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Английский язык для дизайнеровСтр 1 из 9Следующая ⇒
Английский язык для дизайнеров
Практикум Омск Издательство ОмГТУ
Составитель И. А. Гаврилова, канд. филол. наук,
Основная цель практикума – формирование и развитие у обучающихся навыков профессионально-ориентированного языкового взаимодействия. Языковой материал данного практикума подобран с учетом функционально-коммуникативного подхода и рассматривается как средство реализации речевого общения. Использованные аутентичные тексты из английских и американских источников отобраны по тематическому принципу, что позволяет показать хронологию развития дизайна, осветить этапы формирования основных направлений и отраслей, рассказать о современных тенденциях в области дизайна. Предназначен для студентов II курса, обучающихся на факультете гуманитарного образования по специальности «Дизайн».
Печатается по решению редакционно-издательского совета Омского государственного технического университета
© ГОУ ВПО «Омский государственный
CONTENTS UNIT I DESIGN DEVELOPMENT.......................................................................... 4
UNIT II INTRODUCTION INTO SPECIALITY...................................................... 11
UNIT III GRAPHIC DESIGN BASICS..................................................................... 26
UNIT IV ELEMENTS AND TOOLS OF GRAPHIC DESIGN.................................. 44
BIBLIOGRAPHY....................................................................................... 55
APPENDIX................................................................................................. 56 UNIT I DESIGN DEVELOPMENT Vocabulary 1. approximate – приближенный, приблизительный, примерный; 2. painting – живопись: а) вид изобразительного искусства; б) (произведение) роспись; изображение, картина; в) занятие живописью; рисование; 3. construct – строить, сооружать; воздвигать; конструировать; 4. planning – планирование; разработка плана; 5. handicraft – 1) ремесло; ручная работа; 2) искусство ремесленника; 3) вещь ручной работы; 6. production – производство; продукция; изделия; 7. manufacturing – производство; изготовление; обработка; 8. representative – представитель; делегат; уполномоченный; 9. electric staff – зд. электродетали и оборудование; 10. to widespread – широко распространяться; 11. promotion – развитие; продвижение; содействие; 12. ceramics – 1) керамика, гончарное искусство; 2) керамическое производство, гончарное производство; 13. furniture – 1) мебель, обстановка; 2) принадлежности, аксессуары, фурнитура; 14. textile – 1) текстильный, ткацкий; 2) текстиль, текстильное изделие; ткань; 15. Werklehre – (нем.) производственное обучение; 16. Kunstlehre – (нем.) обучение искусству; 17. tool – (рабочий) инструмент; механизм; способ; 18. metal-work technologies and treating – технологии металлообработки; 19. molding – формование изделия; 20. colour mixing perception – цветовосприятие при смешивании красок; 21. trend – общее направление, тенденция; 22. vital – 1) жизненный; 2) (жизненно) важный, насущный, существенный; необходимый; 23. application – применение, использование, употребление; приложение; применимость; 24. to brighten up – прояснять(ся); 25. to penetrate – проникать внутрь, проходить сквозь, пронизывать; 26. peculiarity – специфичность; особенность, своеобразие, специфика. I. Read the following international words and guess their meanings: direct translation term industrial industrialist architect economic aesthetic president ideal period motor firm (n) center graphics information commission individual decoration engineer technology
II. Match the verb with its definition:
III. Choose the Russian equivalent: approximate приблизительный подходящий существенный painting планирование рисование формование handicraft мастерская рукоделие ремесло ceramics керамика ремесло фурнитура furniture рисование фурнитура ремесло textile текстильное изделие керамическое изделие фурнитура tool оборудование ремесло керамика IV. Read Text I, write down the sentences with Gerund construction and translate them. TEXT I VIII. Read Text II to find answers to the given questions? TEXT II DESIGN DEVELOPMENT IN RUSSIA A. What was the main goal of the special commission? The first information about design appeared in 1918, when Russian government put a task of industrial innovation according to new trends in art. So a special commission containing the heads and chief engineers from plants vital for the economy of the country was organized. The main goal of the commission was working out modern artistic ideas in building and industry and their immediate application in the production process. They wanted any everyday life thing people buy looked pleasant and attractive by appearance. They tried to brighten up even the rest to make it more comfortable and convenient. B. What was the principle of design development after 1920? By a special order of Sovnarcom in 25.12.1920 there were founded several Higher Artistic Technical workshops (VHUTEMAS). Each of them had to be an institution training arts connected with industry. Many architects believed they should destroy the previous understanding of culture and only on its ruins they could build a new culture of society. At the end of the 30s design started penetrating the field of ordinary goods: some qualified artists were invited to participate in designing the first Soviet telephone, a radio-set and furniture; later the spreading of design touched shipbuilding and automobile-production. C. What events play important role in popularization of Russian design? Now in our multinational country with a great number of religions and traditions there are lots of masters and schools dealing with design; specialists say that sometimes it is easy to recognize not only the nationality or even a master himself by certain peculiarities of a master's product. Also important role in popularization of Russian design play specialized fairs and exhibitions. Design has different aims according to the sphere of industry it is applied in (for example, plates, cups, soup-sets are projected by specialists in ceramics).
IX. Read Text III, be ready with the annotation. TEXT III PLANNING Planning is a systematic, organized method of approaching a problem. In the context of this text, planning means following the design process. Design has three major components: creative, technical and aesthetic. The creative component is the expression of a person’s ideas and is unique to the individual. The technical part is the application of technology to the resolution of the design idea. The aesthetic quality of a design relates to how pleasing it is to look at. Good design expresses a person’s creativity with a balance of technical quality, as represented by the functionality of the product, and of aesthetic quality. Functionality is a measure of how well the product meets the needs as expressed in the design problem. Aesthetic quality is determined by the mix of form, space, color, line, texture, and light and shadow. Aesthetic design follows basic principles: Unity, or a feeling of wholeness; variety, or contrast in texture, line, shade; emphasis, used to point out particular details; balance, or the appearance of equal weight for various components; repetition, or the use of a detail or element throughout; and rhythm, or the repetition of lines and curves to give a feeling of movement. These are used in various combinations to give a particular feeling to a design. Two additional devices used to promote a particular design concept are the materials used for the product and the type and style of surface decoration. X. Read Text IV and give a brief summary of it. TEXT IV NOTES _____________________________________________________________ ally – 1. а) соединять, объединять; устанавливать связь с (чем-либо, precedent – предшествующий, предыдущий a reed pen – тростниковая ручка limestone – известняк a stuccoed tablet – кусок отделочного, штукатурного гипса CAD (computer-aided design) – система автоматизированного проектирования XI. Render the following text into English:
Баухауз (Bauhaus) – высшая школа промышленного искусства, строительства и художественного конструирования. Баухауз был основан в 1919 году архитектором Вальтером Гропиусом. Программа обучения в школе предполагала соединение искусства со строительной техникой на современной основе. Дизайнеры Баухауза считали своей главной задачей проектирование промышленных изделий и их систем с позиций высокой ответственности перед человеком и обществом. Баухауз существовал как уникальная высшая художественная школа до 1932 года. С приходом к власти национал-социалистов он был закрыт из-за демократических идей, объединявших мастеров разных национальностей. Влияние идей Баухауза наиболее заметно в функциональной архитектуре современных офисов и фабрик.
UNIT II Vocabulary 1. trial and error – пробы и ошибки; 2. objective – цель; 3. a cloak of secrecy – завеса секретности; 4. emerge – появляться; показываться; выходить; возникать; появиться; выходить (откуда-либо); 5. sparkle – искриться, сверкать; 6. blend – сочетание; 7. collaboration – сотрудничество; совместная работа; 8. launch – начинать; пускать в действие; 9. scrutiny – внимательное изучение; рассмотрение; 10. market-beating – покоряющий рынок; 11. scrutiny – внимательное изучение; 12. in-house colleagues – коллеги по цеху/ремеслу; 13. hands-on – практический, связанный с жизнью; 14. crucial – решающий; ключевой; 15. market share – зд. роль; вес на рынке; 16. implementation – реализация; 17. come to the fore – выдвигаться вперёд; 18. user-friendliness – дружественность по отношению к пользователю; удобство для пользователя; 19. catch up –догнать; нагнать; догонять; наверстать идти в ногу; 20. overseas counterparts – заграничные партнеры; 21. saturated market – насыщенный рынок; 22. vial – пузырек; 23. would-be – потенциальный; начинающий; желающий стать (кем-то); 24. special – зд. дополнительный; 25. credits – заглавные надписи; заглавные титры; 26. appeal – обращение; 27. layout – план (макет) работы; 28. ease – свобода; лёгкость; удобство; 29. bitmapped graphics – растровая графика; 30. vector graphics – векторная графика; 31. illustration package – пакет иллюстрационных программ; 32. computer-aided design (CAD) – системы автоматизированного проектирования САПР; 33. rendering – визуализация предметов (в машинной графике); семейство фильтров программы Adobe Photoshop, использующееся для обработки картинок путём их расцвечивания и/или затенения; рендеринг; 34. desktop publishing (DTP) – настольные издательские средства; настольная издательская система; подготовка публикаций с помощью настольных издательских средств; 35. clip-art – графическая вставка; иллюстративные вставки; 36. wireframe – режим просмотра рисунка, объекты которого представляются только их контурами; 37. geographic information systems (GIS) – географическая информационная система (ГИС). I. Read the following international words and guess their meanings:
project social statistics client mathematical career parameter formulae interior organisation camera function economy realism emotional electronic lecture psychology practice seminar final II. Choose the correct translation of the following English words: successful успешный иметь успех успех creative творчество создавать творческий solution решать решение разрешимый competition конкурировать конкурент конкуренция consumption потреблять потребление потребляемый definition определять определение определяющий efficiency эффективный давать эффект эффективность implementation применение применять применимый illustration иллюстрировать иллюстрационный иллюстрация special дополнение дополнительный дополнять objective иметь целью цель целевой III. Look at some basic design terms and try to guess their meanings by matching them with their definition:
TEXT I THE DESIGN PROCESS Design is not just the object you take off the shelf for checking and discussing – it is about and error and a series of decisions that starts before you even know your objective. The design process is not a mysterious activity designers carry out behind a cloak of secrecy, magically emerging with a sparkling new market-beating product or service. It starts when decisions about why, how and even whether to go ahead with a project are being taken. Although designers provide a particular blend of skills and creativity, the design process works best when it is a collaboration between the design team and the people it works with and for, either in-house colleagues or clients. Design work begins with a brief setting out the aims and objectives of a project and outlining certain targets and parameters for its completion. But, ideally, the design team needs to be involved before the brief is even written for two reasons – first, its members will understand the brief better if they have had a hand in composing it and, secondly, the customer-focused, creative skills that designers possess can help decide the direction the project should take. An organisation and its designers need to ask certain questions right at the start - why is design work needed? Is it to respond to changing markets or to customer trends? Maybe new competition has appeared on the market or the company just wants to increase its market share. Perhaps the organisation wants to make its service more efficient, or perhaps it faces a decision between improving an existing product or service or launching something completely new. By understanding both the organization's strategic objectives and customer needs, designers can define the problem before working towards a solution. The reason for the design will inform how the designers go about conducting research. Research needs to be carried out both before and during the design process, especially if the project will take some years to complete. Market research includes trends analysis, scrutiny of competitors' products and wider research such as the state of the economy, upcoming legislation and relevant social changes such as birth rates and patterns of prosperity. Design research centres on the user. It makes use of information about customers supplied by the organisation but also takes a more hands-on approach in the form of user testing and prototyping. Observing customer behaviour not only makes it easier for designers to create something that fulfils a need, it can also provide creative inspiration. Along with visualization, it also helps to represent the designers' ideas to the organisation at a large scale. To plan a project effectively, companies and organizations need to take into account all the internal resources, people and information the project will require, from materials to customer-service support. The design team will need to be aware of these too. There is no point in a design requiring a certain manufacturing techniques or tooling, for instance, if these are not available. The relationship between the designer and the organisation or department that has commissioned the design work is crucial. The best relationships are a two-way street, where each party is receptive to the concerns of the other. Communication needs to be maintained throughout the design process. The need for communication was summed up by designer Wayne Hemingway during the Design Council's Design in Business Week 2002: “There is no point sitting designers in a room and letting them design. They have to work with you and be a part of the business”. The final stage is implementation – by manufacturers, engineers, IT (Information Technologies) experts or service providers – but that does not mean the designers exit the scene. It is important to allow for redesign and the designers also have a vital role to play in representing their ideas to all those involved in executing them.
NOTES _____________________________________________________________________ Brief– the design documents that encapsulate all of the specification and to which the design team will work. Creativity A design doesn't have to be 1 …, different or 2 … to be 3 …inthe marketplace, as long as it's fulfilling a need, but design methods do lead to 4 … products and services. Designers learn that ideas that may seem 5 … are worth exploring and that the “common-sense” solution is not always the 6 …one. Designers often hit on (находят правильный путь с помощью) intuitive concepts through methods such as drawing, 7 …, brainstorming and user 8 …. Watching users in real-life situations especially gives insights into their behaviour that leads to ideas that would not have formed if the designer simply had thought about the situation, or relied on generalized market research. TEXT II GRAPHICS AND DESIGN Types of graphics software Computer graphics are pictures created, changed or processed by computers. There are two categories. 1. Bitmapped graphics represent images as bitmaps; they are stored as pixels and can become a bit distorted when they are manipulated. The density of dots, known as the resolution and expressed in dots per inch, determines how sharp the image is. 2. Vector graphics represent images as mathematical formulae, so they can be changed or scaled without losing quality. They are ideal for high-resolution output. There are different types of graphics software. ■ Image manipulation programs let you edit your favourite images. For example, you can scan a picture into your PC or transfer a photo from your camera and then add different effects, or filters.
has been processed with adobe Photoshop using effects filters ■ Painting and drawing programs, also called illustration packages, offer facilities for freehand drawing, with a wide choice of pens and brushes, colours and patterns. One example is Windows Paint. ■ Business graphics programs, also called presentation software, let you create pie charts, bar charts and line graphs of all kinds for slide shows and reports. You can import data from a database or spreadsheet to generate the graphs. ■ Computer-aided design (CAD) is used by engineers and architects to design everything from cars and planes to buildings and furniture. First they make a wireframe, a drawing with edges and contour lines. Then if they want to colour the objects and add texture, they create a surface for the object; this is called “filling the surface”. Finally, the design is rendered to make the object look realistic. Rendering is a process that adds realism to graphics by using shading, light sources and reflections. ■ Desktop publishing (DTP) is based around a page layout program, which lets you import text from a word processor, clip-art (ready-made pictures) from graphics packages, and images from scanners or cameras, and arrange them all on a page. It is used to design and publish books, newspapers, posters, advertisements, etc. ■ Digital art, or computer art, is done with applets that use mathematical formulae to create beautiful bright shapes called fractals. A fractal is a geometrical figure with special properties, e.g. the Koch snowflake or the Mandelbrot set. Fractals can also be used to model real objects like clouds, coastlines or landscapes. ■ Computer animation uses graphics programs (e.g. digital cartooning systems) to create or edit moving pictures. Each image in a sequence of images is called a “frame”. ■ Geographic information systems (GIS) allow cartographers to create detailed maps. XVI. Writing and Speaking. 1. Write about two possible applications of using computer graphics in business. 2. You probably have a paint program at home; describe what you do with it.
TEXT III TRAINING DESIGN ENGINEERS II. Academic activities. Omsk Technical University is one of several higher schools in Omsk that train design engineers. Future designers must have knowledge and understanding of technological, manufacturing and creative aspects of the design process. An important aim of training would-be designers is the development of students’ individual abilities and skills, developing their creativity. Professionalism is encouraged by the teaching staff who along with academic activity are actively involved in their own practice. Some lectures and seminars are given by visiting lecturers who are practitioners, people from industry or world of art and design. Tuition is carried out through lectures, seminars and practices. Students are given the history and theory of art and design, they learn about the current trends in design. Students also study the theory and practice of colour. Students are given training in the methods of computer-aided design (CAD) that play an important part in supporting design activity. In addition to lectures and seminars students carry out their semester and course projects. Students also have studio practice; they acquire knowledge and skills in drawing, painting and printmaking. The department organizes study-visits to exhibitions and fairs where students study the history, the state-of-the-art in design as well as the new trends. Business studies are also important for future design engineers. Third-year students undertake courses in economics, management and advertising. Psychology and foreign languages are also among important subjects. In addition, students undertake work placements through which they gain valuable work experience in design. At the final year students work out their graduation projects. In the course of studies students acquire many special skills, such as IT skills, presentation and communication skills. III. Career prospects. Employment prospects for Designing graduates are very good and varied. Graduates from our faculty are well prepared to enter numerous creative industries. The study develops in students important personal qualities, such as creativity, communication skills, adaptability, resource fullness. All these qualities are highly valued by employers. The graduates from the Design department may work as employees of designing consultancies, in publishing, printing, advertising and as freelance designers. Besides, the skills learnt within the Design course open the door to many other careers.
XIX. Decide whether these statements are true or false: 1. Design can be defined as creative activity that is carried out according to the laws of beauty and functionality. 2. Today such properties of merchandise as aesthetics, convenience and functionality (=user-friendliness) have been forgotten. 3. Design is an old branch of industry. 4. Design has a lot of important industrial aspects, especially in countries with saturated markets. 5. Future designers must have knowledge and understanding of technological, manufacturing and creative aspects of the design process. 6. Students are given the history and theory of the English language, they learn about the current trends in the language. 7. In the course of studies students acquire many special skills, such as singing, playing musical instruments, dancing. 8. The graduates from the Design department may work as employees of designing consultancies, in publishing, printing, advertising and as freelance designers. TEXT IV GRAPHIC DESIGNERS Among the five design occupations, graphic designers are expected to have the most new jobs through 2014; however, job seekers are expected to face keen competition for available positions. Graphic designers with Web site design and animation experience will have the best opportunities. A bachelor's degree is required for most entry-level positions; however, an associate degree may be sufficient for technical positions. About 3 out of 10 designers are self-employed; many do freelance work in addition to holding a salaried job in design or in another occupation. Graphic designers – or graphic artists – plan, analyze, and create visual solutions to communications problems. They decide the most effective way of getting a message across in print, electronic, and film media using a variety of methods such as color, type, illustration, photography, animation, and various print and layout techniques. Graphic designers develop the overall layout and production design of magazines, newspapers, journals, corporate reports, and other publications. They also produce promotional displays, packaging, and marketing brochures for products and services, design distinctive logos for products and businesses, and develop signs and signage systems – called environmental graphics – for business and government. An increasing number of graphic designers also are developing material for Internet Web pages, interactive media, and multimedia projects. Graphic designers also may produce the credits that appear before and after television programs and movies. The first step in developing a new graphic design is to determine the needs of the client, the message the design should portray, and its appeal to customers or users. Graphic designers consider cognitive, cultural, physical, and social factors in planning and executing designs for the target audience. Designers gather relevant information by meeting with clients, creative or art directors, and by performing their own research. Identifying the needs of consumers is becoming increasingly important for graphic designers as the scope of their work continues to focus on creating corporate communication strategies in addition to technical design and layout work. Graphic designers prepare sketches or layouts – by hand or with the aid of a computer – to illustrate the vision for the design. They select colors, sound, artwork, photography, animation, style of type, and other visual elements for the design. Designers also select the size and arrangement of the different elements on the page or screen. They also may create graphs and charts from data for use in publications, and often consult with copywriters on any text that may accompany the visual part of the design. Designers then present the completed design to their clients or art or creative director for approval. In printing and publishing firms, graphic designers also may assist the printers by selecting the type of paper and ink for the publication and reviewing the mock-up design for errors before final publication. Graphic designers use a variety of graphics and computer software to assist in their designs. Designers creating Web pages or other interactive media designs also will use computer animation and programming packages. Computer software programs allow ease and flexibility in exploring a greater number of design alternatives, thus reducing design costs and cutting the time it takes to deliver a product to market. Graphic designers sometimes supervise assistants who carry out their creations. Designers who run their own businesses also may devote a considerable amount of time to developing new business contacts, examining equipment and space needs, and performing administrative tasks, such as reviewing catalogues and ordering samples. The need for up-to-date computer and communications equipment is an ongoing consideration for graphic designers. Graphic designers create books, websites, magazines, film titles, catalogs, typefaces, signage systems, television graphics, posters and postcards. From complex identity programs to single logos, graphic designers give a face and a “visual voice” to retail and cultural enterprises, to entertainment, manufacturing and service industries, governmental and political interests. Simply put, graphic designers give meaningful visual form to content in all media: from print to screen; business cards to billboards; computer interfaces to movies screens. But the most critical skill graphic designers offer is their unique ability to communicate specific messages through the artful manipulation of typography and images, systems and structures. Their work promotes, educates, directs, informs, exposes, clarifies, beautifies and delights. Working Conditions Working conditions and places of employment vary. Graphic designers employed by large advertising, publishing, or design firms generally work regular hours in well-lighted and comfortable settings. Designers in smaller design consulting firms, or those who freelance, generally work on a contract, or job, basis. They frequently adjust their workday to suit their clients' schedules and deadlines. Consultants and self-employed designers tend to work longer hours and in smaller, more congested, environments. Designers may transact business in their own offices or studios or in clients' offices. Designers who are paid by the assignment are under pressure to please clients and to find new ones in order to maintain a steady income. All designers sometimes face frustration when their designs are rejected or when their work is not as creative as they wish. Graphic designers may work evenings or weekends to meet production schedules, especially in the printing and publishing industries where deadlines are shorter and more frequent.
XXII. Reread Text IV. In pairs, discuss the statements below. Say what you think about them and ask your partner if he/she agrees or disagrees with you. (Use the proper phrases given in the Appendix.) 1. Graphic designers with Web site design and animation experience will have the best opportunities in seeking the job. 2. Graphic designers consider cognitive, cultural, physical, and social factors in planning and executing designs for the target audience. 3. Computer software programs allow ease and flexibility in exploring a greater number of design alternatives, thus reducing design costs and cutting the time it takes to deliver a product to market. 4. The most critical skill graphic designers offer is their unique ability to communicate specific messages through the artful manipulation of typography and images, systems and structures. XXIII. Render the following text into English: Работа графического дизайнера – это союз творчества и логики. Графический дизайнер решает одновременно несколько сложных и важных задач. Продукт, создаваемый им (логотип, шрифт и др.), должен быть ярким, запоминающимся и неповторимым, а также быть пригодным для печати. Дизайнер должен учитывать специфику организации, для которой он разрабатывает логотип. Поэтому для графического дизайнера важно, чтобы его креативное начало строго подчинялось законам логики. Один из основных видов деятельности графического дизайнера – создание фирменного (корпоративного) стиля компании, или, используя современный термин, айдентика фирмы, то есть разработка логотипа, цветовой гаммы, шрифта и т. д. Графический дизайнер может работать в области полиграфии: создавать макеты рекламной полиграфической продукции (календари, буклеты), заниматься дизайном упаковки, сувенирной продукции, а также выполнять макеты книг и журналов. Основные навыки, которые требуются в работе: · Знания основ дизайна: основы живописи и рисунка, колористики (использования цвета) и композиции и др. · Специальные знания в области графического дизайна: виды и жанры графики и графических техник, работа со шрифтами, типографика, использование фотографий и иллюстраций в графическом дизайне. · Владение программным обеспечением для графического дизайна (QuarkXPress‚ Photoshop, Illustrator‚ CorelDraw). Желательные знания: · Опыт работы в рекламе или полиграфии. · Умение рисовать от руки. · Знание программ 3D-моделирования. UNIT III GRAPHIC DESIGN BASICS Vocabulary 1. cover – переплёт; обложка; 2. jacket – обложка; суперобложка; 3. commute – поездка на работу и обратно; 4. billboard – рекламный щит; 5. media – средства массовой информации; средства рекламы; 6. vs. versus – в сравнении с; против; 7. HTML Hyper-Text Markup Language – гипертекстовый язык описания документов; язык гипертекстовой маркировки; 8. CSS Cascading Style Sheets – каскадные таблицы стилей; 9. banner advertising – баннерная реклама; 10. evolve – развивать; развёртывать; развиваться; эволюционировать; превращаться; развиться; развёртываться (о теории и т. п.); развернуться; развернуть; развить; претерпевать изменения; 11. piece – отдельный предмет; образец; пример; сюжет; газетная статья; 12. face – сталкиваться (с необходимостью); столкнуться (to face a task – стоять перед необходимостью решать задачу (выполнить требование)); 13. a marketing message – маркетинговое обращение; 14. dive – углубляться, уходить вглубь чего-либо; 15. texture – текстура; структура; 16. shape – модель; образец; шаблон; 17. tease – дразнить; поддразнивать; 18. snippet – место; фрагмент; отрывок; 19. entice – увлекать; заманивать; переманивать; соблазнить; сманивать; 20. bleed and safety areas – обрезные в край и безопасные зоны; 21. challenge – n. вызов; сложная задача; проблема; сложная проблема; перспектива; задача, требующая большого напряжения сил; 22. tricky – хитрый; ловкий; искусный; сложный; трудный; 23. RGB “Red, Green, Blue” – («красный, зеленый, синий»). Цветовая модель, все цвета которой образуются путём смешения трёх базовых. Применяется как стандарт отображения цветов на цветных мониторах); 24. CMYK Cyan Magenta Yellow blacK – субтрактивная цветовая модель отражённого света, в которой цвета образуются путём комбинирования бирюзового, пурпурного, жёлтого и черного цветов; 25. HSV Hue-Saturation-Value – цвет – насыщенность – значение (метод цветопередачи); 26. “process” colors – составной цвет; триадный цвет; триадные краски; триадная палитра; палитра основных цветов; CMYK-краска; 27. “spot” colors – стандартный простой цвет. (Метод определения цветов, при котором для документа задаётся отдельный цвет чернил принтера: цвет, печатаемый отдельной типографской краской. В отличие от составных цветов, которые образуются путём наложения базовых цветов CMYK.); 28. palette – палитра; цветовая гамма; 29. visual – n. человек с преимущественным развитием зрительной памяти; рекламный ролик; агитационный ролик (перед выборами); кинофильм; видеозапись; зрительный ряд (фильма); 30. as-is – как есть; 31. copywriting – написание текста; работа текстовика; составление текстов; копирайтинг; 32. a household name – широко известная марка; известный бренд; узнаваемый всеми бренд; 33. letterhead – печатный заголовок (на листе почтовой бумаги); вытисненное название (на переплётной крышке); шапка (на фирменном бланке); 34. typeface – гарнитура шрифта; характер начертания шрифта; 35. focus on – уделить большое внимание; сосредоточить внимание на; 36. hand off – передавать; 37. mockup – макет; модель; 38. margin – поле, поля (книжной, газетной страницы и т. п.); 39. feasible – возможный; вероятный; правдоподобный; оправданный; обоснованный; реалистичный; 40. compelling – неодолимый, непреодолимый; 41. freelancer – нештатный сотрудник; 42. scrap – клочок; обрывок; 43. jot down – сделать краткую, беглую запись; записать; 44. stick in – втыкать; всовывать; 45. convince – убеждать; уверять; убедить; 46. legitimate – законный; правильный; подлинный; 47. overwhelm – преодолеть; 48. template – маска; образец; трафарет; эталон (в системах распознавания); эталонное изображение; шаблон (используется при описании ресурсов типа «панель диалога»); 49. die-cut – высекатель штампом (заготовки из картона); вырубной элемент; 50. deadline – предельный конечный срок; срок исполнения; срок сдачи; 51. handle – сделать руками; перебирать; перекладывать; перебрать; переложить; обращаться с; управлять; регулировать; иметь дело; заниматься (проблемой); 52. elaborate – adj. детально разработанный; продуманный; подготовленный; 53. scratch – n. эскиз. I. Read the following international words and guess their meanings:
profession visual communication idea information audience element photo illustration brochure product technology basic display computer limit physical pixel monitor result typography II. Choose the correct translation of the following English words: advertisement рекламировать реклама рекламный differences различать различия различный experience иметь опыт опыт опытный interactive взаимодействовать взаимодействие взаимодействующий effective иметь эффект эффект эффективный resolution разрешать разрешение разрешимый consistent настаивать постоянство постоянный printer печатать принтер печатный brightness быть ярким яркость яркий responsibility нести ответственность ответственность ответственный marketable быть на рынке рынок рыночный impressive впечатлять впечатление впечатляющий III. Look at some basic design terms and try to guess their meanings by matching them with their definition:
IV. Discuss the following questions: 1. What is Graphic design? 2. Where is Graphic design?
TEXT I WHAT IS GRAPHIC DESIGN? Suppose you want to announce or sell something, amuse or persuade someone, explain a complicated system or demonstrate a process. In other words, you have a message you want to communicate. How do you “send” it? You could tell people one by one or broadcast by radio or loudspeaker. That’s verbal communication. But if you use any visual medium at all — if you make a poster; type a letter; create a business logo, a magazine ad, or an album cover; even make a computer printout — you are using a form of visual communication called graphic design. Graphic designers work with drawn, painted, photographed, or computer-generated images (pictures), but they also design the letterforms that make up various typefaces found in movie credits and TV ads; in books, magazines, and menus; and even on computer screens. Designers create, choose, and organize these elements — typography, images, and the so-called “white space” around them — to communicate a message. Graphic design is a part of your daily life. From humble things like gum wrappers to huge things like billboards to the T-shirt you’re wearing, graphic design informs, persuades, organizes, stimulates, locates, identifies, attracts attention and provides pleasure. Graphic design is a creative process that combines art and technology to communicate ideas. The designer works with a variety of communication tools in order to convey a message from a client to a particular audience. The main tools are image and typography. Image-based design Designers develop images to represent the ideas their clients want to communicate. Images can be incredibly powerful and compelling tools of communication, conveying not only information but also moods and emotions. People respond to images instinctively based on their personalities, associations, and previous experience. For example, you know that a chili pepper is hot, and this knowledge in combination with the image creates a visual pun. In the case of image-based design, the images must carry the entire message; there are few if any words to help. These images may be photographic, painted, drawn, or graphically rendered in many different ways. Image-based design is employed when the designer determines that, in a particular case, a picture is indeed worth a thousand words. Type-based design
When you look at an “ordinary” printed page of running text, what is involved in designing such a seemingly simple page? Think about what you would do if you were asked to redesign the page. Would you change the typeface or type size? Would you divide the text into two narrower columns? What about the margins and the spacing between the paragraphs and lines? Would you indent the paragraphs or begin them with decorative lettering? What other kinds of treatment might you give the page number? Would you change the boldface terms, perhaps using italic or underlining? What other changes might you consider, and how would they affect the way the reader reacts to the content? Designers evaluate the message and the audience for type-based design in order to make these kinds of decisions.
Designers often combine images and typography to communicate a client’s message to an audience. They explore the creative possibilities presented by words (typography) and images (photography, illustration, and fine art). It is up to the designer not only to find or create appropriate letterforms and images but also to establish the best balance between them. Designers are the link between the client and the audience. On the one hand, a client is often too close to the message to understand various ways in which it can be presented. The audience, on the other hand, is often too broad to have any direct impact on how a communication is presented. What’s more, it is usually difficult to make the audience a part of the creative process. Unlike client and audience, graphic designers learn how to construct a message and how to present it successfully. They work with the client to understand the content and the purpose of the message. They often collaborate with market researchers and other specialists to understand the nature of the audience. Once a design concept is chosen, the designers work with illustrators and photographers as well as with typesetters and printers or other production specialists to create the final design product. NOTES _____________________________________________________________________ CBS “eye” – «глаз» Си-би-эс (Коламбиа Бродкастинг Систем)
XII. Work in pairs. Discuss the difference between Print design and Web Design mentioning the following points: types of media, audience, layout, color, technology, careers. (Use the phrases of expressing opinion in the Appendix). TEXT II PRINT DESIGN VS. WEB DESIGN Designing for print media versus designing for the web can be a completely different experience. To understand better these differences, the two can be compared in major topic areas: types of media, audience, layout, color, technology and careers. Types of Media: before looking at the actual differences in design, it is important to know what type of work you may find yourself doing in each field.
Of course the list can go on for both, but the basic difference is that when designing for print you will end up with a finished product that someone can hold in their hand, and when designing for the web you will generally work on an ever-evolving piece viewed on a computer display. |
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In some cases, designers rely on words to convey a message, but they use words differently from the ways writers do. To designers, what the words look like is as important as their meaning. The visual forms, whether typography (communication designed by means of the printed word) or handmade lettering, perform many communication functions. They can arrest your attention on a poster, identify the product name on a package or a truck, and present running text as the typography in a book does. Designers are experts at presenting information in a visual form in print or on film, packaging, or signs.
Image and type