中英文对照资料外文翻译文献

中英文对照资料外文翻译文献 平设计任何时期平面设计可以参照一些艺术和专业学科侧重于视觉传达和介绍。采用多种方式相结合,创造和符号,图像和语句创建一个代 表 关于同志近三年现实表现材料材料类招标技术评分表图表与交易pdf视力表打印pdf用图表说话 pdf 性的想法和信息。平面设计师可以使用印刷,视觉艺术和排版技术产生的最终结果。平面设计常常提到的进程,其中沟通是创造和产品设计。共同使用的平面设计包括杂志,广告,产品包装和网页设计。例如,可能包括产品包装的标志或其他艺术作品,举办文字和纯粹的设计元素,如形状和颜色统一件。组成的一个最重要的特点,尤其是平面设计在使用前现有材料或不同的元素。平面设计涵盖了人类历史上诸多领域,在此漫长的历史和在相对最近爆炸视觉传达中的第20和21世纪,人们有时是模糊的区别和重叠的广告艺术,平面设计和美术。毕竟,他们有着许多相同的内容,理论,原则,做法和语言,有时同样的客人或客户。广告艺术的最终目标是出售的商品和服务。在平面设计,“其实质是使以信息,形成以思想,言论和感觉的经验”。 在唐朝(618-906 )之间的第4和第7世纪的木块被切断打印纺织品和后重现佛典。阿藏印在868是已知最早的印刷书籍。在19世纪后期欧洲,尤其是在英国,平面设计开始以独立的运动从美术中分离出来。蒙德里安称为父亲的图形设计。他是一个很好的艺术家,但是他在现代广告中利用现代电网系统在广告、印刷和网络布局网格。于1849年,在大不列颠亨利科尔成为的主要力量之一在设计教育界,该国政府通告设计在杂志设计和制造的重要性。他组织了大型的展览作为庆祝现代工业技术和维多利亚式的设计。从1892年至1896年威廉?莫里斯凯尔姆斯科特出版社出版的书籍的一些最重要的平面设计产品和工艺美术运动,并提出了一个非常赚钱的商机就是出版伟大文本论的图书并以高价出售给富人。莫里斯证明了市场的存在使平面设计在他们自己拥有的权利,并帮助开拓者从生产和美术分离设计。这历史相对论是,然而,重要的,因为它为第一次重大的反应对于十九世纪的陈旧的平面设计。莫里斯的工作,以及与其他私营新闻运动,直接影响新艺术风格和间接负责20世纪初非专业性平面设计的事态发展。谁创造了最初的“平面设计”似乎存在争议。这被归因于英国的设计师和大学教授Richard Guyatt,但另一消息来源于20世纪初美国图书设计师William Addison Dwiggins。伦敦地铁的标志设计是爱德华约翰斯顿于1916年设计的一个经典的现代而且使用了系统字体设计。在20世纪20年代,苏联的建构主义应用于“智能生产”在不同领域的生产。个性化的运动艺术在 2 俄罗斯大革命是没有价值的,从而走向以创造物体的功利为目的。他们设计的建筑、剧院集、海报、面料、服装、家具、徽标、菜单等。J an Tschichold 在他的1928年书中编纂了新的现代印刷原则,他后来否认他在这本书的法西斯主义哲学主张,但它仍然是非常有影响力。Tschichold ,包豪斯印刷专家如赫伯特拜耳和拉斯洛莫霍伊一纳吉,和El Lissitzky 是平面设计之父都被我们今天所知。他们首创的生产技术和文体设备,主要用于整个二十世纪。随后的几年看到平面设计在现代风格获得广泛的接受和应用。第二次世界大战结束后,美国经济的建立更需要平面设计,主要是广告和包装等。移居国外的德国包豪斯设计学院于1937年到芝加哥带来了“大规模生产”极简到美国;引发野火的“现代” 建筑和设计。值得注意的名称世纪中叶现代设计包括阿德里安Frutiger ,设计师和Frutiger 字体大学;保兰德,从20世纪30年代后期,直到他去世于1996年,采取的原则和适用包豪斯他们受欢迎的广告和标志设计,帮助创造一个独特的办法,美国的欧洲简约而成为一个主要的先驱。平面设计称为企业形象;约瑟夫米勒,罗克曼,设计的海报严重尚未获取1950年代和1960年代时代典型。从道路标志到技术图表,从备忘录到参考手册,增强了平面设计的知识转让。可读性增强了文字的视觉效果。设计还可以通过理念或有效的视觉传播帮助销售产品。将它应用到产品和公司识别系统的要素像标志、颜色和文字。连同这些被定义为品牌。品牌已日益成为重要的提供的服务范围,许多平面设计师,企业形象和条件往往是同时交替使用。教科书的目的是本科目,如地理、科学和数学。这些出版物已布局理论设计说明和图表。一个常见的例子,在使用图形,教育是图表人体解剖学。平面设计也适用于布局和格式的教育材料,使信息更容易和更容易理解的。平面设计是应用在娱乐行业的装饰,景观和视觉故事。其他的例子娱乐设计用途包括小说,漫画,电影中的开幕和闭幕,在舞台上节目的和道具的安排。这也包括艺术品在T恤衫的应用和其他物品的出售。从科学杂志报道,提出意见和事实往往是提高图形和深思熟虑的组成视觉信息-被称为信息的设计。报纸,杂志,博客,电视和电影纪录片,可以使用平面设计通知及娱乐。随着网络,信息与经验的交互设计的工具,Adobe和Fla sh正越来越多地被用来说明的背景新闻。一个平面设计项目可能涉及程式化和介绍现有的文字,或者事先存在的意向或图像开发的平面设计师。例如,一家报纸的故事始于记者和摄影记者,然后成为平面设计师的工作安排到一个合理的页面布局,并确定是否有任何其他图形元素应当要求。在一本杂志的文章或广告,往往是平面设计师或艺术总监将委员会摄影师或插图创建原始文件只是被纳入设计规划。现代设计的做法已经扩展到了现代的计算机,例如在使用所见的用户界面,通常被称为交互式设计,或多媒体设计。任何图形元素用于设计之前,图形元素必须是源于通过视觉艺术技能。这些图形通常(但并不总是)被设计师开发。视觉艺术的作品主要是视觉性的东西从使用传统的传播媒介、摄影或电脑产生的艺术。平面设计原则可以适用于每一个人的版画艺术元 素,并最终组成。3 印刷术是艺术,工艺和技术型,修改类型字形,并安排类型的设计。类型字形(字符)的创建和修改使用各种说明方法。这项安排的类型是选择字体、大小、线长、主要的(行距)和文字的间距。刷术是由排字工机,排字,印刷工人,图形艺术家,艺术总监,工作者和办事员。直到数字时代,印刷成为一个专业的领域。数字化开辟了新的视觉设计师和用户。排版设计师平面设计的一部分,是在网页设计中是图形设计,处理安排风格(内容)的要素。从早期的照明网页手工复制书籍的中世纪和程序,以错综复杂的现代杂志和目录布局,适当的网页设计公司长期以来一直是考虑的印刷材料,与印刷媒体,内容通常包括类型(文字,图片(照片)偶尔发生持有者图形的内容,没有印刷油墨,如模具/激光切割,烫金压印或盲目压花。平面设计师常常专心研究于界面设计,如网页设计和软件设计,最终用户的交互性是一个设计考虑的布局或接口。视觉沟通技巧、互动沟通技巧与用户互动得相结合和在线品牌推广,平面设计师往往与软件开发和网络开发人员创建的外观和风格的网站或软件应用程序,来加强用户或网络网站的访问者互动体验。版画是在纸上,其他有机材料或者表面上印刷艺术品的过程。每一张不会被复制,但时最初的因为它不是一个复制的另一艺术作品,并在技术上称为留下深刻的印象。绘画或素描,另一方面,创造了独特的原始艺术品。版画是由一个单一的原始表面创造的,在技术上已经作为基质而被已知。常见的矩阵包括:金属板,通常是铜或锌的雕刻或蚀刻石料,用于光刻;块木刻的木材,油毡和织物板的丝网印刷。但也有许多其他种类,讨论如下:作品从一个单一的印刷板创造一个版本,在现代通常每个签署和编号,形成限量。打印也可编制成册,作为艺术家的书籍。一个单一的打印可能是产品的一种或多种技术。色彩学领域是如何在打印机上和显示器上用眼睛识别颜色和如何解释和组织这些色彩。眼睛的视网膜被两个被命名为视杆和视锥的感光体涵盖。视杆对光很敏感但是对颜色不是很敏感。视锥却与视杆恰恰相反。他们对光不太敏感,但是颜色可以被感知。随着科技的发展,人们越来越认识到环境问题日益严重,大气污染、森林破坏、水土流失、土地沙漠 化、水资源污染、大量物种灭绝、石油、天然气、煤等资源枯竭。作为工业设计师,应该有强烈的环境 保护意识,使得自己的设计建立在不破坏环境及节约自然资源的基础上。 其中,温室效应、臭氧层破坏和酸雨是当今全球性的三大环境问题。 温室效应就是大气变暖的效应其形成原因是太阳短波辐射可以透过大气射入地面,而地面增暖后放 出的长波辐射却被大气中的二氧化碳就像一层厚厚的玻璃, 把地球变成了一个大暖房。 甲烷、 臭氧、 氯、 氟烃以及水汽等也对温室效应有所贡献。 随着人口的急剧增加和工业的迅速发展, 越来越多的二氧化碳 排入大气中; 又由于森林被大量砍伐, 大气中原本应被森林吸收的二氧化碳没有被吸收, 致使二氧化碳 逐渐增加, 温室效应也不断增强。温室效应的后果十分严重, 自然生态将随之发生重大变化, 荒漠将扩 大,土地侵蚀加重,森林退向极地,旱涝灾害严重,雨量增加;温带冬天更湿、夏天更旱;热带也将变得更湿, 干热的亚热带变得更干旱, 迫使原有水利工程重新调整。 沿海将受到严重威胁。 由于气温升高, 两极冰块将融化,使海平面上升,将会淹没许多城市和港口。 4 臭氧层破坏现象引起科学界及整个国际社会的震动。美国的两位科学家 Monila 和 Rowland 指出, 正是人为的活动造成了今天的臭氧洞。元凶就是现在所熟知的氟利昂和哈龙。酸雨目前已成为一种范围广泛、 跨越国界的大气污染现象。酸雨破坏土壤,使湖泊酸化, 危害动植 物生长;刺激人的皮肤,诱发皮肤病,引起肺水肿、肺硬化;会腐蚀金属制品、油漆、皮革、纺织品和 含碳酸盐的建筑。 总而言之, 人类生活的环境已经日益恶化。 而恶化的原因大部分属于人类本身的不良生活方式和不 尊重客观规律, 急功近利,对于地球资源的使用没有科学的 计划 项目进度计划表范例计划下载计划下载计划下载课程教学计划下载 性,而且在设计、 制造产品以及日常生 活中缺乏保护环境的意识,以至于自毁家园,其危害不仅于当代,而且严重影响了子孙后代的生存。 环境问题在很大程度上是由于人们的不良设计、 生活方式造成的后果。 于是给设计师们提出了一个 严肃的问题:作为设计师,应肩负起保护环境的历史重任! 工业在为人类创造大量物质财富的同时, 也给世界带来了灾难。 工业设计在为人类创造了现代生活 方式的同时,也加速了资源、能源的消耗,并对地球的生态平衡造成了巨大的破坏。 所以, 作为工业设计师, 建立环境意识体现了其道德和社会责任心。 设计师必须对自己的设计负责, 必须把人类的健康幸福,自然与人类的和谐共存作为设计中心遵循的原则。 设计师还必须掌握必要的材料、 工艺、化工、 制造等方面的知识,使得其设计不对环境造成危害而 成为可能。 “可持续发展设计” 这一概念的提出, 对于人性的回归及世界真正意义上的发展具有划时代的意义。 他体现了设计师的道德与责任,已成为 21 世纪设计发展的总趋势。从此,人类传统工业文明发展模式 转向现代生态文明发展模式。它是社会进步,经济增长,环境保护三者之间的协同。 可持续发展是人们应遵循的一种全新的伦理、道德和价值观念。其本质在于:充分利用现代科技, 大力开发绿色资源,发展清洁生产,不断改善和优化生态环境,促使人与自然的和谐发展,人口、资源 和环境相互协调。 解决可持续反展问题是一个技术创新和行为模式转变的问题。 可持续发展战略是解决在不危害未来几代人的需求前提下, 尽量满足当代人的需求的问题。 实现目 前利益与长远利益的统一,为子孙后代留下发展空间。 目前可持续发展战略考虑的问题有:循环性、绿色能源、生态效率。 绿色设计源于人们对于现代技术文化所引起的环境及生态破坏的反思。 绿色设计着眼于人与自然的 生态平衡关系,在设计过程的每一个决策中都充分考虑到环境效益,尽量减少对环境的破坏。 对工业设计师而言,绿色设计的核心是“ 3R ” ,即“减少” ( Reduce ) 、 “再循环” (Recycle) 和“再 利用” ( Reuse) 。不仅要尽量减少物质和能源的消耗、减少有害物质的排放,而且要使产品及零件能够 5 方便的分类回收, 并再生循环或重新利用。 绿色设计不仅是一种技术层面的考虑, 更重要的是一种观念 上的变革。 要求设计师放弃那种过分强调产品在外观上标新立异的做法, 而将重点放在真正意义上的创 新上面, 已一种更为负责的方法去创造产品的形态, 用更简洁、 长久的造型使产品尽可能地延长其使用 寿命。 从材料方面要考虑: 原材料的存量和可再生性, 获取材料时的环境能源的消耗与污染, 后续加工时 环境材料的易加工性,低能耗性、低污染性,报废时的可回收性。 从加工制造方面要考虑:加工制造阶段需要将污染减至最少,或将污染消灭在生产过程初始阶段。 从包装、运输、销售等方面要考虑:包装的环境性能、绿色包装,良好的可运输性、降低自重、减 少能耗,当地化生产及减少物流过程消耗。 从产品的使用阶段考虑: 使用中的能耗、 资源消耗。 产品更新换代时环境性能的模块化、 可重组性、 产品的使用模式等因素。 从产品的报废阶段考虑:易拆卸性, 便于分解和分类,材料可回收性和可再利用性,零部件可重组 性或移作它用等因素。 清洁的能源:如考虑太阳能、水电、风力的清洁燃料;清洁的材料,涉及低污染、无毒、易降解和 可回收性;清洁的制造过程,考虑低能耗、少排放的制造;清洁的产品,涉及使用中节能、环保、报废后的回收。 零部件的再生利用湿可持续战略的有力措施。 事实证明: 报废的产品拆卸后, 经分析, 其中材料在 改进设计后可重用和经翻新后可重用的比例可以提高。 比如:一辆报废车中,金属材料占 80 %,其中,有色金属占 3 %~ 4.7 %。世界钢产量中的 45 %是 由废钢铁生产出的。中国钢产量的 25 %是由废钢铁生产的。 产品全生命周期管理是指从人对产品的需求开始,到产品淘汰报废的全部生命历程。其中包括产 品需求分析产品计划、 概念设计、 产品设计、 数字化仿真、 工艺准备、 工艺规划、 生产测试和质量监控、 销售与分销、使用、 维护与维修,以及报废与回收等主要阶段。将先进的管理理念和一流的信息技术有 机融入到现代企业的工业和商业运作中,从而使企业在数字经济时代能够有效地调整经营手段和管理方式,以发挥企业前所未有的竞争优势。帮助企业进行产品创新,赢得市场,并获得额外利润,以提高企业产品的价值。 GRAPHIC DESIGN The term graphic design can refer to a number of artistic and pro fessional disciplines which focus on visual communication and presentatio n. Various methods are used to create and combine symbols, images and/ or words to create a visual representation of ideas and messages. A g raphic designer may use typography, visual arts and page layout techniq ues to produce the final result. Graphic design often refers to bot h the process by which the communication is created and the product s which are generated. Common uses of graphic design include magazine s, advertisements, product packaging and web design. For example, a pro duct package might include a logo or other artwork, organized text an d pur e design elements such as shapes and color which unify the piec e. Composition is one of the most important features of graphic desig n especially when using pre-existing materials or diverse elements. Gra phic Design spans the history of humankind from the caves of Lascau x to the dazzling neons of Ginza. In both this lengthy history and i n the relatively recent explosion of visual communication in the 20t h and 21st centuries, there is sometimes a blurring distinction and ov er-lapping of advertising art, graphic design and fine art. After al l, they share many of the same elements, theories, principles, practice s and languages, and sometimes the same benefactor or client. In adver tising art the ultimate objective is the sale of goods and service s. In graphic design, “the essence is to give order to information, f orm to ideas, expression and feeling to artifacts that document huma n experience.” During the Tang dynasty (618–906) between the 4th an d 7th century A.D. wood blocks were cut to print on textiles and lat er to reproduce Buddhist texts. A Buddhist scripture printed in 868 i s the earliest known printed book. In late 19th century Europe, espec ially in the United Kingdom, the movement began to separate graphic de sign from fine art. Piet Mondrian is known as the father of graphi c design. He was a fine artist, but his use of grids inspire d th e m odern grid system used today in advertising, print and web layout. I n 1849, Henry Cole became one o f the major forces in design educatio n in Great Britain, informin g the government of the importance of desi gn in his Journal of Design and Manufactures. He organized the Grea t Exhibition as a celebration of modern industrial technology and Victo rian design. From 1892 to 1896 William Morris' Kelmscott Press publish ed books that are some of the most significant of the graphic desig n products of the Arts and Crafts movement, and 2 made a very l ucrative business of creating books of great stylistic refinement and s elling them to the wealthy for a premium. Morris proved that a marke t existed for works of graphic design in their own right and helpe d pioneer th e separation o f design from production and from fine ar t. The work of the Kelmscott Press is characterized by its obsessio n with historical styles. This historicism was, however, important as i t amounted to the first significant reaction to the stale state of ni neteenth-century graphic design. Morris' work, along with the rest of t he Private Press movement, directly influenced Art Nouveau and is indir ectly responsible for developments in early twentieth century graphic de sign in general. Who originally coined the term “graphic design”app ears to be in dispute. It has been attributed to Richard Guyatt, th e British designer and academic, but another source suggests William Ad dison Dwiggins, an American book designer in the early 20th century T he signage in the London Underground is a classic of the modern er a and used a font designed by Edward Johnston in 1916. In the 1920 s, Soviet constructivism applied 'intellectual production' in different s pheres of production. The movement saw individualistic art as useless i n revolutionary Russia and thus moved towards creating objects for util itarian purposes. They designed buildings, theater sets, posters, fabric s, clothing, furniture, logos, menus, etc. Jan Tschichold codified th e principles o f modern typography in his 1928 book, New Typography. H e later repudiated the philosophy he espoused in this book as bein g f ascistic, but it remained very influential. Tschichold, Bauhaus typograp h ers such as Herbert Bayer and Laszlo Moholy-Nagy, and El Lissitzky ar e the fathers of graphic design as we know it today. They pioneere d production techniques and stylistic devices used throughout th e twenti eth century. The following years saw graphic design in the modern styl e gain widespread acceptance and application. A booming post-World Wa r II American economy established a greater need for graphic design, m ainly advertising and packaging. The emigration of the German Bauhaus s chool of design to Chicago in 1937 brought a “mass-produced”minimalis m to America; sparking a wild fire of “modern”architecture and desig n. Notable names in mid-century modern design include Adrian Frutige r, designer of the typefaces Univers and Frutiger; Paul Rand, who, fro m the late 1930s until his death in 1996, took the principles of th e Bauhaus and applied them to popular advertising and logo design, hel ping to create a uniquely American approach to European minimalism whil e becoming one of the principal pioneers of the subset of graphic des ign known as corporate identity;and Josef Müller-Brockmann, who designe d posters in a severe yet accessible manner typical of the 1950s an d 1960s era. 3 From road signs to technical schematics, from inte roffice memorandums to reference manuals, graphic design enhances transfe r of knowledge. Readability is enhanced by improving the visual present ation of text. Design can also aid in selling a product or idea thr ough effective visual communication. It is applied to products and elem ents of company identity like logos, colors, and text. Together thes e are defined as branding (see also advertising). Branding has increasi ngly become important in the range o f services offered by many graphi c designers, alongside corporate identity, and the terms are often use d interchangeably. Textbooks ar e designed to present subjects such a s geography, science, and math. These publications have layouts which i llustrate theories and diagrams. A common example of graphics in use t o educate is diagrams of human anatomy. Graphic design is also applie d to layout and formatting of educational material to make the informa tion more accessible and more readily understandable. Graphic design i s applied in the entertainment industry in decoration, scenery, and vis ual story telling. Other examples of design for entertainment purpose s include novels, comic books, opening credits and closing credits i n film, and programs and props on stage. This could also include artw ork used for t-shirts and other items screenprinted for sale. From sc ientific journals to news reporting, the presentation of opinion and fa cts is often improved with graphics and thoughtful compositions of visu al information - known as information design. Newspapers, magazines, blo gs, television and film documentaries may use graphic design to infor m and entertain. With the advent of the web, information designers wit h experience in interactive tools such as Adobe Flash are increasingl y being used to illustrate the background to news stories. A graphi c design project may involve the stylization and presentation of existi ng text and either preexisting imagery or images developed by the grap hic designer. For example, a newspaper story begins with the journalist s and photojournalists and then becomes the graphic designer's job t o organize the page into a reasonable layout and determine if any oth er graphic elements should be required. In a magazine article or adver tisement, often the graphic designer or art director will commission ph otographers or illustrators to create original pieces just to be incorp orated into the design layout. Contemporary design practice has been ex tended to the modern computer, for example in the use of WYSIWYG use r interfaces, often referred to as interactive design, or multimedia de sign. Before any graphic elements may be applied to a design, the gr aphic elements must be originated by means of visual art skills. Thes e graphics are often (but not always) developed 4 by a graphic d esigner. Visual arts include works which are primarily visual in natur e using anything from traditional media, to photography or computer gen erated art. Graphic design principles may be applied to each graphic a rt element individually as well as to the final composition. Typograph y is the art, craft and techniques of type design, modifying type gly phs, and arranging type. Type glyphs (characters) are created and modif ied using a variety of illustration techniques. The arrangement of typ e is the selection of typefaces, point size, line length, leading (lin e spacing) and letter spacing. Typography is performed by typesetter s, compositors, typographers, graphic artists, art directors, and clerica l workers. Until the Digital Age, typography was a specialized occupati on. Digitization opened up typography to new generations of visual desi gners and lay users. Page layout is the part of graphic design tha t deals in the arrangement and style treatment of elements (content) o n a page. Beginning from early illuminated pages in hand-copied book s of the Middle Ages and proceeding down to intricate modern magazin e and catalog layouts, proper page design has long been a consideratio n in printed material. With print media, elements usually consist of t ype (text), images (pictures), and occasionally place-holder graphics fo r elements that are not printed with ink such as die/laser cutting, f oil stamping or blind embossing. Graphic designers are often involve d in interfac e design, such as web design and software design when en d user interactivity is a design consideration o f the layout or interf ace. Combinin g visual communication skills wit h the interactive communica tion skills of user interaction and online branding, graphic designer s often work with software developers and web developers to create bot h the look and feel of a web site or software application and enhanc e the interactive experience of the user or web site visitor. Printma king is the process of making artworks by printing on paper and othe r materials or surfaces. Except in the case of monotyping, the proces s is capable of producing multiples of the same piece, which is calle d a print. Each piece is not a copy but an original since it is n ot a reproduction of another work of art and is technically known a s an impression. Painting or drawing, on the other hand, create a uni que original piece of artwork. Prints are created from a single origin al surface, known technically as a matrix. Common types of matrices in clude: plates of metal, usually copper or zinc for engraving or etchin g; stone, used for lithography; blocks of wood for woodcuts, linoleu m for linocuts and fabric plates for screen-printing. But there are ma ny other kinds, discussed below. Works printed from a single