课件工业设计英语全部

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.(笔和有色铅笔在设计过程中是很理想的工具，也同样适用于或者绘图。因为许多草图和草稿绘制于薄的描图纸上, 故湿介质笔刷最后的彩笔刷和蛋彩笔刷不能用, 因其会弄皱纸张。记号笔和彩色铅笔干燥迅速，不引起纸面褶皱，几乎可以快速地用于任何绘图中。)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.( 这两种彩色画笔既不需要大量高强度的实践训

5、练，也不需要高水平的绘图技巧，因为方法简单而直接，熟悉它们你就会加快工作进度。对于多数设计包括多数学生和有一定熟练程度的专业制图员来说，该步骤较之湿介质笔刷更快速也更易于掌握。许多水彩和其他介质笔刷的优点与巧妙之处用记号笔和彩色铅笔也可以办到。水彩和喷画技法的调色和分级润色是相似的，重点的部分可以使用不透明介质笔刷例如干酪胶笔刷和蛋彩笔刷来得到。)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 .( 记号笔和彩色铅笔现有市场销售，或许在今日的专业设计较之水彩笔刷和蛋彩笔刷来说是最广泛使用的笔刷。)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 .( 多种多样的记号笔品牌在商店尤其是艺术或绘图用具专卖店有售。选择一种带有全部色彩范围的记号笔以便有更的选择范围。每个品牌均提供 100-200 种不同的颜色，许多是单彩的不同种类。需要高质量的彩色铅笔来绘制这种图纸。柔软的蜡质铅笔优于硬质的、脆弱的类型，因为它们将产生更亮的色淀，在浅色表面的描绘纸或浅色印刷纸上这是必备的一种特性)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、一些划线工具，你还需要一个为笔使用的调色板和彩色铅笔（包括黑色和白色），不管你从事什么色彩工作。暖灰的笔稍微到有一点红色，冷灰稍微带有一点蓝色。建议你要结合冷色和暖色一起使用。中性线笔和色彩浓度的中和效果可能会综合使用当你需要的时候。冷灰色的笔更加适合室外窗户的画法。如果你的设计作品主要包括自然材料和像建筑风景这类的户外设计，那么最好用自然色彩的瓦、和其他的相关材料。)Colored pencil is appd over a笔和彩色铅笔。这些颜色可以用来画植物、木头、砖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.( 彩色铅笔应用于笔基底之上的原因有：1 改变基底的颜色 2 是基底显得更明亮 3 采用线模式构造出的细致的纹理效果。)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.( 如果绘图区域被透明所覆盖，最终会是一种混合色彩。在白纸上笔会更加明亮因为大多数的光从纸上反射回来进入到的眼睛。如果在黄的临摹纸上颜色会更加明亮并且容易褪色还会依赖于纸张的颜色。在单色纸上就不是很明亮了，他依赖于单色纸的灰白对比度，因为很少有光从他的表面反射回来。)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.( 彩色铅笔会在纸面上留下一个半透明的效果。当轻轻的使用时，纸上会显示出铅笔沉淀的细小颗粒，因为铅

18、笔只能覆盖到比较高的颗粒。最终是笔和纸的混合效果。)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.( 当稍稍用力时，铅笔灰压扁颗粒并且会彻底覆盖纸张，导致一个实体很亮的效果。记住，无论你怎么用力总的效果总会受到纸张颜色和纹理的影响。)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.( 将亮的彩色铅笔涂在单色纸上，最终的颜色会很发亮，这是因为明亮度在单纸上会更加明亮。当明亮的采色铅笔涂在黄色的临摹纸上时表面会很暗。当纸张与光线接近平行时色彩会更加的明亮。凉的彩色铅笔和结合是最有效的方法是纸张明亮。)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.( 通过以上的论述，彩色铅笔绘在笔上会有明显的效果。光从彩色铅笔的粉末中反射过来，笔的色彩可以透过彩色铅笔展现出来。最终效果是三种颜色的混合和。视觉的混合对于色彩工作来说是不新鲜的。新印象主义者将点、线挨得很近，当有很近距离看的时候是一种很明亮的效果。)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.(就是用光画画。最基本的两个事情就是，有光和被叫做胶片的感光材料。当光从胶片上反射回来时，再能拍。相机就是用来控制射到胶片上的光的)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，你要安装胶片。一旦胶片放到相机里photograph. (设想你要用普通相机拍一张面了，你转动的这个按

26、钮，把没the camera toward the subject of的部分胶片卷到正确的位置。现在你可以拍了。)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.( 把相机对准你选择的物体，按快门。快门是一个在胶片前面能够迅速移动的机械设备。它允许光在几分之一秒进入相机。光一般射到凸透镜上，来形成黑白分明的 。)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.( 虽然你拍了，你仍然不能看见他们。在最终的准备好之前，还有很多事情要做。你不能把胶片直接从照相机里面取出来看，它仍然的感光的，通常在你把它从相机里面取出来之前，胶片应该卷回到被称作卡式胶卷盒的盒里。因为卡式胶卷盒能够保护胶片不受光照，带有卡式胶卷盒的胶片能够在有光的情况下取出来)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，胶片必须用化学药品来显影。绝大多数的胶片必须在不敏感的昏暗的绿光下显影，否则，冲洗这个步骤完成之前胶片就会坏掉。)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，把胶片放到一个叫做显像剂的液

32、体里。胶片上的图像就会出现了。胶片表面上的化学试剂必须被擦拭掉，最后形成。但是，胶片仍然是感光的，所以它必须浸入到第二种液体里，叫做定影剂。他能够使胶片不再感光，并且使图像你就能在有光的地方看.)保留在胶片上。现在，当胶片晾干了，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，你的还没有完成，此时的底片是的。如果你把胶片拿到有光的地方看，你会发现这个胶片上的明暗部分和的原始物体是相反的。)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 .(亮的地方显示暗色，暗的地方显示亮色。不同的灰度级，只有最亮才显示黑色，最暗的显示白色。)比较正常时，大部分区域是各种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. (把相反的底片冲洗或放大之后才成为最终的。洗接触式的映像模式是通过把反相胶片和相纸接触在一起。但这种接触影像只能是一比一的，如果想要把底片放大，洗印放大装置有点像幻灯机，被叫做放大器。光照射到放大器的凸透镜上，此时，光会落在相纸上，光先聚光到放大器上，在扩散出去，离凸透镜越远比例就越大。)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.( 接下来被显影和定影。用与最初的胶片相同的试剂（只有稍稍的一点区别）。当它被冲洗、晾干之后，你的接触式、放大式就完成了。)Lesson 11 Mutant Materials in Contemporary Design(当代设计中的可替换材料)Materials and techniques are not only the most useful tools and sour（来源）of inspi

38、ration（灵感）for designers, but they cso be the most efficient（）means of narration（讲述，叙述）for a design writer and curator（管理者）. Plastics are a good exle of this double action（双重作用）. From the designers viewpo （观点）,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术，不仅是最有用的工具和设计师的灵感（灵感）（来源）的来源，但它们也可以是最有效的（）叙事（讲述，叙述）设计的作家和策展人（管理者意味着）。是一个很好的例子，这种双重作重作用）。从设计师的观点（观点），（代替）代表整个宇宙的可能性是过于庞大（巨大）在这篇文章中探索（探索）。可以从一个作家/馆长的观点，代表在本世纪的整个历史的设计。 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. 保持在上的焦点，在观念的转变，可能接近一个万象的胶木，历史展览热固性聚合物，设计从模仿到的路径，一个目的设计的社会学的在家里，从桌面通过 20

42、 世纪 60 年代令人窒息的全球环境功能的工具，他们在 20 世纪 80 年代和高雅和耐用的材料，作为其放归今天，或设计的刻。材料和他们在创作中的作用的行为作出解释和对象制造过程中选择的历史时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. 突变材料在现代设计中，第一个现代艺术博物馆的展览和第二个例子中使用的材料作为一门学科，当然是不同的，更广泛的目标：良好的全球当代设计的庆祝活动，并在同一时间，设计作为一门学科的重要性的庆祝活动。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，设计未处理前的状态，甚至感动的想法，是一个真正开始从头解释的过程。此外，他们是普遍的：每探微发挥设计师神，并试图创造出来的东西，砂，土，或橡皮泥。任何人和实验用材料，设计师的作用的解释，可以受益于这个共同的特点，从这个鉴定，。材料，因此

46、创建一个展览，可以提供不同层次的阅读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. 展示的概念开始从，并着手在试图证明这一点。题目：我认为，工业设计，在过去十年已经转移到了一个全新的和非常积极的阶段。我也相信这是在材料的设想和应用，已引起了这种更一般的设计演化的方式的一场。当代设计是精神上类似的设计在四十年代和六十年代，对未来的与实验有力，乐观，诚实，充满了社会关注。所有这些积极的品

49、质支持在新材料的灵活性，可以 pinpoedly 适应设计师的想法，容易产生，减少浪费能源，更耐用，这是令人惊讶的能够执行和改变。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.想法来自“突变”的材料，该材料可今天的设计和调整，因此，他们没有一个了。新技术正在用于自定义，扩展和修改材料的物理性质，化学性质，并发明新的。一个不能理所当然的材料了，就像玛雅人，从 1999 年的电视连续剧空间的字符，不能理所当然。她可以把年轻女性身体成一只老鼠，一只狮子，一

52、只蟑螂，意志或必要性，然后回到她最初的自我。同样，现代材料具有改变的力量，而他们从来没有失去自己的：他们已经获得了，传统的限制。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派伊的工作包含了设计者和工匠的元素。他的碗盒易于理解的形式，他们现在还没有的复杂性的当代艺术的理解目前的一些种。他代表的设计

54、，而不是在工艺美术。)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.( 因为，广泛地说，当代工艺世界人民之间的鸿沟正在谁可以使用或看山，如果他们可以使用，谁和对象的生产对象，显然没有用，并野心视为艺术品严重。这种区别是相当粗糙，因为即使功能受到了。)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. 在展览中，我搜查至少迂腐和最有效的方法，显示设计过程： 。此次展览有直接到达游客的心脏和 。 是一个非常强大的工具，因为它提供了一种 的