The traditional and new
Abstract
Its usefulness and beauty -- creation of form and beauty -- traditional beauty -- beauty beyond the accumulation generation
Its usefulness and functional beauty and its properties
Function 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 independence
The 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 beauty
The 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 external a 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 the
should 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 attendant
Simple 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 at coordination 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. To sum 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 thought Since 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.
Author: Zhuge Kai
Published:" ten stresses" in art design
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” 。从功能美的现象来看它的本质，可以使我们更深刻认识这种美。首先，功能美是自然美性质相近的美。
其次，功能美受实用目的的极大牵引。功能目的实现以后，功能美才能实现。完全用艺术美的标准去衡量设计产品，往往很难得出结论。同样，单纯的使用价值与人的某种物质需求相关，用品是否美观一般不影响使用。第三，功能美还具有社会性。产品内含的功能美不能不受社会生产力发展和审美心理历史内容的局限。功能美是一个社会性的概念，它不可能超越历史的局限，这些已属于非传统的艺术美。功能美不是“有用既美”
功能美不是“有用既美”
把功能美作为技术美的全部，客观否认了审美价值的相对独立性，排斥了形式美。“转化”的具体含意是什么呢？首先，这一转化取决于主体采取审美态度，而审美态度是有选择性的，美学中，审美价值不是纯客观，也不是纯主观的，而是主客观的统一。一般来说，被动的审美感受不需要专门的训练，但任何人在功利目的和社会条件制约下，对审美对象总有所选择。其次，即需要转化，就说明使用价值和审美价值不是完全同一的，它们是对立的统一体。使用价值给人带来生存的条件，进而可以带来物质享受。审美享受是“关照里的享受” ，这一词大多用于视觉艺术，而且与鉴赏、欣赏不同。画展要有足够的
空间，纪念碑更需要广阔的视野，就是使关照者有足够的距离，看得见对象的整体。同时，单纯的使用价值与人的某种物质需求相关，用品是否美观一般不影响使用。使用价值和审美价值不能互相取代。现代设计观念却极端重视它们的统一，既不是功能主义的，也不是唯美主义的。 4-2-3 人造物的形式与形式美形式是与内容相对的概念，是内容的组织形式，是内容各部分的组合方式。任何事物都有形式，美学中的形式，是指审美对象的整个感觉实在，也就是视、听或触觉感知的实体，是内容美的存在方式。功能美的存在方式，就是技术美的形式，即形式美。一个是任何事物都有形式，一个是内容美相对的形式美。人造物的内容，一般都理解为“有用性” 。那么，形式就是以实现有用性为前提的结构形式。结构形式往往受功能目的严格限制，各部分尽可能经济、高效地结合为一个可以运转的整体。
形式对于内容否认相对独立性
所谓相对独立，就是指形式可以成为独立的设计要素，但最终难以脱离的内容。他认为一种功能有多种形式的观点，但他反对“功能决定形式” 。消费者对不同产品形式变化的要求不一样。我们用“自由度”和“清晰度”两个概念来加以概括，目的时间哦更深入地说明形式的相对独立性。 1. 形式的自由度关于形式的“自由度” ，形式的自由度，指产品结构和外观可供设计者支配的程度。 2. 形式的清晰度其次是形式的“清晰度” ，形式的清晰高，对产品外观品质的要求也高。
4-2-2 人造物形式的特征 1.形式必须与内容共享一个载体比如；一本书籍 2.形式具有鲜明的直观性观照者对一件人造物的感知，往往先直观到它的形式，即先于内容看到它的形状、色彩。而内容有时是隐蔽的、意蕴的，所以是后感知的。 3. 形式必需有质量的形体物质的形式就是物质的形式，是人能感知形式的基本条件。
从形式到形式美
形式美的品质形式美的内涵十分丰富：（1）本之美——功能美的直接表露形式，与功能的发挥融为一体，是以事物本身的某种性质表现外部的一种美。
传统美的内在意涵实际上就是指传统美所内含的精神，就是李泽厚所说的理智而激情的“人性” 、审美形式所积淀的社会内容。 1. 代代相传的“样式” “样式” 在这里专指那些蕴含传统文化的艺术形式，并因为程序化和代
代相传而普遍性。比如中国的古代礼制建筑。2.“再现”原生态的样式。传统美的外在形式 1.与功能相应事物形制 2.与审美相关的形式从勒柯布西耶吸收和发展黄金分割的事例可以清楚地看到，传统美的形式的确参透在现实设计中。虽然我们不会每日每时都看到这样的现象，但它存在却是无法忽视的。 4-3 现代美的超越设计革命引发的“反传统”
设计革命引发的“反传统”思潮
1.“装饰崇拜” 1.“装饰崇拜” 所谓“装崇拜”就是指装饰可以脱离功能自由膨胀，花哨的外衣成为审美主要对象，甚至把装饰看成设计的主体，没有装饰的设计就不是设计。现代工业的发展和充满装饰趣味的设计之间矛盾：首先，手工时代那种精雕细刻难以适应大批量的机器生产，只有排斥装饰才会有大批廉价产品推向市场。功能崇拜崇拜” “功能崇拜” 所谓“功能崇拜” ，是指产品设计按照实用功能的需要而不是装饰的需要，为适应机器生产可以排斥任何装饰。真正实现设计必须强调功能和机器生产这一原则的关键人物。这些设计都有两个共同特点：意识便于机器生产或批量生产；二是突出适应功能因而造型简洁。它们使包豪斯之名传遍欧美。现代主义的设计立场以适应大工业生产为前提，强调大批量生产、产品功能良好、廉价，归根到底是服从功能，也就是“形式服从功能”或“形式与功能的高度统一” ，随之而产生简洁而无装饰的几何风格就很自然，以“装饰崇拜”为特征的传统设计也被彻底颠覆。
形式崇拜”
“形式崇拜”的崇拜现代主义设计可以理解为“功能主义”设计，现代主义的设计善于协调功能与设计善于协调功能与形式的关系，使它们达到一种“和谐” 。因此，它即不是纯功能的，也不是纯形式的。“从它的结构上与审美上的特点来看，国际风格的建筑同最终被它替代的文艺复兴时期的传统是对立的。” 1. 波普风大众文化是一种流行、民主和机器结合为一体的文化。
2. 激进的折衷“后现代主义”则是一种以建筑为首，波及各个设计领域、反主流的风格。后现代主义与现代主义的根本差异在哪里？就在于现代主义简单化的形式复杂化，因而不惜使用曾经被放弃的装饰、象征手法，但这种装饰是现代主义基础上附加，形成费费古典的、不协调的对比效果和是似而非的外观或内部空间，从而在现代主义冷漠的混凝土方块中脱颖而出。
3.“丑的美”
3.“丑的美” 丑是自然界和人类社会中普遍存在的现象，它违反审美规范、妨碍审美关照，古典美学把丑作为美的否定状态，并与人性的“恶”相联系。古典艺术基本上不接受丑，近代艺术中丑成为一种美学因素，现代派艺术中丑成
为不可忽视的主角。从中我们也可以归纳出美丑间互相演变的规律：首先，丑可以转化为美。其次，美与丑的界限不是固定不变的。综上所述：证明设计艺术中“丑与美”是对现代主义设计的挑战，或者说是对“功能决定形式”的超越。现代美的超越现代美的超越是指对传统美的超越。现代审美观念虽然以传统观为母胎。设计革命引发的“反传统”
设计革命引发的“反传统”思潮
二十世纪以来的产生的现代审美观念，从本质来看一切都与“反传统”有联系，但“反传统”的观念又从何而来？它既是非缘自然哲学，也是非缘自美学。机械革命实际上就是设计革命，在二十世纪，艺术观念的基石是“革新” ，最常见的词汇是“前卫”和“现代” 。这些思想的核心就是“反传统” 。另一方面，则是新的艺术观念“反哺”设计，使它背离传统的设计观念而具有“前卫”和“现代”的特点。
作者：诸葛锴
发表：《设计艺术学十讲》
外文文献原文+译文 原文 The study on the design of neuter clothing H ous e W Abstract Social and economic development, social thought, opening up and the progress of science and technology, men and women style presented the diversified pattern of neuter the fuzzy gender differences in style, from the beginning of non-mainstream des ign till n ow has develop ed i nt o on e of the mains t ream fas hi on d es ign style. Fashion brands have launched in recent years, the neutral flavor of fashion, neuter clothing market share of more and more, neutral fashion, with its broad group of sex leads the urban street fashion. Neutralization of free and open way of life style, gave people a comfortable and enjoyable. K ey words: Neut e r; Cl ot hing; Gender roles; Design 1 Introduction The beginning of the 20th century the rise of the feminist movement, make the neutral clothing as a kind of style into the line of sight of people. In the 90 s, the neutral clothing has used by each big brand clothing as one of the fashionable e lement s, s uc h a s dust coa t w i th a ne ut ral style, s ui ts, t-shirt s and j e ans have bec om e people like everyday clothes. Neuter clothing style is a simple, pure; reject all multifarious mincing, personalized style. As a special kind of clothing style, neuter clothing fashion has been intensified in the social life, so it is necessary for us to study the clothing neutralization phenomenon, to study its causes and the development of sociology. This article mainly from the sociological association as well as the relationship between men and women clothing and gender status in the society, which is based on analyzing the change of the study the social basis of the neutral clothing appear; Again from the social system, economic development, cultural trend and fashion designers to the influence of the neutral clothing style, etc., it is concluded that the neuter clothing phenomenon is the development of social consciousness, the sexual role transformation, the new clothing design trends are affecting the results.
艺术与设计学院专业介绍 工业设计（理工类） 本专业为校重点建设专业，在本校有相应的硕士点。本专业立足于工业产品艺术设计与工程技术相结合的人才培养模式，培养能够熟练掌握现代设计方法与应用技术，具有创新能力和实践能力，能够从事产品造型设计和新产品的开发与研究工作的高级专门人才。毕业生能够在产品设计领域、公司、企业和科研院所、高等院校从事产品设计、新产品开发、品牌规划和设计管理及专业教育等工作。主要课程有：素描、色彩、构成基础、现代图学、造型材料与成型工艺、产品效果图、工业设计史、人机工程学、基础设计、计算机辅助设计、模型制作、产品设计、产品专题设计、产品综合创作与展示等。 广告学（文科类）/ 艺术设计（广告设计）（艺术类） 本专业培养具有较宽的知识面，掌握广告和传播营销领域的基础理论知识、广告设计和策划管理专业技能的复合型人才。本专业在培养设计管理综合素质的同时，特别重视训练学生从事广告设计的技能和实施管理的技能。本专业按照IDAS模型设置课程与课程群，学生可根据自己的专业发展方向在品牌策划与推广、网络广告、影视广告、商业摄影四个方向中选择其一。每个方向及模块都讲究洞察、策划、创意、执行全过程。 主要课程有：素描、色彩、构成基础、广告学概论，广告策划，创新思维设计，广告文案与写作，市场调研与分析，品牌策划与维护，营销活动策划与推广。品牌核心形象设计、市场调研与分析，广告公司管理实务、品牌推广综合创意应用，网络媒体综合创意应用，影视综合创意应用，商业摄影综合创意应用等。 毕业生可以在广告公司、商业摄影机构、影视公司、网络公司、媒介公司、网络公司、策划机构、出版机构等从事广告策划、创意、制作、管理等各项设计工作和综合管理工作。 艺术设计（视觉传达设计）（艺术类） 本专业立足于视觉表现与信息传达的两个层面上进行教学培养，强调扎实的艺术设计基础理论和技术、良好的文化素质和较高的视觉表达及审美能力、较强的计算机图像应用技能；为各类设计机构、设计教育和企事业单位从事相关的视觉设计、品牌形象设计、信息交互设计、网络媒体设计等培养创新型专业人才；主要课程有：素描、色彩、构成基础、设计造型，图形设计，字体设计，编排设
设计空间的含义 Meanings of Designed Spaces Meanings of Designed Spaces Spaces of Everyday Life, Self, and Social Constructions Significant space, house, habitat, home, dwelling, gender, social status, spatial arrangements, living well, escapism, semiology, cultural and visual content analysis, politically social spaces, social space construction, theatrical space construction, cultural space construction, public and private spaces, political spaces, proxemics. AFTER READING THIS CHAPTER, YOU WILL BE ABLE TO: · Glean ideas about social spaces, spaces of living, and how spaces become places of social constructions. · Differentiate philosophical approaches to spaces of living. · Consider what constitutes a significant space. · Distinguish concepts of "living well" versus "home as defining a sense of self." · Understand spaces of living and the social constructions of space and place. · Identify characteristics of house as home, dwelling as home, and house as habitat. · Consider cultural contexts to issues of dwelling, gender, and space. · Understand how identity frames spaces as places of dwelling. INTRODUCTION Spaces we live in formulate our experiences. We attribute meaning to the things and spaces that surround us. Our sense of self, the way we engage in our daily life, depends on our surroundings, our home, our place of work, and the places we hold dear. Spaces of living impact our sense of self, what we do, and the ways that we define ourselves in society, and in turn they provide us with meanings alongside a host of multiple perceptions and reactions. How might spaces of the everyday be understood from the perspectives of domestic life? How do living spaces reflect social constructions that affect our sense of self and who we are in the world? While spaces are created with visual and aesthetic properties in mind, they are ultimately meant for people to experience. People appropriate spaces they occupy and change them to suit their purposes. People attach value to the things that they have,while values are also imposed by society and are complicated by the fracturing of contemporary society. This is further complicated by the ways spaces are framed that determine social status as much as
外文翻译 专业机械设计制造及其自动化学生姓名刘链柱 班级机制111 学号1110101102 指导教师葛友华
外文资料名称： Design and performance evaluation of vacuum cleaners using cyclone technology 外文资料出处：Korean J. Chem. Eng., 23(6), (用外文写) 925-930 (2006) 附件： 1.外文资料翻译译文 2.外文原文
应用旋风技术真空吸尘器的设计和性能介绍 吉尔泰金，洪城铱昌，宰瑾李， 刘链柱译 摘要：旋风型分离器技术用于真空吸尘器 - 轴向进流旋风和切向进气道流旋风有效地收集粉尘和降低压力降已被实验研究。优化设计等因素作为集尘效率，压降，并切成尺寸被粒度对应于分级收集的50％的效率进行了研究。颗粒切成大小降低入口面积，体直径，减小涡取景器直径的旋风。切向入口的双流量气旋具有良好的性能考虑的350毫米汞柱的低压降和为1.5μm的质量中位直径在1米3的流量的截止尺寸。一使用切向入口的双流量旋风吸尘器示出了势是一种有效的方法，用于收集在家庭中产生的粉尘。 摘要及关键词：吸尘器; 粉尘; 旋风分离器 引言 我们这个时代的很大一部分都花在了房子，工作场所，或其他建筑，因此，室内空间应该是既舒适情绪和卫生。但室内空气中含有超过室外空气因气密性的二次污染物，毒物，食品气味。这是通过使用产生在建筑中的新材料和设备。真空吸尘器为代表的家电去除有害物质从地板到地毯所用的商用真空吸尘器房子由纸过滤，预过滤器和排气过滤器通过洁净的空气排放到大气中。虽然真空吸尘器是方便在使用中，吸入压力下降说唱空转成比例地清洗的时间，以及纸过滤器也应定期更换，由于压力下降，气味和细菌通过纸过滤器内的残留粉尘。 图1示出了大气气溶胶的粒度分布通常是双峰形，在粗颗粒（>2.0微米）模式为主要的外部来源，如风吹尘，海盐喷雾，火山，从工厂直接排放和车辆废气排放，以及那些在细颗粒模式包括燃烧或光化学反应。表1显示模式，典型的大气航空的直径和质量浓度溶胶被许多研究者测量。精细模式在0.18?0.36 在5.7到25微米尺寸范围微米尺寸范围。质量浓度为2?205微克，可直接在大气气溶胶和 3.85至36.3μg/m3柴油气溶胶。
文献信息： 文献标题：Evolution of Fashion Design in the Era of High-Tech Culture （高科技文化时代服装设计的演变） 国外作者：Galina Mihaleva，C.Koh 文献出处：《International Scholarly and Scientific Research and Innovation》,2016,10(7):2447-2451 字数统计：英文2079单词，11462字符；中文3549汉字 外文文献： Evolution of Fashion Design in the Era of High-Tech Culture Abstract Fashion, like many other design fields, undergoes numerous evolutions throughout the ages. This paper aims to recognize and evaluate the significance of advance technology in fashion design and examine how it changes the role of modern fashion designers by modifying the creation process. It also touches on how modern culture is involved in such developments and how it affects fashion design in terms of conceptualizing and fabrication. By comparing case studies, existing fashion design examples and crafting method experimentations; we then spot patterns in which to predict the direction of future developments in the field. A breakdown on the elements of technology in fashion design helps us understand the driving force behind such a trend. The results from explorations in the paper have shown that there is an observed pattern of a distinct increase in interest and progress in the field of fashion technology, which leads to the birth of hybrid crafting methods. In conclusion, it is shown that as fashion technology continues to evolve, their role in clothing crafting becomes more prominent and grows far beyond the humble sewing machine. Keywords: Fashion design, functional aesthetics, smart textiles, 3D printing. INTRODUCTION It is common knowledge that the environment we live in greatly influences the
文献出处：A Dehghani. The application of digital printing in fashion design [J]. International Journal of Clothing Science and Technology, 2015, 16(2): 263-271. 原文 The application of digital printing in fashion design A Dehghani Abstract The appearance of digital printing for textiles printing provides a new train of thought, digital printing with the current textile fabric printing a variety of requirements of the market of printing technology, including high quality printing precision, high efficiency of printing on reaction time and the printing of the diverse demand, these advantages directly promoted the digital ink jet printing in the rapid development of textile fabric printing direction. In this paper, the design method of the digital printing design of different style and means of decoration and design method in the fabrics for summary, it is concluded that digital printing design cuttings in fabric printing, clothing apparel printing method and the application of the traditional fabric secondary design and decorative effect. Through the above research, digital printing and garment design and garment style between the relationships between the shapes, thereby further to bring into full play the advantages of
艺术设计学院各岗位工作职责 艺术设计学院行政和教学岗位主要包括党支部书记、院长助理、学术委员会、教学督导委员会、教研室主任、学术带头人、教学秘书、辅导员、教辅（实验管理员）、教师、班主任等。参照校人事处相关文件，结合本院实际情况，特拟定以下工作具体职责。 一.党支部书记职责： 在学校党委领导下，主持本院党支部日常工作，抓好师生党员发展与学生管理工作。 1.党团工作：宣传和执行党的路线、方针、政策，完成学校党委布 置的各项任务，保证并监督党的教育方针的正确贯彻、执行。做好党的 建设工作，做好党员发展与培养工作，对党员进行教育和管理。 2.学生工作：指导辅导员队伍，开展各项学生工作。对本院学生进 行政治思想教育和形势任务教育，加强德育工作，加强学院精神文明建 设。 3.制定和执行学风建设方案，评估学风建设成果。 4.指导学生会、青协等组织开展运动会和开学典礼、毕业典礼等活 动。 5.建设与管理好辅导员队伍，同行政协调配合，保证各项行政任务 的完成。 6.密切联系职工群众，经常听取职工对教学、科研和思想政治工作 等方面的意见，关心群众，协调有关方面尽可能帮助他们解决实际困难。 7.完成学院和学校交办的其他工作。
二.院长助理工作职责： 院长助理协助院长搞好日常教学、管理和产学研等工作的执行。 1.协助院长负责全院教学、科研工作；组织、贯彻和执行校、院有 关方针、政策、规定和任务。 2.协助院长做好年度和学期的工作计划与总结。 3.组织管理学院教学运转中各教学环节，监督教学制度的执行情 况，保证教学秩序正常化。 4.协调并督促各教研室主任做好教学及科研工作。 5.协助院长做好招生宣传和管理工作。 6.组织好期初和期中教学检查工作，调查学生对教学情况的反映， 经常听课，检查实践教学，掌握教学质量情况。 7.协助院长及有关领导做好人才的引进、使用、考核、晋级等工作。 8.在院长的指导下，做好我院对外宣传工作。 9.完成自身岗位所要求的教学与科研任务。 10.完成校、院领导交办的其他工作。
(文档含英文原文和中文翻译) 中英文翻译 平面设计 任何时期平面设计可以参照一些艺术和专业学科侧重于视觉传达和介绍。采用多种方式相结合，创造和符号，图像和语句创建一个代表性的想法和信息。平面设计师可以使用印刷，视觉艺术和排版技术产生的最终结果。平面设计常常提到的进程，其中沟通是创造和产品设计。 共同使用的平面设计包括杂志，广告，产品包装和网页设计。例如，可能包括产品包装的标志或其他艺术作品，举办文字和纯粹的设计元素，如形状和颜色统一件。组成的一个最重要的特点，尤其是平面设计在使用前现有材料或不同的元素。 平面设计涵盖了人类历史上诸多领域，在此漫长的历史和在相对最近爆炸视觉传达中的第20和21世纪，人们有时是模糊的区别和重叠的广告艺术，平面设计和美术。毕竟，他们有着许多相同的内容，理论，原则，做法和语言，有时同样的客人或客户。广告艺术的最终目标是出售的商品和服务。在平面
设计，“其实质是使以信息，形成以思想，言论和感觉的经验”。 在唐朝（ 618-906 ）之间的第4和第7世纪的木块被切断打印纺织品和后重现佛典。阿藏印在868是已知最早的印刷书籍。 在19世纪后期欧洲，尤其是在英国，平面设计开始以独立的运动从美术中分离出来。蒙德里安称为父亲的图形设计。他是一个很好的艺术家，但是他在现代广告中利用现代电网系统在广告、印刷和网络布局网格。 于1849年，在大不列颠亨利科尔成为的主要力量之一在设计教育界，该国政府通告设计在杂志设计和制造的重要性。他组织了大型的展览作为庆祝现代工业技术和维多利亚式的设计。 从1892年至1896年威廉?莫里斯凯尔姆斯科特出版社出版的书籍的一些最重要的平面设计产品和工艺美术运动，并提出了一个非常赚钱的商机就是出版伟大文本论的图书并以高价出售给富人。莫里斯证明了市场的存在使平面设计在他们自己拥有的权利，并帮助开拓者从生产和美术分离设计。这历史相对论是，然而，重要的，因为它为第一次重大的反应对于十九世纪的陈旧的平面设计。莫里斯的工作，以及与其他私营新闻运动，直接影响新艺术风格和间接负责20世纪初非专业性平面设计的事态发展。 谁创造了最初的“平面设计”似乎存在争议。这被归因于英国的设计师和大学教授Richard Guyatt，但另一消息来源于20世纪初美国图书设计师William Addison Dwiggins。 伦敦地铁的标志设计是爱德华约翰斯顿于1916年设计的一个经典的现代而且使用了系统字体设计。 在20世纪20年代，苏联的建构主义应用于“智能生产”在不同领域的生产。个性化的运动艺术在俄罗斯大革命是没有价值的，从而走向以创造物体的功利为目的。他们设计的建筑、剧院集、海报、面料、服装、家具、徽标、菜单等。 Jan Tschichold 在他的1928年书中编纂了新的现代印刷原则，他后来否认他在这本书的法西斯主义哲学主张，但它仍然是非常有影响力。 Tschichold ，包豪斯印刷专家如赫伯特拜耳和拉斯洛莫霍伊一纳吉，和El Lissitzky 是平面设计之父都被我们今天所知。 他们首创的生产技术和文体设备，主要用于整个二十世纪。随后的几年看到平面设计在现代风格获得广泛的接受和应用。第二次世界大战结束后，美国经济的建立更需要平面设计，主要是广告和包装等。移居国外的德国包豪斯设计学院于1937年到芝加哥带来了“大规模生产”极简到美国;引发野火的“现代”建筑和设计。值得注意的名称世纪中叶现代设计包括阿德里安Frutiger ，设计师和Frutiger字体大学;保兰德，从20世纪30年代后期，直到他去世于1996年，采取的原则和适用包豪斯他们受欢迎的广告和标志设计，帮助创造一个独特的办法，美国的欧洲简约而成为一个主要的先驱。平面设计称为企业形象;约瑟夫米勒，罗克曼，设计的海报严重尚未获取1950年代和1960年代时代典型。 从道路标志到技术图表，从备忘录到参考手册，增强了平面设计的知识转让。可读性增强了文字的视觉效果。 设计还可以通过理念或有效的视觉传播帮助销售产品。将它应用到产品和公司识别系统的要素像标志、颜色和文字。连同这些被定义为品牌。品牌已日益成为重要的提供的服务范围，许多平面设计师，企业形象和条件往往是同时交替使用。
英文翻译： The unique expression in fashion design Abstract: With the social progress and people's aesthetic awareness, clothing design requirements are constantly changing, not only beautiful, comfortable, personalized for different purposes, and more and more people started to pay attention the unique design of the clothing. unique expression of the clothing design has something in common, in common, there are three factors most typical one of the means of the use of the plastic arts; is to follow the basic rules of the plastic arts; the pursuit of art content and beauty of form harmony and unity. The face of increasingly fierce competition in society, from clothing unique starting to play to their strengths, so that the costume design perfected. Key words: aesthetic sense; costume design; uniqueness; expression Introduction With the rich substance of social development, improved quality of life, the pursuit of unique clothing is also more than plus strong, the face of the popularity and unity to the mass production of clothing has become a problem to be solved in order to fashion designers. An important design point, then become a unique expression of the costume design costume design costume design unique refers to the characteristics of the presentation of the representative from the clothing on the whole, it is unique content and form unity. China fashion design unique expression as a complete system of disciplines to study the ancient times to now there, but the uniqueness of expression in fashion design is not perfect, therefore, the uniqueness of this study fashion design to express Modern fashion design is of great significance. 1. The unique overview of clothing In short, The unique nature of the clothing is the clothing unique. In a broad sense refers to the presentation of the representative characteristics from the whole of the clothing works, it is one of the unique form and the objectivity of the unity of the unity of content, costume designer on the subjective aspect of creative and clothing subject matter difficult to find words to express, but it is not difficult to make us feel unique style. The unique nature of the clothing, but also refers to the values, artistic characteristics and inherent character of a nation, an era, a genre or a person's clothing in the content and format of the show out. The unique nature of the appearance of the mind, the pursuit of the realm of fashion design in the final analysis is unique in design and positioning, the unique expression of the costume design also reflects the designer's unique creative thinking and the pursuit of art also reflects the distinctive character.
海口经济学院艺术设计学院 一、基本概况 海口经济学院艺术设计学院是海南最具特色和创新意识的设计类学院。依托海南国际旅游岛建设的大背景，办学条件得天独厚，学习环境宁静优雅。学院注重师资队伍、办学条件、课程建设等为重点的内涵建设工作，努力提高教育教学质量，取得了一定的成绩。现有产品设计(包装设计方向)、产品设计(海洋工艺品设计方向)、视觉传达设计、环境设计（室内方向）、环境设计（风景园林方向）、服装与服饰设计（服装表演方向）、服装与服饰设计（服装设计方向）四个本科专业，环境艺术设计和影视动画设计两个专科专业，在校生达1500余人，毕业生就业率已连续九年达到99﹪就业。 艺术设计学院现有专业教师63人，其中教授8人、副教授16人、博士1人，硕士研究生50人，形成了一支队伍相对稳定、专业素质较高、实践能力较强的专业教师团队。 硬件设施先进齐全。学校拥有独立的教学办公楼，设有独立宽敞的各类实验室、画室，教室均配置先进的多媒体教学系统，实验设备配套齐全；与学院共享藏书达万余册，各类工作室、实验室达20多间。 二、专业介绍 （一）产品设计专业 1、培养目标 产品设计专业(包装设计方向)旨在培养德、智、体、美全面发展，具有扎实的艺术设计基础，掌握产品设计专业包装设计方向的基本理论与基本知识，具有较强创新精神的产品设计的高级应用型人才。使学生具备良好的科学文化素养和较强的设计实践能力，了解包装设计发展的前沿和动态，能在包装设计行业从事设计和管理工作。 产品设计(海洋工艺品设计方向)旨在培养德、智、体、美全面发展，具有扎实的艺术设计基础，掌握产品设计专业(海洋工艺品设计方向)的基本理论与基本知识，具有较强创新精神的海洋工艺品设计及其他工艺品设计的创新与创业型应用人才。使学生具备良好的科学文化素养和较强的设计实践能力，了解海洋工艺品及其他工艺品设计发展的前沿和动态，能在工艺品设计行业从事设计和管理工作，并具有自主创业能力。 2、师资队伍
毕业设计英文资料翻译Translation of the English Documents for Graduation Design 课题名称 院（系） 专业 姓名 学号 起讫日期 指导教师 2011 年 02 月 20 日
译文： 室内设计 室内设计不仅包括装修及家具的空间，而且还考虑到空间规划，灯光，与用户行为有关的程序化问题，包括从具体问题的可及性到在空间中的活动的性质。在商业和公共空间显著的变化后，室内设计如今的标志是一个新的弹性类型学。 室内设计不仅包括方案规划也包括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，天花板。在职权范围上，室内设计有别于室内装修工程。装修关心的是家具的选择，然而设计者要把离散的装饰元素整合成方案关注的空间和使用。室内设计师在从底层向上的内部的空间时间方面与与建筑师合作，但是他们仍然独立的工作，尤其在翻修的情况下。历史上，植根于总体艺术作品的概念，曾经都是建筑师设计的。总体艺术作品的概念源于十九世纪末和二十世纪初的工艺美术运动。其支持者（从弗兰克·劳埃德·赖特到凡德罗）在室内设计专业的起源期间延长其做法以包括内饰领域行为并不是偶然的。事实上，这是一个建筑师采取的防御措施，建筑师们把室内装修或设计师的形式上的干预看作是对他们完整的艺术性的一种威胁。 如今，除了像理查德·迈耶那样的非常重视均匀性的现代主义者，扮演室内设计师角色的建筑师（数量在增长）更有倾向于理论与实践的折衷，并联21世纪的定价多元化。尽管如此，对室内设计师以及室内设计领域的偏见持续存在。由于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。此外，对室内的传统观点充满了偏见：阶级偏见与百年历史的协会商人有关，性别偏见与把装饰行业描述成主要是妇女和男性同性恋的领域。因此，室内设计作为文化价值的表达的信誉已被严重损坏。 然而，对文化大系统的理解在全球化的影响下一直在变化。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，有更频繁的生产性借贷的事例发生在建筑，设计，装修等曾经被看作是专有领地的领域。并且建筑，室内设计，室内装修领域仍然有不同的教育协议以及不同的关注重点，他们表现出更大的互相的兴趣。 另一种考虑这种新兴的合成的方法是用现代，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，这表现在一个新的兴趣饰品，工艺和重要性以及空间复杂性，所有平行于正在运行的现代化的项目。
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中英文对照外文翻译 The traditional and new Abstract Its usefulness and beauty -- creation of form and beauty -- traditional beauty -- beauty beyond the accumulation generation Its usefulness and functional beauty and its properties Function 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.
服装英语论文 文章一 Change Of Chinese Clothing Tradition An outstanding characteristic of traditional Chinese clothing is not only an external expression of elegance, but also an internal symbolism. Each and every piece oftraditionalclothing communicates a vitality of its own. This combination of external form with internal symbolism is clearly exemplified in the pair of fighting pheasant feathers used in head wear originating in the battle wear of the Warring States period (475-221 B.C.). Two feathers of a ho bird (a type pheasant good at fighting) were inserted into the head wear of warriors of this period to symbolize a bold and warlike spirit. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. Variety and consistency in clothing were roughly established by the era of the Yellow Emperor and the Emperors Yao and Shun (about 4,500 years ago). Remains of woven silk and hemp articles and ancient ceramic figures further demonstrate the sophistication and refinement of clothing in the Shang Dynasty (16th to 11th century B.C.). The three main types of traditional Chinese clothing are the pien-fu, the ch'ang-p'ao, and the shen-i. The pien-fu is an ancient two-piece ceremonial costume of a tunic-like top extending to the knees and a skirt or trousers extending to the ankles. The ch'ang-p'ao is a one-piece garment extending from the shoulders all the way to the heels. The shen-i is a cross between the pien-fu and the ch'ang-p'ao; it consists of a tunic and a skirt or trousers like the pien-fu, but the tunic and the skirt are sewed together and essentially one piece like the chang-pao. Consequently, the shen-i was the most widely worn of the three types. Typical of these three types of clothing were wide and voluminous sleeves and a very loose fit. Tunic and trousers or tunic and skirt, utilized a very minimum number of stitches for the amount of cloth used. So because of their relatively plain design and structure, embroidered edgings, decorated bands, draped cloth or silks, patterns on the shoulders, and sashes were often added as ornamentation. These varied designs came to be one of the unique features of traditional Chinese dress. Darker colors were favored over lighter ones in traditional Chinese clothing, so the main color of ceremonial clothing tended to be dark while bright, elaborate tapestry designs accented. Lighter colored clothing was worn more frequently by the common people for everyday and around the house use. The Chinese associate certain colors with specific seasons: green represents spring, red symbolizes summer, white represents autumn, and