Investigating the Innovation and Application of Jackson Pollock's (Drip Painting) Elements in Fashion Design
DOI:
https://doi.org/10.56225/ijgoia.v2i2.218Keywords:
Jackson Pollock, drip painting, fashion design, comprehensive materials, hot melt adhesiveAbstract
As a unique cultural carrier, clothing always reflects people's way of life and aesthetic concepts. With the continuous development of global economic integration and the mutual integration of multiculturalism, people's aesthetic needs for clothing are becoming increasingly diversified. The painting process of Jackson Pollock's “drip painting” is carried out in an unconscious mental state, which is very subjective and random. It uses a combination of lines, colors, and shapes to portray nature in his imagination. At the same time, he also pays great attention to applying comprehensive materials. His creative idea can also be used in clothing, which can enrich the artistic language of clothing and improve the artistry of clothing. This study applies acrylic and colors hot melt adhesive to clothing fabric in a way similar to Pollock's "drip painting" through practical research to test its fluidity and coloring effect on the fabric and the layering of lines. The experimental results conclude that the adaptability of hot melt adhesive stick and canvas fabric is very high, and its fluidity and stability can confirm the feasibility of applying it to clothing design. However, the performance effect of acrylic pigment in this practical research is not ideal. This study found that atypical clothing materials can make clothing more abstract and play a positive role in the personalized expression of clothing.
References
Ebert, T. L. (1978). The Aesthetics of Indeterminacy: The Postmodern Drip Paintings of Jackson Pollock. Centennial Review, 22(2), 139–163.
Esplund, L. (2018). The Art of Looking: How to Read Modern and Contemporary Art. Hachette UK.
Hunter, S., Pollock, J., & Karpel, B. (1956). Jackson Pollock. The Bulletin of the Museum of Modern Art, 24(2), 3–36.
Khandekar, N., Mancusi-Ungaro, C., Cooper, H., Rosenberger, C., Eremin, K., Smith, K., Stenger, J., & Kirby, D. (2010). A technical analysis of three paintings attributed to Jackson Pollock. Studies in Conservation, 55(3), 204–215.
Lau, K. J. (2011). Retro: The culture of revival. Journal of American Folklore, 124(494), 336–338. https://doi.org/10.5406/jamerfolk.124.494.0336
Lee, S., Olsen, S., & Gooch, B. (2007). Simulating and analysing Jackson Pollock’s paintings. Journal of Mathematics and the Arts, 1(2), 73–83.
Loschek, I. (2009). When clothes become fashion: Design and innovation systems. Berg.
McKelvey, K., & Munslow, J. (2011). Fashion design: process, innovation and practice. John Wiley & Sons.
Nelson, H. G., & Stolterman, E. (2014). The design way: Intentional change in an unpredictable world (2nd ed.). MIT press.
Porter, D. L. (2002). Monstrous Beauty: Eighteenth-Century Fashion and the Aesthetics of the Chinese Taste. Eighteenth-Century Studies, 35(3), 395–411.
Raustiala, K., & Sprigman, C. (2006). The piracy and paradox: Innovation and intellectual property in fashion design. Va. L. Rev., 92, 1687.
Taylor, R. (2003). Fractal expressionism—where art meets science. In Art and complexity (pp. 117–144). Elsevier.
Wolff, J., & Wolff, J. (1981). The social production of art. Springer.
Zanker, J., Jackson, J., & Stevanov, J. (2016). On the mystery of fractals in Arts–why are Pollock’s drip paintings valued so highly? Journal of Vision, 16(12), 794. https://doi.org/10.1167/16.12.794
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2023 Author
![Creative Commons License](http://i.creativecommons.org/l/by/4.0/88x31.png)
This work is licensed under a Creative Commons Attribution 4.0 International License.
Copyright @2022. This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (https://creativecommons.org/licenses/by/4.0/) which permits unrestricted to copy and redistribute the material in any medium or format, remix, transform, and build upon the material for any purpose, even commercially.
This work is licensed under a Creative Commons Attribution 4.0 International License.