บทความผลงานสร้างสรรค์ 4u

บทความประกอบผลงานสร้างสรรค์

นิทรรศการแสดงผลงานสรา้ งสรรค์นานาชาติ
ครัง้ ที่ 4 ประจำปี 2565

ในโครงการประชมุ วิชาการระดับชาตแิ ละนิทรรศการแสดงผลงานสรา้ งสรรค์นานาชาติ
ครั้งท่ี 4 ประจำปี 2565

ภายใต้หัวขอ้ : ศลิ ปะ วัฒนธรรมและนวตั กรรมพลกิ โฉมประเทศ

โครงการประชมุ วิชาการระดับชาติและนทิ รรศการแสดงผลงานสร้างสรรค์นานาชาติ
คร้ังท่ี 4 ประจำปี 2565

ภายใตห้ ัวข้อ : ศลิ ปะ วัฒนธรรมและนวัตกรรมพลกิ โฉมประเทศ
(Transforming the Country through Art, Culture and Innovation)

โครงการประชุมวิชาการระดับชาติและนิทรรศการแสดงผลงานสร้างสรรค์นานาชาติ คร้ังที่ 4
ประจำปี 2565 จัดข้ึนเพื่อเป็นเวทีแลกเปลี่ยนความรู้ด้านผลงานสร้างสรรค์ระหว่างศิลปิน คณาจารย์ และ
นกั ศึกษา ท้ังงานดา้ นศิลปกรรมทุกแขนง งานสถาปัตยกรรม และงานการออกแบบในสาขาศิลปะอื่นๆ ภายใต้
หวั ข้อที่กำหนดในแตล่ ะปี

โครงการฯดังกล่าวเป็นผลสืบเนื่องมาจากความร่วมมือของมหาวิทยาลัยท้ังจากภาครัฐและ
ภาคเอกชนที่มีการเรียนการสอนด้านศิลปะและการออกแบบประกอบด้วย คณะศิลปกรรมศาสตร์
มหาวิทยาลัยสงขลานครินทร์ วิทยาเขตปัตตานี คณะศิลปกรรมศาสตร์ มหาวิทยาลัยธุรกิจบัณฑิตย์ คณะ
ศิลปกรรมศาสตร์ มหาวิทยาลัยบูรพา และคณะศิลปวิจิตร สถาบันบัณฑิตพัฒนศิลป์ (ภาคีเครือข่าย 4U PLUS)
โดยมีจุดมุ่งหมายของโครงการเพื่อเป็นเวทีให้คณาจารย์ นิสิต นักศึกษา และบุคคลผู้สนใจ ได้นำเสนอผลงาน
ทางวชิ าการและผลงานสรา้ งสรรค์ดา้ นศิลปกรรม ผลงานด้านการออกแบบ ตอ่ สาธารณชน ในรูปแบบของการ
จัดประชุมวิชาการและการจัดแสดงนิทรรศการ โดยผลงานท่ีนำเสนอและจัดแสดงจะผ่านการพิจารณาจาก
ผู้ทรงคุณวฒุ ริ ะดับชาติ

การจัดทำโครงการคร้ังน้ี นอกจากเป็นการสร้างความร่วมมือของ 4 สถาบันแล้ว ยังมีองค์กร
สถาบันศิลปะ และศิลปินนักออกแบบจากต่างประเทศทั้งในทวีปเอเชียและยุโรปส่งผลงานเข้าร่วมนำเสนอ
อาทิ มาเลเซีย อินโดนีเซีย สิงคโปร์ จีน สาธารณรัฐเกาหลี ไต้หวัน อนิ เดีย อติ าลี ฯลฯ ซึ่งนับเป็นโอกาสสำคัญ
ทจ่ี ะก่อให้เกิดการแลกเปล่ียนองคค์ วามรู้ ประสบการณ์ และวฒั นธรรม ในการสร้างสรรคผ์ ลงานการออกแบบ
ในลักษณะตา่ งๆ อันจะเปน็ ประโยชนต์ ่อการพัฒนางานวิชาการด้านผลงานสร้างสรรคต์ ่อไปในอนาคต

The 4th 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.

รายชื่อผ้ทู รงคุณวุฒผิ ู้ประเมนิ บทความ (Peer Review)

Mr.Somsak Chowtadapong
National Artist for Visual Arts (Painting)
อาจารยส์ มศักดิ์ เชาวน์ธาดาพงศ์
ศลิ ปินแห่งชาติ สาขาทศั นศิลป์ (จิตรกรรม)

Associate Professor Dr. Chaiyasit Dankittikul
Expert Evaluator for Architecture
รองศาสตราจารยด์ ร. ชยั สทิ ธ์ิ ด่านกติ ติกลุ
ผ้เู ชี่ยวชาญด้านสถาปตั ยกรรมศาสตร์

Associate Professor Prasert Pichayasoonthorn
Expert Evaluator for Visual Arts
รองศาสตราจารย์ประเสริฐ พิชยะสนุ ทร
ผูเ้ ชยี่ วชาญด้านทัศนศลิ ป์

สารบญั

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. ความสวยงามของความไมส่ มบูรณ์................................…..…………………………………………………........34

ฐานิญา รวชิ วกรณ์

7. การพัฒนาผลิตภัณฑ์สินค้าแฟชั่นไลฟ์สไตล์สำหรับ Gen Z จากผ้าขาวม้าทอมือกรณีศึกษา ชุมชนนา
หมืน่ ศรี อำเภอนาโยง จังหวัดตรงั …………………………………………………..………….…………………………..40

กมลศริ ิ วงศห์ มึก

8. BitBrain Cards Game ปรู ากฐานความคิดสร้างสรรคส์ ่จู กั รวาลนฤมติ ………………………..……………..49

ทิพยล์ กั ษณ์ โกมลวณชิ

9. รอู้ นันต์………………………………………………………………………………………………………………………………..58

โกเมศ กาญจนพายัพ

10. การพัฒนาเครอื่ งแต่งกายบุรุษจากผ้ามัดยอ้ มสีเปลือกโกงกางด้วยแนวโน้มการออกแบบแฟชั่นฤดูกาล
ใบไมผ้ ลแิ ละฤดรู ้อน 2022…………………………………………………………………………………………………..63

กมลวรรณ พชั รพรพพิ ัฒน์ สารสขุ

11. ความทรงจำอกี ฟากแมน่ ้ำ....................................………………………………………………………….………..70

กฤติน ดลภักนิยมกุล

12. การออกแบบการแสดงอารมณ์ดว้ ยสายตาสำหรบั หนุ่ ยนตรบ์ รกิ ร……………………………………….……..73

กิรติ ศรีสชุ าติ

13. การสรา้ งสรรคผ์ ลงานศิลปะชดุ “วัฏจกั รของชีวติ ”….……………….……………………………………………..78

เกรียงไกร กงกะนนั ทน์

14. “เร่อื งเล่าจากอมุ ม”ี ………………………………….……………………………………………………….………………..84

คตี ์ตา อิสร่นั

15. รูปร่างบนเรอื นร่าง….……………………………………………………….……………………………………………..…..93

จารุวรรณ นครจารุพงศ์

สารบัญ (ต่อ)

16. โครงการปรบั ปรุงโรงเรียนสอนโยคะฟลาย…………………..…….………………………….……………………..100

จิณณ์ธิศา สุระประเสรฐิ , ธนติ จงึ ดำรงกิจ

17. “จินตนาการส่งิ มีชวี ติ สายพนั ธ์ใุ หม่”……………………………………………..………………….…………………106

ชยันต์ พลอาสา

18. การสรา้ งสรรคล์ วดลายสีสันแหง่ ปา่ ฮาลา-บาลา………………………………………..…………………………..110

ชสิ า สุวรรณนาวิน

19. ในห้วงแหง่ มนตเ์ สนห่ อ์ ารยธรรมจนี โบราณ………………………….……………..………………………………..117

ณธกร อุไรรัตน์

20. การสร้างสรรค์งานศิลปะจากผ้าทอนาหมน่ื ศรี จ.ตรงั ………………………………………….………..………..124

ณมณ ขนั ธชวะนะ

21. กามกเิ ลส………………….……………………………………………………….……………………………………………..131

เดน่ พงษ์ วงศาโรจน์

22. Mine – Mask - Me ………………………….…………………………………………………………………………….137

ทรงเกียรติ ภาวดี

23. การสร้าง Wearable สำหรับ Metaverse ……………………………………….………………………………..144

ทกั ษิณา พพิ ธิ กุล

24. การพงั ทลายของโลกใบเก่า……………………………………………….………………………………………………..151

ธนพร งามจิตร

25. สื่อวีดีทศั น์ “จติ รกรรมดิจทิ ัลสนั นิษฐานจากจิตรกรรมฝาผนังอุโบสถวดั ชมภูเวก (ภาพมารผจญ)”……..154

ธนพล จลุ กะเศียน

26. จิตรกรรมญี่ป่นุ คจิ มิ ะ เรียวกงั จากภาพยนตรเ์ ร่ือง เคท 2021……………………………..……..…..……..161

ธรรมศกั ด์ิ เอ้ือรกั สกุล

27. มิติสัมพันธ์แหง่ ชวี ิต….………….…………………………………………….……………………………………………..169

นพอนันต์ บาลิสี

28. การออกแบบจดหมายข่าวสภาคณบดคี ณะสถาปัตยกรรมศาสตรแ์ ห่งประเทศไทย……………………..178

นลนิ า องคสิงห

29. การสะท้อนจิตใจมนษุ ยผ์ า่ นภาพประกอบเวกเตอร์………….…………………………………..………………..185

นิภัทร์ ปญั ญวานนั ท์

30. สติ ความกลัว และที่วา่ ง..............………………………………….………………………..……………….…………190

ปรวรรณ ดวงรัตน์

31. ภกิ ษ…ุ …………………..………………………………………………………….……………………………………………..200

ประชารกั ษ์ วงษ์ศรีแกว้

สารบัญ (ตอ่ )

32. การออกแบบเคร่ืองแต่งกายบุรุษเพ่ือพัฒนาสินค้าชมุ ชนโดยใช้แนวคิดการออกแบบจากศลิ ปะรูปแบบ
เมมฟสิ : กรณีศึกษาผ้าขาวม้านาหม่ืนศรีอำเภอนาโยง จังหวดั ตรัง…….…………………………….………206

ปรัชญา พิระตระกลู

33. ลีลาวถิ ีชีวิต………………………………………………………………………………..………………………….…………214

ปทั มาสน์ พิณนุกลู

34. มติ ิแห่งความสงบร่มเย็น…………………………….…………………………………………………………….………..219

พงศกร ฉิง่ กังวานชยั

35. ชดุ การเรียนรู้ “ถอดรหัสฮูปแต้มสูก่ ารออกแบบผลติ ภณั ฑ”์ …….……………………………………….……..223

พชร วงชัยวรรณ์, อินทริ า พรมพนั ธ์ุ

36. ลวดลายอัตลักษณ:์ ท่าฉลอม…………………………………………….………………………………………………..231

พรพมิ ล ศักดา, ชฎาพร ศรรี นิ ทร์

37. ละครทดลองในห้องทดลอง:กระบวนการสรา้ งสรรค์ละครเวทเี ร่อื ง Laboratory..……………………..235

พลฤทธิ์ สมทุ รกลนิ

38. เส้นและสีแสดงภาพลกั ษณเ์ คลอ่ื นไหว….…….…………………….……………………………………….………..242

พิบลู ย์ มังกร

39. “นำ้ ตน้ ” : เคร่อื งประดบั เงินเชิงวฒั นธรรมล้านนาสไตล์……………………………………….…….….………250

ภาณุพงศ์ จงชานสทิ โธ

40. การออกแบบคาแรคเตอรด์ ีไซน์ : The Vengeance …………….…………….……………….………….……258

ภาณุวฒั น์ เสงยี่ ม

41. งานสร้างสรรค์ออกแบบเครื่องแต่งกายชุดประจำชาติสุภาพบุรุษ ถิ่นสยาม จังหวัดสุราษฎร์ธานี
2556……………………………………………………………………………………………….……………………………..266

ยทุ ธนา บุญอาชาทอง, เบ็ญจมาภรณ์ สุธิราวุธ

42. The crazy twisted antagonists ………………………………………………….………………………………..273

วชั รพล หงษ์ทอง

43. ความสุขในความไม่สมบรู ณ์แบบ……………………………….………………………………………………………..280

วัชราพร ศรสี ขุ

44. การออกแบบสปาและนวดแผนไทย “สาทร สปา”…..…….…….………………………………………………..285

ศรีดารา ตเิ พียร

45. การออกแบบตัวละครสำหรับวอ็ กเซลเกม………………….………………………………………………………....293

ศิริเดช ศริ ิสมบูรณ์

46. ร่องรอยของความโดดเดยี่ ว……………………..……………………………………………………….…………………299

สทิ ธธิ รรม โรหิตะสุข

สารบญั (ต่อ)

47. การสร้างสรรคผ์ ลงานศิลปะชดุ “ขอให้เราโชคด”ี …………………………………………..……………………..306

สิริภา จนั ทะบูลย์

48. จิตรกรรมและหนังสือกรีด (Flipbook) จากจินตนาการแห่งความทรงจำที่สะท้อนความสุขความรัก
และความผูกพัน………………………….………………….………………………………………………………………..312

สทุ ธาสนิ ีย์ สวุ ฒุ โฑ

49. ภาพรา่ งเพยี งรางเงา………………………………………….………………………………………….…………………..320

สุพจน์ ศิริรัชนีกร

50. “ช้าง” การอนุรกั ษ์ในภาวะการณป์ จั จบุ ัน………………………………………………………………..…………..325

สุวดี ประดบั

51. ถอดรหัสอัตลกั ษณ์ไทยร่วมสมัย…………..……………………………………………….……………………………..330

อรทยา สารมาศ

52. ปอดกลางเมอื ง…………………………………..……………………….…………………..………………………………..338

อุกฤษ วรรณประภา

53. จติ รกรรมสนี ำ้ กวนเกษียรสมุทร………………………………………………………………………….………….…..343

เอกราช วรสมทุ รปราการ

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 tie-
dye 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.

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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 tie-
dye 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

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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

2.2 Principles 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.

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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.

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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

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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

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Figure 4 Compositions

Figure 5 Material Experimentations

Figure 6 Final Artwork by Lung-Chi Lin

17

Figure 7 Final Artwork by Lung-Chi Lin

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,

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.

Figure 8: Visual Research

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

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-guide-
to- 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 sub-
culture, 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/how-
long-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-coronavirus-
survive-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-the-
use-of-masks-in-the-community-during-home-care-and-in-healthcare-settings-in-the-
context-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-coronavirus-
2019/advice-for-public/when-and-how-to-use-masks accessed on December 17, 2021

34

ความสวยงามของความไมส่ มบรู ณ์
The beauty of imperfection

ฐานิญา รวชิ วกรณ์, Thaniya Rawichawakorn

คณะศิลปกรรมศาสตร์ มหาวทิ ยาลัยเทคโนโลยรี าชมงคลธัญบุรี 39 หมู่ 1(คลองหก) อำเภอธญั บรุ ี 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

การพฒั นาผลติ ภณั ฑส์ นิ คา้ แฟช่ันไลฟส์ ไตล์สำหรับ Gen Z จากผา้ ขาวมา้ ทอมอื
กรณศี กึ ษา ชมุ ชนนาหมืน่ ศรี อำเภอนาโยง จงั หวดั ตรงั

Fashion Lifestyle Products Development for Gen Z from hand-woven
loincloth : A case of Na Muen Sri Community, Trang, Thailand

กมลศิริ วงศ์หมึก, Kamonsiri Wongmuek

มหาวทิ ยาลยั ธุรกิจบัณพติ ย์ 110/1-4 ถนนประชาชน่ื หลกั สี่ กทม 10210
Dhurakij Pundit University110/1-4 Prachachuen Rd., Laksi, Bangkok 10210

E-mail : [email protected]

บทคัดย่อ

การออกแบบคอลเลคชั่นผลิตภัณฑ์แฟชั่นไลฟ์สไตล์จากผ้าขาวม้าทอมือของชุมชนนาหม่ืนศรี จ.ตรัง
พัฒนาจากการเก็บรวบรวมช้อมูลจากการสัมภาษณ์คนในชุมชนเรื่องผ้าขาวม้าและแนวทางในการผลิตสินค้า
ของชุมชน รวมท้ังการศึกษาวรรณกรรมที่เก่ียวข้อง การทำแบบสอบถามกลุ่มลูกค้า Gen Z จำนวน 131 คน
ทำให้ได้ข้อมูลมาใช้พัฒนาต้นแบบสินคา้ ไลฟ์สไตลท์ เี่ น้นลูกค้ากลุ่ม Gen Z เพื่อสรา้ งโอกาสในการขายออนไลน์
ให้กับชุมชนในอนาคตผลการศึกษาทำให้ได้แนวทางการสร้างดีเทลโดยใช้วัสดุทางแฟชั่นท่ีแปลกใหม่และ
หลากหลายที่ชุมชนไม่เคยใช้ เข้าไปเป็นส่วนประกอบเพื่อสร้างภาพลักษณ์ใหม่สไตล์สปอร์ตลำลองเชื่อมโยง
สสี นั และดีเทลบนตัวผลติ ภัณฑ์ให้เกดิ เปน็ คอลเลคชัน่ สร้างความนา่ สนใจในการนำเสนอและเพิ่มโอกาสการขาย
หากการพัฒนารูปแบบคร้ังน้ีได้ผลสำรวจความพึงพอใจเป็นที่น่าพอใจก็จะ มีแนวทางในการพัฒนาแบรนด์
สินค้าของชุมชนเพื่อลูกคา้ ในวงกว้างมากข้ึน เพิ่มโอกาสการสร้างรายได้ใหล้ ูกค้ากลุ่มใหม่ผ่านช่องทางออนไลน์
ท่ีไม่ใช่เพียงแค่ลูกค้าที่มาเยี่ยมชมร้านค้าท่ีกลุ่มวิสาหกิจแต่เพียงอย่างเดียว อันจะเป็นการอนุรักษ์มรดกผ้าทอ
และส่งเสริมการแปรรูปสินค้าผ้าทอของชุมชนให้มีความทันสมัยเพื่อการสร้างรายได้และพัฒนาชุมชนอย่าง
ยั่งยนื

คำสำคญั : สินคา้ ไลฟส์ ไตล์ ผา้ ขาวมา้ ทอมือ คอลเลคช่ัน ผ้าทอนาหมื่นศรี เจนเนอเรชัน่ ซี

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

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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