完整版)8交通工具造型外文翻譯2畢業(yè)設計論文

1、優(yōu)秀論文審核通過未經(jīng)允許切勿外傳汽車造型畢業(yè)設計外文翻譯翻譯內(nèi)容草圖，概念發(fā)展和汽車設計：草圖設計和它的在概念設計中關鍵作用已經(jīng)被確認，將這種特殊的汽 車設計進行了定義：一份簡短的關于總體的概念草圖和視覺思維方法的作 品。這個特殊的汽車設計草圖的特點是：從線、皇冠線、區(qū)域線、陰影和 著色進行了描述，進行了分析。這顯示了輪廓線在汽車設計草圖的重要位 置。通過觀察畢業(yè)生和六位專業(yè)設計師設計過程，確認了輪廓線在設計過 程的重要性和在相互反復的概念設計過程中草圖設計的中心地位，這表明 計算機輔助設計系統(tǒng)（CAD）系統(tǒng)的設計必須考慮草圖設計的重要性。關鍵詞：概念設計、制圖、形象思維、汽車設計、計算機輔助

2、設計。大部分的設計理論和制圖研究工作一直是基于建筑和工程領域除了托 維，都不能將汽車設計師的想法直接顯示出來。因為這種方式的特殊性和 因為高水平的設計和工業(yè)發(fā)展，對比“計算機輔助設計”在其他領域的應 用，這種計算機輔助設計已經(jīng)成為工業(yè)中的特定詞。計算機輔助造型工作 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。在汽車設計師和其他領域設計師之間有很多表面的相似。一個 關鍵問題是其他領域的設計研究轉(zhuǎn)變成特殊學科的范圍和一般性結(jié)論應用 的態(tài)度。我們的研究已經(jīng)在工業(yè)設計中的概念草圖設計，我們已經(jīng)完成了 大量的正式案例來觀察設計師和了解其技術和草圖內(nèi)容。結(jié)果表面他們的想法

3、在傳統(tǒng)的紙和筆上能快速的反應看來，盡管計算機輔助很有效，但并 未被設計師與傳統(tǒng)方式一樣接受。這些觀測結(jié)果顯示，生產(chǎn)設計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 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，關注的焦點是在早期，在世界汽 車工業(yè)中的概念的顯著發(fā)展階段，目的是早期的應用三維幾何學促進概念 學的發(fā)展和加速他們的交流和其他部分的評價。因為這個原因，多樣的草 圖設計在汽車開發(fā)過程占據(jù)首要位置。1概念草

4、圖：設計草圖不同于描繪物體。設計草圖不是想人物畫、靜物畫一樣畫出 現(xiàn)在藝術家面前的事物。而是設計師試圖給外部定義一個想像的或只有一 半想象的建議為設計形式的一個過程。對理解圖紙的設計在前期準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，許多類型的設計工作進行繪圖活動在這 個過程，包括數(shù)據(jù)、圖表和更總體的圖像。我們主要關注的是概念草圖。 設計圖紙和其他形式的繪畫是處理設計思路語言。實際過程中創(chuàng)造的設計 思路通常是去設想在他心中所看見的 ，這些畫是試圖重現(xiàn)設計師的內(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。當設計師

5、有一個想法和靈感時可以 畫出來，從而形成設計思路。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（物理形式或計算機）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計過程的不同階段有關，相對無序的和 模糊過程中發(fā)生的初始草圖。設計草圖被認為非常重要，主要是因為它被 認為伴隨產(chǎn)生的的創(chuàng)新和創(chuàng)造力。草圖設計階段特點是模糊的知識轉(zhuǎn)移的 目標。有一個觀點是，在工程領域概念草圖的目的就是在早期的階段的設計 提供更簡單快捷的溝通和檢索，以提供視覺和事實的描述相結(jié)合，為改善 評價和概念的選擇，還有一個廣泛的觀點就是說，這樣的圖畫的功能及相 關結(jié)構(gòu)設計領域的。設計師

6、在設計的作用包括 ：生成概念：擴展和圖形化問題促進問題的解決和創(chuàng)造性的工作促進感知和翻譯的想法表現(xiàn)可以被實現(xiàn)的可真實存在的產(chǎn)品校正和改進的概念。在工程背景三種草圖已經(jīng)被確認：思維草圖：用于集中和引導非語言想法(2) 指導草圖：用來指導繪圖員制作完成圖紙(3) 演示草圖:促進技術人員之間的信息交流以闡明復雜和可能混淆的 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

7、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計資料的可視因素集合體。從一個模糊的概念到詳細設計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)的中心的設計理念 是很必要的。在這個定義，連同引用的前面的定義，重點放在表述出別人的概 念，而不只是設計師。其個人角色是作為一個必要的幫助設計師的助手， 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：設計思維用來針對指

8、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)被設計師用來通過基礎繪圖的方法來 解決抽象概念和設計問題的能力。同樣的Suwa所進行的分析是建立在建筑領域，調(diào)查結(jié)果有以下幾點：（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，其表達的基礎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域上研究出了各種視覺作品的設計活 動的關系。他們把設計看成一個把圖紙作為媒介材料的交談，至關重要的是 這種活動依賴于看。其特

9、點是一個基本結(jié)構(gòu)包括看圖紙-思考-看圖紙這樣 的的設計與發(fā)現(xiàn)的相互作用的交流活動。設計師畫在紙上觀察改進的作品，他們的設計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。能夠識別特點和關系逐漸產(chǎn)生一個更充實的理解， 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。她指出設計師總是使用通過畫草圖使意象生成的新形式的組合。同時，她補充說：至關重要的是設計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

10、音形參數(shù)之間的交流。很明顯，從藝術領域到工程領域，幾乎所有的設計師都需要可視化的設 計方式。然而,區(qū)分視覺設計的表述方法很重要：哪些是以交流為目的的通信（與客戶、同事或利害關系人）,哪些是用于評價設計的質(zhì)量。以上兩者都 不是由視覺設計的意義，相對其描述，它應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)作的設計形式。草圖設計在解決創(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，通過設計和以草圖的形式構(gòu)建 的繪畫的表示方法，因為其在一方面可以整理有序易于理解 ，而另一方面他 們又對解釋的含糊不清。關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

11、概念草圖目的是以電腦為依托，通過媒體實現(xiàn)目的和潛力。然而關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) 和他們計算機的使用。在工業(yè)領域和CAD有關的，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域。外文翻譯原文Sketching, concept developmentand automotive designSketching and its key role in concept design are identified, and the particular circumstances of automotive design described. A

12、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 demonstratesthe primacy

13、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 acti

14、vity of sketching in this processt 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

15、 work on sketching in design based on the domains of architectural design and engineering product design. None of it directlyfrom the activities of automotive designers with the exception of Tovey. This is a specialisedactivity becauseof the particularities of the product form and, becauseof the in

16、the design and development processin the industry. Thus computer aided styling the industry, by contrast with computer aided design in other fields. Work on computer aided styling providing three dimensional alternatives to sketching, such airtual clay modelling or simply conventional CAD surface mo

17、delling. 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 researchersin the other areas will translate to this specialist discipline, and the degree to which the

18、ir apparently genericconclusions apply.Our investigations into the use of concept sketches by designers in the automotive industry. We a number of formal exercises to observe designersand their methods in an effort to understand their techniques, and the content of their sketches.At the concept stag

19、e they use quick informal methodsto 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 techniquesto design- ers,

20、 none accepted by them as into the use of concept sketches by designers in the automotive industry. We a number of formal exercises to observe designersand their methods in an effort to understand their techniques, and the content of their sketches.At the concept stage they use quick informal method

21、sto 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 techniquesto designers, none accepted by them as of desig

22、n ideas appearsto 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 t

23、his 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月nd to see if the shading to facilitate surface modification of this geometry. Moreover, the focus is very clearly on the very early, concept development st

24、age 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 conceptsand speed up their communication to and evaluation by other parties in the development chain. For this reason, the ty

25、pes of sketches consideredare those that occur in the very first stagesof 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

26、, still life drawing and similar. Instead the designer is involved in a process of attempting to give external definition to an imagined, or only 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 c

27、omprehensive 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 ideas. The actual process of creating design ideas is usually envisaged as going on in the minds

28、eye and the drawings as attempts to reproduce the designers mental images. The method is one of 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

29、 there is a mental sifting and sorting of information, which can lead to design ideas. As soon as the imagemanifested in some concrete form such as a drawing or model (physical or computer) it becomes part of the information being .Different types of drawings are associatedwith different stagesof th

30、e design processwith one type, the relatively unstructured and ambiguous sketch occurring early in the process.Designersplace great emphasison the sketch often because it is thought to be associated with innovation and creativity. The conceptual stages of design are characterised by vague knowledge

31、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 wide

32、r 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:Generating conceptsExternalising and visualising problemsFacilitating problem solving and creative effort Facilita

33、ting perception and translation of ideas Representing real world artefacts that can be manipulated and reasoned withRevising and refining ideas.In the engineering context three kinds of sketchidentified. The thinking sketch: used to focus and guide non-verbal thinking(2) The prescriptive sketch: use

34、d to direct a draftsman in making afinished drawing(3) The talking sketch: produced during exchangesbetween technical people in order to clarify complex and possibly confusing parts of the drawing.In the same context five levels of complexity identified for engineering concept sketches.Complexity le

35、vel 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.Compl

36、exity level 4: Line and shading, may include colour and graduation.Complexity level 5: Colour illustration to show what the productlooks like. Colour, shading, shadows,annotations, dimensions.This is similar to other codifications of levels of detail in representation for 2D models:Undetailed Diagra

37、mmatic drawingsAbstract SchematicRepresentational Ideas sketching drawingsConcept drawingsMeasured drawings PackageGeneral ArrangementAxonometricDetailed Parts drawingsWe of visual cues sufficient to suggest the design to an informed observe”.The process of moving from an initially vague concept to

38、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 sk

39、etch as perceived by others, not just the designer. Its private role, as a thinking aid to the designer is also essential, and other researchershis as key to a successful visual thinking activity. Some of this work is discussed below.2 Visual thinkingDesign thinking, which is directed to specifying

40、the visual form of a designed object, will of necessity involve visual representation. As McKim visual thinking is greatly facilitated by representational procedures such as drawing in a three-way interaction of seeing, imaging and drawing. For architects this described so as to support abstraction

41、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: Sketchesserve as an external memory in which to leave ideas for later inspection.(2) Sketches

42、serve as a provider of visual cues for the associationof functional issues.(3) Most importantly, sketchesserve 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 activity. They regard designing as a c

43、onversation with materials conducted in the medium of drawing, and crucially dependent on seeing. It is characterised as a reflective conversation with materials whose basic structure seeing moving seeing is an interaction of designing and discovery. Designers draw on paper, observing the evolving p

44、roduct 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 fbel for the configuration with which she 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