The purpose of the lesson: the formation of the ability to use techniques, means of composition, the development of aesthetic taste on the example of works of art built taking into account compositional laws.
Lesson objectives:
- Educational: introduce students to different types of graphics, basic definitions and concepts of graphic design
- Educational: develop cognitive interest, promote the formation of creative imagination, develop taste and sense of composition
- Educational: education of cognitive interest in the art of design
Lesson equipment:
1. Computer class
2. Multimedia projector
3. Exhibition of printing products
Lesson plan:
1. Define graphics, the main types of graphics and the role of graphic design in contemporary art.
2. Showing a computer presentation followed by an explanation
3. Performing independent work using ICT technologies.
Organizing time
Introduction. You and I know how diverse fine art is. Let's name the types of fine arts.
Children's answers: Painting, graphics, sculpture, etc.
Today we will talk with you about graphics and its varieties.
The topic to be studied today is the topic: "The compositional foundations of layout in graphic design. Text and image as elements of composition."
1. Harmony, contrast and expressiveness of a planar composition
2. Symmetry, asymmetry and dynamic balance
3. Movement and static
4. Straight lines and organization of space
5. Color is an element of compositional space
6. Letter - line - font. font art
7. Compositional basics of layout in graphic design. Text and image as composition elements
Graphics (from gr. grapho - I write, I draw) - a type of fine art that is associated with an image on a plane. Graphics combines drawing, as an independent area, and various types of printed graphics: woodcut (xylography), engraving on metal (etching), engraving on cardboard, etc.
Graphics can be easel, book, applied.
Easel graphics. A kind of graphic art, the works of which are independent in purpose and form, are not included in the ensembles of a book, album or in the context of a street, public interior, like a poster, do not have an applied purpose, like industrial graphics. The main types of easel graphics are easel drawing and easel sheet of printed graphics (print). The main forms of existence of easel graphics are museum and exhibition collections and expositions, hanging on the walls of public and residential interiors. Easel graphics decorate offices, galleries, the walls of our apartments
Book graphics. Book graphics is one of the types of graphic art. This includes, in particular, book illustrations, vignettes, headpieces, drop caps, covers, dust jackets, etc. The history of drawing has been largely associated with the handwritten book since antiquity and the Middle Ages, and the development of engraving and lithography has been connected with the printed book. In the ancient world, a font appeared, also related to graphics, since the letter itself is a graphic sign. The artist illustrates the text, supplements it with visual images, helping the reader to understand the writer's intention.
Graphic design is an artistic and design activity to create a harmonious and effective visual and communicative environment. Graphic design makes an innovative contribution to the development of the socio-economic and cultural sphere, contributing to the formation of the visual landscape of modernity
The graphic design spans the history of mankind from the Lascaux cave to the dazzling neon of Ginza. In the long history of the use of visual communication, there are vague differences and intersections between the art of advertising, graphic design and fine art. They are united by many common elements, theories, principles, practices and languages, as well as, sometimes, one patron or client. In the art of advertising, the absolute goal is to sell goods and services.
Graphic design: "The essence is to give order to information, form to an idea, expression and feelings to objects that confirm human experiences."
Graphic design can be classified into categories of tasks to be solved.
Typography, calligraphy, fonts, including the design of newspapers, magazines and books
Corporate identity, brand names, logos, brand books
Visual communications, orientation systems
Poster production
Visual solutions for product packaging, including confectionery and food
Web Design Tasks
Visual style of television broadcasts and other media products
Common uses of graphic design include magazines, advertising, packaging, and web design. Composition is one of the most important properties of graphic design, especially when using preliminary materials or other elements.
Graphic design is a human activity to create functionally and artistically significant products made by means of manual or computer graphics. Brush, pencil, pen, computer mouse, felt-tip pen - equal tools for creating graphic design products. Various artistic techniques and effects are used, designed for a positive perception by both the author and the user.
Let's try to formulate the composition properties:
1. Symmetry and asymmetry
2. Dynamics and statics
4. Contrast and nuance
5. Proportionality and scale
6. Color and tonal unity
By type of execution, three groups can be clearly distinguished:
Text only
Only sign
Combined version
What can be called graphic design products?
The corporate identity of the company and its main element - the logo
Packaging, labels, covers
Souvenir products
Internet sites
Book layouts and illustrations
from the Greek logos - word + typos - imprint
A logo is an original style, an image of the full or abbreviated name of the company or the company's products, which contributes to the company's image.
The logo is the face of the company. The creation of a logo is the beginning of the development of such an important visual characteristic of a company as a corporate identity.
Like any graphic image, a logo is created
according to the laws and properties of the composition Construction of the whole, where the location and interconnection of parts are determined by the meaning, content, purpose and harmony of the whole. The main thing in the composition is the creation of an artistic image.
The main criteria for the development of a logo, sign or trademark:
Individuality - this property allows you to stand out in the product market and make good competition
Originality - creating an image of a logo carrier that is different from competitors, this property should evoke positive emotions and associations among consumers
Functionality - a criterion that allows you to place the logo both on letterhead and web pages, as well as on fax messages, souvenirs or leaflets, for which the logo must be easily scalable and relatively simple
Associativity - this property indicates the presence of links, associations between the logo and the features of the product.
Before proceeding to the practical part of our lesson, let's take a break. Physical education minute
Task 1 Create a logo
- Design a logo under the auspices of:
- Physical health (sports show)
- Creative Project Competition (Idea Fair)
- Art gallery (vernissage)
- Moral health (action "Do good")
- Festival of Arts (holiday - Olympiad)
- When designing a logo, you can use your own themes.
To complete this task, you will need a program based on a vector solution. The vector format allows you to change the size of the image, for example, increase it to the size of a billboard or more, without losing quality. This is very important, as it will allow you to put your logo on T-shirts and pens, as well as on large media, including various promotional products. Such logo creation tools are programs such as Adobe Illustrator, Corel Draw, Freehand, XARA X, etc.
Things to consider when creating a logo:
Originality
expressiveness
Conciseness
Readability
memorability
In logos, it is desirable to avoid multicolor.
1. the more colors, the more difficult it is to achieve balance and harmony;
2. too colorful logo is less memorable and may look annoying;
Graphic design includes poster production.
Poster (German Plakat fr. placard - announcement, poster, from plaquer - stick, stick) - a catchy, usually large-format, image, accompanied by a short text, made for promotional, advertising, informational or educational purposes. In another meaning - a kind of graphics . In modern design, a poster is perceived as "a message reduced to a clear visual formula, intended for a contemporary to draw conclusions and concrete actions." This formula reflects a certain level of graphic design and informs about the subject of communication.
The specificity of the artistic language of the poster is determined by the fact that it should be perceived at a great distance, attract attention, the meaning of the depicted should immediately catch the eye. As a special type of graphic art, the poster has existed since the second half of the 19th century. The features of the genre include the following: the poster should be visible at a distance, be understandable and well perceived by the viewer. The poster often uses an artistic metaphor, figures of different scales, images of events taking place at different times and in different places, contour designation of objects.
For text, the font, location, color are important.
The posters also use photography in combination with drawings and paintings.
Poster art today is multi-genre. The poster can be: political, theatrical, film, advertising, circus and environmental. The image and font should show the idea behind the poster. It is difficult to choose a font that is most appropriate in each individual case. The color of the font attracts attention and evokes a special relationship with the image presented on the poster. A type poster is a common type of visual propaganda.
The specificity of the figurative language of the poster: the clarity of the image, catchiness, decorativeness.
First of all, it is necessary to outline and decide the composition of the poster.
With a symmetrical composition, the poster is dominated by the central figure. Asymmetric, on the contrary, is like a fragment, part of some big whole. And the focus is on movement. There is also a linear, diagonal construction of the composition.
In the image on the poster, only those things that have clear semantic functions should take place.
A poster is not a painting, it is not always necessary to convey color nuances and depict the smallest details. It is advisable to use a sparing selection of colors (no more than three or four), which will completely allow you to create an expressive color scheme. The color wheel will help you choose harmonious color combinations. Achromatic colors are also beautifully combined.
Student message
The theme and purpose of posters can be very diverse:
Informational
Educational
Instructional
satirical
Task 2. Image - a figurative element of the composition
Based on the rules of composition, perform exercises that combine images and text, in which:
1. Instead of rectangles - photos, and instead of lines - lines of text
2. Instead of spots - images (photos, drawings, cut out along the contour, growing like lines from the background
3. Photo serves as background for text and other compositional elements
In the layout of the poster, the problem of the compositional and semantic connection of the image and text is solved. The image can be in the form of a drawing, a photograph, or an abstract spot. In the combination of image and text, an image should appear that reveals the theme of the poster. In the sketch of the poster, all the features of the composition are realized: harmony and balance of masses, rhythm, diversity, a clearly expressed dominant, etc.
Having determined the theme of the poster and selected the constituent compositional elements, arrange them in a certain format.
The text of the poster should be short and easy to read, as if growing out of the background.
The composition can be deep and frontal.
Task 3. Designing a postcard
Having chosen the theme and genre of the postcard, determine its design.
The text can be on the background of the image and outside of it.
The compositional tasks here are the same as in the poster.
Before you start work, decide on the choice of task. You can make a poster layout or a postcard layout. Determine the theme of the poster or postcard and what program you will work with
Summing up the lesson.
- What are the main concepts we met today?
- Student responses. (graphics, poster, etc.)
- Review of works and analysis.
Bibliography.
1. N.M. Sokolnikova Fundamentals of Composition, Moscow, Ed. "Title", 1993
2. A.S.Piterskikh, G.E.Gurov, Fine Arts. Design and architecture in human life, Moscow, "Prosveshchenie", 2008
Model at different design stages.
Lecture 12. Modeling and modeling and their role in design.
1. The concept of "Layout", "Layout", "Model", "Modeling".
Layout(French Maquette - scale model, Italian macchietta, diminutive of macchia) - a model of an object on a reduced scale or in full size, devoid, as a rule, of the functionality of the object being represented. Designed to represent an object. Used when representing the original object is unreasonably expensive or impossible.
An architectural model is a three-dimensional image of architectural structures.
The original layout is the original, which completely coincides with the future printed edition.
Electronic layout - generalized information about the product and its components in electronic form.
A town-planning model is a model of an entire microdistrict or city. Often on a scale of 1:1000 - 1:5000
Landscape layout - terrain layout. Displays mountains, lakes, terrain, trees.
Interior layouts - show the interior arrangement of an apartment or cottage.
A mockup is a model of something: a prototype. For example, a layout of scenery, books, binding.
Modeling has been widely used since ancient times; unlike graphics, it slightly reflected culture, had little to do with plastic art, and had only practical significance.
Models of architectural structures belonging to the period of the Renaissance, Baroque and Classicism are known. Russian architects of the 18th - 19th centuries. Rastrelli, Bazhenov, Thomas de Thomon, Montferan practiced prototyping widely. On the model, the main proportions, the scale of details, and possible visual distortions were checked. Quite often the mock-ups were made detachable and from them it was possible to judge not only the appearance of the building, but also its interior. The architecture of the middle of the last century excluded prototyping not only from design practice, but also from the educational process. Modeling again revived constructivism, associated in Russia with the activities of VKhUTEMAS. Since then, layout in architecture has been widely used.
Modeling, as a method associated with the design of an object, was rarely used at the time of handicraft production.
Only with the advent of artistic design as a type of design activity, layout became its integral component, and the layout is often an integral part of the completed project.
Model - some simplified similarity of a real object; reproduction of an object in a reduced or enlarged form (layout); scheme, physical or informational analogue of an object.
Modeling is:
Building a model of real-life objects (object, phenomenon, processes);
Replacing a real object with a suitable copy;
Research of objects of knowledge on their models.
Modeling is an integral element of any purposeful activity, one of the main ways of cognition.
Due to the ambiguity of the concept of "model" in science and technology, there is no single classification of types of modeling: classification can be carried out according to the nature of the models, the nature of the objects being modeled, and the areas of application of modeling (in engineering, physical sciences, cybernetics, etc.). For example, the following types of modeling can be distinguished:
information modeling
Computer modelling
Mathematical modeling
Mathematical-cartographic modeling
Molecular modeling
Digital Simulation
Logic Modeling
Pedagogical Modeling
Psychological modeling
Statistical modeling
Structural modeling
Physical modeling
Economic and mathematical modeling
Simulation
evolutionary modeling
The modeling process includes three elements:
Subject (researcher),
Object of study,
A model that determines (reflects) the relationship of the cognizing subject and the cognized object.
The first stage of building a model assumes some knowledge about the original object. The cognitive capabilities of the model are due to the fact that the model displays (reproduces, imitates) any essential features of the original object. The question of the necessary and sufficient degree of similarity between the original and the model requires a specific analysis. Obviously, the model loses its meaning both in the case of identity with the original (then it ceases to be a model), and in the case of an excessive difference from the original in all essential respects. Thus, the study of some aspects of the modeled object is carried out at the cost of refusing to study other aspects. Therefore, any model replaces the original only in a strictly limited sense. It follows from this that several “specialized” models can be built for one object, focusing attention on certain aspects of the object under study or characterizing the object with varying degrees of detail.
At the second stage, the model acts as an independent object of study. One of the forms of such a study is the conduct of "model" experiments, in which the conditions for the functioning of the model are deliberately changed and data on its "behavior" are systematized. The end result of this stage is a set (set) of knowledge about the model.
At the third stage, the transfer of knowledge from the model to the original is carried out - the formation of a set of knowledge. At the same time, there is a transition from the "language" of the model to the "language" of the original. The process of knowledge transfer is carried out according to certain rules. Knowledge about the model should be corrected taking into account those properties of the original object that were not reflected or were changed during the construction of the model.
The fourth stage is the practical verification of the knowledge obtained with the help of models and their use to build a general theory of the object, its transformation or control.
Modeling is a cyclical process. This means that the first four-stage cycle can be followed by a second, a third, and so on. At the same time, knowledge about the object under study is expanded and refined, and the original model is gradually improved. Deficiencies found after the first cycle of modeling, due to little knowledge of the object or errors in the construction of the model, can be corrected in subsequent cycles.
Now it is difficult to indicate the area of human activity where modeling would not be applied. For example, models have been developed for the production of automobiles, the cultivation of wheat, the functioning of individual human organs, the life of the Sea of \u200b\u200bAzov, and the consequences of an atomic war. In the future, for each system, their own models can be created, before the implementation of each technical or organizational project, modeling should be carried out.
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1 Non-state educational institution of higher professional education "Russian-British Institute of Management" (NOUVPO RBIM) Design Department V.S.
2 Landscape design of the environment: Reference material and guidelines for the implementation of practical tasks. Chelyabinsk: NOUVPO RBIM, p. Author-compiler: V.S. Bannikov, Member of the RF SD. This publication includes theoretical and reference material, structured by models, determines the content of practical tasks by type of independent work; offers one of the options for offset in the form of testing. In order to ensure high-quality performance of tasks, educational literature with page indications is presented. Reviewer: I.V. Vinokur Ph.D.
3 CONTENTS Introduction... 4 Content of the academic discipline... 4 Guidelines for independent work... 5 Tasks for students' independent work... 8 Bibliographic list...10
4 METHODOLOGICAL RECOMMENDATIONS FOR STUDYING THE DISCIPLINE "PROTOTYPE IN ENVIRONMENT DESIGN" for independent work of students The main objective of the course "Prototyping in environment design" is to develop the personality of students, preparing them for their future professional activities as a designer. Methodological recommendations aim to help students in organizing independent extracurricular work on the course, as well as in deepening and systematizing subject knowledge on the main issues of the course. The study of landscape design is focused on students mastering the system of knowledge about the aesthetic qualities of natural and cultural landscapes; consideration of the historical experience of gardening art and topical problems of the architectural and landscape organization of the city's territories; mastering skills in the field of landscape design (architectural and landscape analysis of the territory, creating landscape compositions in the form of draft graphic sketches, working and layout drawings, plans and writing explanatory notes to them). Before starting to master the discipline Modeling in Environment Design, the student needs to carefully read the Course Program, which reveals its structure, logic and sequence of studying topics, fixes the list of knowledge that the student must master upon completion of the course. In the learning process, such forms as lectures, seminars, independent work are used. CONTENT OF THE EDUCATIONAL DISCIPLINE 2.1. The content of the discipline Section I. Methodology of layout. Topic 1. Introduction. Connections General introduction to the purpose, scope and purpose of the course "Prototyping". The content of the work. The model and its role in the design activity of the designer. Stiffness elements. Ways of connection (gluing): butt (on the edge), gluing one form to another with the help of lapels of the edges of the paper. Topic 2. Platonic solids. Shells.
5 Study of the properties of the Platonic solids. Create a form from repeating elements. 1. Marking 2. Cutting 3. Making developments, assembling polyhedra from them - a tetrahedron, a kexahedron (cube), an octahedron, an icosahedron, a dodecahedron .. Topic 3. Solids of revolution. Creation of bodies of revolution.1. Generating markup. 2. Assembly of repeating elements. Topic 4. Reverse fold. "Relief of the area". Examining the properties of paper through opposite folds of paper. Learning how to make a relief from a single sheet. Sketch development. Drawing by markup. Notches. Backbends Topic 5. Origami. Mastering the technique of origami. 1. Markup.2. Flexion. Topic 6. Transformations. "Showcase Space". : Create complex shapes through transformation. 1. Markup. 2. Notches according to the markup. 3. Bonding. 4. Formation of volumes by folds. Topic 7. Elements of interior equipment. Creation of separate elements of interior filling. The study of methods for manufacturing complex volumetric forms.1. Sketch markup. 2. Cutting out individual elements. 3. Production of individual elements and their layout. 4. Assembly. Topic 8. Room interior (bedroom, office, kitchen). The study of methods for manufacturing interior space (deep spatial composition). 1. Create a sketch. 2. Cutting out individual elements. 3. Manufacture of individual items of equipment and their layout. 3. Assembly. Guidelines for independent work It is advisable for each student to listen to all the lectures on the course Modeling in the design of the environment, making notes and highlighting the most significant provisions in them. Independent work consists of participation in seminars and practical classes, allowing the student to
6 theoretical and practical levels to understand difficult problems for him, to get answers to questions that turned out to be incomprehensible. An exchange of opinions and an active discussion with other students of the group on the problems of the historical and further development of landscape design will contribute to a more successful mastery of the educational material. In preparation for the seminar and practical exercises, the student should use the Program of the Course on Prototyping. in environment design: read the list of questions, as well as the list of topics of reports, read the list of basic and mandatory literature. After that, the student will have to review the required literature. To do this, you need to carefully read the recommended texts, and then, having studied the analogues, make a number of analytical sketches of sketches that clearly demonstrate those ideas that are important for their further application in practical work. Further, it is advisable for the student to study the relevant sections of the textbooks. If any questions remain incomprehensible or arouse special interest, they should be recorded and refer to additional literature. Such questions, further, should be proposed for general discussion at the seminar and visually demonstrate in the sketches possible options for their implementation. All the literature necessary for preparation is available in the reading room of the NOUVPO RBIM library. In addition, students receive from the teacher individual tasks for independent work, which consist in preparing the study of visual and theoretical material for further solving problematic design problems. When preparing a report, the student, having studied the list of literature recommended on this issue and consulting with the teacher, studies the literature, visual material, draws up a plan for his work and selects analogues that allow him to reveal the main issues of this plan. Next, the student performs a series of sketches (5 10 options). To achieve a conscious attitude to the educational process, students need to learn how to independently build their work, look for an idea, formulate goals, identify hidden problems, and improve technical skills. When performing practical independent work, it is necessary to clearly fulfill the tasks and requirements set by the teacher. You should also pay attention to the thoroughness of the work.
7 When preparing for a seminar, which involves, along with listening to reports, answers to theoretical questions, it is recommended to adhere to the following sequence in work: 1. First, repeat, and if necessary, study the visual series related to the material covered: practical work, diagrams and illustrations in lecture notes and educational literature; 2. Repeat special words and expressions; 3. Repeat the text material of the lectures; 4. Read the text of lectures and educational literature. Preparation for independent work is carried out on the following topics, which are given in the table. Independent work of students Table 1. Theme Content Form of control hours 5 semester Topic 1. Introduction. Connections Topic 2. Platonic solids. Topic 3. Bodies of revolution. Gluing one form to another using the lapels of the edges of the paper. 1. Marking 2. Cutting 3. Making reamers, assembling polyhedrons from them. 1 Marking along the generatrix. 2.Assembly of repeating elements. Checking homework; discussion of the results of work Checking homework; discussion of the results of work Checking homework; presentation Topic 4. Reverse fold. "Terrain" 1. Development of a sketch. 2. Drawing on the markup. 3. Notches. 4. Deflection Checking homework; presentation. 2
8 Topic 5. Origami 1. Markup. 2.Bending. Presentation, discussion of issues on the topic. 6 Topic 6. Transformations. “Showcase space” Topic 7. Elements of interior equipment Topic 8. Room interior 1. Markup. 2. Notches according to the markup. 3. Bonding. 4. Formation of volumes by folds. 1. Markup sketch. 2. Cutting out individual elements. 3. Production of individual elements and their layout. 4. Assembly. 1. Create a sketch. 2. Cutting out individual elements. 3. Production of individual elements of equipment and their layout. 3. Assembly. Checking homework; discussion of the results of work Checking homework; discussion of the results of work Checking homework; discussion of the results of the work Tasks for independent work of students: Topic 1. Introduction. Connections Task: Glue a 30*30mm dice. Gluing one form to another using the lapels of the edges of the paper. Whatman material. Topic 2. Platonic solids. Task: Glue one of the Platonic solids. Step by step work. 1. Marking 2. Cutting 3. Making reamers, assembling a polyhedron from them. Whatman material. Topic 3. Bodies of revolution. Task: Glue a cylinder 10mm high, 40mm in diameter. Whatman material. Topic 4. Reverse fold. "Terrain"
9 Task: Develop a sketch of the terrain. Having drawn according to the markup, make the necessary cuts, deflections, thereby simulating the terrain. Whatman material. Topic 5. Origami Task: Find analogues that clearly demonstrate the origami technique. According to the selected sample, having made the necessary markup, make folds in the designated places, thereby achieving the expected result. Whatman material. Topic 6. Transformations. “Showcase space” Task: Complete a draft design of a shop window on a specific topic (“clothing”, “furniture”, etc.). Actual dimensions: height 2100mm, width 3400mm, depth 1300mm. Scale 1*25. The color range is limited to 2 colors. Whatman material, cardboard. Topic 7. Elements of interior equipment Task: Make a drawing of a certain element of interior equipment: a sofa, a bed, a wardrobe, a desk. Scale 1:10. The color range is limited to 2 colors. Whatman material, cardboard. Topic 8. Interior of the room Task: Complete the preliminary design of the room. You can take as a basis a ready-made situation from any project. Scale 1:10. The color range is limited to 2 colors. Whatman material, cardboard. Internet resources 1. Paper origami schemes, instructions, step-by-step origami assembly Schemes for assembling paper origami how to make figurines, modular origami Origami paper for professionals. Scheme.
10 References: Main literature: 1. Zolotukhina E.N. Composition and layout: Study method. complex. - Chelyabinsk: CHGI, p. 2. Kalmykova N.V., Maksimova I.A. Modeling in educational design: Proc. allowance for universities. M.: Architecture-S, p. 3. Kalmykova N.V., Maksimova I.A. Prototyping from paper and cardboard: Proc. allowance for universities. M.: University, p. 4. Stasyuk N.G. Fundamentals of architectural composition: Proc. allowance for universities. M.: Architecture-S, p. 5. Volumetric-spatial composition: Proc. manual for universities / Ed. A.F. Stepanova. Moscow: Stroyizdat, p. 6. Ruzova E.I., Kurasov S.V. Fundamentals of composition in environmental design practical course: Proc. allowance for universities. Moscow: MGHPA im. S.G. Stroganova, p. Additional literature: 1. Grozhan D.V. A beginner's guide. Rostov n/a: Phoenix, s. 2. Ustin V.B. Composition in design: methodological foundations of compositional and artistic shaping in design work: Proc. allowance for universities. M.: AST, p. 3. Ustin V.B. Composition in design: methodological foundations of compositional and artistic shaping in design creativity. M.: AST, p. 4. Chernyshev O.V. formal composition. Creative workshop on the basics of design. Mn.: Harvest, p. 5. Shapovalov V.G. Asymmetric composition in fine arts: theory-methodology-pedagogy. Chelyabinsk: Chelyabinsk Humanitarian Institute, p. 6. Shimko V.T. Architectural and design design. Fundamentals of the theory: Proc. allowance for universities. M.: Architecture-S, p.
11 Appendix Fig. 1. Gluing one form to another with the help of lapels of the edges of the paper Fig. 2. Development of Platonic solids
12 Fig.3. Terrain model made of corrugated cardboard. Rice. 4. Origami "tulip".
13 Fig. 5. Origami "bird".
14 Fig. 6. Origami "elephant". Rice. 7. Layout of a showcase for a clothing store. Rice. 8. Layout of a shop window "hours".
15 Fig. 9. Model of furniture equipment.
16 Fig. 10. Model of a residential interior. Rice. 11. Model of a residential interior. Hallway.
17 Fig. 12. Model of a residential interior. Living room with dining area.
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The meaning and role of layout in the professional training of an artist-designer
In the article, the author considers prototyping in environmental design as an important part in the process of preparing general designers in the field of environmental design and in the process of artistic and design activities.
Keywords: constructive thinking, layout-structures, volume-spatial composition.
In the existing system of art education in Russia, the problem of improving the professional training of artist-designers is of great importance. Therefore, there is a need to improve the level of artistic and technological professional skills of specialists in the field of artistic and design activities.
Nowadays, we are actively searching for new ways to improve the art and technology education of future artist-designers, and there is also an active improvement in the very methodology of teaching special art disciplines, the study and application of the latest technological progress and innovative technologies in the design activities of designers aimed at improving professional skills. future professionals.
Nowadays, without the comprehensive training of design students, which includes the study of special major disciplines - design, layout, the basics of artistic skill and the mandatory study of auxiliary disciplines - drawing, painting, sculpture, art history, design history and other subjects, it is impossible to create a competent work of art in areas of artistic design and layout. Therefore, in the system of artistic training of an artist-designer, these items play a leading role.
The ongoing processes of modernization and transition to new standards of higher professional education formulate new requirements for the level of training of specialists in the field of environmental design. It is necessary to harmoniously combine the artistic, technological and aesthetic components of professional activity, due to the very specifics of artistic design and layout as an art form that meets the criteria of "usefulness, strength and beauty". Designers, as professional specialists, must comply with rapidly changing socio-economic conditions, the development and implementation of the latest technologies, be able to independently solve complex professional problems of creating a modern environment at a high aesthetic and artistic level.
Modeling in environmental design is an important part in the process of training generalists in the field of environmental design and in the process of artistic and design activities.
The model has been known since ancient times, back in the days of Ancient Egypt and ancient Greece, architects used not drawings, but a model. The word "layout" itself comes from the French - maquette and from the Italian - macchietta - a sketch and means a spatial image of something, usually in reduced sizes. Models of architectural structures belonging to the period of the Renaissance, Baroque and Classicism are known. Russian architects of the 18th–19th centuries. Rastrelli, Bazhenov, Thomas de Thomon, Montferan widely practiced prototyping. On the model, the main proportions, the scale of details, and possible visual distortions were checked. Quite often the mock-ups were made detachable and from them it was possible to judge not only the appearance of the building, but also its interior.
The purpose of the prototyping process is to master the technique and skills of volumetric modeling of environmental objects and their elements, as well as the acquisition of skills in working with paper, cardboard and other prototyping materials; development of spatial thinking.
The layout is visual, so the layout process forms the student's three-dimensional representations, since the layout is one of the means of expressing thoughts, a way of transmitting information. It helps to identify general compositional patterns, clarifies the proportions, the ratio of divisions, their scale, helps to find the correct volumetric-spatial solution of the composition and determine the ways to achieve it. Also, in the work on the composition of the layout, the basic concepts and principles of the harmonic organization of the form are studied: ratios, proportions, rhythm, balance.
The layout is, as it were, a temporary generalization of representations in large masses and relatively abstract forms of a certain idea, model, carrying a generalized functional and constructive content, one of the means of achieving an optimal response to the task. The model is made in a homogeneous material (as a rule, in paper, cardboard, plastic) and can be of two types: working and exhibition.
Modeling is a creative process of searching for an architectural composition. When working on a project (real or educational), the layout, being transformed in a certain sequence, is a link in the design process.
With the advent of artistic design as a type of design activity, layout has become its integral component, and the layout becomes an integral part of the completed project.
The role of the layout at various stages of design is not the same, and in accordance with this, the technology of its manufacture and material are determined. All this is dictated by the goals and specific requirements associated with each of these stages.
When studying the “sample”, the layout is required to transfer the general form or a combination of its parts. For the convenience of research, in some cases it is desirable that it be composite and be able to understand. The external shape of the layout does not change at this stage, and this predetermines its stability.
At the stage of making sketches, the layout is also intended for practical purposes, i.e. for the designers themselves, so it does not have to be visually attractive. But the internal blocks that make it up must be able to move, change their position, and combine in different ways.
When designing monosyllabic objects, the layout surface must be able to change in order to be able to give it one form or another in search of the best solution. The nature of the surface and the modeling of the volume are laid in the objects already at the draft stage of the project. The material and manufacturing technology of the layout should help this. Since the layout at the draft stage of design must be to some extent conditional, it does not use those materials in which this product will be performed in kind. When designing objects with a complex volumetric-spatial structure, from the very beginning of the design search, there are other tasks and, accordingly, a different layout technology. Here, the material should help to search for options, and for this it is necessary to easily articulate and separate parts, change the volumetric-spatial structure. The structure of some objects requires the production of dynamic models, since their individual elements should be checked only when moving one in relation to another.
Breadboarding is work on the object itself, in the process of working on which the designer's hand directly affects the form being made. The layout process is important for an artist-designer because through them the experience of transforming a spatial image develops, a spatial representation and spatial thinking are formed. By making models from various materials, students themselves intuitively discover their constructive properties. For example, when making models from paper, its main design features become clear. In a different state, the paper perceives the load in different ways. It can be curved, corrugated, rolled into a tube.
Model-structures (rib, tubular, lattice) help to understand the work of an open, naked structure, introduce various means of artistic expressiveness of structures. Paper layout develops constructive thinking.
Great importance is attached to the technique of making a model, an accurately and beautifully made model develops the taste, design thinking of the future artist-designer, and improves the skills of working with the material.
Modeling also develops analytical thinking. The layout is a process of ascent from abstraction to concrete, studying compositional patterns in complex real design.
The layout, its integrity, generality, extremely simple geometric forms instill in students a method of working from a large form to details, from the general to the particular.
Modeling as the most understandable form of compositional search is also reflected in the nature of design decisions. With the complication of design tasks, prototyping remains one of the main forms of work on composition, therefore prototyping is a subject-based practical activity in which perception and action turn into a practical skill in working with various prototyping materials.
Modeling of volume-spatial composition develops spatial thinking. This is especially helped by work with three-dimensional structures, with composition in space, together with all sorts of exercises in the material.
Modeling is closest to real analogues, it makes it possible to trace the change in the general structural construction of the projected volume, brings up the method of thinking "from the general to the particular", directs the student's thinking to the choice of material, design, makes it possible to master the laws of volume-spatial composition in generalized forms. This is the significance of layout for the preparation of an artist-designer of a high professional level.
Literature
1., Maksimova from paper and cardboard. - M .: University, Book House, 2000.
2. Drawing. Prototyping. Figure: Methodological guide for preparing to study at an architectural institute. – M.: MARKHI, 2002.
3. Wenninger M. Models of polyhedra. – M.: Mir, 1974.
4., Architectural layouts. - M., 1965.
5., - Drawing, layout, drawing. – M.: MAI, 2002.
6. Ikonnikov, form, image in architecture. M., 1986.
7. Krinsky teaching composition. architectural composition. M., 1970.
8. Melodinsky propaedeutics. M., 2000.
9. Timofeeva prototyping at the Moscow Architectural Institute. M., 1997.
academic painting
academic drawing
Graphic presentation
Design research
Design-project-course project
Design engineering
Information Technology
History and methodology of design engineering
Computer technology in design
Creative technologies in industrial design
multimedia presentation
System Design
Contemporary Design Issues
Special pattern
Typography
Ergodesign
History and philosophy of science
Intellectual Property Protection
Innovation management
Business English
Bachelors
Introduction to the specialty
History of design, science and technology
In this course, students get an idea of the role of technology in the development of civilization, its influence on the formation of lifestyle and thinking; get an idea of the role and place of design in modern world culture, an understanding of the possibilities and ways of developing technology and design. The course covers: Design as an activity. Design in the system of culture, art, production. History of the development of technology. Philosophy of technology. The origins of design, design and craft. The origin of industrial production and the emergence of design issues. Technical progress of the XIX - early XX centuries. The specifics of the industrial development of Russia. Industrial art in Russia, constructivists, etc. Features and problems of domestic design. Design achievements, world design schools, personalities.
History of culture and arts
In this course, students get an idea about world cultures, their history, features, traditions and heritage in the field of visual arts; understanding of the general cultural context of which design is a part. The course covers: Culture and art of primitive society and the Ancient World. The development of the arts, types of arts. Culture and art of the Middle Ages and the Renaissance. Baroque, Rococo, the era of the French Revolution and the Empire, Romanticism and Art Nouveau. Realism, modernism, postmodern. Great masters of the past and present. Art of the East, America and Africa in the context of their cultural characteristics. Culture and art of Ancient Rus', the originality of Russian culture. Russian art of the XYI-XX centuries. Mass culture and the twentieth century. Trends and features of the development of contemporary world art. Trends in the development of contemporary world art - realism, modernism, postmodern, mass culture; features of the development of culture and art in the second half of the twentieth century. Directions and theories in art history. School of contemporary art.
Academic drawing
The discipline "Academic Drawing" studies the language for representing graphic information about three-dimensional objects of varying complexity and methods for displaying graphic information in two-dimensional graphics to prepare students for independent professional work. The discipline "Academic drawing" refers to the cycle of general professional disciplines, aimed at developing students' aesthetic taste, artistic thinking and vision, compositional flair, the ability to abstract the shapes of objects, independently set and competently solve compositional problems in artistic design. The method of teaching the subject is based on the achievements of the national school of educational drawing. The study of this discipline is inextricably linked with the basic level disciplines "History of Culture and Arts", "Painting", "Sculpture and Plastic Modeling" and, in turn, creates the necessary basis for more successful mastering of the most important higher-level disciplines, such as "Special drawing", "Designing and modeling of industrial products", etc.
Sculpture and plastic modeling
Despite the widespread use of computer design technologies and the growing use of rapid prototyping methods for the manufacture of mock-ups, models and prototypes of designed products, traditional prototyping and, in particular, operational manual prototyping using simple materials (paper, cardboard, foam plastic) remains an integral and important part of the overall design process in industrial design. Simple and relatively labor-intensive layouts made from available materials make it possible, already at the initial stages of a design project, to visually and voluminously present options for future solutions and evaluate them both for the designers themselves and for other project participants. The discipline "Sculpture and Plastic Modeling" aims to teach students the basics of design layout, skills in working with layout materials and tools, teaches accuracy and accuracy, allows you to perform certain design solutions in simple layout materials at different stages of design project development. Laboratory work is devoted to the implementation of various exercises and back, aimed at studying the properties of individual mock-up materials, gaining skills in working with paper, cardboard, hand-held mock-up tools, plasticine and foam plastic. Students gain skills in working with the most common simple layout materials, using their properties and capabilities, and developing volumetric and design thinking. Mastering various methods and techniques of layout using examples of objects of different nature and using materials with different properties, students learn to choose the optimal materials and layout technology, develop a rational layout structure and design of its parts, and plan the entire process of developing and manufacturing a layout. The discipline "Sculpture and Plastic Modeling" is close in nature and purpose to the course "Fundamentals of Composition in Industrial Design" and technically complements it. Therefore, the disciplines are methodically closely related: some of the training exercises and assignments are common for both courses, logically complement each other, making the learning process more integrated, and the work of students more meaningful and purposeful. The knowledge, skills and experience gained in the course of studying this course are further used by students in the course "Design Design" in the development of products and for the visualization of design results, as well as in the subsequent course "Prototyping in industrial design".
Flower science and coloring
The discipline "Colour science and coloristics" introduces two areas of knowledge: the first, preliminary, refers to the field of psychology and introduces the laws of visual perception necessary for understanding color harmony and compositional principles, as well as for design practice in general. The second, main one, is devoted directly to color, its theory, the study of properties and the experience of using it in professional activities. This course studies the conditions for the emergence of visual phenomena, the laws of their perception; the laws of color formation and the principles of color harmony, classical and modern color models and color theory, the basics of the psychological impact of color. Students explore the conditions for the occurrence of visual phenomena, master the methods of their assessment; observe and investigate the conditions for the appearance of color, the effects of its manifestation and mixing, study the properties of light, color, pigments. Students gain practical skills in the use of color, gain experience in working with paints and digital color when creating pictorial compositions, experience in selecting colors according to standard catalogs and according to a sample. Homework is aimed at consolidating the acquired knowledge and skills and at developing color perception in the practice of working with color.
Information technology in design
The discipline "Information technologies in design" aims to study and master the basic programs of vector two-dimensional and three-dimensional graphics used in design activities; acquiring skills to work with them for their practical application in the learning process and in design design. The main packages are being studied: Corel Draw (two-dimensional graphics) and Rhinoceros (three-dimensional modeling). In the course of lectures, students get acquainted with the principles of work in two-dimensional and three-dimensional vector graphics; the structure and tools of the respective programs and how to work in them. Laboratory works are devoted to the practice of using these programs in solving graphic problems, in creating objects and models. Students receive computer drawing and 3D modeling skills; basic skills in modeling and visualization of simple products; basic skills in the development of objects of graphic and industrial design. Students use the experience gained in the course "Design Engineering" in the development of products and to visualize the results of design.
Organization of project activities
In this course, students acquire the ability to rationally and effectively organize the process of design design, the process of communication with the client; the ability to observe and defend their creative commercial interests; the ability to correctly and rationally conduct contractual relations; the ability to bring the project to implementation; knowledge of copyright protection.
Basics of organizing the design process, project management, interaction with the client, project promotion (project promotion), architectural supervision, contractual and project documentation. Design management. Copyright and patent law, utility models and industrial designs.
Painting
Seminars in the discipline "Painting" are held in an interactive mode, and aim to master the basics of academic and flat-decorative painting. The discipline studies the basic laws of painting, its means, techniques, means of expression and harmony, which contributes to the deepening of knowledge, and develops the necessary techniques for independent professional creativity. At the seminars, students master the methods of working on drawing, composition and color, in practice they learn the professional skills of working with pictorial materials, such as watercolor, gouache and acrylic paints. Students get acquainted with the search for a choice of expressive compositional and coloristic solutions in painting, in practice they master the methods of transition from a volumetric-spatial interpretation of the shape of objects to a more conventional and planar decorative painting, they are able, generalizing nature, to see the main thing in it. Students set themselves creative tasks and find means to solve them, have their own artistic vision and taste, and have a high level of performance. Thus, students receive practical and theoretical skills of the artist to further implement the creative concept of the industrial designer from the analytical stage to the final result. Homework is aimed at the accumulation of knowledge and skills, to gain practical experience necessary in the professional activities of an industrial designer.
Fundamentals of composition in industrial design
The discipline "Fundamentals of Composition in Industrial Design" aims to study and master the basic principles of compositional construction, the development of volumetric-spatial thinking, the interaction of flat and volumetric elements and color on a plane and in space. Various techniques of harmonization and techniques for constructing compositions are mastered. This discipline is a deep organic basis for the design of industrial products. It is the general compositional solution, together with the composition of nuances and details, that determines the image and appearance of the product - integral components of its overall design. Therefore, this course is one of the most important components of the training program for industrial designers. During the lectures, students get acquainted with various types of composition in art, architecture and industrial design, the basic laws of its construction, learn to analyze ready-made compositional solutions. Seminars are devoted to practical exercises on the creation of planar, relief and three-dimensional compositions. Students gain skills in working with various materials and techniques, develop "vision and sense of composition", learn to be creative in finding and choosing compositional solutions. The discipline "Fundamentals of composition in industrial design" is somewhat close in nature to the course "Sculpture and plastic modeling", complements and creatively enriches it. Therefore, the disciplines are methodically closely related: some of the training exercises and assignments are common for both courses, logically complement each other, making the learning process more integrated, and the work of students creatively interesting, more meaningful and purposeful. The knowledge, skills and experience gained in the course of studying this course are actively used by students in the main course "Design Engineering", as well as in the courses "Special Drawing" and "Design of Packaging and Accompanying Documents".
Fundamentals of the theory and methodology of design in industrial design
In this course, students master artistic design as a method of design activity and the basic principles of shaping industrial products; study the process of artistic design, project stages; solve the main types of design problems.
The course covers:
Design definitions. Design and production, design and technology, design and market, design and lifestyle. Areas of application of design - design in the environment; design in the transport sector; design in the social sphere; design for the disabled, the elderly, children, etc. Design process, project stages. Basic requirements and composition of the design project. Categories of design activity of the designer. Research of the project situation, modern methods of pre-project research, comparison with marketing research. Choosing a strategy, methods for developing creative thinking and searching for ideas. Design in innovation processes. System design, methods and tools for design design of system objects, design typologies and classifications.
Design of accompanying documentation and packaging of industrial products
In this course, students learn the practice of designing packaging and accompanying documentation as components of a design project.
The course covers:
Types and role of packaging and accompanying documentation for industrial and consumer products, their importance in a holistic view of the project; development methods and practice.
Design and modeling of industrial products (design engineering)
Seminars in the discipline "Design-projecting" are held in an interactive mode and aim at mastering practical design project activities by students. The discipline studies the methods of designing products of varying complexity and methods for solving various design problems to prepare students for independent professional work. During the seminars, students get acquainted with the subject of design, the scope of its application, the current state, the specifics of design design, the composition of a typical design project. Students master the methods of analysis of the pre-project situation; methods for setting goals and objectives, choosing a strategy and tactics for a design project; methods of searching for ideas through various creative techniques; methods, approaches and means of conceptual, draft and technical design design. Students receive practical skills in developing a design project for products of varying complexity from the analytical stage to the final result; skills of visualization and argumentation of own ideas; teamwork skills. Homework is aimed at acquiring independent versatile practical experience necessary in professional activities. In design, students use the knowledge and skills gained from all other disciplines of the course and incorporate them into semester assignments and projects. The discipline is taught by leading practicing industrial designers, members of the Union of Designers of Russia. In the course of its study, it is planned to carry out projects on real orders from industry.
Layout in industrial design
In this course, students master plastic materials and their use in design practice; learn layout techniques to find and test design intent, form, and other design components.
The course covers:
Layout functions, types of layouts. Prototyping at different stages of design, materials for prototyping and types of finishes. Modern methods of rapid prototyping.
Guidelines for performing laboratory work
Design in industrial design
In this course, students get acquainted with the basics of design in mechanical engineering; get an idea about the strength and performance characteristics of structures and typical structural elements and their application.
The course covers:
Basic principles and design methods. Fundamentals of strength of materials. Machine parts.
Alphabets in industrial design
In this course, students gain knowledge about sign systems and how to use them in design practice.
The course covers:
Sign systems, their types, place, role and significance in the general cultural context. Font, sign, color alphabets. Industrial design objects as carriers of graphic and font information.
Materials Science in Industrial Design
In this course, students get an idea about technologies, knowledge of materials, their design features and decorative properties for practical use in design engineering.
The course covers:
Technological shaping, manufacturability. Materials processing technologies (metals, plastics, composites). Form-building and decorative properties of structural materials; protective and decorative coatings.
Ergonomics
In this course, students gain knowledge of ergonomic requirements and recommendations, gain skills in their use in design activities, get acquainted with the ergonomic support of a design project.
The course covers:
Fundamentals of ergonomics, ergonomic requirements, anthropometry. The system "man - machine - environment". Ergonomic support for the design of products and equipment; workplaces, visual systems, interfaces.
Designing Visual Communications
Design computer software
The discipline "Computer Software for Design Engineering", being a logical continuation of the course "Information Technologies in Design", gives students knowledge and skills in the field of two-dimensional raster graphics, three-dimensional modeling and computer rendering of three-dimensional objects and scenes, and also prepares students for the effective use of digital technologies in the design process. During the classes, students study the Photoshop raster graphics program and the Rhinoceros and Flamingo 3D modeling and rendering programs - software actively used by professional designers. Two-dimensional graphics and the Photoshop graphics program are studied to the extent necessary for use in industrial design projects. The 3D modeling and rendering programs Rhinoceros and Flamingo, being the main computer design tools for industrial design, are studied in full. The course of the Rhinoceros program is a continuation and extension of the study of three-dimensional modeling methods, begun in the course "Information Technologies in Design"; The Flamingo section is a self-guided course in computer rendering of 3D models and scenes.
The study of programs is based on a combination of two forms of classroom studies:
a) lecture-demonstration type, in which the teacher talks about the capabilities and tools of the software, while demonstrating them and how to work with them using the appropriate software package, computer, projector and large screen
b) laboratory type, in which students, under the supervision of a teacher, perform exercises in the relevant sections of the course.
Doing homework allows students to consolidate the knowledge gained in lectures and laboratory classes. As topics for laboratory and homework assignments, not only abstract training models are used, but also objects designed in the parallel courses "Volumetric-spatial composition" and "Design design", due to which individual training courses are connected, and the work of students becomes more meaningful and productive. Successful mastering of the program of the course "Computer support for design engineering" allows students to effectively use the acquired modeling and visualization skills both in the course of further education and in the process of future professional activity.
