The Study on Painting Creative Products- Case Study on Derived Products of Blockbuster Exhibitions in Taipei

• Main Authors: Ting Shan-Shan, 丁珊珊
• Other Authors: Pan Fan
• Format: Others
• Language: zh-TW
• Published: 2014
• Online Access: http://ndltd.ncl.edu.tw/handle/r4ws5s

碩士 === 國立臺灣師範大學 === 美術學系在職進修碩士班 === 102 === The overall consumption pattern in modern society has been altered; people have embraced and practice the idea of building a self-image and developing their taste, adore everyday aesthetics, spend time visiting museums and exhibitions, and purchase cultural and creative product. One can say that cultural and creative product sold in museums is a source for experiencing art for oneself. Derived product from art is about transforming invaluable fine art to valuable product. From development to design to marketing, the final output is significantly affected by every detail. Therefore when developing cultural and creative product from paintings, designers have to employ comprehensive and contextualized design thinking. They must also collect information about the artists and their paintings to understand the essence of the artwork from the inside out so as to add value to information. Next, they can apply the thinking of transfer, transit, transform for adding value to knowledge. Then, transformation involving replication, decomposition, and innovation is adopted to add value to creativity through the use of various design approaches such as direct replication, the use of symbolic elements and images, functional transformation, or image extension. At the same time, in order to design the ideal cultural and creative product derived from paintings, it is also important to pay attention to features emphasized by consumers. We compared museums in Taiwan with those in other countries to find differences in cultural and creative product. We found that many museums abroad develop cultural and creative product themselves, and as a result, their product not only better reflects the characteristics of cultural and creative product of museums but is also more praised. We also reviewed cases of cultural and creative merchandise from domestic exhibitions from the perspective of the audience and found that the audience tends to value more the symbolic value, the value as a keepsake, the artistic value, and the story appeal than the practicability or the educational value of such merchandise. Designers when developing merchandise should be aware of this key point. We hope that cultural and creative merchandise developed by museums and exhibition agencies in Taiwan for museum visitors can be good and charming and like a piece of art.