investigating artistic commodity design through the …

INVESTIGATING ARTISTIC COMMODITY DESIGN THROUGH THE SHIFT BETWEEN ART AND DESIGN

Mei-Huang HSIEH*, Shing-Sheng GUAN**

* National Yunlin University of Science & Technology, Graduate School of Design,

Taiwan, [email protected] ** National Yunlin University of Science & Technology, Department of Visual Communication Design,

Taiwan, [email protected]

Abstract: Accompanying the rapid development of cultural and creative industries in recent years, there has been frequent collaboration between art and design fields. Although the dimensions of emphasis vary between these two fields, implying the existence of a divergence, coordination can be achieved by reaching a consensus in communication prior to cooperation, thereby creating an outcome that is beneficial for all involved parties. Based on this concept, we analyzed the divergences between the considerations of artists and designers by examining fundamental art and design concepts. This analysis also considered the differences between these fields. Subsequently, we analyzed the present shifting phenomena between art and design. According to the current trend in which artwork is becoming a design commodity, the following 2 spirit-led models are proposed to describe artistic commodity design: 1) the artist-led model and 2) the designer-led model. These 2 models generate innovative form shifts such as reproduction, decomposition, and innovation. The shifting methods corresponding to these 3 form principles are classified into the “3T” models: transfer, transit, and transform. Therefore, we can achieve a common goal that coordinates varied purposes and styles by determining the sprit-led model, form principle, and 3T method that the artistic commodity should display. Keywords: Artistic Commodity, Design Method, Shifting, Cross-over

1. Introduction The cross-over and collaboration between art and design

can be seen in the Taiwan government’s promotion of cultural and creative industries, such as the “Challenge 2008: National Development Project.”However, Gold [1], who is an artist, designer, composer, and inventor, indicated that, because artists perceive the world introspectively and designers care about the perception of people in the world, divergences exist between the languages and emphases that artists and designers employ. In traditional society, the status of artists was higher than that of designers. However, the influence of designers is greater than that of artists today because design is currently powerful. In addition, Buchanan [2] asserted that consideration of common factors associated with both art and design is a valuable topic. Deliberating the similarities and approaches employed by professionals in both fields allows people to examine shared

thoughts and emotions, although they may seek them through different approaches and for different purposes.

Cultural commodity design is growing fast; however, researchers do not always agree that the artwork, which is designed to be an artistic commodity, accurately represents or contains the intended meaning. Both researchers, artists, and designers must communicate with each other more effectively. Numerous designers have found that their understanding of an artwork is typically misunderstood during the communication process. Consequently, there are divergences in the shift between art and design. If artists and designers can reach a consensus on the message they seek to communicate prior to engaging in cooperative efforts rather than simply offer their professional abilities as a service, a situation that benefits all involved parties can be achieved.

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Original papersReceived August 4, 2013; Accepted January 6, 2014

Copyright © 2014　日本デザイン学会　All Rights Reserved.

2. Literature Review Following the growth of cultural and creative industries,

professionals from art and design fields are constantly engaging in cooperative efforts to capitalize on the rapid growth of business opportunities. Because the shifting process of art and design exits the divergences, we identified and compared the similarities and differences between fundamental art and design concepts for subsequent analysis. 2.1. Essence of Art

Prior to the mid-nineteenth century, the definition of art was seldom questioned by Western artists or philosophers. However, since the end of nineteenth century, various theories associated with what should be considered art continue to emerge. For example, Wartenberg [3] discussed 29 philosophical issues on defining art. Therefore, instead of focusing on uncertain definitions of art, we seek to clarify fundamental art concepts (i.e., the essence of art) to identify how art differs from design. By applying this approach, we can determine the limiting boundary elements during the shifting process.

An artist is a gifted and highly skilled person who thoughtfully creates aesthetic and emotional objects or events through intuitional and conscious control. Thus, an artist’s work is completely suited to self-imagination or refers to the results of productivity [4]. The essence of art considers how artists apply their creative skills, both intuitionally and consciously, to produce artwork that expresses unique aesthetic feelings through innovative forms. Moreover, the creative processes of art and design are similar. 2.2. Essence of Design

Nelson [5] stated that design is a process. Designers address problems based on people’s needs or desires and encourage introspection to identify the corresponding answers. Papanek [6] and Bettina von Stamm [7] indicated that design is the effort and decision-making process, which is order-added, conscious, and intuitional; an idea results in an outcome, and is either tangible (product) or intangible (service). Heufler [8] asserted that design is an art of making things practical, adding value to products, and increasing the sales volume. In addition to emphasizing aesthetics and market characteristics, design satisfies people’s frequently changing needs by applying sensitivity, wisdom, and imagination, and subsequently integrating these needs with cultural, economic, and ecological

characteristics. The International Council of Societies of Industrial

Design [8] define the following essences of design: 1) semiology and aesthetics involves developing products, services, and systems that are representative of specific cultural symbols and suitable beautiful forms; 2) cultural ethics involves promoting tolerance and diversity of all cultures in the context of globalization; 3) social ethics concerns bringing benefits to all aspects of human society, including individuals, groups, consumers, and producers; 4) world ethics involves emphasizing global sustainability and environmental protection. Thus, design and art can both be considered aesthetic-forming activities that are conscious, intuitional, and creative. In addition, design must consider market demands, the sale of products or services, and numerous ethical principles. 2.3. Comparison of Art and Design

Papanek [6] indicated that art is anything made by an artist, which is a person who produces a work of art. The United Nations Educational, Scientific, and Cultural Organization defines an artist as any person who creatively expresses, exhibits, performs, or reforms artwork, and contributes toward artistic and cultural development, regardless of their affiliation with an organization. Moreover, Heufler [8] stated that designers are not only interacting with companies and providing services, but they also devote themselves to a brainstorming career. In addition to being generalists, designers are also experts of design planning and integration. In other words, designers also incorporate technological and commercial skills. By adding imagination and creativity, designers can combine professional elements to mold numerous concepts to produce specific forms. In producer-oriented research and development processes, designers are responsible for defending consumer benefits, which are frequently disregarded. The mission of designers is to produce various types of products that embody numerous characteristics, such as quality and environmental protection. This mission is usually accomplished through teamwork. Thus, society expects designers to be original and culturally responsible in the creative process. The most crucial task of a designer is the creative blending of technology into culture.

Buchanan [2] reasoned that art and design share a complex relationship. For example, the moment in which artists begin to clearly describe their works can be considered a form of design. These works of art are usually representative of an artist’s social or political opinions, and

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their purpose is typically to evoke an emotional or introspective response from their intended audience. The similar characteristics between art and design form a spiritual condition that is fundamental to creating works of art: the ability to inspire wonder and astonishment. The similarities and differences between art and design are summarized in Table 1.

Art and design share fundamental conditions, and they are both based on the same foundation. The only difference is that art presents the concept of pure beauty without considering mass production, manufacturing processes, or whether the final artwork provides any benefit to the lives of its intended audience. In addition to pursuing visually pleasing aesthetics, the most crucial objectives for designers are to contribute to life and to facilitate convenience and comfort in the lives of people. Therefore, design must consider practicality, which is the most notable distinction between art and design.

Table 1. Comparison between art and design concepts

Art Design Differences

1. Fine art 2. Subjective: emphasis on a person’s inner satisfaction. 3. Emotional: free creation based on emotion 4. Functionless: avoids practical application 5. Pursuit of expressing pure beauty

1. Applied art 2. Objective: emphasis on a person’s outer satisfaction 3. Rational: planned and organized process 4. Purposeful: emphasis on utility 5. Considers practical terms: market demand, sales, ethics

Similarities The spirit of creation in the beginning: the ability to

produce wonder and astonishment Conscious, intuitive, and creative activity in aesthetic

formation Highly similar thinking processes 3. Shift between Art and Design

Design, machinery, technology, and art are closely related in etymology, and all of these concepts are interrelated [13]. Coles [14] indicated that a separation exists between art and design in our culture. However, to live appropriately in this era, it is necessary for art to achieve a higher level of pragmatism. Art must transcend the originally restrictive frame, and design is a highly suitable cooperative partner for art. For artists, design is an extremely attractive profession because it provides artists with an opportunity to generate income, reach a higher number of consumers, and involves the creation of fashionable artwork. When using these design works, artists

can create more works. Consequently, art gains the interest of designers because it can facilitate their understanding of revealing spirit’s depth when designing.

When art encountered business, De Stijl artist Piet Mondrian’s abstract geometric patterns were used decoratively by shower curtain designers, thereby transforming an artwork into a commercially viable product. Similarly, when Pop artist Andy Warhol appropriated the Coca Cola design as a creative subject, it transformed a commercial product into an artistic expression [15, 16]. Buchanan [2] suggested that the shift in boundaries between art and design was influenced strongly by culture and art, and that art has been presented more widely since 1960. 3.1. Art Shifts to Design

Coles [14] stated that design is the medium that can afford artists’ aesthetic belief. Flusser [13] suggested that design has a substantial influence on artistic vitality because it combines art and technique to produce novel forms of cultural expression. However, depending on the domain in which artists specialize, many artists possess an underdeveloped comprehension of artistic commodity design concepts. These artists typically devote themselves to individual art creation over a long period, and are subsequently promoted by agents or art mediators. Artists frequently experience difficulty thinking in concrete terms about the commercialized design of artwork, and may equate artistic commodities with commercial items such as traditional souvenirs [20]. Consequently, as art developed and matured, artists began contemplating how to shift their styles according to the emerging paradigm, the design of commercial products for various lifestyles, to capitalize on the exponential growth in commercial opportunities. Table 2 shows several examples that are representative of art shifting toward design. 3.2. Design Shifts to Art

Henrik and Vanessa [21] asserted that art has the ability to evoke an audience’s imagination and gain their attention. Coles [14] stated that the Fauvist master Henri Matisse’s works sufficiently provide inspiration to other fields. Because the competition of markets is becoming more global, the application of cultural characteristics as specific features of commercial products can increase self-identities of consumers’ and personalize consumers’ experiences [23-25].

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Table 2. Examples of art shifting toward design Art Design Shifting

Point Example

Taipei Fine Arts Museum

Exhibiting fashion, design, and architecture, not exclusively contemporary art

Breaking the boundary between art and design

National Taiwan Craft Research and Development Institute

Matching craft artists and designers cooperating with Taiwan Design Center

Infusing design into crafts, and developing the Yii craft fashion brand

Takashi Murakami

Became famous because of cooperative efforts with LV

Believing that arts should be appreciated by many people, advocating the need for arts to link with brands

Significant Shifting Phenomenon Artists no longer pursue personal, subjective, and inner satisfaction, but purposefully become involved in design, brands, and business, violating the “functionless” aspect of art.

For example, Franz Collection Inc. categorize their customers based on the concepts of “present,” “practicality,” and “collection.” Present and practicality customers are easier to control than collection customers. Because the social and economic status of collection customers is higher, they are willing to collect artwork that demonstrate their social status; therefore, Franz focuses specifically on designing commodities that appeal to this consumer segment. However, the essence of collectability values goods that are precious or rare. For example, collections of artworks that are exhibited at the National Palace Museum (NPM) can evoke people’s desire for collection. When the NPM planned to increase the public’s awareness on the beauty of Chinese culture through their “Old is New” promotion, Franz collaborated with the museum to shift their patent technique toward artwork commodity design. Both parties benefitted from each other’s brand and advantage, and a limited quantity of commodities was produced, thereby creating a commercial opportunity. This strategy diverges from the essence of design that typically concerns the practicalities of mass

production. The discussed examples and significant phenomena of design shifting toward art are shown in Table 3.

Table 3. Examples of design shifting toward art

Design Art Shifting Point Example Franz Collection Inc.

Applying NPM’s collections

Limiting the amount of commodities, breaking the essence of mass production

Costume designer Johan Ku

Inspired by “Soft Sculpture”

Uniting clothing, knitting, and sculpture, initiating the new style of contemporary Taiwanese sculpture

Pilippe Stark’s Juicy Salif citrus squeezer

Enabling kitchen utensils to become a form of sculpture

Transforming function into emotional experience

Significant Shifting Phenomenon

Disregarding the design emphasis on function and consumer satisfaction provides freedom in the creation process. 4. Artwork Shifts to Artistic Commodity Design

Ransome [26] indicated that in a society based on “work” shifting to “consuming,” people aspire to explore values through culture. Specifically, for people who have a lot of leisure time, concepts such as culture, taste, and appreciation become points of emphasis. From the perspective that the application of artwork to artistic commodity design is a major trend that is indicative of the shift between art and design, we show that when an artist or a designer is the leader of a design spirit, they can bring out different innovative principles of form and shift. 4.1. Artwork is Transformed into Design Commodities

Artwork is neither understood by the majority of audiences, nor is it owned by many people. Henrik and Vanessa [21] researched the phenomena and effect of visual art that had been appropriated into commodity design. They indicated that artwork involves the non-functional expressions of people’s experience, sophistication, and creativity. However, when a piece of furniture is designed artistically, or if a painting is printed on a T-shirt, the artistic expression becomes an integrated product. Thus, the dissemination of art is considerably dependent upon its


commercialization. Artwork is not only sold directly or indirectly by galleries, art markets, or through museum collections. The opportunity to increase sales can be realized by applying a model of art commercialization.

Recently, the National Taiwan Museum of Fine Art (NTMOFA) actively used their collections to develop artistic commodities such as ornaments, clothing, tableware, backpacks, and decorations. These items are affordable for people to purchase as a souvenir. The NTMOFA cooperated with national craftsmen to design modern and fashionable decorations by extracting the spirit, pattern, or color of specific artwork. The NTMOFA stated that their shop is positively seeking self-orientation and brand identity. They focus on the works of certain artist and subsequently promote a series of specific artistic commodities that cannot be purchased outside of the museum. The artistic commodities shown in Fig. 1 are an example of the commodities that audiences can purchase after visiting an exhibition. This strategy offers a platform for displaying the work of artists and self-produced companies.

The combination of cultural creativity and life has become a trend. Artists can transform artwork into design that blends into people’s lives instead of indulge in self-admiration and violate the “functionless” aspect of art.

Figure 1. Artistic commodities on sale at the NTMOFA

4.2. Shift of Spiritual-led Models

Nelson and Stolterman [28] asserted that design problems differ from other traditional problems because service is an essential element. By definition, design is a type of service relationship. All design activities must be processed based on the dynamic relationship between those being serviced (e.g., clients, agents, customers, and end-users) and those providing the service (e.g., designers). However, observing some typical and professional designers’ behavior shows that their approach to providing services is unclear. The connective service relationships in design are key factors that differentiate traditional design, art, or science. Science and art are essentially cultures of problem and action, which are self-serving. Artists frequently express their passions, feelings, and

understandings about the world to fulfill their personal need for self-expression. However, designers serve others rather than themselves (other-serving).

Furthermore, Nelson and Stolterman proposed the following four models of designer roles based on designer-client relationships (Fig. 2): 1) Designer Artist—In this model, the designer has absolute influence during the design process, whereas the client has none. The designer is uninterested in the requirements of the client, and creates a design based on his or her own judgment of the requirements for a suitable design solution. The behavior of this type of designer is similar to that of an artist, and such designers are typically famous. 2) Designer Expert—This type of designer takes the initiative, and the client responds to the designer’s proposal. The designer’s role in the design process is that of an expert. They fulfill their role based on a predetermined concept and objective, and do not consider it necessary to interact with the clients. As an expert, the designer determines which general solutions or methods are suitable for the client’s specific situation. 3) Designer Technician—For this model, the designer’s role is similar to that of a technician. Rather than providing creative input during the design process, the designer answers questions or responds to the client’s desires. 4) Designer Facilitator—In this situation, clients have a clear awareness of requirements. Therefore, the designer becomes to be a facilitator, and only follows the client’s requests without any personal input. Figure 2. The role model of designer/client relationships

Ho, Lin, and Liu [29] proposed a cultural commodity

model that can be used to distinguish between the following four levels: 1) style-led—designer, user, and producer; 2) marketing strategy—domestic, international, and other nations; 3) design displaying—localized or internationalized; and 4) form elements—shape, color, medium, and composition. The style-led level is similar to Nelson and Stolterman’s collaborative designer-client relationship model.

Client Client Client Client

Design Artist Design Expert Design Facilitator

DesignTechnician

Designer Designer Designer Designer

Client Client Client Client

Design Artist Design Expert Design Facilitator

DesignTechnician

Designer Designer Designer Designer


Consequently, we assert that the shifting process of artistic commodities can be separated into the following two spirit-led models [30]: 1) Artist/artwork-led—The final work retains the majority of the original artwork’s appearance, and the designer’s innovative input is minimal. The designer’s role in this collaborative model is a balance between that of a design technician and design facilitator. 2) Designer-led—During the design process, the elements of the original artwork are deconstructed through the designer’s innovative design, or the designer extracts the spirit of the artwork or artist, and subsequently redesigns a novel commodity. The designer’s role in this collaborative model is a balance between that of a design expert and design artist.

Figure 3 shows these two types of spirit-led shifting of artistic commodity design. The artwork is a block print work produced by the contemporary Taiwanese artist Ting-Shih Chen. Supposing via equivalence of black box design process (the black area of Fig.3), by following the artist/artwork-led model, a necklace was produced that retained the appearance of the original artwork and conformed to a modern aesthetic style. The necklace allows consumers to increase or decrease the artistic elements of the necklace based on their personal preference, which satisfies the desire for change. By adhering to the designer-led model, a fashionable toilet was produced by deconstructing the elements of the artwork to provide an innovatively functional artistic commodity.

Lin [31] proposed the “4C” elements of cultural creative commodities: 1) cultural—the design incorporates common cultural elements; 2) collective—the elements that can adequately represent the object are extracted, and then the artwork is transformed into articles for daily use; 3)

cheerful—creative commodities should inspire cheerfulness and be aesthetically pleasing; and 4) creative—commodities that creatively integrate common culture. According to the “collective”, element in the artist-led model, the white part retains more elements of collecting from the artwork, and the designer is less involved. In the designer-led model, fewer elements of the artwork are collected, but the designer’s innovative design is interpreted instead. Consequently, despite being based on one artwork, an artist-led or designer-led approach generates various form-shifting principles in artistic commodities throughout the design process. 4.3. Innovative Form Principles and Shifting Artistic Commodity Design Methods

Gold [1] expressed that both personal and cultural creativity can occur to different degrees. We frequently state that one object is more creative or innovative than another, it means the more far from present thing or the lower copy level are more innovative. A core concept of creativity is creating objects that never been produced or conceptualized without imitating existing products. In other words, artistic commodity designers should not invariably duplicate artwork or reprint patterns of other artwork on their commodities. Instead, designers should seek inspiration from artwork and infuse the designer’s concept into their own work.

As summarized in Fig. 4, Razzaghi [33] indicated that innovation can be distinguished into the following three levels: 1) low innovation—designers slightly alter the aesthetic or practical function of a product; 2) mid innovation—the product provides users with characteristics that have not appeared regularly in markets; and 3) high innovation—designers can completely control the design of

Artist-led

Necklace Toilet

Ting-Shih Chen’s block print “Peeping” 227x109 cm 1968 (version: 1/18)

Artwork

Shifting Process

Design Innovation

Designer-led

Figure 3. The spirit-led shifting of artistic commodity design


product. Qiu and Ho [34] purported that cultural design communication can be categorized into the following four levels: 1) basis—this level emphasizes achieving a completely realistic appearance; 2) composition—this level stresses a design’s representational and symbolic formation; 3) transformation—emphasis is placed on inference, association, analogy, and the appearance of applied cultural meanings; and 4) innovation—this level focuses on perceived cultural meanings, local history, or philosophical paradigms, thereby transforming relative issues and challenging the original model of appearance and creation.

Furthermore, Lee proposed a cultural framework with multiple layers, including layers that represent artifacts, values, and basic assumptions. These layers are identified by key design attributes that represent function, aesthetics, and symbols [35]. Leong and Clark [36] proposed a framework of studying cultural commodities that classified the following three levels: 1) the outer “tangible” level; 2) the mid “behavioral” level; and 3) the inner “intangible” level. Based on these two studies, Lin [37] also developed a framework of studying cultural factors (Fig. 4) that distinguishes culture into the following three layers: 1) physical or material; 2) social or behavioral; and 3) spiritual or ideal. These three cultural layers can be applied to Leong’s three cultural levels. Regarding cultural objects that can be applied to cultural design, the following three design features can be classified: 1) The outer level includes shape, color, texture, decoration, surface pattern, and detail; 2) The middle level includes function, operational concerns, usability, and safety; 3) The inner level includes special content such as stories, emotions, and cultural features.

Consequently, we propose that artists or designers who are spirit-led engage in form shifting during the process of artistic commodity design. This concept can be classified into the following three form principles which are based on the degrees of design innovation:

1) Reproduction—the original characteristics of the artwork are retained. The design process is fulfilled by modifying the appearance to suit a specific aesthetic appeal. This principle is similar to that which applies to traditional artistic commodities that have patterns printed on them. This principle belongs to the outer level. 2) Decomposition—the elements of the original artwork are deconstructed or augmented with mid-level functionality, although the original artwork remains identifiable. This principle belongs to mid level. 3) Innovation—the designer collects the creative spirit of the artwork or artist, and subsequently redesigns a novel form of artistic commodity in which the original artwork is unrecognizable. This form belongs to the inner level.

Moreover, the shifts that correspond to the three proposed form principles can be classified into the following “3T” shifting methods: 1) Transfer—the designer’s aesthetic considerations are infused into attributes of shape, color, texture, decoration, surface pattern, or detail of the outer level. 2) Transit—“Transit” originally means changing to another condition or appearance, and often involves the thought, perspective, standpoint, attitude, mood, status, situation, period, or direction of humans [38]. It is indicative of functionality, composition, or the combination of mid-level attributes in our research. Thus, the designer endows functionality or decomposes the elements of artwork, which consequently begin to physically transit. 3) Transform—“Transform” originally means character, essence, contradiction, strength, thought of abstract things, especially in philosophy and belongs to a form of rhetoric. It primarily substitutes abstract or lifeless objects with concrete objects, and transforms the original element into an entity that is completely different from the essence [38]. It indicates starting from inner level, the spirit of artist or artwork that is transformed by the designer’s perception, and the original artwork becomes unrecognizable.

Cultural Layers

Physical /Material

Cultural Levels

Outer“tangible”

level

Design Features

Mid“behavioral”

level

Inner“intangible”

level

Innovative Degrees

Communicative Levels

Innovation

Low Innovation

Mid Innovation

High Innovation

Transformation

Composition

Basis

Social / Behavior

Spiritual / Ideal

Visual Designshape, color,

texture, pattern

Behavioral Designfunction, operation,

usability, safety

Reflective Designstories, emotions, cultural features

Figure 4. Three layers, levels, features, degrees and four communicative levels of cultural product design


As shown in Fig. 5 shows, we incorporate the practical design of research by Lin [40] as an example of the application of the spirit-led form principles and “3T” shifting models: 1) A shift of reproduction is achieved by transferring the horizontal and vertical composition, as well as the color of Mondrian’s “Composition with Red, Yellow and Blue” into the decoration of an apartment’s fire hydrant. The designer adheres to the condition of unspoiled equipment (i.e., the signs of red and yellow frames) to add artistic aesthetics. 2) A shift of decomposition is achieved by applying the transit method. The elements of “Lozenge Composition with Red, Gray, Blue, Yellow, and Black” are analyzed, deconstructed, and applied to a modern TV cabinet, which corresponds to the behavioral level function. 3) A shift of innovation is achieved by extracting the spirit of Mondrian’s artwork, and subsequently transforming the style of horizontal and vertical division into an exhibitive cabinet that contains mementos and travel souvenirs, causing the original artwork to appear indiscernible.

The shifting of reproduction, decomposition, and innovation of form principles are representative of the spirit-led principles of art and design. The collaborative process is detailed as followed:

1) Discuss who is responsible for spirit-led based on the factors of purpose, subject, and so on. 2) Select a suitable artwork (e.g., an artist or an art style) to be the primary basis for shifting. 3) Determine an appropriate artistic commodity form principle that provides the designer with a direction for the intended design. 4) Confirm which of the “3T” shifting methods corresponds to the selected form principle, and commence the artistic commodity design. 5) Produce a prototype of the artistic commodity by adhering to the specified spirit-led form principle and shifting method. 6) The divergences in the cooperative process are reduced, and the participants in artistic commodity design reaches a consensus.

In conclusion, regardless of whether a commodity design process is artist-led or designer-led, the process entails various form-shifting principles. If a consensus can be achieved in communication prior to collaboration (i.e., the leader and the strategies taken to achieve the target form principles are determined), then the perspective divergences of the connotation and creativity which is high or low can be decreased. Figure 5. Relationship among spirit-led models, form principles and shifting ways of artistic commodity design

Reproduction

Retaining the features of

artwork with aesthetic

Decomposition

Deconstructing and

recombining the elements

Shifting Methods

Form Principles

Artistic CommodityArtwork

Innovative Point

Spirit-led

Models

Artwork

Shifting Process

Design Innovation

Artist-led

Designer-led

Selectthe artwork

Discuss thespirit-led model

Artwork

Shifting Process

Design Innovation

Innovation

Extracting the spirit and the

artwork is unrecognizable

Transfer

Transferring the appearance,

e.g. shape, color, texture

Transit

Transiting the function or

decomposing the elements

Transform

Transforming the internal, e.g.

inner level

Transferring the features to

infuse aesthetics into fire hydrant

Rationally transiting the appearance

and endowing with function

Transforming the spirit of

characteristics to collect memory

Determineform principle

Confirmshifting method

Produce theartistic commodity

Participantsreach a consensus


5. Conclusion and Recommendations Art can stimulate designers’ imaginations and capture

the attention of a wide audience. Design is essentially a carrier that can disseminate the aesthetic expressions of artists. Since 1960, the field of design has shifted toward concepts associated with culture and art. Furthermore, the development of art has shifted toward a wider and newer expressive model. Both art and design share the foundations of creativity and the pursuit of expressing beauty. The conceptual processes of art or design are identical. However, this cannot change an artist’s beliefs that a specific artwork is superior, their introversive worldview, or their self-serving values. A designer values innovation as the highest ideal and strives to care for people by holding service toward others in high regard. Therefore, divergences exist during the collaborative process that may cause concern when artists and designers cooperate to accommodate the trends of cultural and creative industries.

For this reason, to analyze the differences in emphasis of artists and designers, we examined the essence, similarities, and differences of art and design concepts, and subsequently investigated current domestic and global cases of the shifting phenomena between art and design. Because the shifts are representative of the transformation of wisdom and creativity (i.e., knowledge shifting), the shifting process must exist in the divergences. Therefore, if artists and designers can reach a consensus prior to cooperating, an outcome that is beneficial to all involved parties is achievable.

After interpreting the recent examples of the shift of artwork into artistic commodities, we propose two spirit-led models (artist-led and designer-led) that are suitable approaches to the process of artistic commodity design, and are in accordance with Nelson and Stolterman’s four types of designer roles. Subsequently, based on degrees of innovation, we assert that an artist or designer who is the spirit-led can produce various form shifts through the process of artistic commodity design. The levels of innovative design shift can be classified into the following three form principles: 1) “reproduction”—an approach for transferring shape, color, and texture corresponding to the outer level; 2) “decomposition”—a method to transit functionality and composition corresponding to the middle level; and 3) “innovation”—an approach to transforming spirit and emotion corresponding to the inner level.

Consequently, our analysis of the shift between art and design shows that an artist or designer who is the spirit-led of artistic commodity design can produce different

innovative form shifting. The shifting methods can be classified into the following 3T shifting models: 1) transfer—the transfer of design based on shape, color, or texture corresponding to the outer level; 2) transit—deconstructing an artwork’s composition, or augmenting an artwork by incorporating functionality; and 3) transform—extracting the spirit or style of an artwork based on a designer’s conceptualization, thereby making the original artwork indiscernible.

Therefore, we confirm the definitions of transfer, transit, and transform to integrate these concepts for application in cultural product design. If artists and designers can reach a consensus on 1) who is the spirit-led, 2) which form principle should be applied, and 3) the most suitable shifting method for an artistic commodity (based on purpose, style, or strategy) prior to over collaboration, then the divergences of the artistic commodity design process are reduced. We recommend that future studies examine case studies of artistic commodity designs based on the two spirit-led models, three form principles, and the “3T” shifting methods proposed in this study.

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