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 the 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, the components of the model are: a block of foundations, a basement, a 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.

Used for toning paper watercolor paints, and to obtain a rich, covering color - gouache paints or mascara. 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 to the paper with a swab using 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

The purpose of the lesson: to develop the ability to use techniques and means of composition, to develop aesthetic taste using the example of works of art constructed taking into account compositional laws.

Lesson objectives:

Educational: introduce students to different types graphics, basic definitions and concepts of graphic design
Developmental: develop cognitive interest, promote the formation of creative imagination, develop taste and sense of composition
Educational: fostering cognitive interest in the art of design

Lesson equipment:

1. Computer class

2. Multimedia projector

3. Exhibition of printed products

Lesson plan:

1. Define graphics, the main types of graphics and the role of graphic design in modern art.

2. Show computer presentation followed by explanation

3. Carrying out independent work using ICT technologies.

Organizational moment

Introduction. You and I know how diverse fine art is. Let's name the types of fine arts.

Children's answers: Painting, graphics, sculpture, etc.

Today we will talk to you about graphics and its varieties..

The topic to be studied today is: "Compositional principles of layout in graphic design. Text and image as elements of composition."

1. Harmony, contrast and expressiveness of a planar composition

2. Symmetry, asymmetry and dynamic balance

3. Movement and statics

4. Straight lines and organization of space

5. Color - an element of compositional space

6. Letter - line - font. Type art

7. Compositional basics of layout in graphic design. Text and image as composition elements

Graphics (from the gr. grapho - I write, draw) is a type of fine art that is associated with images on a plane. Graphics combine a drawing as an independent area and various views printed graphics: woodcut (woodcut), metal engraving (etching), cardboard engraving, etc.

Graphics can be easel, book, applied.

Easel graphics. A type of graphic art, the works of which are independent in purpose and form, are not included in the ensembles of a book, album or in the context of a street, public interior, like a poster, and do not have an applied purpose, like industrial graphics. The main types of easel graphics are easel drawing and easel sheet of printed graphics (printmaking). The main forms of easel graphics are museum and exhibition collections and displays, hanging on the walls of public and residential interiors. Easel graphics decorate offices, galleries, and the walls of our apartments

Book graphics. Book graphics - one of the types graphic art. This includes, in particular, book illustrations, vignettes, headpieces, initial letters, covers, dust jackets, etc. The history of drawing has been largely associated with the handwritten book since antiquity and the Middle Ages, and the development of engraving and lithography has been largely associated with the printed book. In the ancient world, a font appeared, also classified as graphics, since the letter itself is a graphic sign. The artist illustrates the text and complements it visual images, helping the reader understand the writer's intent.

Graphic design is an artistic and design activity to create a harmonious and effective visual and communicative environment. Graphic design makes an innovative contribution to the development of the socio-economic and cultural sphere, contributing to the formation of the visual landscape of our time

Graphic design spans human history from the Lascaux cave to the dazzling neon of Ginza. In the long history of visual communications, there are subtle differences and overlaps between the arts of advertising, graphic design, and fine art. They share many common elements, theories, principles, practices and languages, and sometimes the same patron or client. In the art of advertising, the absolute goal is to sell goods and services.

Graphic design: “The essence is to give order to information, form to ideas, expression and feelings to objects that confirm human experiences.”

Graphic design can be classified according to the categories of problems it solves.

Typography, calligraphy, fonts, including newspaper, magazine and book design

Corporate identity, brand names, logos, brand books

Visual communications, orientation systems

Poster products

Visual solutions for product packaging, including confectionery and food

Web design tasks

Visual style television programs and other media products

Common uses of graphic design include magazines, advertising, packaging, and web design. Composition is one of the most important properties of graphic design, especially when using preliminary materials or other elements

Graphic design is the human activity of creating functionally and artistically significant products made using manual or computer graphics. Brush, pencil, pen, computer mouse, felt-tip pen are equal tools for creating graphic design products. Various artistic techniques and effects are used, designed for a positive perception by both the author and the user.

Let's try to formulate the properties of the composition:

1. Symmetry and asymmetry

2. Dynamics and statics

4. Contrast and nuance

5. Proportionality and scale

6. Color and tonal unity

By type of execution, three groups can be clearly distinguished:

Text only

Only a sign

Combined version

What can be called graphic design products?

The corporate style of the company and its main element is the logo

Packaging, labels, covers

Souvenir products

Internet sites

Book layouts and illustrations

from Greek logos - word + typos - imprint

Logo is an original design, an image of the full or abbreviated name of a company or a company’s products, working on the company’s image.

The logo is the face of the company. Creating a logo is the beginning of the development of such an important visual characteristic of a company as a corporate identity.

Like any graphic image, a logo is created

according to the laws and properties of composition Construction of the whole, where the arrangement and interrelation of parts are determined by the meaning, content, purpose and harmony of the whole. The main thing in composition is the creation of an artistic image.

The main criteria when developing a logo, sign or trademark:

Individuality - this property allows you to stand out in the product market and make good competition

Originality - creating an image of the logo bearer that is different from competitors; this property should evoke positive emotions and associations among consumers

Functionality is a criterion that allows you to place a logo on letterheads and web pages, as well as on fax messages, souvenirs or leaflets, for which the logo must be easily scalable and relatively simple

Associativity - this property means the presence of connections, associations between the logo and the features of the product.

Before we begin the practical part of our lesson, let's take a little rest. Physical education minute

Task 1 Create a logo

Develop a logo under the auspices of:
Physical health (sports show)
Contest creative projects(idea fair)
Art gallery(opening day)
Moral health (action "Do good")
Arts Festival (holiday - Olympics)
When developing a logo, you can use your own themes.

To complete this task you will need a program based on a vector solution. The vector format allows you to resize the image, for example, enlarge it to the size of a billboard or more, without losing quality. This is very important, as it will allow you to apply your logo on T-shirts and pens, as well as on large media, including various promotional products. Such logo creation tools are programs such as Adobe Illustrator, Corel Draw, Freehand, XARA X, etc.

Things to consider when creating a logo:

Originality

Expressiveness

Conciseness

Readability

Memorability

It is advisable to avoid multicolor in logos.

1. the more colors, the more difficult it is to achieve balance and harmony;

2. a logo that is too colorful is less memorable and may look annoying;

Graphic design includes posters.

Poster (German Plakat from French placard - announcement, poster, from plaquer - stick, stick) - a catchy, usually large-format, image accompanied by a short text, made for campaigning, advertising, information or educational purposes. In another meaning - a type of graphics . In modern design, a poster is perceived as “a message summarized in a clear visual formula, intended for a contemporary to draw conclusions and specific actions.” This formula reflects certain level graphic design and informs about the subject of communication.

Specifics artistic language A poster is determined by the fact that it must be perceived from a great distance, attract attention, and the meaning of what is depicted must immediately catch the eye. As a special type of graphic art, posters have existed since the 2nd half of the 19th century. The features of the genre include the following: the poster must be visible from a distance, be understandable and well perceived by the viewer. The poster often uses artistic metaphor, different-scale figures, depictions of events taking place in different times and in different places, contour designation of objects.

For text, the font, location, and color are important.

Posters also use photography in combination with drawing and painting.

Poster art these days is multi-genre. Posters can be: political, theatrical, film, advertising, circus and environmental. The image and font should convey the message of the poster. It is difficult to choose the font that is most appropriate in each individual case. The color of the font attracts attention and evokes a special relationship with the image presented on the poster. A font poster is a common type of visual propaganda.

Specific features of the figurative language of the poster: clarity of image, catchiness, decorativeness.

First of all, you need to outline and decide the composition of the poster.

With a symmetrical composition, the central figure dominates the poster. Asymmetrical, on the contrary, is like a fragment, part of some larger whole. And attention is focused on movement. There is also a linear and diagonal construction of the composition.

Only those things that have clear semantic functions should appear in the image on the poster.

A poster is not a painting; it is not always necessary to convey color nuances and depict the smallest details. It is advisable to use a sparing selection of colors (no more than three or four), which will allow you to create an expressive color scheme. The color wheel will help you choose harmonious color combinations. Achromatic colors also combine beautifully.

Student message

The subject and purpose of posters can be very diverse:

Information

Educational

Instructional

Satirical

Task 2. Image - a figurative element of the composition

Based on the rules of composition, perform exercises combining images and text in which:

1. Instead of rectangles - photographs, and instead of lines - lines of text

2. Instead of spots - images (photos, drawings, cut out along the contour, growing like lines from the background

3. The photograph serves as a background for text and other compositional elements

The poster layout solves the problem of compositional and semantic connection of image and text. The image can be in the form of a drawing, photograph or abstract spot. The combination of image and text should create an image that reveals the theme of the poster. All the features of the composition are realized in the poster sketch: harmony and balance of masses, rhythm, diversity, clearly expressed dominant, etc.

Having determined the theme of the poster and selected the constituent compositional elements, arrange them in a certain format.

The text of the poster should be short and easy to read, as if growing out of the background.

The composition can be deep and frontal.

Task 3. Postcard layout

Having chosen the theme and genre of the postcard, determine its design.

The text can be on the background of the image or outside it.

The compositional tasks here are the same as in the poster.

Before you start working, decide on the choice of task. You can create a poster layout or a postcard layout. Determine the theme of the poster or postcard and what program you will work in

Summing up the lesson.

What basic concepts have we learned today?
Students' answers. (graphics, poster, etc..)
Viewing works and analysis.

References.

1. N.M. Sokolnikova Fundamentals of Composition, Moscow, Publishing house. "Title", 1993

2. A.S.Piterskikh, G.E.Gurov, Fine arts. Design and architecture in human life, Moscow, "Enlightenment", 2008.

The meaning and role of layout in the professional training of an artist-designer

In the article, the author considers layout in environmental design as important component in the process of training general designers in the field of environmental design and in the process of artistic and design activities.

Key words: constructive thinking, layout-structures, volumetric-spatial composition.

In the existing system of art education in Russia great value has a problem with cultivation vocational training artists and designers. Therefore, there is a need to increase the level of artistic and technological professional skills of specialists in the field of artistic and design activities.

Nowadays, there is an active search for new ways to improve the artistic and technological education of future artist-designers, and there is also an active improvement in the very methodology of teaching special artistic disciplines, studying and applying them in the design activities of designers the latest achievements technical progress and innovative technologies aimed at improving the professional skills of future specialists.

Nowadays, without comprehensive training of design students, which includes the study of special core disciplines - design, layout, basic artistic skills and mandatory study of auxiliary disciplines - drawing, painting, sculpture, art history, history of design and other subjects, it is impossible to create a competent work of art in the field of artistic design and layout. Therefore, in the system of artistic training of an artist-designer, these subjects are given a leading role.

The ongoing processes of modernization and transition to new standards of higher professional education formulate new requirements for the level of training of specialists in the field of design environment. It is necessary to harmoniously combine the artistic, technological and aesthetic components of professional activity, determined by the very specifics of artistic design and layout as an art form that meets the criteria of “usefulness, durability and beauty.” Designers, as professional specialists, must meet rapidly changing socio-economic conditions, the development and implementation of new technologies, and be able to independently solve complex professional problems of creating a modern environment at a high aesthetic and artistic level.

Layout in environmental design is an important component in the process of training general specialists in the field of environmental design and in the process of artistic and design activities.

The layout has been known since ancient times, back in the days Ancient Egypt And ancient Greece The architects did not use drawings, but rather a model. The word “model” itself comes from the French - maquette and from the Italian - macchietta - sketch and means a spatial image of something, usually in reduced sizes. 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 widely practiced prototyping. 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 goal of the prototyping process is to master the techniques and skills of three-dimensional modeling of environmental objects and their elements, as well as to acquire skills in working with paper, cardboard and other prototyping materials; development of spatial thinking.

The layout is visual, therefore the process of layout forms the student’s three-dimensional representations, since the layout is one of the means of expressing thoughts, a way of transmitting information. It helps to identify general compositional patterns, clarifies proportions, the ratio of divisions, their scale, helps to find the correct volumetric-spatial solution of the composition and determine ways to achieve it. Also, while working on the composition of the layout, the basic concepts and principles of the harmonious organization of form are studied: relationships, proportions, rhythm, balance.

The model is, as it were, a temporary generalization of ideas in large masses and relatively abstract forms of a certain idea, model, which carries within itself a generalized functional and constructive content, one of the means of achieving the optimal answer to the problem. The layout is made in a homogeneous material (usually paper, cardboard, plastic) and comes in two types: working and exhibition.

Layout is a creative process of searching for an architectural composition. When working on a project (real or educational), the layout, transforming in a certain sequence, is a link in the design process.

With the advent of artistic design as a type of design activity, prototyping has become its integral component, and the layout becomes an integral part of the finished project.

The role of the layout at different stages of design is not the same, and in accordance with this, its manufacturing technology and material are determined. All this is dictated by the goals and specific requirements associated with each of these stages.

When studying a “sample”, the layout is required to convey the general form or a combination of its parts. For convenience of research, in some cases it is desirable that it be composite and can be understood. The external shape of the layout does not change at this stage, and this determines its stability.

At the sketching stage, the layout is also intended for practical purposes, that is, for the designers themselves, so it does not necessarily have to be visually attractive. But the internal blocks that make it up must be able to move, change their relative positions, and combine in different ways.

When designing monosyllabic objects, the surface of the layout must be able to change so that it can be given one or another shape in search of the best solution. The nature of the surface and volume modeling are laid down in objects already at the preliminary stage of the project. The material and technology for making the model should help this. Since the layout at the preliminary design stage must be to some extent conditional, it does not use the same materials in which this product will be made in kind. When designing objects with a complex volumetric-spatial structure, from the very beginning of the design search, there are different tasks and, accordingly, a different prototyping technology. Here the material should help to search for options, and for this it is necessary to easily articulate and separate parts, change the volumetric-spatial structure. The structure of some objects requires the production of dynamic models, since their individual elements must be checked only when moving one in relation to another.

Layout is work on the object itself, in the process of working on which the designer’s hand directly influences the form being manufactured. The process of layout is important for the artist-designer because through them the experience of transforming a spatial image develops, spatial representation and spatial thinking are formed. By making models from various materials, students themselves intuitively discover their design properties. For example, by making paper layouts, its main design features become clear. In different states, paper takes the load differently. It can be curved, corrugated, rolled into a tube.

Model structures (rib, tubular, lattice) help to understand the operation of an open, naked structure, introduce various means artistic expression designs. Paper layout develops constructive thinking.

Great importance is attached to the technique of making a model; a accurately and beautifully made model develops the taste and design thinking of the future artist-designer, and improves the skills of working with materials.

Layout also develops analytical thinking. The layout is a process of ascent from abstraction to the concrete, studying compositional patterns in complex real design.

The layout, its integrity, generality, and extremely simple geometric shapes instill in students the method of working from the large form to the details, from the general to the specific.

Layout as the most understandable form of compositional search is also reflected in the nature of design solutions. As design tasks become more complex, prototyping remains one of the main forms of work on a composition, therefore prototyping is a subject-based practical activity in which perception and action transform into practical skills in working with various prototyping materials.

Layout of volumetric-spatial composition develops spatial thinking. This is especially helped by working with three-dimensional structures, with composition in space, along with all kinds of exercises in the material.

Layout is closest to real analogues; it makes it possible to trace changes in the general structural structure of the designed volume, fosters a method of thinking “from the general to the particular,” directs the student’s thinking to the choice of material and design, and makes it possible to master the laws of volumetric-spatial composition in generalized forms. This is the importance of prototyping for the preparation of a high professional level artist-designer.

Literature

1., Maksimov from paper and cardboard. – M.: University, Book House, 2000.

2.Drawing. Layout. Drawing: Methodical manual to prepare for studying at an architectural institute. – M.: MARCHI, 2002.

3. Wenninger M. Models of polyhedra. – M.: Mir, 1974.

4. Architectural layouts. – M., 1965.

5. – Drawing, prototyping, drawing. – M.: MAI, 2002.

6. Ikonnikov, form, image in architecture. M., 1986.

7. Krinsky teaching composition. Architectural composition. M., 1970.

8. Melodinsky propaedeutics. M., 2000.

9. Timofeeva prototyping at the Moscow Architectural Institute. M., 1997.

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.

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, the era of the French Revolution and Empire, Romanticism and Art Nouveau. 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 of representation graphic information about three-dimensional objects of varying complexity and methods of 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 is devoted to performing various exercises and background aimed at studying the properties of individual prototype materials, gaining skills in working with paper, cardboard, hand-modeling 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 directly devoted 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

Discipline" Information Technology 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 products are integral components of its overall design. Therefore, this course is one of the most important components of the industrial designer training program. During the lectures, students become familiar with various types of composition in art, architecture and industrial design, the basic laws of its construction, and 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 in working with various materials and techniques, develop a “vision and sense of composition,” and 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 on different stages design, materials for prototyping 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.