The design is undoubtedly innovation activities, but, unlike discovery and invention, it has a precisely defined goal, which is formulated in the form of a design task. For a long time in our science, the word “design” was understood only as “artistic construction”.

Artistic design is the process of solving a design problem, which includes the stages of developing a concept, identifying specific goals, analyzing an object, designing, developing project documentation and creating an image of a thing.

In general, the process of creating a new thing can be represented as the following diagram: demand - planning - programming (forecasting) - design - production - replication - distribution - consumption. The starting point of a designer’s creativity is the needs of man and society. He must study them, know them, feel them and transform them into objective forms and images that arise as a response to needs. The basis of design is a comprehensive consideration of social needs. Actually, the study of needs is the main content of pre-project analysis when creating a new thing: studying consumers and their needs; properties and qualities of products; requirements for this type of product. The design methodology is based on the consistent application of analysis and synthesis methods.

Pre-design analysis is a study and comparison of data carried out at the initial stage of design about the desired functions of a thing or a set of things or environment, about the appearance of the designed product and environment, about the manufacturing method, about the presence of analogues of the proposed object (analogue is a product similar to the one being designed for its functional purpose, principle of operation, conditions of use). Pre-design analysis reveals shortcomings of existing products and consumer wishes.

In addition to pre-design analysis, when designing a new product, they resort to socio-economic analysis, functional analysis (study of ways to use the product), functional-cost analysis (study of the structure of the needs of various population groups and the most cost-effective ways to satisfy them), technological analysis (research of materials and possible methods of manufacturing a product), shape analysis (research of the structure of a product and its analogues, search for options for compositional, structural and plastic solutions).

The results of the analysis must be integrated into synthesis operations through reification (structure formation) and harmonization (composition) of the object. Structuring of individual objects - shaping. Composition is a method of harmonization, a system of means and methods for creating an aesthetically holistic object. In the process of synthesis, the results of the conducted research are implemented in specific methods of shaping: combinatorial, analog, figuratively associative. Combinatorial and analogue methods of suit shaping have been quite well studied*. Synthesis in design is the mental ordering of design information selected during design analysis, and combining them into a single whole - a design image. Synthesis methods can be either systematic (combinatorial, analog) or spontaneous-intuitive (associative). In the process of synthesis, a creative concept is formed - the most important link in solving a design problem. The concept in design is the main idea, the semantic orientation of the goals, objectives and means of design.

Design is the creation of a description, image or concept of a non-existent object with specified properties. “The main stage of design takes place in the mind of the designer... Design combines knowledge and fantasy, intuition and calculation, science and art, talent and skill”**. Design is associated with the psychology of creativity, therefore, in order to intensify design, the designer needs to take into account and apply heuristic methods that promote the development of fantasy and imagination and the search for new non-trivial ways to solve a design problem. In the design process, it is necessary to apply scientific data (sociology, forecasting), as well as use figurative and associative methods that allow filling the form with meaning and sociocultural content.

The design idea is “materialized” during the design process in a sketch - in a layout - in a model. The initial stage of designing a new product is creating its sketch. The designer first creates a prototype in his imagination future thing taking into account existing project ideas, technology, economics of production, achievements artistic culture(architecture, painting, sculpture), and then its preliminary graphic image (sketch), which is then supplemented with three-dimensional models, descriptions of the appearance and method of practical use. In this case, the project takes on specific shape in the process of design modeling.

Modeling is a display, representation or description of an entire object (system of objects), situation or process. There are artistic and figurative modeling, mathematical modeling (calculating a mathematical model), design and graphic modeling (creating a sketch), volumetric modeling (creating a layout and model), verbal modeling (creating a verbal concept of a new object, describing the principle of its operation, etc. )

The most common modeling method is retrospective modeling, based on the analysis of prototypes and analogues and the formulation of a design problem based on this analysis. However, this method does not allow fulfilling the main task of design - creating new things, but makes it possible to improve existing ones. Another modeling method is constructive modeling, i.e. modification of the functions and morphology of a thing (the morphology of a thing is the material form of a thing, organized in accordance with its functions). Constructive modeling can be: corrective (the functions and shape of a thing are improved); transitional (functions and morphology are subject to rethinking to give the object new qualities - as an example from clothing design, one can cite the direction of deconstructivism in design); projective (the functions and form of a thing are created again - the work of the Japanese clothing designer I. Miyake). The most innovative modeling method in design can be considered prospective modeling (or project forecasting), which studies the desired prospects for the development of society and develops projects that can help achieve these prospects.

One of the design methods is prototyping - creating three-dimensional images of designed objects.

Layout - making mock-ups of products from various materials in full size or on the required scale. The following methods of layout are used in clothing design: tattooing and moulage. A model is a material spatial image of the designed product.

When designing instruments and machines, it is necessary for an engineer to check the technical viability of the plan, after which the designer makes adjustments to the design taking into account real technical capabilities. The final stage is the joint work of the designer and engineer on the structural, technical and aesthetic “refinement” of the image.

A clothing designer is able to independently design and manufacture a product without the participation of other specialists, as he has all the necessary skills. But if we're talking about about industrial design, then at different stages other specialists, primarily the designer and technologist, take part in the work.

Clothing design is the creation of a new sample of clothing with specified properties, including research, creation of sketches, layouts, models, calculations and construction of product drawings, production of prototypes. Designing clothing, like designing in general, involves the same steps and uses the same methods. Based on research of consumer demand and analysis of analogues, a creative concept is born, which is embodied primarily in the image. It is born either on paper when creating a sketch and then embodied in a layout, and then in a model, or in working with material during prototyping, and the layout is then embodied in a model. Modeling the shape of a suit - organizing the material in accordance with the compositional idea of ​​the suit, embodying the idea of ​​a clothing model in the material. The result of modeling is a finished product.

If we are talking about industrial design, then the clothing designer works together with a technologist and designer, first developing an experimental model, and then, after selection and testing, an industrial design.

Clothing design - development of the design (construction, relative arrangement and configuration of parts) of a clothing model. It consists of the following stages: selection of a methodology, development of product drawings for a preliminary design, calculation, construction of a drawing (using individual or standard measurements), making patterns, drawing up working documentation.

Technical modeling - development of drawings and clothing samples based on a basic model or its graphic image. The developed sample serves as a standard of form and design for mass production.

Technology - a set of methods for processing, manufacturing or processing raw materials, materials, semi-finished products or products in the production process; a set of techniques and methods for making clothes.

Each design stage has its own approach, determined by the characteristics of the project, the totality of initial data and some subjective features of the author’s execution.

Layout can be intended for the designer himself when translating an idea into a real visible volumetric form.

The design process consists of separate interconnected stages, developed as a result of long experience and having their own theoretical justification:

• 1. Preparatory (pre-project research);
• 2. Artistic and design proposal;
• 3. Implementation of artistic and design development.

Layout takes place at the stage of the art and design project. The content of this stage is the development and deepening of the approved artistic and design proposal, the ultimate goal is the execution of the artistic and design project to the extent provided for in the assignment.

Since ancient times, layout has been widely used; unlike graphics, it insignificantly reflected culture and had little connection with plastic art and had only practical significance.

Known layouts architectural structures belonging to the Renaissance, Baroque and Classicism periods. Russian architects of the 18th - 19th centuries. Rastrelli, Bazhenov, Thomas de Thomon, Montferrand practiced prototyping widely. The main proportions, scale of details, and possible visual distortions were checked on the model. Often the models were made detachable and from them one could judge not only the appearance of the structure, but also its interior. The architecture of the middle of the last century excluded prototyping not only from design practice, but from educational process. Modeling was again revived by constructivism. Since then, prototyping in architecture has been widely used.

Modeling as a method associated with the design of an object was rarely used during the time of craft production. But, nevertheless, a lot of time has passed since then, modern technology and its widespread use in the field of design make it possible to place the prototyping process at the main place in design.

With the advent of artistic design, layout has become an integral component of it, and the layout is often an integral part of the finished project.

The methodology and technique of prototyping is a tool for the design and research work of the design artist. The better the methodology and technology are mastered, the more complete the arsenal of design tools is, the faster and better it is possible to solve design and research problems.

There are typical, most common tasks that determine the design strategy and tactics, regardless of whether a separate product is being created or a combination of them.

There are five such tasks:

• 1. Variant transformations.
• 2. Aggregation and unification.
• 3. Functional design.
• 4. Modernization.
• 5. Forecasting.

Tasks on variant transformations, aggregation and unification require knowledge of certain design rules, the observance of which helps to achieve the required result.

The tasks of functional design, modernization and forecasting are not determined by the presence of constant rules. These rules are determined (if they were not previously known) or changed during the design process.

Variant transformations in artistic design pose a special problem. Traditionally it is believed that the search for options is purely creative activity, almost entirely dependent on the mindset of the designer.

The purpose of variant design tasks is to find out what forms and for what reasons the product being created can have, what are the possible search limits and what needs to be done to make the solution optimal.

The rules for variant transformations are based on the fact that not all elements of a product can be changed, so it is necessary to determine what in the product should change and within what limits. Layout work is planned based on which elements of the layout will be movable and which will be relatively unchanged.

The tasks of aggregation and unification involve solving structural problems. Layout should be the answer to the question: How should a certain set of products be divided so that they can be assembled from the same set of elements?

Modeling of the planning structure of a residential building is carried out using an application. Rectangles or other shapes are cut out of thick, preferably multi-colored paper, corresponding to rooms and other areas of the house on a scale of 1:100 or 1:50. Groups of rooms belonging to the same functional area are highlighted in color.

Options for the planning solution (within one floor) are drawn up on a sheet of cardboard, lined with a modular grid at intervals corresponding to the building module (for example, 1.2 m). Successful compositions are glued and left for comparison, and the search continues further on a new dummy.

In order to move on to more complex spaces, the rectangles of the rooms are cut into squares (corresponding to the modular grid), and the entire composition is laid out like a mosaic, while color differentiation figures will tell you which spaces should be isolated and which can be generalized using flexible functional zoning. Modeling of the social space of a residential building is carried out on the basis of a ready-made layout of the planning structure. Walls and partitions (corresponding in height to the interior spaces) are cut out of thick and smooth paper and installed along the boundaries of the rooms. The height of the room or alcove is taken equal to the width of the room. When making a model, the walls are made of flat paper, equal in height and width to the room, and in length to the perimeter of two or three sides. Windows and doors are cut out of the strip and bent in accordance with the corners of the enclosed room. Thanks to these bends, the strip acquires spatial stability and independently holds its shape. Modeling the social space of a residential building will help clarify the plan configuration, dimensions, boundaries, orientation of the interior, location of windows and bay windows, niches; will suggest the ratio of illuminated and shaded spaces, the arrangement of furniture. Ready-made solutions are glued to the baseboard with glue along the supporting edge. Volumetric layout spatial composition can be made of clay, plasticine, foam, paper. The initial data for making the layout are cube shapes obtained from the model of social spaces. The purpose of prototyping is to create the most expressive and meaningful external form of the building. Layout is carried out in generalized forms, the elements of the composition are clean and cut planes, volumetric figures, supporting frame. Particular attention is paid to the tectonics of the structure associated with the material of real structures. Flat structures are easier to imitate from paper, masonry from natural stone and columns from foam blocks, vaulted structures, curved and concave shapes from plasticine. Modeling the volumetric-spatial composition of a residential building will allow us to clarify the dimensions, proportions, configuration of the building as a whole and individual elements: walls, windows, roof, porch, turrets, attics, terraces, verandas. Using a volumetric-spatial composition, you can check the color scheme of the building and its placement on the site (using the layout of the underlying structure). Working prototyping makes the idea visual and accessible for analysis. Working layout calls active work related to the study problematic situation, visual, physical representation of the future building, checking and comparing options. Working models are made from cheap and plastic materials to visually check the compositional and structural design of the building, its placement on the site and illumination at different positions of the sun above the horizon. If the model is made on a scale of 1:50, then using a regular camera you can capture a view of the future building from the most characteristic points of view. The final model is made at a scale of 1:50 or 1:20 and can replace drawings for a small building. The final layout is made of hard materials: wood, foam with metal fastening elements and imitation of surface texture using scrap materials. The final model is a collapsible three-dimensional model of the structure in all details available for reproduction on the accepted scale. Based on design experience, components the models are: foundation block, basement, plinth, including the ground floor level; box of walls with stairs and second floor floor level; attic and roof. This layout structure allows you to show all the design features and volumetric solutions, making it easier to build a house.

Basic techniques for giving paper shapes. Cardboard and paper are convenient and easy to process manually. In addition, they have sufficient rigidity, which ensures the strength of the layout, and plasticity, which practically makes it possible to embody in one form or another all the creative ideas of the author. Rolled Whatman paper does not provide a flat, smooth surface suitable for use due to curling. The same applies to rolled formatted paper. To make the surface of the paper smooth, it must be stretched onto a stretcher or board. In order to stretch the paper onto the stretcher, a Whatman sheet is soaked in cold water on both sides for 1-2 minutes. Then, after shaking the paper slightly, it is placed on a stretcher or board lying horizontally and smoothed, dispersing the water to the corners. After that, the ends of the stretcher are coated with glue and paper is glued onto them, making sure that the glue does not get on the plane of the board. To glue the paper, you can use PVA glue, casein glue or glue made from flour. In order for the sheet to be evenly stretched, you should, without any extra effort, carefully (from the inside to the edges) straighten the corners and, folding the allowances into an “envelope,” crimp the sheet and secure each side with buttons. The board should be dried in a horizontal position. When dry, the paper will stretch itself and the surface will be smooth. Only after the paper has dried can you start working on it: drawing patterns and performing other necessary operations.

To make any curved surface, you need to pass the paper through a roller or some cylindrical object, such as a pencil or pen. Another commonly used method is the method of rounding a sheet of paper, used in the manufacture of a cylinder, cone or other body of rotation. To do this, it is enough to divide the development of these bodies into vertical lines into equal strips 3-5 mm wide and, using a breadboard knife, cut the sheet from the fold side to one third of the sheet thickness, being careful not to cut through it to the end.

Cuts in all types of reamers are made with a breadboard knife along a metal ruler. If the sheet is thin, then you can use a non-sharp, narrow object, for example, the outside of the end of a pair of scissors. Thus, it is possible to make notches of the ribs in the developments of the layout parts drawn on a stretched stretcher, where there is a danger of tearing the sheet of paper from a strong cut. This method gives the layout additional rigidity and allows you to achieve significant strength. Layouts often use structures or rigid spatial frames. U-shaped or l-shaped elements in cross-section are suitable for this, because they have significant rigidity. The edges and edges of the folds must be clear, without creases or bends. To do this, it is necessary to make cuts along the future fold lines on the side where the outer edge will be formed. After all the specified operations have been carried out, that is, the paper and cardboard are prepared for work, the parts and developments are drawn and cut out with high quality, the necessary notches and cuts are made, you can begin assembling and gluing the layouts.

The most accurate way of gluing is end-to-end gluing (on edge), but for this you need to have extensive experience working with layouts. A simpler gluing option is gluing one form to another using folded edges of the paper. This gluing method is most effective and necessary in the manufacture of fairly large cylindrical volumes, where all surfaces are required to be closed. In this case, it is necessary to very carefully make notches around the circumference of the unfolded triangles in order to maximally preserve the curvature of the circle and avoid the formation of gaps between the circle and the rectangular part of the cylinder development. The lapels are cut towards the fold.

For greater expressiveness, color is often used in layout. Colored paper can be glued to the surface of a Whatman sheet or cardboard using rubber glue. This glue does not leave marks on the paper, “rolls” easily, firmly attaches the sheet and makes it possible to evenly smooth the surface of the glued sheet. To stick tightly colored paper, you need to spread glue on the unfolded part, not yet assembled, and coat the surface of colored paper with glue, let it dry, and then apply one surface to another. If you need to use a color or tone that is not in the set, you can make colorings from white paper.

Watercolor paints are used to tint paper, and gouache paints or ink are used to obtain rich, opaque color. The paper should be stretched on a stretcher, regardless of whether it is tinted with watercolors or stamped with gouache. For tamping, a piece of foam rubber is usually used, wound around a pencil or stick. The paint is applied with a swab to paper light tapping movements. Only after the paint has dried can you draw the pattern and cut it out, and then begin assembling the layout parts.

layout loft sketch interior

Layout on different stages design.

Lecture 12. Layout and modeling and their role in design.

1. The concept of “Layout”, “Layout”, “Model”, “Modeling”.

Layout(French Maquette - scale model, Italian macchietta, diminutive of macchia) - a model of an object on a reduced scale or life-size, usually devoid of the functionality of the object being represented. Intended to represent an object. Used in cases where the representation of the original object is unreasonably expensive or impossible.

An architectural model is a three-dimensional image of architectural structures.

Original layout is an original that completely matches the future printed edition.

Electronic layout – generalized information about the product and its components in electronic form.

An urban planning model is a model of an entire microdistrict or city. Often on a scale of 1:1000 – 1:5000

Landscape layout - layout of the area. Displays mountains, lakes, terrain, trees.

Interior layouts – show the interior arrangement of an apartment or cottage.

A model is a model of something: a preliminary sample. For example, a layout of scenery, a book, a binding.

Layout has been widely used since ancient times; unlike graphics, it insignificantly reflected culture, had little connection with plastic art and had only practical significance.

Models of architectural structures dating back to the Renaissance, Baroque and Classicism periods are known. Russian architects of the 18th – 19th centuries. Rastrelli, Bazhenov, Thomas de Thomon, Montferrand practiced prototyping widely. The main proportions, scale of details, and possible visual distortions were checked on the model. Often the models were made detachable and from them one could judge not only the appearance of the structure, but also its interior. The architecture of the middle of the last century excluded prototyping not only from design practice, but also from the educational process. Modeling was once again revived by constructivism, associated in Russia with the activities of VKHUTEMAS. Since then, prototyping has been widely used in architecture.

Modeling as a method associated with the design of an object was rarely used during the time of craft production.

Only with the advent of artistic design as a type of design activity did prototyping become an integral component of it, and the layout often became an integral part of the finished project.

A model is some simplified resemblance of a real object; reproduction of an object in a reduced or enlarged form (layout); diagram, physical or information analogue of an object.

Modeling is:

Model building is real existing facilities(object, phenomenon, processes);

Replacing a real object with its suitable copy;

Study of objects of knowledge on their models.

Modeling is an integral element of any purposeful activity, one of the main ways of cognition.

Due to the polysemy of the concept “model” in science and technology, there is no unified classification of types of modeling: classification can be carried out according to the nature of the models, the nature of the objects being modeled, and the areas of application of modeling (in engineering, physical sciences, cybernetics, etc.). For example, the following types of modeling can be distinguished:

Information Modeling

Computer simulation

Mathematical modeling

Mathematical cartographic modeling

Molecular modeling

Digital modeling

Logic modeling

Pedagogical modeling

Psychological modeling

Statistical Modeling

Structural Modeling

Physical modeling

Economic and mathematical modeling

Simulation modeling

Evolutionary modeling

The modeling process includes three elements:

Subject (researcher),

Object of study

A model that defines (reflects) the relationship between the cognizing subject and the cognizable object.

The first stage of building a model assumes some knowledge about the original object. The cognitive capabilities of the model are determined by the fact that the model displays (reproduces, imitates) any essential features of the original object. The question of the necessary and sufficient degree of similarity between the original and the model requires specific analysis. Obviously, a model loses its meaning both in the case of identity with the original (then it ceases to be a model), and in the case of excessive difference from the original in all significant respects. Thus, the study of some aspects of the modeled object is carried out at the cost of refusing to study other aspects. Therefore, any model replaces the original only in a strictly limited sense. It follows from this that for one object several “specialized” models can be built, concentrating attention on certain aspects of the object under study or characterizing the object with varying degrees of detail.

At the second stage, the model acts as an independent object of research. One of the forms of such research is conducting “model” experiments, in which the operating conditions of the model are deliberately changed and data on its “behavior” are systematized. The end result of this stage is a set (set) of knowledge about the model.

At the third stage, knowledge is transferred from the model to the original - the formation of a set of knowledge. At the same time, a transition occurs from the “language” of the model to the “language” of the original. The process of knowledge transfer is carried out according to certain rules. Knowledge about the model must be adjusted taking into account those properties of the original object that were not reflected or were changed during the construction of the model.

The fourth stage is the practical verification of the knowledge obtained with the help of models and their use to build a general theory of the object, its transformation or control.

Modeling is a cyclical process. This means that the first four-step cycle may be followed by a second, third, etc. At the same time, knowledge about the object under study is expanded and refined, and the initial model is gradually improved. Deficiencies discovered after the first modeling cycle, due to poor knowledge of the object or errors in model construction, can be corrected in subsequent cycles.

Now it is difficult to indicate an area of ​​human activity where modeling would not be used. For example, models have been developed for car production, wheat cultivation, the functioning of individual human organs, and life Sea of ​​Azov, consequences of nuclear war. In the future, each system can have its own models; modeling should be carried out before the implementation of each technical or organizational project.

Academic painting

Academic drawing

Graphic presentation

Design Research

Design-engineering-course project

Design

Information Technology

History and methodology of design

Computer technology in design

Creative technologies in industrial design

Multimedia presentation

System design

Contemporary Design Issues

Special drawing

Typography

Ergodesign

History and philosophy of science

Intellectual Property Protection

Innovation management

Business English

Bachelors

Introduction to the specialty

History of design, science and technology

In this course, students gain an understanding of the role of technology in the development of civilization, its influence on the formation of a way of life and thinking; gain an understanding of the role and place of design in modern world culture, an understanding of the possibilities and ways of development of technology and design. The course covers: Design as an activity. Design in the system of culture, art, production. History of technology development. Philosophy of technology. Origins of design, design and craft art. The emergence of industrial production and the emergence of design issues. Technical progress of the 19th - early 20th centuries. Specifics of industrial development of Russia. Industrial art in Russia, constructivists, etc. Features and problems of domestic design. Design achievements, world design schools, personalities.

History of culture and arts

In this course, students gain an understanding of world cultures, their history, characteristics, traditions and heritage in the field visual arts; understanding the general cultural context of which design is a part. The course covers: Culture and art primitive society And Ancient world. Development of arts, types of arts. Culture and art of the Middle Ages and the Renaissance. Baroque, Rococo, Great Age French Revolution and Empires, Romanticism and Modernism. Realism, modernism, postmodern. Great masters of the past and present. Art of the East, America and Africa in the context of their cultural characteristics. Culture and art Ancient Rus', the originality of Russian culture. Russian artХYI-ХХ centuries. Mass culture and the 20th century. Trends and features of the development of contemporary world art. Trends in the development of contemporary world art - realism, modernism, postmodernism, mass culture; Features of the development of culture and art in the second half of the twentieth century. Directions and theories in art history. Schools of contemporary art.

Academic drawing

The discipline "Academic Drawing" studies the language for representing graphic information about three-dimensional objects of varying complexity and methods for displaying graphic information in two-dimensional graphics to prepare students for independent professional work. The discipline "Academic Drawing" belongs to the cycle of general professional disciplines, aimed at developing in students aesthetic taste, artistic thinking and vision, compositional flair, the ability to abstract the shapes of objects, independently pose and competently solve compositional problems in artistic design. The method of teaching the subject is based on the achievements of the national school of educational drawing. The study of this discipline is inextricably linked with the basic level disciplines “History of Culture and Arts”, “Painting”, “Sculpture and Plastic Modeling” and in turn creates necessary basis for more successful mastery of the most important advanced-level disciplines, such as “Special drawing”, “Design and modeling of industrial products”, etc.

Sculpture and plastic modeling

Despite the widespread use of computer design technologies and the growing use of rapid prototyping methods for the production of mock-ups, models and prototypes of designed products, traditional prototyping and, in particular, operational manual prototyping using simple materials (paper, cardboard, foam plastic) remains an integral and important part of the overall design process in industrial design. Simple and relatively inexpensive layouts made from available materials make it possible, already at the initial stages of a design project, to visually and comprehensively present options for future solutions and evaluate them both for the designers themselves and for other project participants. The discipline “Sculpture and Plastic Modeling” aims to teach students the basics of design prototyping, skills in working with prototyping materials and tools, teaches precision and accuracy, and allows them to carry out certain design solutions using simple prototyping materials at different stages of design project development. Laboratory work are devoted to performing various exercises and background aimed at studying the properties of individual model materials, gaining skills in working with paper, cardboard, hand model tools, plasticine and foam plastic. Students gain skills in working with the most common simple design materials, using their properties and capabilities, and developing three-dimensional and design thinking. By mastering various methods and techniques of prototyping using examples of objects of different nature and using materials with different properties, students learn to choose the optimal materials and prototyping technology, develop a rational structure of the layout and the design of its parts, as well as plan the entire process of developing and manufacturing the layout. The discipline "Sculpture and Plastic Modeling" is close in nature and purpose to the course "Fundamentals of Composition in Industrial Design" and technically complements it. Therefore, methodologically, the disciplines are closely related: some of the training exercises and assignments are common to both courses, logically complement each other, making the learning process more integrated, and the students’ work more meaningful and focused. Students further use the knowledge, skills and experience gained during the study of this course in the course “Design Design” when developing products and for visualizing design results, as well as in the subsequent course “Prototyping in Industrial Design”.

Flower science and coloristics

The discipline “Color Science and Coloristics” introduces two areas of knowledge: the first, preliminary, relates to the field of psychology and introduces the patterns of visual perception necessary for understanding color harmony and compositional principles, as well as for design practice in general. The second, main one, is devoted directly to color, its theory, research of properties and experience of application in professional activities. This course studies the conditions for the occurrence of visual phenomena, the laws of their perception; laws of color formation and principles of color harmony, classical and modern color models and color theories, the basics of the psychological effects of color. Students explore the conditions for the occurrence of visual phenomena, master methods for assessing them; observe and study the conditions for the appearance of color, the effects of its manifestation and mixing, study the properties of light, color, and pigments. Students gain practical skills in using color, gain experience working with paints and digital color when creating pictorial compositions, and experience selecting colors using standard catalogs and samples. Homework is aimed at consolidating acquired knowledge and skills and at developing color perception in the practice of working with color.

Information technology in design

The discipline "Information Technologies in Design" aims to study and master the basic programs of vector two-dimensional and three-dimensional graphics used in design activities; acquiring skills to work with them for their practical application in the learning process and in design. The main packages are studied: Corel Draw (two-dimensional graphics) and Rhinoceros (three-dimensional modeling). In the course of lectures, students become familiar with the principles of working in two-dimensional and three-dimensional vector graphics; structure and tools of relevant programs and methods of working in them. Laboratory work is devoted to the practice of using these programs when solving graphic problems, when creating objects and models. Students gain skills computer drawing and three-dimensional modeling; initial skills in modeling and visualization of simple products; initial skills in developing graphic and industrial design. Students use the experience gained in the Design Engineering course to develop products and to visualize design results.

Organization of project activities

In this course, students acquire the ability to rationally and effectively organize the design process, the process of communication with the client; the ability to respect and defend one’s creative commercial interests; the ability to correctly and rationally conduct contractual relations; ability to bring a project to fruition; knowledge of copyright protection.

Basics of organizing the design process, project management, interaction with the client, project promotion, designer supervision, contractual and project documentation. Design management. Copyright and patent law, utility models and industrial designs.

Painting

Seminar classes in the discipline "Painting" are conducted interactively, and their goal is to master the fundamentals of academic and plane art. decorative painting. The discipline studies the basic laws of painting, its means, techniques, means of expression and harmony, which contributes to deepening knowledge, and develops the necessary techniques for independent professional creativity. At seminar classes, students master methods of working on drawing, composition and color, and in practice learn professional skills in working with painting materials, such as watercolor, gouache and acrylic paints. Students are introduced to finding a choice of expressive compositional and color solutions in painting, in practice they master the methods of transition from a volumetric-spatial interpretation of the shape of objects to a more conventional and flat decorative painting, they are able, by generalizing nature, to see the main thing in it. Students set themselves creative tasks and find means to solve them, have their own artistic vision and taste, and have a high performing level. Thus, students gain practical and theoretical skills as an artist to further implement the creative concept of an industrial designer from the analytical stage to the final result. Homework is aimed at accumulating knowledge and skills to gain practical experience necessary in the professional activities of an industrial designer.

Basics of Composition in Industrial Design

The discipline "Fundamentals of Composition in Industrial Design" aims to study and master the basic principles compositional construction, development of volumetric-spatial thinking, interaction of flat and volumetric elements and colors on the plane and in space. Various harmonization techniques and composition construction techniques are mastered. This discipline represents a deep organic basis for the design of industrial products. It is the general compositional solution, together with the composition of nuances and details, that determines the image and appearance of the product - integral components of its overall design. Therefore, this course is one of the most important components of the industrial designer training program. During lectures, students become familiar with various types compositions in art, architecture and industrial design, the basic laws of its construction, learn to analyze ready-made compositional solutions. Seminar sessions are dedicated to practical classes on creating planar, relief and volumetric-spatial compositions. Students gain skills to work with various materials and techniques, develop a “vision and sense of composition”, learn to creatively approach the search and selection of compositional solutions. The discipline "Fundamentals of Composition in Industrial Design" is partly close in nature to the course "Sculpture and Plastic Modeling", complements and creatively enriches it. Therefore, methodologically, the disciplines are closely related: some of the educational exercises and assignments are common to both courses, logically complement each other, making the learning process more integrated, and the students’ work creatively interesting, more meaningful and purposeful. Students actively use the knowledge, skills and experience gained during the study of this course in the main course “Design and Design”, as well as in the courses “Special Drawing” and “Design of Packaging and Accompanying Documentation”.

Fundamentals of theory and design methodology in industrial design

In this course, students master artistic design as a method of design activity and the basic principles of shaping industrial products; study the process of artistic design, stages of the project; solve basic types of design problems.
The course covers:
Definitions of design. Design and production, design and technology, design and market, design and lifestyle. Areas of application of design - design in the living environment; design in the transport sector; design in the social sphere; design for the disabled, elderly, children, etc. Design process, project stages. Basic requirements and composition of the design project. Categories of designer's design activities. Research of the project situation, modern methods of pre-project research, comparison with marketing research. Choosing a strategy, methods for developing creative thinking and searching for ideas. Design in innovation processes. System design, methods and tools for designing system objects, design typologies and classifications.

Design of accompanying documentation and packaging of industrial products

In this course, students master the practice of designing packaging and accompanying documentation as components of a design project.
The course covers:
Types and role of packaging and accompanying documentation for industrial and consumer products, their importance in the holistic presentation of the project; development methods and practices.

Design and modeling of industrial products (design engineering)

Seminar classes in the discipline "Design-projecting" are conducted interactively and are aimed at students mastering practical design project activities. The discipline studies methods for designing products of varying complexity and methods for solving various design problems to prepare students for independent professional work. During the seminars, students become familiar with the subject of design, its scope, current state, with the specifics of design, the composition of a standard design project. Students master methods of analyzing a pre-project situation; methods of setting goals and objectives, choosing strategy and tactics for a design project; methods of searching for ideas through various creative techniques; methods, approaches and means of conceptual, sketch and technical design. Students gain practical skills in developing design projects for products of varying complexity from the analytical stage to the final result; skills of visualization and argumentation of one’s own ideas; teamwork skills. Homework is aimed at acquiring independent, versatile practical experience necessary in professional activities. In design, students use the knowledge and skills gained from studying all other disciplines of the course and incorporate them into semester assignments and projects. The discipline is taught by leading practicing industrial designers, members of the Union of Designers of Russia. During its study, it is planned to implement projects based on real industry orders.

Layout in industrial design

In this course, students master plastic materials and their use in design practice; master prototyping methods to find and check the design, form and other components of the project.
The course covers:
Layout functions, types of layouts. Layout at different stages of design, materials for layout and types of finishing. Modern methods rapid prototyping.
Guidelines for performing laboratory work

Design in industrial design

In this course, students become familiar with the basics of design in mechanical engineering; gain an understanding of the strength and performance characteristics of structures and typical structural elements and their application.
The course covers:
Basic principles and methods of design. Fundamentals of Strength of Materials. Machine parts.

Alphabets in industrial design

In this course, students gain knowledge about sign systems and how to use them in design practice.
The course covers:
Sign systems, their types, place, role and meaning in the general cultural context. Font, symbol, color alphabets. Industrial design objects as carriers of graphic and font information.

Materials Science in Industrial Design

In this course, students gain an understanding of technologies, knowledge of materials, their design features and decorative properties for practical use in design.
The course covers:
Technological shaping, manufacturability. Materials processing technologies (metals, plastics, composites). Form-forming and decorative properties of structural materials; protective and decorative coatings.

Ergonomics

In this course, students gain knowledge of ergonomic requirements and recommendations, gain skills in using them in design activities, and become familiar with the ergonomic support of a design project.
The course covers:
Fundamentals of ergonomics, ergonomic requirements, anthropometry. System "man - machine - environment". Ergonomic support for the design of products and equipment; workplaces, visual systems, interfaces.

Visual Communication Design

Computer support for design

The discipline "Computer Support of Design", being a logical continuation of the course "Information Technologies in Design", gives students knowledge and skills in the field of raster two-dimensional graphics, three-dimensional modeling and computer rendering of three-dimensional objects and scenes, and also prepares students for the effective use of digital technologies in the design process. During the classes, students learn the raster graphics program Photoshop and the 3D modeling and rendering programs Rhinoceros and Flamingo - software actively used professional designers. Two-dimensional graphics and the Photoshop graphics program are studied to the extent necessary for use in industrial design projects. The 3D modeling and rendering programs Rhinoceros and Flamingo, being the main computer-aided design tools for industrial design, are studied in full. The Rhinoceros program course is a continuation and expansion of the study of three-dimensional modeling methods begun in the “Information Technologies in Design” course; section of the Flamingo program is a self-paced course in computer rendering of 3D models and scenes.
The study of programs is based on a combination of two forms of classroom training:
a) lecture-demonstration type, in which the teacher talks about the capabilities and tools of the software, while simultaneously demonstrating them and how to work with them using the appropriate software package, computer, projector and large screen
b) laboratory type, in which students, under the supervision of a teacher, perform exercises in the relevant sections of the course.
Doing homework allows students to consolidate the knowledge acquired in lectures and laboratory classes. Not only abstract educational models are used as topics for laboratory and homework assignments, but also objects designed in the parallel courses “Volume-spatial composition” and “Design design”, thanks to which individual educational courses are connected, and the work of students becomes more meaningful and productive. Successful completion of the course program "Computer Support for Design" allows students to effectively use the acquired modeling and visualization skills both in the course of further education and in the process of future professional activities.

Layout- design and research modeling aimed at obtaining visual information about the properties of the designed product in the form of a three-dimensional image. Layout, three-dimensional image provides information about the spatial structure, dimensions, proportions, plasticity (topology) of surfaces, color texture and other features of the product.

In the process of working, the designer inevitably has to make an important and motivated decision regarding the scale of the layouts to be executed. The following are taken into account:

typology of development objects;

design stage, its work tasks;

material, manufacturing technology and actual complexity of the layout;

its design complexity, permissible and necessary degree of detail;

available production area for assembly, issues of transportation and long-term storage;

established traditions, personal experience and creative preferences;

In architecture, prototyping is the process of creating, usually from paper (cardboard), a smaller version of a building or structure. The result of this process is a layout, a visual, three-dimensional composition based on the drawings of the future structure. Such work is necessary in order to eliminate any inaccuracies or inconveniences of the future object at the first stage of its creation. It is prototyping that ensures the accurate transfer of an object from sheets, from drawings into real space. There are 5 types of layout: architectural, planning, industrial, gift, conceptual.

Fig. 1 - Object layout (architectural layout)

Layout features

In the design process, a set of operational functions of layouts is practically implemented.

Project functions layouts are associated with the formation and implementation of the plan, transformation, detailing and justification of design decisions, with the constructive reformation of the object and bringing it into line with the ideal of form, with the chosen system of thinking.

Their research function manifests itself in an experimental variant design search, testing different directions for transforming an object, various compositional relationships and plastic solutions of its parts and elements, attempts to implement a number of rational principles (unification, aggregation, modular-combinatorial shaping, etc.). This creates a basis for analysis, comparative assessment, conclusions and adjustments, and clarification of design strategy and tactics. At the same time, it is the layout that is the means that allows you to carry out design actions and at the same time examine their results - to establish the feasibility of ideas and assumptions, to determine the compatibility of various requirements. It indicates the necessary changes in the planned solution and makes it possible to minimize errors, which is reflected in its correction function.

The main purpose of search layouts is to carry new knowledge and contribute to the birth of new, original ideas. Therefore, we are talking about heuristic function, which is based on the traditional presence of feedback between mental and visual, iconic images. This most important productive function of layouts is associated with their ability to stimulate the designer’s creative process, encourage invention, and the ability to overcome traditional approaches to solving design problems.

Connects with the heuristic function prognostic- as the production of an element of novelty in the structure of the design solution, prospectively oriented for a certain time period. By “forecast” we usually mean probabilistic statements about the future with a relatively high degree of certainty.

The guiding ideal is formed in the design process with the participation of the artistic and figurative component of professional thinking and under the influence of artistic and cultural examples. The creative individuality of the author and his stylistic style can also play a significant role in this. As carriers of artistic este, included in the context of culture. In other words, artistic and ideological function is also typical for them if they are created by a designer.

Through the characteristics of the layout, the designer expresses his attitude to culture, artistic traditions and innovations, to the potential consumer of the design product. By producing three-dimensional models for various purposes, the designer models the thinking and actions of specialists and consumers, and when developing complex system-environmental objects, the dialogue between the operator and the environment. This is how layouts become tools psychological modeling, what can be seen as their important purpose. In them, the characteristics of the development object find material embodiment, dictated by the nature of the author's plan.

In compositional layout, first of all, the layout and volumetric-spatial structure of the object, its tectonics, rhythmic and plastic structure, the proportions of the main parts, and dominants are reproduced. When executed further with the layout finishing function it is enriched with details, the proportions of parts and elements, their figurative-plastic character, color graphics, texture and harmonious plastic transitions of surfaces are specified, the exact spatial and dimensional

Organizationally and methodologically, it is always necessary to record, consolidate the intermediate and final results of the design process, also broadcast them in time and space, transfer them to the customer and production. This task is successfully accomplished by layouts that reduce graphic documentation and improve mutual understanding between designers and customers. At the same time, they are implemented reproductive And communicative functions, demonstration (exhibition) or presentational(manifests itself in specific post-project conditions, for example, in exhibition displays, when filming video clips or in the context of a student’s public defense of his thesis).

Educational function layouts can have a diverse concrete manifestation. First of all, we note that included in the academic design process, they are designed to teach thinking and designing in three-dimensional space, developing imagination and a sense of geometric, plastic and proportional-rhythmic harmony.

Typology of layouts

Design layouts are distinguished by purpose (in connection with the tasks of the work stage), scale, material, technology, structural complexity, degree of conventionality and detail, degree of completion, colorographic features, labor intensity, strength, durability and quality of execution. They usually do not model the internal structure of the development object.

There is no rigid system of connections between types, classes and types of layouts, since depending on the developing design situation, the same layout can be classified in different ways. Researchers of design methodology distinguish, firstly, two types of layouts - rough And finishing or workers And exhibition. Draft (working) layouts - also called preliminary. Secondly, depending on the functions performed, they are classified into search, development And demonstration, Moreover, the first and second are considered as varieties of rough, and the terms “finishing”, “exhibition” and “demonstration” are synonyms. Search layouts are sometimes called projective, and finishing - corrective or testing.

Search layout- a three-dimensional image that is uniform in material and color, possessing maximum generalization and expressiveness with minimal use of visual aids, completed in a short time with the least possible labor costs.

By using finishing layout the optimal solution from those obtained during the search process is worked out and the final characteristics of the created product and its compositional solution are determined. This procedure is used not only to clarify appearance, but also for the development of drawings of parts and components of technological equipment; A common type of finishing is geometric systematization of the surface of a product, taking into account the conditions of visual perception and in order to ensure the manufacturability of formative elements. The finishing process is a system of sequential actions: from. layout to drawing and from drawing to layout.

RAndWith.11- 4. Demonstration layouts: a - minAnd-rabbit farms;b - serving table

Demonstration(finish, display, exhibition) layouts provide a complete and complete picture of the aesthetic (artistic) level of a design object, comprehensive information about its structure, volumetric-spatial solution and color-texture characteristics of the form. In the demonstration models, the solution found the day before in a soft, pliable material during the search and refinement is fixed in a hard material (plexiglass, polystyrene, plaster, metal, wood). The demonstration model must be sufficiently durable and transportable, it cannot be altered and marks the moment when the design is completed; it is stored or transferred to production as a standard for the appearance of a future industrial product.

Rice. 2 - Demonstration mock-up of a serving table

A special classification group is research, experimental models, specifically designed for aerodynamic, hydrodynamic, strength tests or ergonomic analyses.

Planning layouts, used in the creation of complex objects, are constructed with the aim of determining and showing the rational placement of components in a certain area.

Rice. 3 - Planning layout “Children’s playground”

Rice. 4 - Planning layout “Furniture set for student dormitory” M1:5

Interior layouts have their own specifics. They are performed in scales from 1:10 to 1:50; the walls of the premises are either absent or limited to two or three; the shape of the objects filling the space is modeled conditionally - furniture, machines, etc. are very schematically cut out of foam plastic. In educational settings, paper mock-ups fully satisfy the requirements of the design methodology. For exhibitions, they are often made in solid material (plexiglass, plastic) with subsequent painting of their structural elements. The planning of premises equipment is usually preceded by auxiliary sketch and graphic modeling of a complex design situation.

Classification of artistic and design layouts according to structural and technological indicators and material

Type of layouts (structural-tectonic)	Subtype of layouts (technological)
One-piece molded (hollow, vaulted)	Punch made of sheet metal (copper, aluminum). Plaster reinforced (casting, spraying, mold rotation, burlap) Vacuum forming sheet thermoplastic (polystyrene, plexiglass) Fiberglass(fiberglass according to the “master model”, resin, drill gel) and dental plastic. Papier-mâché(multilayer paper but molding model, glue)
Monolithic and block (in a mass of homogeneous material)	Cast, molded (plaster, aluminum, bronze, wax) sculptural, in soft material (clay, plasticine, wax) Machining product: carpentry, turning, metalworking, etc. (wood, raw gypsum, aluminum, brass, block polystyrene and plexiglass, foam plastic) Made according to templates: stretched or twisted (gypsum, clay)
Prefabricated panel (and frame-panel) with support-bearing vertical elements	Stolyarny manufacturing (ogralite, plywood, lumber) Gypsum panels,“frozen” from flat form-building parts Paper and cardboard, cut and glued (PVA glue, “MOMENT”) Plastic from flat and unidirectionally bent elements (polystyrene, plexiglass)
Complex in structure and technology, heterogeneous in materials (and spatially developed, multi-element)	Appearance standards in real and simulating materials (metal, plastic, enamels, electroplating, wood veneer, self-adhesive films) Layouts "revealed structure" with imitation of real materials and standard parts. Layouts environmental and complex objects, mounted on a single supporting base (base): museums, exhibitions, parks, territories (foam plastic; foam rubber, glass, shavings, sawdust, sponge, etc., etc.) Large (M 1:1), sketch landings layouts assembled from waste, salvage materials and improvised means. Layouts tension surfaces and light spatial cable-stayed, “sail” structures made of tissue, thread, knitted and rolled film materials

For model work, practically any structural, finishing and auxiliary materials are used: soft (clay, plasticine, wax, fabrics), hardening (gypsum, fiberglass components, dental plastic, papier-mâché) and hard (sheet and block plastic, wood, metal, cardboard, hardboard, etc.). Finishing materials include various paint and varnish and galvanic coatings, wood veneer and soft-based, self-adhesive materials. Auxiliaries: water (for hardening the gypsum), various thinners, primers and putties, various adhesives and fasteners, wire, screws, nails, etc.

Rice. 5 – Examples of layouts made from various materials: paper, metal mesh, wicker, plastic

All production of the model takes place in 5 stages. The first is computer processing of the project: dozens of programs capable of creating a building or structure in 2D or 3D format according to the entered parameters. The second stage is the development of structures and adjacent layout devices. Direct “sculpting” of the layout. At the third stage, the parts are cut out, and at the 4th stage they are assembled. The final stage involves the artistic design of the layout.

An almost complete project includes the following main components: plan, development and perspective. In some cases, these components can be replaced with a color layout.

The method of mock-up project development is used at all stages of design. The layout allows you to check volumetric-spatial compositions from different angles and under different lighting. The layout is usually supplemented by a set of graphic fragments or perspectives. The layout shows the constructive essence of the project, the architectural system and the principle of the graphic solution.

Image of combined projections makes it possible, without resorting to perspective or axonometry, to show entire ensembles, to connect orthogonal projections of individual elements with space, and also to combine an orthogonal projection with an image in one drawing environment. Has the principle of placement on the drawing. For example, showing one plan across the entire sheet will highlight its importance as the centerpiece of the project. Including photographs from the layouts in the composition of the design graphics will significantly increase its persuasiveness.

Development of artistic design. Depicting the environment is an important technique in design graphics. It shouldn't be "wordy". For example, to show vegetation, a conditional hint is enough. No details needed here. It is only necessary to maintain the scale and show the nature of the environment taking into account the designed object.

Rice. 6 - Examples of plastic modeling work