This
study explores how to transform artists’ works into art derivatives. The role
of culture in product design is crucial, adding value to the product and
helping to bring the region’s unique culture to the international market. As
the carrier of culture and art, art derivative is closer to people’s lives than
traditional artworks. The relationship
between artistic derivatives and cultural creative products is crucial to contemporary art ecology. Through an
in-depth discussion of the relationship between artworks and their results,
this study proposes the transformation process of art derivatives. At the
cultural level, material form is the most direct and concrete part of art. At
the design level, form, function, and meaning are indispensable elements to
ensure that derivatives are beautiful and functional. At the experiential
level, sensory, action, and emotional
experiences provide people with a comprehensive and deep understanding when
interacting with derivatives. This study has important implications for the art
derivatives market, especially for artists and market planners. Future
research could explore other factors that influence the evaluation of art
derivatives to provide a more comprehensive guide to the market.
References
[1]
Cattani, G., Porac, J. F., & Thomas, H. (2017). Categories and Competition. Strategic Management Journal, 38, 64-92. https://doi.org/10.1002/smj.2591
[2]
Chen, C. (2011). Gender Classification from Facial Images. Graduate Theses, Dissertations, and Problem Reports, 3449.
[3]
Chen, M. (2009). The Principle of Art Communication. Shanghai Jiao Tong University Press.
[4]
Eckermann, J. P. (1913). Gesprache mit Goethe. Kiepenheuer.
[5]
Fernando, J. (2023). Derivatives: Types, Considerations, and Pros and Cons. https://www.investopedia.com/terms/d/derivative.asp
[6]
Ghazali, I., Abdul-Rashid, S. H., Dawal, S. Z. M., Irianto, I., Herawan, S. G., Ho, F. H. et al. (2023). Embedding Green Product Attributes Preferences and Cultural Consideration for Product Design Development: A Conceptual Framework. Sustainability, 15, Article 4542. https://doi.org/10.3390/su15054542
[7]
Gu, M., Hidayat, I. K., & Novica, D. R. (2022). The Inheritance and Innovation Value of Cultural and Creative Products of the Palace Museum in Beijing. KnE Social Sciences, 157-165. https://doi.org/10.18502/kss.v7i13.11656
[8]
Gumulya, D. (2022). Pengembangan Desain Produk Berkonsep Silang Dua Budaya. Jurnal Da Moda, 4, 29-42. https://doi.org/10.35886/damoda.v4i1.389
[9]
Hegel, G. W. F., & Khodoss, C. (1979). Esthétique. Flammarion.
[10]
Hsieh, M.-H., & Guan, S.-S. (2011). Applying “Associative Forced Relationship of Formative Elements” in Artistic Commodities Design. Journal of Design, 16, 57-73.
[11]
Huang, C.-B. (2004). Discussing New Elements of Product Creativity from Local Culture—Taking Religious Temples as an Example. Unpublished Master’s Thesis, Da-Yeh University.
[12]
Kant, I. (1987). Critique of Judgment. Hackett Publishing.
[13]
Karpik, L. (2010). Valuing the Unique: The Economics of Singularities. Princeton University Press. https://doi.org/10.1515/9781400835218
[14]
Lin, R. (2005). Cultural Creativity Added Design Value. Art Appreciation, 7, 26-32.
[15]
Lin, R. (2007). Mondrian’s House Is My House-Discussing Clean Design in Cultural Innovation from Mondrian’s Point of View. Art Appreciation, 3, 4-9.
[16]
Ninad, P. (2019). Design Education—A Perspective. https://designderivatives.com/blog/2019/11/23/design-education-a-perspective/
[17]
Norman, D. (2013). The Design of Everyday Things: Revised and Expanded Edition. Basic Books.
[18]
Norman, D. A. (2004). Emotional Design. Perché amiamo (o odiamo) gli oggetti della vita quotidiana. Apogeo Editore.
[19]
Orana, V. (2017). What Is Gender-Neutral Design? Here’s How and When to Use It. https://visme.co/blog/feminine-design-masculine-design/
[20]
Peng, J.-X. (2006). Introduction to Art Studies. Beijing Publishing House.
[21]
Pine, B. J., & Gilmore, J. H. (1998). The Experience Economy. Harvard Business Review, 76, 18-23.
[22]
Qin, Z., & Ng, S. (2020). Culture as Inspiration: A Metaphorical Framework for Designing Products with Traditional Cultural Properties (TCPs). Sustainability, 12, Article 7171. https://doi.org/10.3390/su12177171
[23]
Qin, Z., Song, Y., & Tian, Y. (2019). The Impact of Product Design with Traditional Cultural Properties (TCPs) on Consumer Behavior through Cultural Perceptions: Evidence from the Young Chinese Generation. Sustainability, 11, Article 426. https://doi.org/10.3390/su11020426
[24]
Schmitt, B. (1999). Experiential Marketing. Journal of Marketing Management, 15, 53-67. https://doi.org/10.1362/026725799784870496
[25]
Sun, Y. (2022). Design and Purchase Intention Analysis of Cultural and Creative Goods Based on Deep Learning Neural Networks. Computational Intelligence and Neuroscience, 2022, Article ID: 3234375. https://doi.org/10.1155/2022/3234375
[26]
Tong, Y. (2014). Ten Lectures on Art Studies. Xiamen University Press.
[27]
Wang, L., & Fan, Y. (2023). The Application Research of Regional Culture in the Design of Tourism Culture and Creative Products. Highlights in Art and Design, 2, 41-43. https://doi.org/10.54097/hiaad.v2i1.5321
[28]
Yanisky-Ravid, S., & Velez-Hernandez, L. A. (2018). Copyrightability of Artworks Produced by Creative Robots and Originality: The Formality-Objective Model. Minnesota Journal of Law Science & Technology, 19, Article 1.
[29]
Yuan, N., Lu, Y., Yudong, G., & Gongshan, C. (2020). A Review of Cultural Added Value Research Based on Knowledge Mapping Analysis. E3S Web of Conferences, 214, Article 03029. https://doi.org/10.1051/e3sconf/202021403029
[30]
Zhou, Q., Yu, F., Yin, Q., Liu, Y., Zhang, Z., & Sun, J. (2022). On This Page. Mathematical Problems in Engineering, 2, 3.