景观专业外语上课资料.docx

Unit 1 History of Art and Design1. Arts and Crafts MovementThe Arts and Crafts Movement was an international design movement that originated in England and flourished between 1880 and 1910, continuing its influence up to the 1930s. Instigated by the artist and writer William Morris (1834-1896) in the 1860s and inspired by the writings of John Ruskin (1819-1900), the movement advocated truth to materials and traditional craftsmanship using simple forms and medieval, romantic or folk styles of decoration, against the styles that had developed out of machine-production.By the end of the nineteenth century, Arts and Crafts ideals had influenced architecture, painting, sculpture, graphics, illustration, book making, photography, domestic design and the decorative arts, including furniture and woodwork, stained glass, embroidery and weaving, jewelry and metalwork.Starting from 1855, the Association continuously held a series of exhibition in England to provide the public with a good opportunity to understand the design and elegant design taste, so as to promote the movement. Widely exhibited in Europe, the Arts and Crafts Movements qualities of simplicity and honest use of materials inspired designers like Henry van de Velde and movements such as Art Nouveau, Vienna Secession, and eventually the Bauhaus. Pevsner regarded the movement as a prelude to Modernism, which made use of simple forms without ornamentation.2. Art NouveauArt Nouveau is an international movement and style of art, architecture and applied artespecially the decorative artsthe peaked in popularity at the turn of the 20th century (1890-1905).第1课 艺术设计史1.工艺美术运动工艺美术运动是一场起源于英国，在1880至1910年间蓬勃发展的国际设计运动，它的影响力一直持续到20世纪30年代。该运动由艺术家、作家威廉莫里斯（18341896）于19世纪60年代发起，并受到约翰拉斯金（18191900）的著作鼓舞。运动主张忠实于材料，提倡使用简朴形式和具有中世纪的、浪漫的、民俗风格装饰的传统手工艺，以反对机器化大生产所发展出来的设计风格。到19世纪末，工艺美术运动的思想影响到建筑、绘画、雕塑、平面、插图、书籍出版、摄影、室内设计和装饰艺术等领域，涵盖了家具与木制品、彩色玻璃、刺绣和纺织品、珠宝和金属制品。从1855年开始，这个协会在英国连续不断地举办了一系列的展览，向公众提供了一个了解设计及高雅设计品味的机会，从而促进了工艺美术运动的发展。随着在欧洲的广泛展出，工艺美术运动的朴素和忠于材料的品质启发了像亨利凡德维尔德这样的设计师及新艺术、维也纳分离派等艺术流派并最终对包豪斯学校的创立产生了重大的影响，佩夫斯纳认为该运动是无装饰的简洁形式的现代主义设计的开端。2.新艺术运动新艺术运动是一场在艺术、建筑、实用艺术尤其装饰艺术领域的国际主义风格运动，在20世纪之交的18901905年达到流行顶峰。As a reaction to academic art of 19th century, it is characterized by organic, especially floral and other plant-inspired motifs, as well as highly stylized, flowing curvilinear forms. Art Nouveau is an approach to design according to which artists should work on everything from architecture to furniture, making art part of everyday life. Typical products include the drawings of Breardsley, the furniture of Mackintosh, the architecture of Gaudi, the jewellery of Lalique, the glassware of Louis Comfort Tiffany, and the Paris Metro stations by Hector GuimardAlphonse Mucha produced a lithographed poster, which appeared on 1 January 1895 in the street of Pairs as an advertisement for the play”Gismonda”. It was overnight sensation, and announced the new artistic style and its creator to the citizens of Paris.Dynamic, undulating, and flowing with curved “whiplash” lines of syncopated rhythm characterized much of Art Nouveau. Another feature is the use of hyperbolas and parabolas Conventional mouldings seem to spring to life and grow into plant-derived forms. As an art movement it has affinities with the Pre-Raohaelites and the Symbolism movement. Unlike Symbolist painting, however, Art Nouveau has a distinctive visual look; and unlike backward-looking Arts and Crafts Movement, Art Nouveau artists quickly used new materials, machined surfaces, and abstraction in the service of pure design.Japanese woodblock prints, with their curved lines, patterned surfaces, contrasting voids, and flatness of visual plane, also inspired Art Nouveau. Some line and curve patterns became graphic clichs that were later found in works of artists from all parts of the worlds.作为对19世纪学院派艺术的一种反抗，它的特点是不仅有高度风格化的流动曲线的形式，而且有以有机的、特别是以花卉等植物为灵感的图案。新艺术运动是艺术家在从建筑到家具等一切工作中，使艺术成为日常生活的一部分的一种设计方法。代表性的作品包括比亚兹莱的插画、麦金托什的家具、高迪的建筑、拉利克的珠宝、路易斯康福特蒂凡尼的玻璃器皿以及赫克多吉马德设计的巴黎地铁站入口。1895年1月1日，阿方斯慕夏制作了一张戏剧“吉斯梦坦”的平版印刷海报，在巴黎的大街上一夜之间引起轰动，并向巴黎民众宣告新的艺术风格和创始人的诞生。伴随着切分音节奏般的弧形曲线形成的动感、起伏感、流动感是新艺术运动最重要的特征，另一个特征就是双曲线和抛物线的使用。这些传统的装饰线条似乎充满了活力，像是从植物中生长出来的形式。作为一种艺术运动，它与拉斐尔前派和象征主义有着密切联系，但是不同于象征主义绘画，新艺术运动具有鲜明的视觉效果；也不同于过去的工艺美术运动，新艺术运动的艺术家们在纯粹的设计服务中很快接受使用了新材料、使用新机器加工外观和抽象的特征。日本木刻版画以其曲线、图案外观、强烈对比的空间和平坦的画面，同样启发了新艺术运动。自此以后，在来自世界各地的艺术家作品中，都能发现某些线条和曲线图案成为绘画中的惯用手段。Art Nouveau did not negate the machine as the Art and Crafts Movement did, but used it to its advantage. For sculpture, the principal materials employed were glass and wrought iron, leading to sculptural qualities even in architecture.Although Art Nouveau fell out of favor with the arrival of 20th century modernist styles, it is seen today as an important bridge between the historicism of Neoclassicism and modernism.3ConstructivismRussian Constructivism was a movement that was active from 1913to the 1940s. It was a movement created by the Russian avant-garde, but quickly spread to the rest of the continent.Constructivist art is committed to complete abstraction with a devotion to modernity, where themes are often geometric, experimental and rarely emotional. Subjective or individualistic forms were far more suitable to the movement than objective forms carrying universal meaning. Constructivist themes are also quite minimal, where the artwork is broken down to its most basic elements. New media was often used in the creation of works, which helped to create a style of art that was orderly. An art of order was desirable at the time because it was just after WWI that the movement arose, which suggested a need for understanding, unity and peace. Famous artists of the Constructivist movement include Vladimir Tatlin, Kasimir Malevich, Alexander Rodchenko, and El Lissitzky.The artists of the movement were influenced by, and used materials from industrial design such as sheet metal and glass. Often these materials were used to create geometrically-shaped objects, which were in keeping with the utilitarian artistic vision of the movement.新艺术运动没有像工艺美术运动那样否定机器，而是发挥其所长。拿雕塑来说，主要的材料是玻璃和锻铁，甚至使建筑具有了雕塑般的品质。虽然随着20世纪现代主义风格的到来，新艺术运动日益式微，但是今天它仍被看作是历史的新古典主义和现代主义之间的重要桥梁。3. 构成主义俄国构成主义运动始于1913年，持续到20世纪40年代。它是由俄罗斯前卫艺术家发起的艺术运动，很快蔓延到欧洲大陆。构成主义致力于忠于现代主义的完全抽象，其主题通常是几何图案的，实验性的、理性的。主观或个人主义的形式远比具有普遍意义的客观形式更适合于这场运动。构成的主题也相当微小，艺术作品被分解到最小的要素，作品的创作通常使用新媒介，有助于一种新的有序的艺术风格。在当时大家都渴望一种新的艺术秩序，因为该运动是在第一次世界大战结束是产生的，提出了对理解、团结与和平的需求。著名的构成主义艺术家包括：弗拉基米尔塔特林，卡西米尔马列维奇，罗伯特亚当斯和埃尔李西茨基。这个运动的艺术家们受到工业设计的影响并使用这些金属板和玻璃的工业材料。这些材料通常被用来创建几何形状的物体，这与该运动实用主义的艺术视野保持了一致。Other painters, sculptors, and photographers working during this time were usually involved with industrial materials such as glass, steel, and plastic in clearly defined arrangements. Because of their admiration for machines and technology, functionalism, and mediums, members were also called artist-engineers.4. The International Typographic StyleAlso known as the Swiss Style, the international Typographic Style is a graphic style developed in Switzerland in the 1950s that emphasizes cleanliness, readability and objectivity. It was extension of Bauhaus principles developed mainly in Zurich and Basle in the period leading up to the Second World War. Key figures in the evolution of the style included Theo Baller, Max Billr, and Max Huber, all of whom were familiar with the avant-garde ideals of De Stijl, Constructivism, and the New Typography of the interwar years.The rational characteristic of the Style were its use of sans serif typography (especially the Helvetica and Universe typefaces), text set in narrow columns with a rigid left-margin and unjustified right. This austere, geometrically conceived, and rational outlook was further defined by its use of photography rather than hand-drawn illustrations. Swiss neutrality during the war had allowed these design principles to develop and it became increasingly adopted in design-conscious circles internationally in the 1950s to 1970s.The influence was widely disseminated through the Swiss-based journal New Graphic Design (1958-1965). This came under attack from a new generation of typographers identified with New Wave Design who sought to counter the rigidity of the Swiss Style with a more expressive, intuitive style linked to the tenets of Postmodernism其他的画家、雕塑家、摄影师在这个时期的创作通常使用玻璃、钢铁、塑料等具有明确定义的工业材料。由于他们对机器、技术、功能主义及现代媒体的赞赏，成员们也被称为艺术家工程师。4.国际主义平面设计风格国际主义平面风格也被称为瑞士风格，是20世纪50年代在瑞士发展起来的平面设计风格，强调整齐、可读性和客观性，是第二次世界大战期间包豪斯原则在苏黎世和巴塞尔的延续发展。该风格发展中的关键人物包括：西奥巴尔莫，马克思比尔，马克思胡珀，他们所有人都熟悉二次大战期间的风格派、构成主义和新版面设计的前卫设计思想。该风格设计的理性特征在于无衬线字体（尤其是赫尔维提加体和通用体）的使用，以及文本被放置在左边精确空白处狭窄的栏内，而放在右边是不合理的。这种简单、几何设想的理性观点通过对摄影图片而不是手绘插图的使用得到进一步的明确我。战争期间瑞士的中立地位使这些设计法则不断发展，并在20世纪50年代至70年代在国际设计界被越来越多的采纳。国际主义平面设计风格的影响力通过瑞士出版的新平面设计杂志得到广泛传播，这遭受到新一代的新浪浪潮平面设计运动的攻击，以更具表现力的、直观的风格作为后现代主义风格的原则，寻求对刻板的瑞士风格的反击。Unit 2 Bauhaus and the education of DesignDes Staatliches Bauhaus commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally “house of construction” stood for the new building design system.The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a “total work of art” in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design. The Bauhaus has a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design and typography.The school existed in three German cities(Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different presidents: Walter Gropius from 1919 to 1928, Hannes Meyer from 1928 to 1930 and Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime.The Bauhaus curriculum combined theoretic education and practical vocational training in its educational workshops. As teachers, or Bauhaus Masters, Gropius brought from all over Europe such as Lyonel Feininger, Vassily Kandinsky, Paul Klee, Johannes Itten and Lazlo Moholy Nagy, Marcel Breuer, Hannes Meyer and Josef Albers also joined the faculty. 第2课 包豪斯及其设计教育公立包豪斯通常简称为包豪斯，是一所位于德国的将工艺和美术相结合的设计学校，因其宣传和教导的设计方法而出名。包豪斯从1919年运营至1933年。当时的德语包豪斯，字面上是“房屋建筑”的意思，意味着新型的建筑设计体系。包豪斯学校由沃尔特格罗皮乌斯在魏玛成立，尽管它的名字与建筑有关，而且它的创立者事实上就是一位建筑师，但是包豪斯成立的第一年并没有设立建筑系。尽管如此，包豪斯成立的思想是在所有领域包括最终加入进来的建筑领域创造“艺术创作的综合”。包豪斯风格成为现代主义建筑和现代设计最有影响的潮流之一，它对艺术、建筑、平面设计、室内设计、工业设计和排版艺术的发展产生了深远的影响。学校分设于德国三个城市（19191925年的魏玛时期，19251932年的德绍时期，19321933年的柏林时期），有三任不同的校长：19191928年任职的沃尔特 格罗皮乌斯，19281930年任职的汉斯迈耶，19301933年任职的路德维希密斯凡德罗，1933年，学校的领导者在纳粹政权的压力下被迫关闭学校。包豪斯的课程结合了理论教育和在其学校性质的工场进行实践的职业训练，至于老师，也就是包豪斯的大师们，格罗皮乌斯找了来自欧洲各地的人，比如奥尼费宁格、瓦西里康定斯基、保罗克利、约翰内斯伊顿、拉兹洛莫霍利纳吉、马歇布劳耶、汉斯迈耶、约瑟夫亚伯斯也都加入了教师队伍。The educational process was as much responsible for innovation and new design paradigms as the philosophy of the Bauhaus. For example, Itten developed the innovative “preliminary course” which was to teach students the basics of material characteristics, composition, and color. In 1920, he also published a book, The art of color, which describes these ideas as a furthering of Adolf Holzels color wheel. Itten was one of the first people to define and identify strategies for successful color combinations. Through his research he devised seven methodologies for coordinating colors utilizing the hues contrasting properties. Beginning with a required Preliminary Course, students learned the basics of fine art (color theory, composition and drawing). After completing this requirement, the students then chose the discipline they wished to pursue, in specialized workshops for architecture, textile design, furniture design, typography, etc. This pedagogical system was soon copied by art and design schools all over the world. Students studied the problems of manufacturing, the requirement for housing large populations inexpensively, or bringing beauty as well as function into the home through fabric, furniture or utensils.The Bauhaus school left its greatest impact in the field of applied design. Here, in designing for those objects of daily life which are mass-produced by industrial technology, it is perhaps harder to design a first-rate teapot than a second-rate painting. Modern design is now respected as a profession and an art. We are no longer surprised to see exhibits of modern furniture in museums such as the Museum of Modern Art in New York.教育过程更多是为了创新和新的设计典范，并以此作为包豪斯的教育理念，例如，伊顿开发了创新性的“基础课程”即传授学生关于材料特征，构成和色彩的基础知识。在1920年出版了色彩艺术一书，该书所阐述的理念被视为是对阿道夫霍尔茨尔色彩环的进一步推动。伊顿是第一批成功的定义和确定颜色组合策略的人之一，通过他的研究，他发明了利用色相对比的特性使色彩协调的七种方法。从必修的基础课程开如，学生学习艺术的基础知识（色彩理论、构成、绘画）。在完成了基础课程之后，那时学生开始选择他们所喜欢的专业，在专业化的车间学习建筑、纺织品设计、家具设计、印刷等。这种教学体系很快被世界各地的艺术设计院校所模仿。学生能够了解制造过程中的问题，了解到人口众多对低成本住房的要求，学习通过织物、家具、用具器皿使室内达到美与功能的统一。包豪斯学校最大的影响力是在应用设计领域。在这里，设计是那些工业化批量生产的日常用品，也许设计一个一流的茶壶比一幅二流的绘画要更难。现在的现代设计被尊崇为一种专业和一种艺术。人们不再为在博物馆里（如纽约现代艺术博物馆）发现现代家具展品而感到惊奇。Unit 3 the History of PhotoshopIn September 1988, the Knoll brothers 1 luck changed. John presented a demo to Adobes2 internal creative team, and they loved the product. A license agreement was struck soon after, and Photoshop 1.0 was shipped in February 1990 after 10 months of development.Thomas has remained involved with the project all along. He never did have time to finish his thesis. John has continued his career at ILM3, serving as visual supervisor on projects such as “Mission Impossible (1996)”. Gelnn Knoll is still working as a professor for the College of Engineering at the University of Michigan. By 1987, John Knoll was working at Industrial Light and Magic-Lucas films4 nascent special effects division, founded for Star War，while Thomas was studying for his PhD5 on image processing at the University of Michigan. Having just bought a brand-new Apple Mac Plus 6 to help out with his thesis, he was dismayed to find it couldnt display greyscale 7 images on the monochrome monitor. So, in true hacker style, he set about writing his own code to do the job.John was also working on image processing at ILM, and during a holiday visit he became very impressed with Thomass progress. In the book A Computer Graphics Industry Reference John says, “As Tom showed me his work, it struck me how similar it was to the image-processing tools on the Pixar8. “Thus the pair began to collaborate on an application, which they dubbedexcitingly Display 第3课 Photoshop 的历史1998年9月，诺尔兄弟的运气改变了。约翰向Adobe公司的内部创意团队提交了一个演示版，他们喜欢这个产品。不久以后达成了许可协议，经过10个月的开发，Photoshop1.0 于1990年2月上市了。托马斯一直参与这一项目的始终，他始终没有时间完成他的论文。约翰继续着他在工业光魔公司的职业生涯，任视觉效果总监完成了如碟中碟等影片。格伦诺尔仍然作为教授在密歇根大学工程学院任教。1987年，约翰诺尔正在工业光魔卢卡斯电影公司为星球大战新成立的特效部门工作。而托马斯正在密歇根大学为图像处理的博士学位进行研究工作。他刚刚买了一台全新的苹果计算机来帮助写论文，他沮丧地发现在单色显示器上无法显示灰度图像，所以他就像真正的黑客那样，着手编写自己的代码来完成这项工作。约翰还在工业光魔致力于图像处理的工作，在一次假期探望中，他对托马斯的进展印象深刻，他在计算机图像产业参考一书中说道：“当汤姆向我展示他的工作时，我突然想起它与皮克斯的图像处理工具多么相似”，因此两兄弟在应用程序上开始合作，该程序被他们振奋人心地称为Display。It wasnt long before John had bought a new color Macintosh 9and persuaded Thomas to rewrite Display to work in color. Indeed, the more John saw of display, the more features he began to ask for: gamma correction10, loading and saving other file formats, and so on.Although this work distracted Thomas from his thesis, he was quite happy to oblige. He also developed an innovative method of selecting and affecting only certain parts of the image (such as soft edge)11, as well as a set of image-processing routines (such as filters)12 which would later become plug-ins. A feature for adjusting tones (levels)13 also emerged, along with controls for balance,14 hue15 and saturation.16 These were defining features of Photoshop, but at that time, it was almost unthinkable to see them anywhere outside of specialist processing software in a labor at ILM.By 1988, Display had become Image Pro17 and was sufficiently advanced that John thought they might have a chance at selling it as a commercial application. Thomas was reluctant: he still hadnt finished his thesis, and creating a full-blown application would take a lot of work. But once John had checked out the competition, of which there was very little, they realized Image Pro was ahead of anything currently available. Thus the search began for investors. Thomas changed name of their software several times. Each time he found one he liked, it had already been taken. Then, during a program demo, he confided to someone that he was having problems naming the program. The confidant suggested Photoshop, and that became the programs working name.没多久，约翰买了一台全新的彩色的麦金塔二代，并说服托马斯修改Display，使其能够以彩色模式工作。事实上约翰看到Display的次数越多，他就开始要求更多的功能：伽玛校正，加载和保存其它文件格式等等。虽然这项工作分散了托马斯的论文工作，但是他很愿意为此效劳。他还开发了一种能够进行选择，并只影响图像局部的创新方法，同时还有一组图像处理固定程序（例如滤镜）这在后来成为了插件。随着调整色彩平衡，色相，色彩饱合度功能，调整色调，色阶的功能也出现了。这些是Photoshop的典型特征，但是在当时，在实验室或是ILM之外的任何地方看到专业处理软件几乎是不可想像的。到了1988年，Display的名字变成了Image Pro，并且足够先进，以至于约翰认为他们有机会将它作为一款商业应用程序出售。托马斯不是很情愿，他还没有完成他的论文，创造一个完善的应用程序需要大量的工作。但是约翰调查了为数不多的竞争者后，他们意识到Image Pro 超越了现有的任何一款图像处理软件。于是他们开始寻找投资者。托马斯为软件更换了数次名称，每当他找到一个喜欢的名字，结果已经被别人占用。后来在一次软件演示中，他向人吐露命名软件时遇到的问题，这位朋友建议用Photoshop，而这就成了这一程序的正式名称。Most software companies turned their corporate noses up at Photoshop, or were already developing similar applications of their own. Fortunately, they met Russell Brown18, the Art Director of Adobe, who was highly impressed with the program and persuaded the company to take it on. Whether through naivety on Adobes part or canniness on the brothers, Photoshop was not sold wholesal