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아 아트 트 트마 마 마케 케 케팅 팅 팅 광 광 광고 고 고의 의 의 미

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(1)

2009 년 2월 석사학위논문

아 아트 트 트마 마 마케 케 케팅 팅 팅 광 광 광고 고 고의 의 의 미

미 미술 술 술작 작 작품 품 품 활 활 활용 용 용에 에 에 대 대 대한 한 한 연 연 연구 구 구

일 일 일러 러 러스 스 스트 트 트레 레 레이 이 이션 션 션을 을 을 중 중 중심 심 심으 으 으로 로 로

―――

조 조

조선 선 선대 대 대학 학 학교 교 교 디 디 디자 자 자인 인 인대 대 대학 학 학원 원 원

시 각 디 자 인 학 과

양 양

양 경 경 경 승 승 승

(2)

아 아트 트 트마 마 마케 케 케팅 팅 팅 광 광 광고 고 고의 의 의 미

미 미술 술 술작 작 작품 품 품 활 활 활용 용 용에 에 에 대 대 대한 한 한 연 연 연구 구 구

일 일 일러 러 러스 스 스트 트 트레 레 레이 이 이션 션 션을 을 을 중 중 중심 심 심으 으 으로 로 로

―――

TTThhheeefffiiinnneeeaaarrrtttsssttthhhrrrooouuuggghhhAAArrrtttMMMaaarrrkkkeeetttiiinnngggAAAdddvvveeerrrtttiiissseeemmmeeennnttt

―――FFFooocccuuusssiiinnngggooonnnttthhheeecccaaassseeeiiilllllluuussstttrrraaatttiiiooonnn―――

2009년 2월

조선대학교 디자인대학원

시 각 디 자 인 학 과

양 경 승

(3)

아 아트 트 트마 마 마케 케 케팅 팅 팅 광 광 광고 고 고의 의 의 미

미 미술 술 술작 작 작품 품 품 활 활 활용 용 용에 에 에 대 대 대한 한 한 연 연 연구 구 구

일 일 일러 러 러스 스 스트 트 트레 레 레이 이 이션 션 션을 을 을 중 중 중심 심 심으 으 으로 로 로

―――

지도교수 고 현

이 논문을 디자인학 석사학위신청 논문으로 제출함.

2009년 2월

조선대학교 디자인대학원

시 각 디 자 인 학 과

양 경 승

(4)

양경승의 석사학위논문을 인준함

위원장 조선대학교 교수 삎

위 원 조선대학교 교수 삎

위 원 조선대학교 교수 삎

2009년 2월

조 조

조선 선 선대 대 대학 학 학교 교 교 디 디 디자 자 자인 인 인대 대 대학 학 학원 원 원

(5)

목 목 목 차 차 차

제1장 서론 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

1절.연구목적 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

2절.연구범위 및 방법 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

제 2장 광고일러스트레이션과 아트마케팅 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

제1절 일러스트레이션과 광고 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

1.일러스트레이션 정의 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

2.광고 일러스트레이션의 고찰 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

3.패러디 일러스트레이션 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

제2절 아트마케팅 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

1.아트마케팅의 개념 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

2.아트마케팅의 등장요인 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

3.소비자 니즈의 변화에 따른 아트마케팅 . . . . . . . . . . . . . . . . . . . . . . . . . 20

4.아트마케팅을 통한기업의 브랜드 관리 . . . . . . . . . . . . . . . . . . . . . . . . . . 22

5.아트마케팅의 범주 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

6.아트마케팅 광고 도입시 고려할 점

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

31

제3절 아트마케팅과 일러스트레이션의 이미지관계 . . . . . . . . . . . . . . . . . . . . . . . . 33

제 3장 아트마케팅에 의한 광고사례 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

제1절 국내사례 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

1. 방송광고 사례 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

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2. 전시공간 사례 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

3. 작가협력 사례 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

제2절.국외사례 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

제3절. 아트마케팅 광고의 효과 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

제 4장 일러스트레이션 표현과 활용 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69

제1절 자료수집분석의 목적 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

제2절 자료분석 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

1.TV방송광고 표현 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

2.제품. 포장광고의 일러스트레이션 표현 . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

3.작품활용을 위한 분석의 틀 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

제 5장 결론 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

제1절 일러스트레이션 조형의식과 개선점 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

제2절 결론 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

참고문헌

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표 표 표목 목 목차 차 차

(표 2-1)일러스트레이션의 의미 ·······································································6

(표 2-2)일러스트레이션의 개념의 확대 ·························································7

(표 2-3)일러스트레이션 표현분류 ···································································10

(표 2-4)매슬로우(Maslow)의 욕구 위계이론과 소비자 동기 ·······················21

(표 2-5)아트마케팅에서의 마케팅 믹스 ·························································23

(표 2-6)아트마케팅의 형태적분류 ···································································33

(표 4-1)2007년LG광고 작품PPL·····································································80

(표 4-2)2007년LG광고 PPL과BPL형식 ·························································84

(표 4-3)작품사용 화장품제품 ···········································································98

(표 4-4)냉장고 작품사용 ·················································································101

(표 4-5)이미지 구성 요소 ·················································································104

그 그 그림 림 림목 목 목차 차 차

(그림 3-1)엘지:밤의 카페테라스 ···································································35

(그림 3-2)엘지:타이티의 여인들 ····································································35

(그림 3-3)엘지:검무도 ······················································································36

(그림 3-4)엘지:대장간 ······················································································36

(그림 3-5)CJ홈쇼핑 일러스트레이션(2007년)············································39

(그림 3-6)이안 아파트광고 ·············································································40

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(그림 3-7)신도 브래뉴 ·····················································································41

(그림 3-8)아시아나 항공 ···················································································42

(그림 3-9)하나금융광고 ···················································································43

(그림 3-10)두산주류:처음처럼’스트리트 갤러리 ·········································45

(그림 3-11)정재호 작품 ·····················································································47

(그림 3-12)BMW 미니백 ················································································47

(그림 3-13)신세계백화점 포장막 ·····································································48

(그림 3-14)삼성래미안 갤러리 ·········································································48

(그림 3-15)해태제과 오예스 진열대 ·······························································49

(그림 3-16)쌈지:낸시 랭 'MagicBox···························································52

(그림 3-17)낸시랭:터부요기니 ·········································································52

(그림 3-18)아모페 퍼시픽 :진설 채화칠기 기획 ·······································53

(그림 3-19)클리오 립스틱,아이쉐도그림 ·······················································54

(그림 3-20)제니스웰 아로마틱 쥬얼리 파우더 ·············································55

(그림 3-21)하상림 작품그림 ·············································································56

(그림 3-22)아트디오스 ·······················································································56

(그림 3-23)엘지:김환기 작품 ···········································································57

(그림 3-24)엘지 붙박이장:김선미 작품 ··························································57

(그림 3-26)보래매 댄스홀 ···················································································56

(그림 3-27)아트캔유DMB폰 ················································································58

(그림 3-28)갤러리아 쇼핑백 ·············································································59

(그림 3-29)던힐 퍼팩셔니스트 시리즈 ···························································59

(그림 3-30)폭스21호텔 룸 ················································································62

(그림 3-31)코카콜라 한정판 ·············································································63

(그림 3-32)BMW 아트카 ···················································································64

(그림 3-33)루이비통 무라카미백 그림 ···························································64

(그림 3-34)타킷 광고 ·························································································66

(그림 4-1)쇠라:그랑자트섬의 오후 ··································································74

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관련 문서

윤주는 이번 일을 계기로 움직임이 재미있고 학교에서 배운 과학적 원리가 들어 가는 오토마타를 친구들과 만들어 보고 오토마타 전시회도 열면 좋겠다는

일반적으로 타이타늄 합금이 대기중에 노출되면 타이타늄 표면에서 산소와 결합 하여 2~5nm의 Ti O 2 라는 자연적인 산화막을 형성하여 내식성을

융합인재교육(STEAM)은 과학, 기술, 공학, 예술, 수학(Science, Technology, Engineering, Arts, Mathematics)의 내용을 창의적 설계와 감성적 체험으로 경

융합인재교육(STEAM)은 과학, 기술, 공학, 예술, 수학(Science, Technology, Engineering, Arts, Mathematics)의 내용을 창의적 설계와 감성적 체험으로 경

융합인재교육(STEAM)은 과학, 기술, 공학, 예술, 수학(Science, Technology, Engineering, Arts, Mathematics)의 내용을 창의적 설계와 감성적 체험으로 경

융합인재교육(STEAM)은 과학, 기술, 공학, 예술, 수학(Science, Technology, Engineering, Arts, Mathematics)의 내용을 창의적 설계와 감성적 체험으로 경

인공지능을 통한 예술 작품의 생성 과정을 설명할

2) 지폐에 사용되는 홀로그램과 전시, 공연 분야에서 사용되는 홀로그램은 다른 기술이다. 전시, 공연 등의 분야에서 사용되는 홀로그램을 유사 홀로그램이라 한다.