่างเดียว อันจะเป็นการอนุรักษ์มรดกผ้าทอ และส่งเสริมการแปรรูปสินค้าผ้าทอของชุมชนให้มีความทันสมัยเพื่อการสร้างรายได้และพัฒนาชุมชนอย่าง ยั่งยืน คำสำคัญ: สินค้าไลฟ์สไตล์ ผ้าขาวม้าทอมือ คอลเลคชั่น ผ้าทอนาหมื่นศรี เจนเนอเรชั่นซี Abstract The collection design of fashion lifestyle products from hand-woven loincloths of Na Muen Sri community, Trang province has been developed by collecting data from local people in in-depth interviews about loincloths and community product production, literature review, andonline questionnaires of 131 Gen Z customers. Collecting data to develop lifestyle product prototypes that focuses on Gen Z customers to create online sales opportunities for the community in the future. The result shows a way to create product
41 details by using a variety of fashion materials that the community has never used to create a new product image in casual sports style. Using the same colors, materials, and details on the product to create a collectionthat will make the presentation more interesting and increase sales opportunities. If the development of theseprototypes satisfies the satisfaction survey, there will be a way to develop the community’s brand for a wider group of new customers and increase the opportunity to generate income through online channels in addition to waiting for customers to visit the stores in the community. This will conserve the woven textile heritage and promote thetrendystyle of hand-woven loincloth products in the community for sustainable income and community development. Keywords: Lifestyle Products, Hand Woven Loincloth, Collection, Na Muen SriHand-Woven fabric, Gen Z 1. Background Guidelines Na Muen Sri Community, Na Yong District, Trang Province, is a hand-woven loincloth community that has inherited wisdom for hundreds of years. The beauty of the unique woven cloth pattern that has been around since ancient times caused the reputation of Na Muen Sri cloth to be widely known and was given as one of the famous products of Trang. Many government agencies have stepped in to help develop woven fabrics and products from time to time. In addition, the private sector in the Central Group under the Centralthamproject recognizes the importance of cultural conservation and the growth of the Na Muen Sri Community, therefore supporting the community product shop renovation, promotingNa Muen Sri woven cloth to become a product of the community, develop this area into a tourist attraction to generate income, develop the well-being of the community to be sustainable, develop a weaving learning center that is a front house to welcome tourists, and visitorsas well as establish a woven cloth museum with interactive technologyproviding knowledge about valuable ancient textile heritage. All these to bring the fabric legend to life. In the past, the Na Muen Sri community could generate hundreds of thousands of monthly income. Later, duringthe Covid crisis, the group of tourists is greatly reduced whichsometimescaused the income to be reduced to less than ten thousand per month. The remaining customers are the customers in the government sector who buy for their use, ordersouvenirs for retirement occasions, etc. Faculty of Fine and Applied Arts, Dhurakij Pundit University has had the opportunity to work with the EISA Project, a local Thai handcrafted loincloth project, PracharathRakSamakkee Public Company Limited for the past