文创设计外文文献翻译
艺术设计色彩和形式外文翻译文献
文献信息文献标题：Form and Colour—Two Basic Elements of Design（形式与色彩——设计的两个基本元素）文献作者：S.Saleem Ahmed，B.Gurumoorthy文献出处：《Research into Design for Communities》,2017,2:893-902 字数统计：英文3004单词，15932字符；中文5516汉字外文文献Form and Colour—Two Basic Elements of Design Abstract There is no consensus among the designers and design educators on the number of design elements. For well over 100 years of formal design education, design students are trained to use varying number of elements in their pursuit of designing products. In the design literature, there are different sets of design elements mentioned for the purpose of designing products. This inconsistency has often led to confusion among design students and designers about what really are the elements. This paper is an attempt to bring some clarity to this state of confusion. This also explains why there are varying number of elements used by designers and how one can expand the basic elements of design, Form and Colour, into varying number of elements for meeting their purpose. Results of this study will help designers to make use of the popular method of designing with more clarity and customize it to suit one’s requirements.Keywords: Design elements, Design principles, Form, Colour1.IntroductionThere is no consensus among the designers and design educators on the number of design elements. According to Lauer, who wrote a book on Design Basics, “no two designers will ever agree on the same list of design elements and principles or on which are which”. There h as not been any work on finding why there are many designelements and principles. So, this gap is partly being filled up through investigation on the design elements in this paper.Chapman, while describing the process of designing, stated that, “When art ists plan their work, they must see and think about the elements and principles of design. The elements of design are: line, shape, color, texture, and value (light and dark). Artists also use ideas known as principles of design to plan their work. A principle of design is a guide for relating the visual elements. Some principles of design are: balance, rhythm, proportion, pattern, unity and variety.”For well over 100 years of formal design education, design students are trained to use varying number of elements in their pursuit of designing products. In design literature, there are different sets of design elements mentioned for the purpose of designing products. This inconsistency has often led to confusion among design students and designers about what really are the elements. This paper is an attempt to bring some clarity to this state of confusion. This also explains why there are varying number of elements used by designers and how one can expand the basic elements of design into varying number of elements for meeting their purpose.Elements and Principles Approach to design has been the method used widely by art and design educators throughout the world since the beginning of 20th century. Kim in her studies on the history of design theory in art educa tion observed that, “the elements and principles of design have taken a firm place in various art curricula, textbooks, and national and state Visual Arts Standards” and she concluded that, “I do not expect that design elements and principles will disappear as aspects of art education in the fore-seeable future, or that their disappearance would be desirable”. Nowadays the boundaries of the domain of design are fast expanding and many new branches of design such as interaction design, web design, and app design are being introduced. It is important to adapt the existing elements and principles method to suit the needs of the newer branches of design.2.OverviewWorks of 12 authors who have majorly contributed to the field of designeducation since the beginning of 20th century have been considered. The design elements proposed by them have been analyzed. In this paper, attempts have been made to find why there has been no consensus and find out if there are any universal design elements possible. These have done by defining the design elements, criteria-check on the proposed elements, and categorizing the accepted design elements based on their function/nature/characteristics. Form and Colour are the basic design elements that finally emerge out of the analysis. The results are discussed and the recommendations for application to different branches of design are suggested.3.Assumptions and MethodsWhen people engage with products, it is typically a multi-sensory experience. In addition to product’s visual fo rm, other product qualities like tactile, auditory, sometimes olfactory and gustatory are also used in a product experience. However product’s visual form is considered particularly important for the following reasons:(a)Vision is the dominant sense for majority of the people.(b)Vision is a sense that is effective over distance and because of this products are typically seen before they are touched.(c)Consumers approach a product to explore its non-visual qualities because often the product’s visual form initially attracted them.Perhaps because of these reasons, the majority of the literature focusses on visual aspects in comparison to other senses. Visual aesthetics and visual perceptions are commonly used terms in the literature. For the purpose of this paper, assumptions and definitions are made based on the dominance of the visual sense.3.1.Definition of a Design ElementAny discrete visual and/or tactile entity is considered as a design element. A design is composed of several design elements. Pixels, Points, Lines, and Surfaces are used for constructing a design in the virtual media. They are building blocks and not design elements. At a micro level, Atoms are building blocks. Traditionally design elements are the ones used for composing the appearance or styling of a new design.Design elements are unit-less entities. So, Length and Width cannot be designelements. Design elements are perceived through visual (optical) and/or tactile senses. Design elements are the optimal independent visual and/or tactile entities for a particular domain of design. They are either individually or collectively account for all that we see or feel in a product design.3.2.MethodsMajor contributors to the knowledge base of design aesthetics, design education, and design philosophy over the last about 100 years have been considered. All the design elements as proposed by these authors have been tabulated and analyzed. They have been sequenced to one order, checked against the definition of design elements, and categorized according to their nature/characteristics. The results were observed and checked for any patterns.4.AnalysisDow authored a book on Composition in 1899. This was one of the widely followed books for formal training of artists and designers in the first half of 20th century. Subsequently Denman Ross authored a book called The Pure Design in 1907. The third one was on Art Education for High Schools authored by Louis Prang in 1908. All these authors proposed three design elements—Line, Tone, and Colour. These books ran into several editions and for decades these were the ones referred. In 1972, Malcolm authored a book on Design Elements and Principles. Several publications came soon after. We have taken 12 authors, including the above four, who have contributed majorly to the field of Design Aesthetics/Art Education since 1900. Table 1 lists all the different authors and what they proposed as design elements. The order of sequence of the design elements is the same as what the authors have originally propose d. Johnson said, “There is very little consensus as to what the design elements and principles really are, or what they mean”. Table 1 confirms her observation.Table 1 Comparative study on design elements4.1.Sequencing of All Design Elements to One OrderWe notice that the sequence of the order of design elements is not same for all authors. For clarity and the ease of comparison, we have first rearranged the list of design elements in the following sequence—Space, Point, Line, Type, Surface, Texture, Shape, Form, Tone, Colour and any other. The arrangement is based on the tactile and visual qualities of the design elements. The resultant arrangement is given in Table 2.Table 2 Comparative study on design elements4.2.Checking of All Design Elements Against Definition (Criteria-Check)All the design elements were checked against the criteria for design element as given in Sect. 3.1. As a result, some of the tabled elements such as length, direction, position, orientation, size, dimension, and illusion of motion were disqualified as design elements in our list and marked out with the use of gray colored blocks. The resultant set of design elements are given in Table 3.Table 3 Comparative study on design elementsGray coloured elements Not considered as they are not meeting the criteria-checkFor the subsequent analysis, these so called marked out elements were not considered. The ones that meet the criteria for the design elements were categorized based on the function/nature/characteristics. This is to identify if there are any patterns in the agreed design elements.In Table 4, all the design elements listed are after they have been sequenced, screened, and categorized. There are nine sets of design elements present in the table. We notice that there are elements related to the form and colour present in all of them. Elements that are related to form have visual and tactile qualities whereas elements that are related to colour have only visual qualities. For the ease of better clarity and for ease of comparison, we have given warm colours to all the elements related to Form and cool colours to all elements related to Colour. Then what emerges is given in Table 4.Table 4 Comparative study on design elementsWarm colours Elements related to form Cool colours Elements related to colourGray colours Not considered as not meeting criteria5.Results and Discussion5.1.Form and ColourInterestingly in all the sets of design elements, we notice that there are representations from two areas—Form and Colour. Every design element mentioned is actually an extension of either one of these two—Form and Colour. In other words, we can deal with only two elements for tackling design problems. But that would complicate the matters as referring and composing solutions becomes difficult. So, for achieving certain visual effect in the composition and/or to apply different design principles conveniently, having different extensions of Form and Colour becomes necessary.Interestingly though several authors have proposed different sets of design elements and principles, they also have proposed means to compose design solutions (read ‘new designs’). All were complete by themselves.Also which area of design, one is dealing with for a solution, necessitates as what may be taken as design elements.Following are some of the well-known areas of design: Industrial design, Automobile design, Packaging design, Furniture design, Interface design, Web design, App design, Interaction design, Ceramic design, Interior design, Fashion design, Textile design, Graphic design, Typography, Photography, Animation design, and Communication design.Each domain or area of design has a slightly different way of analyzing and synthesizing during the course of problem-solving (read designing). All cannot deal with one set of design elements. For example, typography is treated as a separate element in communication design whereas in ceramic design or interior design, typography (or type) is treated as kind of line, which is by itself a design element. Another example can be pattern. In the domain of textile design or fashion design pattern is required as a design element because the designers deal with it regularly for their design expressions. Whereas pattern is not considered as a separate designelement in the domain of industrial design or furniture design as the frequency of usage is limited.5.2.Recent Designs Are More TactileIn Table 4, the works of different authors are chronologically arranged. We notice that in recent times, the number of design elements, though from one of the two groups (form and colour), have increased. There are more elements on the Form group (warm colored ones). This group is more concerned with the tactile and optical (visual) qualities of the products. The number of elements listed by each author is also an indication of the complexity that the elements can possibly handle. So, could we conclude that the recent designs have more tactile features than theones that came out, say until 1960s? It may be premature to conclude without analyzing with sufficient data, but we can take it as a pointer for exploration.6.Conclusion and RecommendationsBased on the studies here, we can conclude that form and colour are the basic elements with which composition of appearance or styling is done for a design. One can extend the form into line, texture, and shape and the colour into tone, value, transparency, and brightness. These extensions are based on what area of design, like Product design and Interface design, one is dealing with. It is not important to limit the number of design elements; as long as a designer is comfortable to deal with it, any number of elements which are extensions of form and colour is alright. This also explains why there are varying number of elements used by designers and how one can expand the basic elements of design into varying number of elements for meeting their purpose.Also it is recommended that terms like length, size, dimension, direction, and position shall not be used as design elements as they fail to meet the conventional criteria for being termed as design elements.中文译文形式与色彩——设计的两个基本元素摘要在设计元素的数量上，设计师和设计教育者之间并没有达成共识。
文化创意产业的概念【外文翻译】
外文翻译原文Concepts of cultural and creative industriesSource: Dousing network author:John Hawkyns Abstract: In this paper, the concepts of cultural and creative industries a comprehensive review, based on a variety of cultural and creative industries definition, naming system to be compared and analyzed with the similarities and differences between them. As well as cultural and creative industries in three developing context - from culture to culture industry, from the cultural industries to creative industries, from government to the private sector - conducted a detailed formulation. Finally, to clarify the creative industries and innovation in economic theory, the relationship between the creative industries and also analyzed the interdependence between high-tech industries.Keywords: cultural and creative industries and creative industries and innovation in the development of sequence of economic theoryIn recent years, cultural and creative industries become government departments, various institutions and organizations, as well as experts and scholars to study and the focus of attention in the study of cultural and creative industries using a variety of definitions, but its concept has not been able to form a united understanding, which directly led to the measurement, comparison and synchronization with the cultural and creative industries economic research difficulties, and the connotation and extension of its concept of the theory of very few. So I tried to approach the definition of cultural and creative industries, cultural and creative industries context, cultural and creative industries and innovation in the relationship between economic theory and so some of its exploration.First, the concept of cultural and creative industries'Cultural and creative industries', 'cultural industries', 'creative industries', 'content industry', 'copyright industries', 'experience industry', 'attention economy' and so on, in the broad economic study, generally regarded as being the same concept, although the definition contained in each industrial sector are different. Here as a concept review, tentatively agreed that they are the same industry, for its differences and similarities in the analysis are given below.(A) Recalling the definition of cultural and creative industriesis generally believed that a definition of the industry, there are two methods: analytic definition and enumeration type definition. Analysis type definition is an 'industrial characteristics is the concept of' the definition of methods, enumeration type definition is an enumeration covered out of industry, all the industrial sector. Analysis type is defined as a generally applicable method can be established by analyzing the style industry, the exact definition of the boundaries, and can be established according to the definition of enumeration type definition. Enumeration type definition at a glance, make it easier to accept and understand, and is beneficial to industry statistics and measurement. At present, the study of cultural and creative industries in the literature, most frequently used is the enumeration type definition or analysis of type enumeration type definition.Caves (Caves) that the 'creative industries is to provide the general with the cultural, artistic or simply entertainment value associated with the products and services industries, they include book publishing, visual arts (painting and sculpture), performing arts (drama, opera, concerts, dance), sound recordings, film and television, and even fashion and toys'. Toes (Tows) of the definition of creative industries: 'At present, the cultural industry, also known as' creative industry' is mass production with rich creative and cultural content of products and services industry, its important feature is the scale of industrial production and cultural content combination. Most of the production of cultural content and cultural products from the employment of professionally trained art staff (creative artists, performers, craftsmen, etc.), but also attached to consumer goods from the social importance '. Si Louse ratio (Throsby) of the culture industry is defined to include three aspects: '(1) integration of the production of some form of creativity; (2) and the symbolic significance of the creation or dissemination of information; (3) their capacity the potential of at least contain some form of intellectual wealth '. Hawkins (Hawkyns) to define the creative industries, their products are in the scope of protection of intellectual property law within the sectors of the economy. There are four main categories of intellectual property: patents, copyrights, trademarks and designs, each category has its own legal entity and management structure in each category are derived from a variety of creative products to protect the wishes of legal protection for each power of a rough I have listed above with the corresponding sequence. Scott (Scott) that those of production as a tool to serve the entertainment, communication, builds letter,decoration, social status, such as industrial goods or services belong to the scope of creative industries, and they exist in two kinds of 'pure' art, Just as movies or music, as reflected in, or the combination of a more appropriate functions, such as furniture or clothing.Analytic enumeration type defined mainly in the national study reports and documents of international organizations, because of enumeration similar industries, and the space occupied by a large number of texts, in which no detail. There are also a lot of scholars are given their own definition, but its content is similar as defined above, but also will not repeat them.(B) From the definition of characteristics of cultural and creative industries to seeDue to the 'feature is the concept of' the analytic definition, can be a clear division of industry boundaries and, therefore, the definition of cultural and creative industries the ideal way, so here it is necessary to the characteristics of cultural and creative industries analyzed. Caves in the definition of the characteristics of creative industries with the cultural, arts or entertainment, and if the arts and entertainment reduced to broad culture, then the caves described in the characteristics of creative industries, that is cultural content. Troth was clearly pointed out the important characteristics of creative industries is the scale of industrial production and a combination of cultural content, thus, in comparison with the definition of caves, toes definition is more narrow meaning, because of its multi-scale industrial production constraints . The definition and Troth compared with Si Louse cultural industries than the definition is relatively broad, because he did not mention the standards of industrial-scale production can be considered as purely cultural industries. But it is relatively narrow, because it contains the other two criteria, symbols, content and intellectual wealth. Symbolic content of this, pointed out the creative industries are dealing with signs, signals and other content, which is Scott's opinion that the figure and information technology in the production process plays a major role in the production of more symbolic form does not depend on human physical and intellectual labor, a large number of inputs is consistent point of view. Chile's wealth standards and Hawkins are consistent with intellectual property protection, the standard points out the creative industries are closely linked with the copyright, but I believe that intellectual wealth, can not serve as the characteristics of creative industries, the emergence because the concept of copyright is not a stable, substantivechanges by the copyright of their impact, and intellectual wealth, not only with regard to Chile's wealth of cultural content, but also areas such as technological innovation, Chile wealth, which, Chile, wealth is a necessary condition for creative industries, rather than sufficient condition.Based on the above analysis, we find that, regardless of which definition will include this feature of cultural content, cultural content and thus the cultural and creative industries, the core features, only this one feature is the broadest measure of the cultural industries definition. The symbolic content and scale of industrial production is an important feature of creative industries.(C) The similarities and differences between the various namingabove we propose naming the cultural and creative industry in various ways, in this section, will be a formal sort out these terms and analysis. The following table shows in different countries and international organizations on the naming of cultural and creative industries.Through these naming methods, for these industries are included in the sector compared to the industry it covered much the same, so there must be some internal links. Here, the author tried to Michael Porter, in the 'competitive advantage' a book made of the value chain (value-chain) an analysis of their method. Porter pointed out in the book: enterprise production and business activities of each one are all value-creating activities, enterprises of all different from each other but interconnected production and business activities, forming a dynamic process of creating value, this dynamic process that for the value chain (Value Chain).In analyzing the process of the manufacturing value chain, he will the entire value of the production process is divided into five phases: (1) Input logistics; (2) manufacturing; (3) Output logistics; (4) marketing; (5) services. Then the corresponding production of cultural and creative industries can also be divided into five stages: (1) the introduction: This is the cultural content of the introduction of innovative production process, and cultural content directly determines the tone of the product. (2) Product formation: the process for managers, producers, editors, equipment suppliers, movies and photos lab technicians and other skilled people have different ideas together, and the process of the formation of the product. From an intellectual property point of view, this process is patent, copyright and trade mark to protect the core content. (3) Circulation: This is the process of the circulation of cultural products, in which the participants are mainly agents, issuers and variousintermediaries involved in promoting the circulation. (4) Send: This part is a direct point of contact with consumers, but also the end product in circulation, mainly including theaters, cinemas, bookstores, concert halls, TV channels, museums, magazines and so on. (5) Sale: including the role of critics, consumers evaluate collection.Based on the cultural and creative industries division of five stages of production can be seen at different stages of its focus on a different focus. The introduction phase, focusing on the cultural content of the excavation and import, is a 'raw material' into the process, so as this part of the industrial core of people will named as the content industry. The formation of condensation product of many creative persons with different skills, labor, and thus formed the core of the product's copyright, so this aspect as a core industry, or who will be named for copyright industries. Circulation of a product promotion and dissemination process, through this process to attract consumer’s attention and eye for the next step to send to do the necessary preparations, so the link might be called the attention economy. Finally, the transmission and sale is the process of the product to the consumer and listen to feedback process that brings the consumer an experience and therefore can be called the experience of industry. The same is due to the different focus will be cultural content as the core of this industry that will be named as the cultural industries. The industrial core of the creative process as the person will be named as the creative industries, while the cultural and creative industries are a compromise between the two, but in the value chain under the framework of this analysis, I believe that the meaning of these three words should be the same.In addition, the term cultural and creative industries also have two different interpretations. One is the cultural industry (narrow sense of cultural industries, namely, the arts industry) creative industries, which is a traditional art includes a broad understanding of the production. Another is to culture as an adjective to express the cultural and creative industries as the content, which are the cultural and creative industries as a narrow understanding. This article is on the value chain analysis of the above, but also the use of this narrow understanding. The broad sense of cultural and creative industries which includes a narrow cultural and creative industries and traditional arts industries. In fact, the traditional artistic production modes of production, equivalent to a self-sufficient natural economy and its industrial scale can be negligible, but for the creative industries production of arts core, so I believe thattwo kinds of understanding are reasonable, As long as the use and statistical measures to be provided in the distinction between on it.译文文化创意产业的概念资料来源：Ducin network作者：约翰．霍斯金摘要：本文对文化创意行业的全面检讨，文化和创意产业的定义品种的基础上，命名系统的概念进行比较，并与它们之间的相似性和差异分析。
都市购物街景观设计外文文献翻译最新译文
都市购物街景观设计外文文献翻译最新译文摘要：本文翻译是关于都市购物街景观设计的外文文献。
它提供了一个关于如何设计和规划都市购物街景观的综述。
这些信息对于城市规划师、景观设计师和相关决策者来说都非常有用。
引言：都市购物街景观的设计是现代城市规划中一个重要的方面。
随着城市化的加速和人们对购物环境体验的要求日益增长，设计师们不断努力创造出独特而吸引人的购物街景观。
主要内容：1. 购物街景观设计原则：本文介绍了一些购物街景观设计的原则，包括景观形式的丰富性、人行道的设计和布局、绿化和景观元素的使用等。
2. 购物街景观规划：本部分讨论了购物街景观规划中的一些重要考虑因素，如人流量、交通流量、停车设施以及商铺和娱乐设施的布局。
3. 城市购物中心的设计：本文探讨了设计一个成功的城市购物中心所需考虑的因素，如购物中心的定位、建筑设计、商店和餐饮设施的选择等。
结论：本文提供了一些关于都市购物街景观设计的综述，旨在向城市规划师和景观设计师们提供一些有用的参考信息。
这些设计原则和规划考虑因素将有助于创造出令人满意的购物街景观，提升城市的魅力和人们的购物体验。
Translation of "Urban Shopping Street Landscape Design: Latest Translated Text"Abstract:This translated document is about urban shopping street landscape design. It provides an overview of how to design and plan the landscape of urban shopping streets. The information is useful for urban planners, landscape designers, and relevant decision-makers.Introduction:The design of urban shopping street landscapes is an important aspect of modern urban planning. With the acceleration of urbanization and people's increasing demand for shopping environment experiences, designers strive to create unique and appealing shopping street landscapes.Main Content:1. Principles of shopping street landscape design: This document introduces some principles of shopping street landscape design, including richness in landscape forms, design and layout of pedestrian paths, and the use of greenery and landscape elements.2. Planning of shopping street landscapes: This section discusses some important considerations in the planning of shopping street landscapes, such as pedestrian flow, traffic flow, parking facilities, and the layout of shops and entertainment facilities.3. Designing urban shopping centers: This document explores the factors to consider in designing a successful urban shopping center, such as positioning the shopping center, architectural design, and the selection of shops and dining facilities.Conclusion:This document provides an overview of urban shopping street landscape design, aiming to provide useful reference information for urban planners and landscape designers. These design principles and planning considerations will help create satisfactory shopping street landscapes, enhancing the attractiveness of cities and people's shopping experiences.。
艺术设计中英文对照外文翻译文献
中英文对照外文翻译The traditional and newAbstractIts usefulness and beauty -- creation of form and beauty -- traditional beauty -- beauty beyond the accumulation generationIts usefulness and functional beauty and its propertiesFunction of beauty is useful in certain conditions and transformed into, including: improving the transformation of beauty -- full effectiveness is reasonable and perfect, such as the validity of the reasonable structure and material and engineering, although not to the laws of the United States as a constraint, but probably because of the laws of the United States into" rationality". From the function of beauty in light of the phenomenon that the essence of it, so that we can more deeply understand the beauty. First of all, it is the natural beauty of a similar nature beauty. Secondly, the practical purpose of functional beauty by great traction. Function to achieve the purpose, function of beauty can be achieved.Complete with artistic beauty standards to measure product design, it is often difficult to draw the conclusion that. Similarly, simple use and certain human material needs, supplies is beautiful generally does not affect the use. Third, United States also has a social function. Products containing the function beauty can not affected by social productivity development and aesthetic psychology historical limitations. Function of beauty is a social concept, it is not possible to beyond the limitations of history, these belong to non traditional artistic beauty. Function of beauty is not useful to both beauty""Function of beauty is not useful to both beauty""The function of beauty as beauty of technology full, objective denied that the aesthetic value of the relative independence, the exclusion of form beauty. The specific meaning of" transformation" is what? First of all, this conversion depends on the main body to take aesthetic attitude, aesthetic attitude is selective, aesthetics, aesthetic value is not purely objective, not subjective, but the unity of objective and subjective. Generally speaking, passive aesthetic feelings does not require specialized training, but any person in the utilitarian purpose and social conditions, the aesthetic objects always have a choice. Secondly, the need to transform, it illustrates the use of value and aesthetic value are not completely the same, they are the unity of opposites. Use value bring survival conditions,and can bring the enjoyment of the material. Aesthetic enjoyment is" care in enjoyment", this word is mostly used in the visual arts, and appreciation, appreciation of different. The exhibition will have enough space, monument to the broad field of vision, is to have a sufficient distance to care, the whole body visible object. At the same time, simple use and certain human material needs, supplies is beautiful generally does not affect the use. Use value and aesthetic value can not be substituted for each other. The modern design idea is the extreme importance of their unity, is not functional, not aestheticism. 4-2-3creation form and beauty of form and content is a relative concept, content organization form, is the content of each part of the combination mode. Everything has a form, aesthetic form, refers to the aesthetic object of the whole feeling is, is also considered, auditory or tactile perception of the entity, is the content of the being of beauty. Function : the being of beauty, is the technology of beautiful form, the beauty of form. A is any thing all has the form, one is content beauty relative beauty of form. Creation of content, usually understood as" usefulness". So, in order to achieve useful form is the premise of the structure form. Structural forms are often influenced by the functional purpose of strict restrictions, each part as far as possible, efficient economy was integrated into a working whole.Form for the content that relative independenceThe so-called relative independence, refers to the form can become independent of the design elements, but in the end it is difficult from the content. He believes that a function has a variety of forms of point of view, but he is against" function determines form". Consumer products of different shape change request. We use the" degree of freedom" and" definition" two concepts to summarize, objective time Oh deeper form of descriptions of relative independence. 1forms of the degrees of freedom on the form of" degrees of freedom", the form of freedom, refers to the product structure and appearance for the designer to control the extent of. The 2form of definition is followed by a form of " definition", form clear high, the appearance of the product quality requirements are high.4-2-2creation form characteristics of 1forms and content sharing a carrier such as; a Book2forms with distinctive visual description of a creation of perception, often directly to its form, that precede the content to see its shape, color. While the content is sometimes cryptic, implication, so is the perception. 3form must have quality form material form is the physical form, is that people can perceive form the basic conditions. From form to form beautyThe beauty of form beauty in form of the quality connotation is very rich: (1) the function beauty beauty -- the direct expression of the form, and the function of the com., is to the thing itself some characteristics of externala kind of beauty.The traditional aesthetic meaning is actually refers to the traditional beauty contained in the spirit, is said by Li Zehou reason and passion "human nature", the aesthetic form of the accumulation of social content. 1be handed down from age to age" style " and " style" here refers to those containing the traditional culture art form, and because the program and be handed down from age to age and universality. For example, Chinese ancient etiquette building. 2" reproduction " of the original ecological pattern. The traditional beauty of form1and form2 and the aesthetic function of the corresponding things related to form from Le Corbusier absorption and development of gold segmentation examples can be seen clearly, the traditional form of beauty is what is real in design. Although we are not each day to see such a phenomenon, but it is impossible to ignore. 4-3modern beauty beyond design revolution triggered by the" anti traditional"Design revolution triggered by the" traditional" trend of thought 1"1" decoration decorative worship" worship" the so-called" loaded worship" refers to the decoration can be detached from the function of free expansion, fancy coat become the aesthetic main object, even the decoration as the main design, no decoration design is not design. The development of modern industry and full of decorative and interesting design: first, the contradiction between the manual era that carved theshould be large quantities of production machines, only exclusive decoration will have a large number of cheap products to market. Function of" worship" function" worship" the so-called functional worship", refers to the product design according to functional needs rather than decorative needs, in order to meet the students can repel any decoration production machine. Truly realize the design must emphasize function and machines for the production of this principle the key figures. The design has two common characteristics: the consciousness to machine production or batch production; two prominent adaptation function thus made succinct. They make the name spread throughout the United States and europe. The modernistic design position to accommodate the large industrial production as the premise, emphasize high-volume production, product function is good, cheap, in the final analysis is amenable to function, namely " form follows function" or" form and function of the high degree of unity", the attendantSimple and unadorned geometric style is very natural, with " Decor worship " for the characteristics of the traditional design has also been completely subvert.Forms of worship"The form of worship" the worship of modernism design can be understood as" functionalism" design, modern design and good atcoordination function and design of coordinating the relationship between function and form, making them reach a" harmonious". Therefore, it is not a pure function, and also not the pure form type. " From its structure and aesthetic characteristics, the international style building was eventually replacing it with the Renaissance tradition is the opposite." 1pop art mass culture is a kind of popular democracy, and machine are combined as one of the culture. 2radical eclecticism" postmodernism " is a construction led, spread all areas of design, the mainstream style. Postmodernism and modernism of the fundamental difference in where? In modern simplistic form complex, and therefore does not hesitate to use once abandoned decoration, symbolism, but the decoration is modernism on the basis of additional fee, formation of classical, incongruous contrast effects and seems rather than the exterior or interior space, resulting in the modern cold coagulation soil box talent showing itself in the. 3" ugly beauty"3" ugly beauty" ugly is the nature and common phenomenon in human society, it is a violation of the aesthetic standard, hinder the aesthetic consideration, classical beauty ugliness as beauty all the negative state, and humanity" evil " contact. Classical art basically does not accept ugly, ugly modern art becomes a kind of aesthetic factors, modernist art of ugliness becomes non-negligible role. We can summarize the evolution law of beauty are: first, the ugly can be transformed into a beautiful. Secondly, the beauty and the ugly boundaries are not fixed. Tosum up : the proof of design art in the" beauty" of modernism design challenge, or say to" function determines form" beyond. Modern beauty modern beauty beyond the beyond is refers to the traditional aesthetic transcendence. Modern aesthetic concepts, although the traditional view for maternal-fetal. Design revolution triggered by the" anti traditional" Design revolution triggered by the" traditional" trend of thoughtSince twentieth Century the modern aesthetic concepts, essentially everything "and the traditional " are linked, but" unconventional " idea from where Erlai? It is not only a margin of natural philosophy, is also from the edge of aesthetics. Mechanical revolution is actually the design revolution, in twentieth Century, artistic conception is the cornerstone of the" innovation", the most common words in the" avant-garde " and "modern". The thought is the core of" anti traditional". On the other hand, is the new concept of art" the feed" design, making it a departure from the traditional design concept and has the" avant-garde" and" modern" features.美的传统与新生摘要人造物的有用性与功能美——人造物的形式与形式美——传统美的积淀——现代美的超越人造物的有用性与功能美和它的性质功能美是有用性在一定条件下转化而成的，包括：完善转化的美——充分的有效性就是合理和完善，如有有效性相应的合理结构和材料加工，虽然不以美的规律为约束，但可能因为符合美的规律而转化为“合理性” 。
服装设计褶皱外文文献翻译最新译文
服装设计褶皱外文文献翻译最新译文The objective of this study is to develop a quantitative method for evaluating the pleat effect on clothing。
as opposed to relying solely on subjective ns。
By analyzing image technology principles。
an image n system was designed to capture images of clothing。
These images were then processed using specialized are to analyze the drape of the clothing。
The study focused specifically on the pleats in the sleeve n of the garment。
analyzing the gray scale curve of the sleeve image and the corresponding nship een the gamma curve and the pleat。
The aim of this research is to provide a more objective n index for garment structural design and pleating effects.Clothing structure design involves a series of processes thatare used to render clothing through cutting。
fabric pleating。
and joining together。
The goal is to accurately capture the desired design effect by determining the structure's plane state through the use of design renderings。
室内设计 外文文献 外文翻译 英文文献
室内设计外文文献外文翻译英文文献室内设计不仅仅是关于装修和家具的空间，还需要考虑空间规划、灯光和与用户行为相关的程序问题，包括从具体问题的可及性到在空间中的活动的性质。
随着商业和公共空间的显著变化，室内设计如今已经成为一个新的弹性类型学的标志。
室内设计不仅包括方案规划，还包括对室内空间的物理治疗：预测其使用的性质以及它的家具和表面，包括墙、地面和天花板。
与室内装修工程不同，室内设计师需要将离散的装饰元素整合成方案并关注空间和使用。
室内设计师与建筑师合作，在从底层向上的内部空间时间方面进行合作，但在翻修的情况下，他们仍然独立工作。
历史上，建筑师设计的总体艺术作品概念根植于工艺美术运动的末期和20世纪初期。
现在，除了像XXX这样非常重视均匀性的现代主义者，越来越多的建筑师扮演起室内设计师的角色，并倾向于理论与实践的折衷，并适应21世纪的多元化定价。
尽管如此，室内设计师及其领域仍然面临偏见，因为室内被视为一个集装箱的蜉蝣，从而阻碍了对室内的批评性的讨论。
然而，在全球化的影响下，文化大系统的理解一直在变化。
在一个更宽容的环境中，鼓励不同文化间的融合，高文化和低文化的区别被消除。
同样，建筑、室内设计和室内装修等领域的生产性借贷事例频繁发生，这些曾经被视为专有领地的领域现在表现出更大的互相兴趣。
另一种新兴的合成方法是用现代、技术和历史替代建筑、室内设计和装修的三合一。
后现代时代的特征之一是提高了对过去影响现在的角色的认识。
在室内，这表现在新的兴趣点包括饰品、工艺和空间复杂性，所有这些都与正在进行的现代化项目平行。
室内设计越来越注重灵活性，不再像传统的室内类型学那样强调边界的控制。
现在，在公共场合和商业空间中，人们更加追求界面友好和消费意识。
私立医院和体育馆也开始采用豪华温泉和临床医疗设施的语言，以提高服务的价值。
同时，越来越多的杂货店和书店也包括用于饮食和交际的空间和家具。
现代室内设计的另一个标志是叙事的公开结合。
服装设计外文文献翻译
文献出处：Sukumar N, Gnanavel P, Ananthakrishnan T. Effect of Seams on Drape of Fabrics [J]. African Research Review, 2009, 3(3)：62-72.原文Effect of Seams on Drape of FabricsSukumar ；Gnanavel. P. , Ananthakrishnan, T.AbstractDrape of the fabric is its ability to hang freely in graceful folds when some area of it is supported over a surface and the rest is unsupported. Drape is a unique property that allows a fabric to be bent in more than in one direction, When two-dimensional fabric are converted to three-dimensional garment form. In the present study, the effects of sewing of different seam were selected on different fabric and their behaviors were studied. In this study drape of ten fabrics are analyzed with three types of seams and three stitch densities. Sample without seam is a control sample and drape of seamed samples are compared with control sample to analyze the drape behavior of seamed fabrics. This paper presents a fundamental drape analysis of seamed fabrics using drape meter. Drape behavior is determined in terms of drape coefficient. The effect of seams on the drape coefficient and Drape profile has been made. Drape coefficients significantly differs between the fabrics and also between the seam stitch density combinations. Investigating drape on seamed fabrics can improve fabric end use application.Key words: drape, computer aided design, seam, stitch densityIntroductionDrape is an important property that decides the gracefulness of any garment as it is relates to aesthetics of garments (Kaushal Raj sharma and B.K. Behera. 2005). The mechanical properties of fabrics were first studied during the late 19th century by German researchers working on developing airships (Postle, 1998). Drape ability has been regarded as a quantitative characteristic of cloth, and several devices as well as virtual systems have been developed to measure it (Booth, 1968; Jeong, 1998; Stylios and Wan, 1999). Instruments for measuring drape ability have been developed by Chu et al.(1950) and later by Cusick (1965, 1968) using a parallel light source that reflects the drape shadow of a circular specimen from hanging disc into a piece of ring paper at present numerous instruments, ranging from a simple cantilever bending tester to a dynamic drape tester developed for measuring fabric drape. During recent years, the investigation of fabric drape has attracted the attention of many researchers because of the attempts to realize the clothing Computer aided design (CAD) system by introducing the fabric properties, in which fabric drape is the key element. It is obvious that fabrics have to be sewn together for a garment to be formed. The seams of a garment affect the fabric drape greatly (Matsudaira, M. and Yang, M. 2000). It is unrealistic to realize the appearance of a garment system without the consideration of seams and the methods of assembling of fabrics into garments (Jinlian Hu et al, 1997).When a fabric is draped; it can bend in one or more directions. Curtains and drapes usually bend in one direction, whereas garments and upholstery exhibit acomplex three-dimensional form with double curvature. Hence, fabric drape is a complex mathematical problem involving large deformations under low stresses (Postle, 1993).A plain seam the most typical seam found extensively in apparel is the simplest type in which a single row of lock stitches joins two pieces of fabrics together. Thus, investigating the effect of a plain seam on fabric drape has a significant value for both the textile and clothing industries. The quantified drapeability of a fabric into a dimensionless value called a “Drape coefficient”, which is defined as the percent of the area from an angular ring of fabric covered by a vertical projection of the draped fabric (Brand R.H.1964). “Drape co efficient (DC)” the m ain parameter used to quantify fabric drape (Narahari Kenkare and Traci May-Plumlee. 2005). Though useful, it is insufficient to characterize complex forms such as garments. Stylios and Zhu, 1997 considered that the drape coefficient by itself did not capture the full aesthetic quality of the drape of a fabric.Drape profile of fabrics with seams provide guidance for garment designs and producers in the apparel industry and improve the understanding of drape properties corresponding to different seam features (Fourt.L and Hollies.N.R.S.1970). Furthermore, we expect that the results will be useful in predicting garment drape with clothing CAD systems.Different types of seams are used in garment making and also wide stitch densities are employed. Once the fabric is joined with seams possibly its drape configuration would vary.The product range of textile industry has extended to the garments. Mass production of operational systems and automated sewing is making more and more presence, it is very essential to understand to the change in properties the fabric under goes once it is seamed. This study is an attempt to understand the effects of seams on the drape of fabrics, which is one of key characteristics for apparels and certain draperies.Types of SeamThe types of seams were selected and in each type, three stitch densities were employed. Fabrics were sewn along the warp and weft direction on a 35cm square side. Control sample for the test is a piece with no seams. This resulted in 9 treatment combinations.(1) Plain Seam (S1)This is the most common seam used in the garment industry. This is easy to make and pliable. It is normally suitable for all types of garments. And, it is suitable for curved locations like armhole. To make this seam we have to place two pieces of fabrics to be joined together right sides facing, matching the seam lines, and we should stitch the seam exactly on the seam line.(2) Welt Seam (S2)For constructing this, we should stitch the plan seam and press both seam allowances to one si de. Then the inside seam allowance is trimmed to ”. Then top stitching is done on the right side of the garment by catching the wider seam allowance. This type is normally used on heavy coats.(3) French seam (S3)The French seam is stitched twice once from the right side and once from the wrong side. It is the classic seam for sheers and looks best if the finished width is” or less. To form this seam, with wrong sides of the fabric together, we should stitch 3/8” from the edge on the right side of the fabr ic. The seam allowance in trimmed to 1/8” and the seam is pressed well. Then the right sides are folded together with stitched line exactly on the edge of the fold and pressed again. Then the stitches are made” from the fold.ConclusionA study on effect of seams on the drape coefficient Drape profile is been made. Three types of seams namely three stitch densities 5, 4 and 3 per centimeter has been employed. Ten fabric verities containing different fibres weaves are analyzed. Drape coefficients significantly differs between the fabrics also between the seam stitch density combination.The Drape Coefficient alone may not give a clean idea of real drape. For this purpose the drape profiles were generated with the help of radii measures. The drape profile has clearly indicating shapes that takes place with the seams put on. Seamed fabrics have generally shown more stabilized pattern compared to control samples.Sateen weave followed by BHC MAT weave has shown highly symmetrical patterns. The seam has markedly improved drape profile of honeycomb fabric. Polyester, Polyester/Viscous fabrics have registered better drape profiles than Polyester/Cotton fabrics. Both the cotton gray casement has shown agreeable drapeprofiles.译文接缝对面料褶皱效果的影响库马尔；甘拉维尔；安娜斯克里斯兰摘要褶皱是服装面料的一个内在特性，这使得它能够优雅地挂在服装面料的表面，特别是当面料的有些区域需要用到褶皱的时候。
商业插画外文文献翻译最新译文
商业插画外文文献翻译最新译文The use of commercial XXX form has XXX expressive nature has led to the XXX benefits。
XXX global creative industries have also given rise to a new n of illustrators who have established their own brands and expanded the XXX through the use of the。
and new media。
This n of art and business has created a new consumer market with significant purchasing power.2 The Value of Commercial nCommercial XXX a creative perspective。
it serves as a means of artistic XXX。
XXX through visual media。
In the business world。
commercial XXX。
The use of commercial XXX increase sales and customer loyalty。
making it an essential component of modern marketing strategies.3 XXXXXX n。
as it allows for the XXX and media。
as well as the development of a personal style and brand identity。
Successful commercial XXX with the needs of their clients。
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文创设计外文文献翻译
摘要
本文翻译了一篇关于文创设计的外文文献。
文创设计是指
在传统文化和创意设计之间的交叉领域。
本文介绍了文创设计的概念、历史发展以及在不同国家和地区的实践和应用。
通过翻译本文，读者可以了解文创设计的背景、现状和趋势，以及如何在实践中运用文创设计的方法和理念。
引言
文化创意产业是近年来发展迅速的一个领域，它将传统文
化和创意设计结合起来，创造出独特的产品和体验。
文创设计是文化创意产业中的重要组成部分，它与设计、艺术和文化遗产保护等领域相互交织。
本文翻译了一篇关于文创设计的外文文献，主要介绍了文创设计的概念、历史发展及其在不同国家和地区的实践和应用。
文创设计的定义与概念
文创设计是一种交叉学科，融合了文化、设计和创意思维。
它通过将传统文化与创新设计相结合，创造出独特的产品、服
务和体验。
文创设计强调对传统文化的理解和尊重，同时注重创造性的设计思维和表达方式。
文创设计旨在通过创新和创意，传递文化的价值和意义，推动文化产业的发展和繁荣。
文创设计的历史与发展
文创设计的概念起源于20世纪90年代的台湾，当时台湾政府提出了文化创意产业的发展战略。
随着时间的推移，文创设计开始在全球范围内得到关注和应用。
不同国家和地区对文创设计的理解和应用也逐渐发展起来。
一些国家将文创设计作为推动经济发展和文化交流的重要手段，通过投资和支持文创产业的发展，创造了众多成功的案例。
文创设计的实践与应用
文创设计的实践和应用非常广泛，涵盖了多个领域和行业。
在旅游业中，文创设计可以创造独特的旅游体验，吸引更多的游客。
在商品设计中，文创设计可以将传统文化元素融入产品，增加其文化价值和吸引力。
在文化遗产保护中，文创设计可以通过数字化技术和创新的展览方式，将传统文化传承给更多人。
文创设计的未来趋势
未来，随着全球化和数字化的加速发展，文创设计将面临
更多的机遇和挑战。
随着科技的进步，文创设计可以利用虚拟现实、增强现实等技术，创造更丰富、沉浸式的体验。
同时，文创设计也需要面对文化差异和传统的保护与创新的平衡问题，在实践中寻找适合当地和全球市场的创新模式。
结论
本文翻译了一篇关于文创设计的外文文献，对文创设计的
概念、历史发展、实践和应用以及未来趋势进行了介绍。
文创设计作为文化创意产业的重要组成部分，对于推动经济发展、文化交流和传统文化保护具有重要意义。
通过研究和实践，我们可以更好地应用文创设计的理念和方法，创造出更具创意和文化价值的产品和服务。