8交通工具造型毕业设计外文翻译

汽车造型毕业设计外文翻译翻译内容草图，概念发展和汽车设计： 草图设计和它的在概念设计中关键作用已经被确认，将这种特殊的汽车设计进行了定义：一份简短的关于总体的概念草图和视觉思维方法的作品。这个特殊的汽车设计草图的特点是：从线、皇冠线、区域线、阴影和着色进行了描述,进行了分析。这显示了轮廓线在汽车设计草图的重要位置。通过观察毕业生和六位专业设计师设计过程，确认了轮廓线在设计过程的重要性和在相互反复的概念设计过程中草图设计的中心地位，这表明计算机辅助设计系统(CAD)系统的设计必须考虑草图设计的重要性。 关键词：概念设计、制图、形象思维、汽车设计、计算机辅助设计。 大部分的设计理论和制图研究工作一直是基于建筑和工程领域除了托维，都不能将汽车设计师的想法直接显示出来。因为这种方式的特殊性和因为高水平的设计和工业发展，对比“计算机辅助设计”在其他领域的应用，这种计算机辅助设计已经成为工业中的特定词。计算机辅助造型工作都集中在三维视图替代草图，例如“虚拟粘土造型”或简单的传统的CAD表面造型。在汽车设计师和其他领域设计师之间有很多表面的相似。一个关键问题是其他领域的设计研究转变成特殊学科的范围和一般性结论应用的态度。我们的研究已经在工业设计中的概念草图设计，我们已经完成了大量的正式案例来观察设计师和了解其技术和草图内容。结果表面他们的想法在传统的纸和笔上能快速的反应看来，尽管计算机辅助很有效，但并未被设计师与传统方式一样接受。这些观测结果显示，生产设计思想似乎依靠互动的概念草图(我们可以看到后者，从而证实了先前的研究人员的观察结果)。草图通过最初的表现产生的轮廓线，其次是使用阴影修改二维造型。这个研究的意图的研究旨在探讨这些线是否能形成基础CAD工具生产的3D几何形状的草图,观察阴影是否可以改善几何表妹修饰。此外，关注的焦点是在早期，在世界汽车工业中的概念的显著发展阶段，目的是早期的应用三维几何学促进概念学的发展和加速他们的交流和其他部分的评价。因为这个原因，多样的草图设计在汽车开发过程占据首要位置。1、概念草图：设计草图不同于描绘物体。设计草图不是想人物画、静物画一样画出现在艺术家面前的事物。而是设计师试图给外部定义一个想像的或只有一半想象的建议为设计形式的一个过程。 对理解图纸的设计在前期准备工作中所起的作用被广泛地泊赛尔归纳。这提供了一个综合性的评述，许多类型的设计工作进行绘图活动在这个过程，包括数据、图表和更总体的图像。我们主要关注的是概念草图。设计图纸和其他形式的绘画是处理设计思路语言。实际过程中创造的设计思路通常是去设想在他心中所看见的,这些画是试图重现设计师的内心图像。这种方法是一种通过手眼协调的草图来产生实际表象。此技能可以锻炼精神放松，从而能解放思想的禁锢。当设计师有一个想法和灵感时可以画出来，从而形成设计思路。一旦的形象已经被一些具体形式体现在如图纸或模型(物理形式或计算机)上，就变成已经处理的部分产生下一个概念。这个过程是互动的循环。 不同类型的图纸和一个类型设计过程的不同阶段有关，相对无序的和模糊过程中发生的初始草图。设计草图被认为非常重要，主要是因为它被认为伴随产生的的创新和创造力。草图设计阶段特点是模糊的知识转移的目标。 有一个观点是，在工程领域概念草图的目的就是在早期的阶段的设计提供更简单快捷的沟通和检索，以提供视觉和事实的描述相结合，为改善评价和概念的选择，还有一个广泛的观点就是说，这样的图画的功能及相关结构设计领域的。设计师在设计的作用包括:l 生成概念：l 扩展和图形化问题l 促进问题的解决和创造性的工作l促进感知和翻译的想法l 表现可以被实现的可真实存在的产品l校正和改进的概念。在工程背景三种草图已经被确认：(1)思维草图:用于集中和引导非语言想法(2)指导草图:用来指导绘图员制作完成图纸(3)演示草图:促进技术人员之间的信息交流以阐明复杂和可能混淆的部分图纸。工程概念草图在同一环境中被分为五个级别： 1级:单色线没有阴影和颜色,均匀线厚度2级:单色线,没有阴影或肤色，线可以强调厚度变化，可能包括简短的注释。 3级:单色与简单底纹的形式，可以被标注。 4级:线条和阴影,也可以包括重要的色彩和刻度。 5级:以色彩插图表现的作品，外表相似、色彩、阴影、注释、尺寸。以下是类似的其他不可缺少的层次细节在二维模型中的表示方法：简图、示意图、原理图、概念草图、实测图、总布置图、三维视图、零件图纸我们定义概念草图是一个可以提供设计资料的可视因素集合体。 从一个模糊的概念到详细设计方案过程可以被比作将从一个模糊的形象变成一个详尽的描述，作为一个初步的概念素描表现的中心的设计理念是很必要的。在这个定义,连同引用的前面的定义,重点放在表述出别人的概念，而不只是设计师。其个人角色是作为一个必要的帮助设计师的助手，以及使其他研究人员所看到的是一个重要的概念思维的展现，一些这样的工作将在后面的章节中讨论。2、视觉思维： 设计思维用来针对指定的对象的形式和颜色视觉效果将涉及视觉表现的必要性。正如手册McKim所显示的视觉思维通过具体三维视图，成像和草图的手段使其大为简化。这已经被设计师用来通过基础绘图的方法来解决抽象概念和设计问题的能力。同样的Suwa所进行的分析是建立在建筑领域，调查结果有以下几点：(1)草图为作为外部具象存储，以后另外的的概念的依据。(2)草图为问题的集合提供视觉提示。(3)最重要的是草图作为一个物理表象，其表达的基础思想是建立在一个闪现的灵感上。 同样的，司肯和威金斯在建筑领域上研究出了各种视觉作品的设计活动的关系。他们把设计看成一个把图纸作为媒介材料的交谈,至关重要的是这种活动依赖于看。其特点是一个基本结构包括看图纸-思考-看图纸这样的的设计与发现的相互作用的交流活动。设计师画在纸上观察改进的作品，他们的设计工作中使用不同种类的视觉手段(视觉理解、数据文字说明)，发现了上面的结论。能够识别特点和关系逐渐产生一个更充实的理解，或“摸索”出她/他工作的过程。他们的结论是电脑目前不能进行涉及参加这个过程。 Goldschmidt的工作是建立在建筑的方面包含了深刻的见解。她指出设计师总是使用通过画草图使意象生成的新形式的组合。同时，她补充说：至关重要的是设计师们也必须在相反的过程，即在他们的脑海里用他们素描生成图像的形式。她断言：通过互动意象素描是一种合理的推理模式，通过系统概念和音形参数之间的交流。 很明显,从艺术领域到工程领域，几乎所有的设计师都需要可视化的设计方式。然而,区分视觉设计的表述方法很重要：哪些是以交流为目的的通信(与客户、同事或利害关系人),哪些是用于评价设计的质量。以上两者都不是由视觉设计的意义，相对其描述，它应该是促使新思想的产生、推理以及便于找出引发它们的创作的设计形式。 草图设计在解决创造性、探索性、无期限待解决问题上，通过侧面的转换发挥了重要的作用。正如加纳记录的，通过设计和以草图的形式构建的绘画的表示方法,因为其在一方面可以整理有序易于理解,而另一方面他们又对解释的含糊不清。关键是这种方法非常缺乏明确性。很明显有很多的研究对现有的概念草图目的是以电脑为依托，通过媒体实现目的和潜力。然而关于直接用于汽车概念草图的研究很少，是否有足够的能力支持生产和他们计算机的使用。在工业领域和CAD有关的，在一个越来越大的压力下减少订货至交货的时间仍然是一个待研究的领域。外文翻译原文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