8交通工具造型畢業(yè)設(shè)計(jì)外文翻譯

汽車造型畢業(yè)設(shè)計(jì)外文翻譯翻譯內(nèi)容草圖，概念發(fā)展和汽車設(shè)計(jì)： 草圖設(shè)計(jì)和它的在概念設(shè)計(jì)中關(guān)鍵作用已經(jīng)被確認(rèn)，將這種特殊的汽車設(shè)計(jì)進(jìn)行了定義：一份簡短的關(guān)于總體的概念草圖和視覺思維方法的作品。這個特殊的汽車設(shè)計(jì)草圖的特點(diǎn)是：從線、皇冠線、區(qū)域線、陰影和著色進(jìn)行了描述,進(jìn)行了分析。這顯示了輪廓線在汽車設(shè)計(jì)草圖的重要位置。通過觀察畢業(yè)生和六位專業(yè)設(shè)計(jì)師設(shè)計(jì)過程，確認(rèn)了輪廓線在設(shè)計(jì)過程的重要性和在相互反復(fù)的概念設(shè)計(jì)過程中草圖設(shè)計(jì)的中心地位，這表明計(jì)算機(jī)輔助設(shè)計(jì)系統(tǒng)(CAD)系統(tǒng)的設(shè)計(jì)必須考慮草圖設(shè)計(jì)的重要性。 關(guān)鍵詞：概念設(shè)計(jì)、制圖、形象思維、汽車設(shè)計(jì)、計(jì)算機(jī)輔助設(shè)計(jì)。 大部分的設(shè)計(jì)理論和制圖研究工作一直是基于建筑和工程領(lǐng)域除了托維，都不能將汽車設(shè)計(jì)師的想法直接顯示出來。因?yàn)檫@種方式的特殊性和因?yàn)楦咚降脑O(shè)計(jì)和工業(yè)發(fā)展，對比“計(jì)算機(jī)輔助設(shè)計(jì)”在其他領(lǐng)域的應(yīng)用，這種計(jì)算機(jī)輔助設(shè)計(jì)已經(jīng)成為工業(yè)中的特定詞。計(jì)算機(jī)輔助造型工作都集中在三維視圖替代草圖，例如“虛擬粘土造型”或簡單的傳統(tǒng)的CAD表面造型。在汽車設(shè)計(jì)師和其他領(lǐng)域設(shè)計(jì)師之間有很多表面的相似。一個關(guān)鍵問題是其他領(lǐng)域的設(shè)計(jì)研究轉(zhuǎn)變成特殊學(xué)科的范圍和一般性結(jié)論應(yīng)用的態(tài)度。我們的研究已經(jīng)在工業(yè)設(shè)計(jì)中的概念草圖設(shè)計(jì)，我們已經(jīng)完成了大量的正式案例來觀察設(shè)計(jì)師和了解其技術(shù)和草圖內(nèi)容。結(jié)果表面他們的想法在傳統(tǒng)的紙和筆上能快速的反應(yīng)看來，盡管計(jì)算機(jī)輔助很有效，但并未被設(shè)計(jì)師與傳統(tǒng)方式一樣接受。這些觀測結(jié)果顯示，生產(chǎn)設(shè)計(jì)思想似乎依靠互動的概念草圖(我們可以看到后者，從而證實(shí)了先前的研究人員的觀察結(jié)果)。草圖通過最初的表現(xiàn)產(chǎn)生的輪廓線，其次是使用陰影修改二維造型。這個研究的意圖的研究旨在探討這些線是否能形成基礎(chǔ)CAD工具生產(chǎn)的3D幾何形狀的草圖,觀察陰影是否可以改善幾何表妹修飾。此外，關(guān)注的焦點(diǎn)是在早期，在世界汽車工業(yè)中的概念的顯著發(fā)展階段，目的是早期的應(yīng)用三維幾何學(xué)促進(jìn)概念學(xué)的發(fā)展和加速他們的交流和其他部分的評價。因?yàn)檫@個原因，多樣的草圖設(shè)計(jì)在汽車開發(fā)過程占據(jù)首要位置。1、概念草圖：設(shè)計(jì)草圖不同于描繪物體。設(shè)計(jì)草圖不是想人物畫、靜物畫一樣畫出現(xiàn)在藝術(shù)家面前的事物。而是設(shè)計(jì)師試圖給外部定義一個想像的或只有一半想象的建議為設(shè)計(jì)形式的一個過程。 對理解圖紙的設(shè)計(jì)在前期準(zhǔn)備工作中所起的作用被廣泛地泊賽爾歸納。這提供了一個綜合性的評述，許多類型的設(shè)計(jì)工作進(jìn)行繪圖活動在這個過程，包括數(shù)據(jù)、圖表和更總體的圖像。我們主要關(guān)注的是概念草圖。設(shè)計(jì)圖紙和其他形式的繪畫是處理設(shè)計(jì)思路語言。實(shí)際過程中創(chuàng)造的設(shè)計(jì)思路通常是去設(shè)想在他心中所看見的,這些畫是試圖重現(xiàn)設(shè)計(jì)師的內(nèi)心圖像。這種方法是一種通過手眼協(xié)調(diào)的草圖來產(chǎn)生實(shí)際表象。此技能可以鍛煉精神放松，從而能解放思想的禁錮。當(dāng)設(shè)計(jì)師有一個想法和靈感時可以畫出來，從而形成設(shè)計(jì)思路。一旦的形象已經(jīng)被一些具體形式體現(xiàn)在如圖紙或模型(物理形式或計(jì)算機(jī))上，就變成已經(jīng)處理的部分產(chǎn)生下一個概念。這個過程是互動的循環(huán)。 不同類型的圖紙和一個類型設(shè)計(jì)過程的不同階段有關(guān)，相對無序的和模糊過程中發(fā)生的初始草圖。設(shè)計(jì)草圖被認(rèn)為非常重要，主要是因?yàn)樗徽J(rèn)為伴隨產(chǎn)生的的創(chuàng)新和創(chuàng)造力。草圖設(shè)計(jì)階段特點(diǎn)是模糊的知識轉(zhuǎn)移的目標(biāo)。 有一個觀點(diǎn)是，在工程領(lǐng)域概念草圖的目的就是在早期的階段的設(shè)計(jì)提供更簡單快捷的溝通和檢索，以提供視覺和事實(shí)的描述相結(jié)合，為改善評價和概念的選擇，還有一個廣泛的觀點(diǎn)就是說，這樣的圖畫的功能及相關(guān)結(jié)構(gòu)設(shè)計(jì)領(lǐng)域的。設(shè)計(jì)師在設(shè)計(jì)的作用包括:l 生成概念：l 擴(kuò)展和圖形化問題l 促進(jìn)問題的解決和創(chuàng)造性的工作l促進(jìn)感知和翻譯的想法l 表現(xiàn)可以被實(shí)現(xiàn)的可真實(shí)存在的產(chǎn)品l校正和改進(jìn)的概念。在工程背景三種草圖已經(jīng)被確認(rèn)：(1)思維草圖:用于集中和引導(dǎo)非語言想法(2)指導(dǎo)草圖:用來指導(dǎo)繪圖員制作完成圖紙(3)演示草圖:促進(jìn)技術(shù)人員之間的信息交流以闡明復(fù)雜和可能混淆的部分圖紙。工程概念草圖在同一環(huán)境中被分為五個級別： 1級:單色線沒有陰影和顏色,均勻線厚度2級:單色線,沒有陰影或膚色，線可以強(qiáng)調(diào)厚度變化，可能包括簡短的注釋。 3級:單色與簡單底紋的形式，可以被標(biāo)注。 4級:線條和陰影,也可以包括重要的色彩和刻度。 5級:以色彩插圖表現(xiàn)的作品，外表相似、色彩、陰影、注釋、尺寸。以下是類似的其他不可缺少的層次細(xì)節(jié)在二維模型中的表示方法：簡圖、示意圖、原理圖、概念草圖、實(shí)測圖、總布置圖、三維視圖、零件圖紙我們定義概念草圖是一個可以提供設(shè)計(jì)資料的可視因素集合體。 從一個模糊的概念到詳細(xì)設(shè)計(jì)方案過程可以被比作將從一個模糊的形象變成一個詳盡的描述，作為一個初步的概念素描表現(xiàn)的中心的設(shè)計(jì)理念是很必要的。在這個定義,連同引用的前面的定義,重點(diǎn)放在表述出別人的概念，而不只是設(shè)計(jì)師。其個人角色是作為一個必要的幫助設(shè)計(jì)師的助手，以及使其他研究人員所看到的是一個重要的概念思維的展現(xiàn)，一些這樣的工作將在后面的章節(jié)中討論。2、視覺思維： 設(shè)計(jì)思維用來針對指定的對象的形式和顏色視覺效果將涉及視覺表現(xiàn)的必要性。正如手冊McKim所顯示的視覺思維通過具體三維視圖，成像和草圖的手段使其大為簡化。這已經(jīng)被設(shè)計(jì)師用來通過基礎(chǔ)繪圖的方法來解決抽象概念和設(shè)計(jì)問題的能力。同樣的Suwa所進(jìn)行的分析是建立在建筑領(lǐng)域，調(diào)查結(jié)果有以下幾點(diǎn)：(1)草圖為作為外部具象存儲，以后另外的的概念的依據(jù)。(2)草圖為問題的集合提供視覺提示。(3)最重要的是草圖作為一個物理表象，其表達(dá)的基礎(chǔ)思想是建立在一個閃現(xiàn)的靈感上。 同樣的，司肯和威金斯在建筑領(lǐng)域上研究出了各種視覺作品的設(shè)計(jì)活動的關(guān)系。他們把設(shè)計(jì)看成一個把圖紙作為媒介材料的交談,至關(guān)重要的是這種活動依賴于看。其特點(diǎn)是一個基本結(jié)構(gòu)包括看圖紙-思考-看圖紙這樣的的設(shè)計(jì)與發(fā)現(xiàn)的相互作用的交流活動。設(shè)計(jì)師畫在紙上觀察改進(jìn)的作品，他們的設(shè)計(jì)工作中使用不同種類的視覺手段(視覺理解、數(shù)據(jù)文字說明)，發(fā)現(xiàn)了上面的結(jié)論。能夠識別特點(diǎn)和關(guān)系逐漸產(chǎn)生一個更充實(shí)的理解，或“摸索”出她/他工作的過程。他們的結(jié)論是電腦目前不能進(jìn)行涉及參加這個過程。 Goldschmidt的工作是建立在建筑的方面包含了深刻的見解。她指出設(shè)計(jì)師總是使用通過畫草圖使意象生成的新形式的組合。同時，她補(bǔ)充說：至關(guān)重要的是設(shè)計(jì)師們也必須在相反的過程，即在他們的腦海里用他們素描生成圖像的形式。她斷言：通過互動意象素描是一種合理的推理模式，通過系統(tǒng)概念和音形參數(shù)之間的交流。 很明顯,從藝術(shù)領(lǐng)域到工程領(lǐng)域，幾乎所有的設(shè)計(jì)師都需要可視化的設(shè)計(jì)方式。然而,區(qū)分視覺設(shè)計(jì)的表述方法很重要：哪些是以交流為目的的通信(與客戶、同事或利害關(guān)系人),哪些是用于評價設(shè)計(jì)的質(zhì)量。以上兩者都不是由視覺設(shè)計(jì)的意義，相對其描述，它應(yīng)該是促使新思想的產(chǎn)生、推理以及便于找出引發(fā)它們的創(chuàng)作的設(shè)計(jì)形式。 草圖設(shè)計(jì)在解決創(chuàng)造性、探索性、無期限待解決問題上，通過側(cè)面的轉(zhuǎn)換發(fā)揮了重要的作用。正如加納記錄的，通過設(shè)計(jì)和以草圖的形式構(gòu)建的繪畫的表示方法,因?yàn)槠湓谝环矫婵梢哉碛行蛞子诶斫?而另一方面他們又對解釋的含糊不清。關(guān)鍵是這種方法非常缺乏明確性。很明顯有很多的研究對現(xiàn)有的概念草圖目的是以電腦為依托，通過媒體實(shí)現(xiàn)目的和潛力。然而關(guān)于直接用于汽車概念草圖的研究很少，是否有足夠的能力支持生產(chǎn)和他們計(jì)算機(jī)的使用。在工業(yè)領(lǐng)域和CAD有關(guān)的，在一個越來越大的壓力下減少訂貨至交貨的時間仍然是一個待研究的領(lǐng)域。外文翻譯原文Sketching, concept development and automotive designSketching and its key role in concept design are identified, and the particular circumstances of automotive design described. A brief summary of work in the general field of concept sketching and visual thinking is presented. The particular characteristics of automotive design sketches; form lines, crown lines, area lines, shading and colouring are described, and a delayering analysis undertaken. This demonstrates the primacy of form lines in the automotive design sketch. Observations, by video, of post-graduate students and six professional designers while sketching confirm the importance of the form lines in the design process, the interactive and iterative nature of concept development and the central role of the activity of sketching in this process. It is proposed that the design of CAD systems to support concept development must take account of the importance of sketching activity.Keywords: conceptual design, drawing, visual thinking, automotive design, computer aided designMuch of the design theory and research work on sketching in design has been based on the domains of architectural design and engineering product design. None of it has drawn directlyfrom the activities of automotive designers with the exception of Tovey. This is a specialised activity because of the particularities of the product form and, because of the high level of demarcation in the design and development process in the industry. Thus computer aided styling has become a current phrase in the industry, by contrast with computer aided design in other fields. Work on computer aided styling has tended to concentrate on providing three dimensional alternatives to sketching, such as virtual clay modelling or simply conventional CAD surface modelling. There are many areas of apparent similarity between the activities of automotive designers and those of designers in other fields. A key question is the extent to which the work of design researchers in the other areas will translate to this specialist discipline, and the degree to which their apparently generic conclusions apply.Our investigations have been into the use of concept sketches by designers in the automotive industry. We have undertaken a number of formal exercises to observe designers and their methods in an effort to understand their techniques, and the content of their sketches. At the concept stage they use quick informal methods to provide an initial representation of the design. This representation of their ideas depends upon rapid direct techniques grounded in conventional methods based on pen and paper. It would seem that despite the availability of computer aided techniques to design- ers, none has been accepted by them as having equivalent utility.Our investigations have been into the use of concept sketches by designers in the automotive industry. We have undertaken a number of formal exercises to observe designers and their methods in an effort to understand their techniques, and the content of their sketches. At the concept stage they use quick informal methods to provide an initial representation of the design. This representation of their ideas depends upon rapid direct techniques grounded in conventional methods based on pen and paper. It would seem that despite the availability of computer aided techniques to designers, none has been accepted by them as having equivalent utility.These observations indicate that production of design ideas appears to depend upon the interaction with the concept sketches (as will be seen later, this confirms the observations of several previous researchers). The sketches are produced through the initial representation of form lines, and followed by shading to modify the shapes. The intention of this piece of research was to investigate whether or not these lines could form the basis for a CAD tool to produce 3D geometry from the sketches, and to see if the shading had the potential to provide secondary information to facilitate surface modification of this geometry. Moreover, the focus is very clearly on the very early, concept development stage of products in the automotive industry, the intention being that the easy availability of three dimensional geometry very early in this process can aid the development of concepts and speed up their communication to and evaluation by other parties in the development chain. For this reason, the types of sketches considered are those that occur in the very first stages of the automotive development process.1 Concept sketchesDesign sketches are different from drawing from the object. They are not drawings of something that already exists, in front of the artist, as is the case with figure drawing, still life drawing and similar. Instead the designer is involved in a process of attempting to give external definition to an imagined, or only half imagined, suggestion for a design form.Prior work towards the understanding of the role of drawing in design was extensively summarised by Purcell and Gero4. This provides a comprehensive review of work relating to many types of drawing activity in the design process, including figures, diagrams and more general imagery. It is particularly sketches that we are concerned with hereThe sketches and other forms of drawing are languages for handling design ideas. The actual process of creating design ideas is usually envisaged as going on in the minds eye and the drawings as attempts to reproduce the designers mental images. The method is one of hand-eye co-ordination to produce the physical representation as a sketch on paper. Exercising this skill can be mentally relaxing, which in turn can reduce the inhibitions to the flow of thought. Whilst the designer is drawing there is a mental sifting and sorting of information, which can lead to design ideas. As soon as the image has been manifested in some concrete form such as a drawing or model (physical or computer) it becomes part of the information being handled to produce the next idea. The process is one of interactive generation.Different types of drawings are associated with different stages of the design process with one type, the relatively unstructured and ambiguous sketch occurring early in the process. Designers place great emphasis on the sketch often because it is thought to be associated with innovation and creativity. The conceptual stages of design are characterised by vague knowledge and shifting goals.One view of the purpose of concept sketches in the engineering domain is that they are intended to provide quicker communication and retrieval at the early stages of design, by providing combined visual and factual descriptions for improved evaluation and concept selection. A wider view is reported of the function of such drawings and related diagrams in the field of architectural design. The roles that designers ascribe to such representations in design include:l Generating conceptsl Externalising and visualising problemsl Facilitating problem solving and creative effortl Facilitating perception and translation of ideasl Representing real world artefacts that can be manipulated and reasoned withl Revising and refining ideas.In the engineering context three kinds of sketch have been identified.(1) The thinking sketch: used to focus and guide non-verbal thinking(2) The prescriptive sketch: used to direct a draftsman in making a finished drawing(3) The talking sketch: produced during exchanges between technical people in order to clarify complex and possibly confusing parts of the drawing.In the same context five levels of complexity have been identified for engineering concept sketches.Complexity level 1: Monochrome line drawing, no shading or colour, uniform line thicknessComplexity level 2: Monochrome line drawing, no shading or colour. Line thicknesses vary to give emphasis. May include brief annotation.Complexity level 3: Monochrome with rough shading to suggest form. May be annotated.Complexity level 4: Line and shading, may include colour and graduation.Complexity level 5: Colour illustration to show what the product looks like. Colour, shading, shadows, annotations, dimensions.This is similar to other codifications of levels of detail in representation for 2D models:UndetailedDiagrammatic drawings Abstract Schematic RepresentationalIdeas sketching drawingsConcept drawingsMeasured drawingsPackageGeneral ArrangementAxonometricDetailedParts drawingsWe have identified a concept sketch as “a collection of visual cues sufficient to suggest the design to an informed observer” .The process of moving from an initially vague concept to a detailed design proposal can be likened to moving from an out of focus image to one that is fully detailed. The concept sketch as an initial representation of the out of focus design idea is clearly essential. In this definition, along with the others quoted above, the emphasis is placed on the sketch as perceived by others, not just the designer. Its private role, as a thinking aid to the designer is also essential, and other researchers have seen this as key to a successful visual thinking activity. Some of this work is discussed below. 2 Visual thinkingDesign thinking, which is directed to specifying the visual form of a designed object, will of necessity involve visual representation. As McKim has shown visual thinking is greatly facilitated by representational procedures such as drawing in a three-way interaction of seeing, imaging and drawing. For architects this has been described so as to support abstraction and problem solving in a drawing based process.Similarly the analysis undertaken by Suwa, Purcell and Gero is grounded in the architectural domain. Their findings may be expressed as the following insights:(1) Sketches serve as an external memory in which to leave ideas for later inspection.(2) Sketches serve as a provider of visual cues for the association of functional issues.(3) Most importantly, sketches serve as a physical setting in which functional thoughts are constructed on the fly in a situated way.Also from the field of architecture, Schon and Wiggins have investigated kinds of seeing and their relationship with the design activity. They regard designing as a conversation with materials conducted in the medium of drawing, and crucially dependent on seeing. It is characterised as a reflective conversation with materials whose basic structureseeingmovingseeingis an interaction of designing and discovery. Designers draw on paper, observing the evolving product of their work, employing different kinds of seeing (visual apprehensions, literal seeing), and as this is done discoveries are made. Features and relations are identified which cumulatively generate a fuller understanding, or feel for the configuration with which she/he is working. They conclude that this involves attending to processes that computers are presently unable to reproduce.The work of Goldschmidt in this area, also based on architecture, is telling, and contains powerful insights. She deduces that designers invariably use imagery to generate new form combinations that they represent through sketching. Crucially, she adds that they also work in the opposite way; they sketch to generate images of forms in their minds. She asserts that interactive imagery through sketching is a rational mode of reasoning characterised by systematic exchanges between conceptual and figural arg