課件工業(yè)設計英語全部

1、Lesson 9 Color Dr awing ( 1)Markers and colored pencils are ideal for use during the design pros as well as forfinalrenderings or drawings. Since much rough drawing and sketch - work is done on thracingpprs,brush media such as water - color and tempera are unusable, since they will buckle ther.Maker

2、s dry quickly with no buckling and along with colored pencils, can be quickly used onalmostany drawing surface.(筆和有色鉛筆在設計過程中是很理想的工具，也同樣適用于或者繪圖。因為許多草圖和草稿繪制于薄的描圖紙上, 故濕介質(zhì)筆刷最后的彩筆刷和蛋彩筆刷不能用, 因其會弄皺紙張。記號筆和彩色鉛筆干燥迅速，不引起紙面褶皺，幾乎可以快速地用于任何繪圖中。)Neither extensive practice nor a high level of skill is nesary with th

3、ese two colormedia,since methods are simple and direct. Bying familiar with the methods you willprobably speed your work considerably. For most designers this approach to color is faster andeasier to handlenbrush media andith whiost students and profesals are tosome degree familiar. Many of the adva

4、ntages and subtleties of water - color and other brush media are attainable with markers and colored pencils. The mingling and graded washes of watercolor and airbrush techniques can be imi ed, as can the highlighting achieved with opaque brush media such as casein and tempera.( 這兩種彩色畫筆既不需要大量高強度的實踐訓

5、練，也不需要高水平的繪圖技巧，因為方法簡單而直接，熟悉它們你就會加快工作進度。對于多數(shù)設計包括多數(shù)學生和有一定熟練程度的專業(yè)制圖員來說，該步驟較之濕介質(zhì)筆刷更快速也更易于掌握。許多水彩和其他介質(zhì)筆刷的優(yōu)點與巧妙之處用記號筆和彩色鉛筆也可以辦到。水彩和噴畫技法的調(diào)色和分級潤色是相似的，重點的部分可以使用不透明介質(zhì)筆刷例如干酪膠筆刷和蛋彩筆刷來得到。)Markers and colored pencils are readily available commerlly and are probably the mostwidely used color media in profesal desi

6、gn offitodaymore son the brush media oftempera and watercolor .( 記號筆和彩色鉛筆現(xiàn)有市場銷售，或許在今日的專業(yè)設計較之水彩筆刷和蛋彩筆刷來說是最廣泛使用的筆刷。)里A variety of marker brands is available at storest spelize in art or draftings.Choose a marker brand wifull range of colors sot a wide choice issible. Eachof the brands offers betn 100

7、and 200 different colors, many of which are variations of a singlehue. It pays to use a high - quality colored pencil for this kind drawing. A soft, waxy pencil ispreferable to a hard, brittle type, as it produa more brilliant deit of color , a nesarycharacteristic for effecting lighted surfaon trac

8、ing or toned prpr .( 多種多樣的記號筆品牌在商店尤其是藝術或繪圖用具專賣店有售。選擇一種帶有全部色彩范圍的記號筆以便有更的選擇范圍。每個品牌均提供 100-200 種不同的顏色，許多是單彩的不同種類。需要高質(zhì)量的彩色鉛筆來繪制這種圖紙。柔軟的蠟質(zhì)鉛筆優(yōu)于硬質(zhì)的、脆弱的類型，因為它們將產(chǎn)生更亮的色淀，在淺色表面的描繪紙或淺色印刷紙上這是必備的一種特性)Whether you are primarily involved witheriors, exteriors,eneral color - work,black -line media in a variety of wid

9、ths are nesary for texturing and outlining. Since technical pensoften clog when used over waxy colored pencils, it is best to use felt - tipped and ordinaryfountain pens. Of course, other types of line mediat you find workable may be substituted forthose suggested. The important pois to have a varie

10、ty of line widths available.As with the line media mentioned above, you will also need a palette of gray markers and colored pencils ( including black and white) , regardless of the type of color - work you areengaged in. Warm - gray pencils and markers are slightly reddish, while cool and cold - gr

11、aymarkers and pencils are slightly bluish. It ismendedt you obtain bowarm - graypencil series and a cool gray marker series. With this variety neutral grays and neutralizedreductions of colorensity may be mixed when desired. Cool - gray markers also seem torepresent exterior windows more bevably. If

12、 your design work primarilypasses naturalmaterials and outdoor design as doest of a landscarchitect a natural palette of markers andcolored pencils ismended. These colors can be used to draw plant materials, various kindsof woods, bricks, a variety of stone types, and other related materials.( 以上提到的

13、一些劃線工具，你還需要一個為筆使用的調(diào)色板和彩色鉛筆（包括黑色和白色），不管你從事什么色彩工作。暖灰的筆稍微到有一點紅色，冷灰稍微帶有一點藍色。建議你要結合冷色和暖色一起使用。中性線筆和色彩濃度的中和效果可能會綜合使用當你需要的時候。冷灰色的筆更加適合室外窗戶的畫法。如果你的設計作品主要包括自然材料和像建筑風景這類的戶外設計，那么最好用自然色彩的瓦、和其他的相關材料。)Colored pencil is appd over a筆和彩色鉛筆。這些顏色可以用來畫植物、木頭、磚marker“ base”for any or all of the following reasons: toalter

14、the color of the marker base , to make a surface appear illuminated, or to give the effect ofsubtle texture with line patterns.( 彩色鉛筆應用于筆基底之上的原因有：1 改變基底的顏色 2 是基底顯得更明亮 3 采用線模式構造出的細致的紋理效果。)If an area of pr is covered witransparent marker coating , the resultant color will be ablend of the pr color and

15、 the marker color . The marker color will appear most brilliant onwhite pr since aum amount of light will reflect from the prrface through themarker coating to the viewers eye. On yellow tracing pr the color will appear lighter and morewashed out and will change depending on the color of the surface

16、. On toned pr the samemarker coating will appear less brilliant, depending on the lightness or darkness of the tone, sinceless light will reflect from the prrface.( 如果繪圖區(qū)域被透明所覆蓋，最終會是一種混合色彩。在白紙上筆會更加明亮因為大多數(shù)的光從紙上反射回來進入到的眼睛。如果在黃的臨摹紙上顏色會更加明亮并且容易褪色還會依賴于紙張的顏色。在單色紙上就不是很明亮了，他依賴于單色紙的灰白對比度，因為很少有光從他的表面反射回來。)Col

17、ored pencils leave a semiopaque coating on the prrface. When used verylightly, the pr will still show betn the minute spots of pencil deit, since the pencil hascoated only the highest grain of the surfa. The result is a visual mixture of pr andpencil.( 彩色鉛筆會在紙面上留下一個半透明的效果。當輕輕的使用時，紙上會顯示出鉛筆沉淀的細小顆粒，因為鉛

18、筆只能覆蓋到比較高的顆粒。最終是筆和紙的混合效果。)When used with more prere, the pencil will eventually squash the grain andthoroughly coat pr, resulting in a solid, brilliant color . Note, however ,t, even when appdwith prere, the resulting pencil color will be partially influenced by the color and tone of thepr beneath i

19、t.( 當稍稍用力時，鉛筆灰壓扁顆粒并且會徹底覆蓋紙張，導致一個實體很亮的效果。記住，無論你怎么用力總的效果總會受到紙張顏色和紋理的影響。)When light - colored pencils ( such as White Flesh, and Light Violet) are used on tonedprs, the resulting color seems to glow. This is because the lightness and brilliance of the colorsappear even greater in contrast to the dull -

20、 toned surface. A similar phenomenon occurs whenlight - colored pencils are appd to yellow tracing pr and placed over a darker surface. Aneven greater apparent brilliance is created when the drawing is placed almost parallel to thedirection of the light. The use of light - colored pencil over a tone

21、d or marker surface is anespelly effective way of making a surface appear illuminated.( 將亮的彩色鉛筆涂在單色紙上，最終的顏色會很發(fā)亮，這是因為明亮度在單紙上會更加明亮。當明亮的采色鉛筆涂在黃色的臨摹紙上時表面會很暗。當紙張與光線接近平行時色彩會更加的明亮。涼的彩色鉛筆和結合是最有效的方法是紙張明亮。)From the above discus, the effect of colored pencil appd over a marker base shouldbe clear. Light reflec

22、ts from the colored - pencil deit, while the marker simultaneously showsthrough the minute particles. The result is a visual mixture of the twoa third color . The visualmix of separate colors is not new to color work. The neoimpresist paers placed spots andlines of pure hue in close proximity to one

23、 another, thus forming medial mixtures when viewedfrom even a short distance.( 通過以上的論述，彩色鉛筆繪在筆上會有明顯的效果。光從彩色鉛筆的粉末中反射過來，筆的色彩可以透過彩色鉛筆展現(xiàn)出來。最終效果是三種顏色的混合和。視覺的混合對于色彩工作來說是不新鮮的。新印象主義者將點、線挨得很近，當有很近距離看的時候是一種很明亮的效果。)Lesson 10 PhotographyThe word“ photography”mean“sdrawing with light”. Two things are essentiala

24、source of lightand a materialt is sensitive to light called the film. A photograph is made when light reflectedfrom an object falls on the film. A camera is used to control the amount of lightt falls on thefilm.(就是用光畫畫。最基本的兩個事情就是，有光和被叫做膠片的感光材料。當光從膠片上反射回來時，再能拍。相機就是用來控制射到膠片上的光的)Imaginet you are going

25、to take a black and white photograph wisingle camera., youhave to load filmo it. Once the film is inside the camera, you turn a lever or key. This winds theunexed part of the filmo the rightition to receive the image. Now you are ready to take a，首先，你要安裝膠片。一旦膠片放到相機里photograph. (設想你要用普通相機拍一張面了，你轉動的這個按

26、鈕，把沒the camera toward the subject of的部分膠片卷到正確的位置?，F(xiàn)在你可以拍了。)You poyour choice , and snap you press the button working theshutter . The shutter is a mechanical devicet can be moved very quickly in front of the film. Itallows light to enter the camera for a fraction of a second. The light is usually foc

27、used onto the film by curved glass lens, which forms a sharp image.( 把相機對準你選擇的物體，按快門。快門是一個在膠片前面能夠迅速移動的機械設備。它允許光在幾分之一秒進入相機。光一般射到凸透鏡上，來形成黑白分明的 。)Although you have taken your photographs, you cannot see them yet. There are several thingsthave to be done before the final pictures are ready . You cannot

28、take the film out of the camera andlook at it it is still sensitive to light. Usually, the film has to be wound backo the plasticcontainer called a cartridge, before you can take it out of the camera. Because the cartridge canprotect the film from light, the cartridge with the film can be unloadedhe

29、 light.( 雖然你拍了，你仍然不能看見他們。在最終的準備好之前，還有很多事情要做。你不能把膠片直接從照相機里面取出來看，它仍然的感光的，通常在你把它從相機里面取出來之前，膠片應該卷回到被稱作卡式膠卷盒的盒里。因為卡式膠卷盒能夠保護膠片不受光照，帶有卡式膠卷盒的膠片能夠在有光的情況下取出來)Next, the film must be prosed or“ developed”with chemicals. Most fimust be developedotal darkness or in dark green light to which they are not very sens

30、itive,otherwise they wouldbe spoiled by light before the pros is complete.( 其次，膠片必須用化學藥品來顯影。絕大多數(shù)的膠片必須在不敏感的昏暗的綠光下顯影，否則，沖洗這個步驟完成之前膠片就會壞掉。)the film is puto a liquid called the developer. Thcture on the fitarts to appear.Chemicals on the surface of the film are changed by the developer. Theye visible, f

31、ormingthcture. But the film is still sensitive to the light, so it needs to be dipped in a second kind ofliquid, the fixer. It makes the film insensitive to light, and also makes thpermanent. Now, when the film has been washed and dried, you can look at itcture on the filmhe light.(首先，把膠片放到一個叫做顯像劑的液

32、體里。膠片上的圖像就會出現(xiàn)了。膠片表面上的化學試劑必須被擦拭掉，最后形成。但是，膠片仍然是感光的，所以它必須浸入到第二種液體里，叫做定影劑。他能夠使膠片不再感光，并且使圖像你就能在有光的地方看.)保留在膠片上?，F(xiàn)在，當膠片晾干了，But your photograph is still not complete. The developed film is only a “ negative”. If you holda film negative up to the light, you will seet the light and dark parts of the original s

33、ubject arereversed on the fi. (到此，你的還沒有完成，此時的底片是的。如果你把膠片拿到有光的地方看，你會發(fā)現(xiàn)這個膠片上的明暗部分和的原始物體是相反的。)Light areas,such as clouds, appear dark. Dark areas, such as shadows, appear light. On a properly exedfilm, most areas are various shades of grey. Only the lightest appear black. And only the darkestappear whi

34、te .(亮的地方顯示暗色，暗的地方顯示亮色。不同的灰度級，只有最亮才顯示黑色，最暗的顯示白色。)比較正常時，大部分區(qū)域是各種The negative must now be pred or enlarged to produce the final photograph. A contact prismled by placing the negative in contact with the photographic pr . A contact pris thesame size as the negative. To make an enlargement, the negative

35、 is placed in a deviomethinglike a slide projector. This is called an enlarger. The lightt is shone through the negative passesthrough a lenshe enlarger. The lens focuses the light onto the pr below. The light spreadsout from the enlarger lens. The farther the pr is placed from the lens, the larger

36、the imageformed. (把相反的底片沖洗或放大之后才成為最終的。洗接觸式的映像模式是通過把反相膠片和相紙接觸在一起。但這種接觸影像只能是一比一的，如果想要把底片放大，洗印放大裝置有點像幻燈機，被叫做放大器。光照射到放大器的凸透鏡上，此時，光會落在相紙上，光先聚光到放大器上，在擴散出去，離凸透鏡越遠比例就越大。)Next the pr is developed and fixed. This is dith the same kind of chemicalst wereused for prosing the original negative ( the chemicals ar

37、e somewhat different) . When isbeen washed and dried, your contact pror enlargement is complete.( 接下來被顯影和定影。用與最初的膠片相同的試劑（只有稍稍的一點區(qū)別）。當它被沖洗、晾干之后，你的接觸式、放大式就完成了。)Lesson 11 Mutant Materials in Contemporary Design(當代設計中的可替換材料)Materials and techniques are not only the most useful tools and sour（來源）of inspi

38、ration（靈感）for designers, but they cso be the most efficient（）means of narration（講述，敘述）for a design writer and curator（管理者）. Plastics are a good exle of this double action（雙重作用）. From the designers viewpo （觀點）,plastics represent（代替）a whole universeofsibilitiest is too vast （巨大） to be explored（探索）his

39、article. From a writer /his century. 材料和技curators viewpo, plastics can represent the whole history of design術，不僅是最有用的工具和設計師的靈感（靈感）（來源）的來源，但它們也可以是最有效的（）敘事（講述，敘述）設計的作家和策展人（管理者意味著）。是一個很好的例子，這種雙重作重作用）。從設計師的觀點（觀點），（代替）代表整個宇宙的可能性是過于龐大（巨大）在這篇文章中探索（探索）?？梢詮囊粋€作家/館長的觀點，代表在本世紀的整個歷史的設計。 Wishift in, keng the focu

40、s on plastics, one couldapproach anpassing historical exhibition from bakelite to thermosetting polymers, thepath of design from imiion to freedom,an aimedsociological design surveythe plasticshe home, from tabletop objects to functional tools through the suffocating global environmentsof the 1960s,

41、 to their rejectionhe 1980s and their reroduction as elegant and durablematerials today, or an explanation of the act of designthe truthaterials and their role inthe creative and manufacturing pros in a chosen moment of history. 保持在上的焦點，在觀念的轉變，可能接近一個萬象的膠木，歷史展覽熱固性聚合物，設計從模仿到的路徑，一個目的設計的社會學的在家里，從桌面通過 20

42、 世紀 60 年代令人窒息的全球環(huán)境功能的工具，他們在 20 世紀 80 年代和高雅和耐用的材料，作為其放歸今天，或設計的刻。材料和他們在創(chuàng)作中的作用的行為作出解釋和對象制造過程中選擇的歷史時Mutant Materials in Contemporary Design , myexhibition for The Museum of ModernArt and the second exle of materials used as a subject, had of course a different, much broadergoal: the ceration of good con

43、temporary design worldwide and, at the same time, theceration of the importance of design as a discipline. 突變材料在現(xiàn)代設計中，第一個現(xiàn)代藝術博物館的展覽和第二個例子中使用的材料作為一門學科，當然是不同的，更廣泛的目標：良好的全球當代設計的慶祝活動，并在同一時間，設計作為一門學科的重要性的慶?；顒?。Materials, as the unprosed se of design before it is even touched by the idea, are a way toreall

44、y start from scratch explaining the pros. Also, they are universal territory: everyhumanbeing has played designer god and tried to create something out of sand, earth, orplaydough. Any human being has manipulated and experimented with materials, and the explanation of the role of a designer can bene

45、fit from this common trait, from this identification.Materials are therefore one of the best ways to create an exhibitiont can provide various levelsof reading and understanding. 材料，設計未處理前的狀態(tài)，甚至感動的想法，是一個真正開始從頭解釋的過程。此外，他們是普遍的：每探微發(fā)揮設計師神，并試圖創(chuàng)造出來的東西，砂，土，或橡皮泥。任何人和實驗用材料，設計師的作用的解釋，可以受益于這個共同的特點，從這個鑒定，。材料，因此

46、創(chuàng)建一個展覽，可以提供不同層次的閱讀和理解的最好方法之一。The conception of the show started from a thesis and proceededhe attempt to demonstrateit. Thesis: I bevet industrial design has movedhe past ten yearso a brand new andveryitive phase. I also bevet it is a revolutionhe way materials are conceived andappds provoked this m

47、ore general design evolution. Contemporary design is spirituallysimilar to designhe Forties and Sixties, vigorous with experimenion, projected towards thefuture, optimistic and honest, filled with sol concerns. All theseitive qualities are supportedby a new flexibilityaterials, which can bnpoedly ad

48、apted to the designers ideas, whichare easier to produce, wasess energy, and are more durable, and which are surprisingly able toperform and change. 展示的概念開始從，并著手在試圖證明這一點。題目：我認為，工業(yè)設計，在過去十年已經(jīng)轉移到了一個全新的和非常積極的階段。我也相信這是在材料的設想和應用，已引起了這種更一般的設計演化的方式的一場。當代設計是精神上類似的設計在四十年代和六十年代，對未來的與實驗有力，樂觀，誠實，充滿了社會關注。所有這些積極的品

49、質(zhì)支持在新材料的靈活性，可以 pinpoedly 適應設計師的想法，容易產(chǎn)生，減少浪費能源，更耐用，這是令人驚訝的能夠執(zhí)行和改變。The idea of“mutant”materials came from the factt materials can today be designed andadapted, and therefore they do nove an absolute identity anymore. New technologies are beingused to customize, extend, and modify the physical properti

50、es of materials, and to invent, newones. One cannot take materials fseries Space 1999, could not be taken franted anymore, just like Maya, a character from the TVranted. She could turn from her young femaodyoa mouse, a lion, a cockroach, out of will or ne contemporary materials are endowed with thei

51、dentity: they have gained the freedom to gosity, and then go back to her initial self. Likewise, er of change, while they never lose theirthe traditional limits.想法來自“突變”的材料，該材料可今天的設計和調(diào)整，因此，他們沒有一個了。新技術正在用于自定義，擴展和修改材料的物理性質(zhì)，化學性質(zhì)，并發(fā)明新的。一個不能理所當然的材料了，就像瑪雅人，從 1999 年的電視連續(xù)劇空間的字符，不能理所當然。她可以把年輕女性身體成一只老鼠，一只獅子，一

52、只蟑螂，意志或必要性，然后回到她最初的自我。同樣，現(xiàn)代材料具有改變的力量，而他們從來沒有失去自己的：他們已經(jīng)獲得了，傳統(tǒng)的限制。he exhibition I have searched the least pedand most effective way to show the designpros: entertaent. The exhibition had to arrive directly at the heart and soul of the visitors.t,Lesson 12 Handmade and CraftsmanDavid Pyes work contains

53、 elements of the designer and the craftsman. His bowls and boxesareeasy to understand forms and they present none of the complexitiest some kinds ofn art in craft.(contemporary art present to the understanding. He represents design rather派伊的工作包含了設計者和工匠的元素。他的碗盒易于理解的形式，他們現(xiàn)在還沒有的復雜性的當代藝術的理解目前的一些種。他代表的設計

54、，而不是在工藝美術。)For, broadly speaking, the contemporary craft world divides betn those people who aremaking objectst can be used, or look as if they can be used, and those who produce objectstare plainly useless and have ambitions to be taken seriously as art objects. This distinction is rather crude bec

55、ause even function can be compromised.( 因為，廣泛地說，當代工藝世界人民之間的鴻溝正在誰可以使用或看山，如果他們可以使用，誰和對象的生產(chǎn)對象，顯然沒有用，并野心視為藝術品嚴重。這種區(qū)別是相當粗糙，因為即使功能受到了。)For exle, fans of handicraft can enjoy the experience oulty function. A famousAmerican potter, Betty Woodman, produced some beautiful scalloped, large cups .A delight tocl

56、asp in both hands, the cups were popular but hopelessly unstableheir saucers. It nevermattered. One owner remarkedt the fault made him more careful; it obliged him to pause andthink about drinking the tea, making it a little ritual. It is important to recognize, however,talthough a lot of craft work

57、 has function much further down the list of prioritiesn would beacceptable in design, there remain for a number of potters, weavers and furniture makers the ideaEntertaent is a veryerful tool, because it provides a subliminal acs to peoples hear and soul. Most of the objects were not undlexiglass ,t

58、o reveal the grain of the materials, and many of them, along with some raw materials, were duplicated on a slanted section of the tables where they could be touched. Small signs scattered around the tables said“ Please, touch. ”Even without reading all the text, just by manipulating and appreting wi

59、ll the senses the objects t I have chosen, I thought t all the public would understand something more about design. If erested ,they could read the text, pick up the free tabloid at the entrance of the gallery, buy the catalogue, or browse the website on theernet and go deepero the subject. At the s

60、ame time as it presented outstanding exles of design from all of the world along with crul contemporary ies, the exhibition could also meet the expertserest and curiosity, and make designers feel part of a wonderful moment history. 在展覽中，我搜查至少迂腐和最有效的方法，顯示設計過程： 。此次展覽有直接到達游客的心臟和 。 是一個非常強大的工具，因為它提供了一種 的