Although many elaborate works about W. Morris, Arts and Crafts Movement have been written, still remain some ambiguities in the history of modern design from W. Morris to Deutscher Werkbund. In this report, the correlation is to be sought within english guild movement and german Werkstatte movement, and the influence of Arts and Crafts Movement to Werkstatte movement in the favorable german social economic stage, is discussed, and commonalities of these two movements, Arts and Crafts Movement and Deutscher Werkbund, are also traced.

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In this paper, I try to analyze the indicative process in decoding international signs from a communicative point of view. First of all I design a communication model according to C. S. Peirce's Semiotics (see fig. 4, 5), and I identify 12 kinds of signs in the model (see fig. 6,7). The three kinds of Iconic-Signs, (1), (2), and (3), are called pictograms and expressed by schematic pictures. The next three, (4), (5), and (6), Indexical-Signs are expressed by various kinds of real activities in the external context, such as gestures and movements of taxis and people. Numbers (7), (8), and (9), are Symbolic-Signs which are expressed by language, such as onomatopoetic words, indicative pronouns, and commom nouns. Numbers (10), (11), and (12) will be explained in the paper (see fig. 2). Though a pictogram has severe limitations in successfully communicating an object, it is one of the most useful ways to communicate in an international context such as the Olimpic games, airports, and highways. If the object represented is visible and concrete, it is very easy for graphic designers to communicate it to the user by means of (2), an Iconic Indexical Symbolic Indexical Sign which extracts certain graphic elements from the object (see fig. 11). But if the object is not visible and concrete such as "Information", "Do not enter", high or low speed, or "Hospital", it is very hard to communicate it in this way. So the designer must find other ways to represent it such as (1), an Iconic Iconic Symbolic Indexical Sign, which depends on metaphorical expression (see fig. 10) or (3), an Iconic Symbolic Symbolic Indexical Sign, which depends on cultural and historical knowledge (see fig. 12). If it is impossible to indicate the object by means of any of these three signs, it is possible to use the other 9 signs or the following combinations of these 12 kinds of signs : (A) Redundant Combination (see fig. 13), (B) Composite Combination (see fig. 14), and (C) Prescriptive Combination (see fig. 15). In this paper, I use Semiotics to explain communication process in the design of international signs.

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絵画における運動感の表象について、画集を基に、古今東西の絵の中にそれがどのように表象されているかを調査した。運動感表象率の他、表象法として、ポーズ、文脈、相互作用、随伴性、必然性、隠喩、抽象、軌跡、複数の視点について点検してみた。実験Iでは国外の作品について原始時代から現代まで、実験IIでは、日本国内の作品について、外国文化との関連や影響、または差違や独自性について検討した。その結果、運動感表象には文化によって差があり、共通するもの同志には、直接間接のつながりが想定できると思われた。そこから日本の洋画家は作風を学ぶ場合に、運動感の表象法をも取り入れていることが伺われた。時代的背景が運動感の高低に反映する面も示唆された。一つの流派の影響が大きく運動感を規定する場合もあるし、逆に個性を重んじる時代には個々の作家の表現は大きく違う。並外れた運動感表現をする作家は作風全体が特異であることの証しであろう。今回の実験は運動感指標の効果を確かめるという予備的な研究であった。そのため、時代、様式、作家による大きなグループとして作品が分析された。しかしこれは運動感の法測を探求するための一方の方向の研究でしかない。他方で個々の作品に具体的にどのような運動懸か表現されているのかの分析も行なっていかなければならないだろう。

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