視覺디자인에서의 寫眞表現效果에 관한 硏究

Abstract

In 1839, the discovery of principles of silver print by Louis Jacques Daguerre (1789-1851) contributed to the first appearance of photography. After then, for the time of arriving to the present, photography has also made a great deal of contribution to mankind with its remarkable advancement and glaring development as an unique medium of visual communication. Photography, the most accurate language, the most potentially applicable mass medium, in fast-paced and high-developed industrial society, ever dwelling in everywhere everytime, demands our special attention for its own nature of 'visuality' and 'communication'. That is, it has a subjective form as something that means visual and figurative senses, and also it has an objective form as something that means the conveyance of recorded contents. Hence, it appears a new form of visual language with the both subjective-and objective-including general symbolic system. And when considering that it has a standpoint of recording preserving and representing the history, social reality and culture of an age with its own characteristics or natures as recorder, reviver, reproducer. language and history and of sociality, reality and casuality, now it must be viewed as to have such astonishingly boundless substanciality of expression that would surpass far beyond our understanding upon it in its vast range and powerful capacity. From this perspective, this study has chiefly laid the emphasis on the re-recognition of prominent functions in visual communication of photography, and the re-recognition of the significance of relations between photography and visual design, and, further the actualization of its expressional variety. Study first started from the contents of some suggestions related to the problems of visualization and discrimination and also with some introductory descriptions about the range and method of the study. Then, in the second chapter, the nature and origin, concepts or meanings, and the developmental processes of photography were newly reilluminated for the required theoretical basis. And the growing stages and great role-playing of photography were looked into in the third chapter as a visual language closely interrelated with visual design and also having a background historically connected with it. Then, again, in the fourth chapter, general effects of it in visual design were interpreted under the titles of photographing process and printing process. And, finally, by employing the best of color and compositional division, the works were made in such a way that the expressional range of photography would be enlarged, and a new concept of visual language could be made use of as well as the general photo-technical effects could be enough got into consideration. Conclusively, it may be said that the general status of photography in visual design should be newly recognized so that the importance of the relationship between visual design and photography may be identified, the status of photography as a visual medium can be improved, and also the expressional sphere of photography can be expanded.;寫眞術이 登場한 것은 1839년 다게에르( Louis Jacques Daguerre 1787∼1851 )가 은판사진의 原理를 發明한 데서 비롯되었다. 이후 오늘에 이르러 寫眞은 視覺傳達의 미디어로 顯著한 進步와 눈부신 發展으로 人類에 많은 寄與를 했다. 寫眞은 高度로 發達되어 가고 있는 産業社會에 있어서 가장 正確한 言語요 說得力 있는 大衆媒體로서 이제 어느 곳에서나 살아 움직이고 있으며 視覺的 意思傳達의 한 形態로서 視覺性( Visuality )과 意思傳達( Communication )이라는 意味에 特別한 주의를 要하게 된다. 즉 視覺性, 造形感覺을 뜻하는 것으로서의 主觀的 要素와 記錄內容의 전달을 意味 하는 것으로서의 客觀的인 要素를 갖는다. 그러므로 寫眞은 主觀性과 客觀性을 지닌 普遍的 象徵으로서 새로운 形態의 視覺言語로 登場하게 된다. 寫眞의 特性은 記錄性, 再現性, 複製性, 言語性, 偶然性, 社會性. 歷史性, 事實性을 가지며 한 時代의 歷史와 社會的 現實과 文化를 記錄, 保存하며 表現하는 普遍的 立場에서 이제 새로운 시각, 비쥬얼 언어로서 그 表現의 潛在性은 놀라우리만큼 無限하며 우리가 알고 있는 것보다 훨씬 廣範圍하고 偉力的이다. 본인은 本 論文을 통하여 視覺媒體의 汎濫속에서 寫眞을 視覺傳達의 卓越한 機能으로 再 認識하며 寫眞과 視覺디자인의 相互關係를 통하여 寫眞과 視覺디자인 관계의 重要性을 再 認識, 그 表現의 多樣性을 찾는데 注力하였다. Ⅰ章에서는 硏究目的을 통해 寫眞의 범람으로 인한 視覺化 差別의 문제를 序述하였으며 이 硏究의 範圍와 方法을 提示하였다. Ⅱ章에서는 寫眞의 理論的 배경으로 寫眞의 槪念, 目的, 발달과정을 통해 寫眞을 새롭게 再照明해 보았다. Ⅲ章에서는 寫眞과 視覺디자인의 聯關性을 歷史的 결합의 배경을 알아봄으로서 寫眞은 視覺디자인과의 發展과 더불어 成長 하였으며 視覺言語로서의 役割이 매우 중요했음을 論하였다. Ⅳ章에서는 視覺디자인에서의 一般的인 寫眞效果를 撮影過程과 印刷·印畵과정으로 紹介하였다. Ⅴ章에서는 寫眞表現領域의 擴張 및 새로운 視覺言語로서의 寫眞을 製作하려는 의도도 一般的인 寫眞技法 效果를 이용하여 視覺的 이미지를 color와 구성분할로 나름대로의 作品을 製作하였다. 硏究 結論으로는 視覺디자인에서 寫眞의 중요성과 寫眞表現 領域의 擴張 및 視覺媒體로서의 寫眞 位置 向上을 위하여 表現技法의 분화·다양화로 각 技法이 갖는 特性에 대한 明確性과 Creative한 새로운 表現技法으로 寫眞의 위치가 새롭게 인식되어져야 한다고 結論을 내렸다.