平面設(shè)計方法外文翻譯

1、<p>　　中文5490字，2800單詞，14800英文字符</p><p><b>　　英文原文：</b></p><p>　　Graphic Design Solutions</p><p>　　Robin Landa</p><p><b>　　CH04</b></p>

2、<p>　　Creativity and the Graphic Design Process</p><p>　　A SUCCESSFUL GRAPHIC DESIGN SOLUTION?IS, AS THE ADAGE GOES, A RESULT OF PERSPIRATION AND INSPIRATION, REQUIRING FOCUS, CRITICAL AND CREATIVE THI

3、NKING, AND RIGOR. OF ALL THE PROFICIENCIES NECESSARY TO BE A RESPECTABLE GRAPHIC DESIGNER, CREATIVITY IS THE MOST ELUSIVE. ONE CAN WELL LEARN HOW TO PROBLEM SOLVE AND COMPOSE YET STILL PRODUCE PERFUNCTORY SOLUTIONS. BEFO

4、RE YOU EMBARK ON SOLVING DESIGN ASSIGNMENTS, ENHANCING YOUR CREATIVITY WILL ENHANCE EVERYTHING YOU DO—FROM GRAPHIC DESIGN TO HOW YOU LIV</p><p>　　CREATIVE THINKING</p><p>　　Creative thinking is

5、the ability to stretch beyond the ordinary, to be original, innovative, and flexible in one’s thinking. For example, creating a mnemonic device (a memory aid) is one way to think creatively, connecting unrelated things w

6、ith a single visual in a design context. For TheHive.com, a new online community of musicians and music fans, Visual Dialogue determined they needed a strong logo to serve as a mnemonic device for what they were about (F

7、igure 4-01).</p><p>　　Other aspects of creative thinking are:</p><p>　　? associative thinking (recognizing commonalities, common attributes)?</p><p>　　?metaphorical thinking (identi

8、fying similarities between seemingly unrelated things) </p><p>　　?elaboration and modification (working out details and being able to propose alterations) </p><p>　　?imaginative thinking (formin

9、g images in one’s mind and imagining the unlikely</p><p>　　CHARACTERISTICS OF CREATIVE THINKERS</p><p>　　Certain characteristics are markers of creative thinking:?</p><p>　　? Courag

10、e: Fear quashes creative risk taking and supports playing it safe. Courage coupled with intellectual curiosity fuels creativity。</p><p>　　? Receptiveness: Being open to different ways of thinking as well as

11、constructive criticism allows you to embrace possibilities and new ideas.?</p><p>　　? Flexibility: Not only do an agile mind and flexible personality allow you to keep up with the times, they allow you to be

12、nd with the path of a blossoming idea or let go of a path that is not fruitful.?</p><p>　　? Being Sharp-eyed: Paying attention to what you see every day (shadows, juxtapositions, color combinations, textures

13、, found compositions, peeling posters, etc.) allows you to see inherent creative possibilities in any given environment, to notice what others miss or do not think noteworthy.</p><p>　　? Seeking and Recogniz

14、ing Connections: Creative people are able to bring two related or unrelated things together to form a new combination; they arrange associative hierarchies in ways that allow them to make connections that might elude oth

15、ers.</p><p>　　TOOLS THAT STIMULATE CREATIVE THINKING</p><p>　　Beyond enhancing personal creative characteristics are tools that aid creative thinking. Besides using these creativity techniques f

16、or concept generation, some designers and students use them as visualization and spontaneous compositional tools (see Chapter 5 on visualization and Chapter6 on composition).</p><p>　　Brainstorming (Group or

17、 Individual Tool)</p><p>　　In Your Creative Power, published in 1945, Alex Osborn, an advertising partner at BBDO in New York, presented a technique he had been using for years at BBDO: brainstorming. The ob

18、jective of Osborn’s technique was to generate ideas that could be solutions to advertising problems; the notion was that an uninhibited atmosphere would cultivate the flow of creative thinking. Traditional brainstorming

19、is conducted with a group of people so that one contributor’s thought builds on or triggers another’</p><p>　　Osborn’s Checklist (Individual Tool)</p><p>　　In the mid–1960s, American artist Rich

20、ard Serra began experimenting with nontraditional materials, including fiberglass, neon, vulcanized rubber, and lead. He combined his examination of these materials and their properties with an interest in the physical p

21、rocess of making sculpture. The result was a list of action verbs Serra compiled— ”to roll, to crease, to curve”—listed on paper and then enacted with the materials he had collected in his studio. To Lift by Serra, “made

22、 from discarded rubber</p><p>　　“It struck me that instead of thinking what a sculpture is going to be and how you’re going to do it compositionally, what if you just enacted those verbs in relation to a mat

23、erial, and didn’t worry about the results?”</p><p>　　—Richard Serra</p><p>　　Before Serra’s sculptural experimentations, Alex Osborn, BBDO, created an inspired check- list technique as a tool to

24、 transform an existent idea or thing. (For example, if you magnify something, you could add height, length, or strength; or you could duplicate, multiply, or exaggerate.) Arguably, this could be the only tool you ever ne

25、ed to foster creative thinking. In short, Osborn’s Checklist is composed of action verbs:</p><p><b>　　? Adapt?</b></p><p><b>　　? Modify</b></p><p><b>　

26、　? Magnify</b></p><p><b>　　? Minify</b></p><p>　　? Substitute</p><p>　　? Rearrange</p><p><b>　　? Reverse</b></p><p>　　Mapping

27、 (Individual Tool)?</p><p>　　A mind map is a visual representation, diagram, or presentation of the various ways words, terms, images, thoughts, or ideas can be related to one another. A useful tool in under

28、standing relationships and organizing thoughts, it leads to idea generation. Mapping is a brainstorming and visual diagramming tool that is used to develop an idea or lead to an idea; it is also called word mapping, idea

29、 mapping, mind mappingTM, word clustering, and spider diagramming. It can be used to visualize, struct</p><p>　　Types of Mind Maps</p><p>　　Mapping is a useful tool for the writing process, desi

30、gn process, or brainstorming process, or simply for thinking something through. You can approach mapping in two basic ways.</p><p>　　? Automatic mapping relies heavily on the surrealist strategy of spontaneo

31、us free association, trying to avoid conscious choices and allowing associations to flow freely.</p><p>　　? Deliberate mapping, although not totally con- trolled, relies more on natural growth of association

32、s, revealing the way your mind instinctively organizes or makes associations.</p><p>　　You can reorganize or revise what you have mapped based on new information, based on a deeper understanding derived from

33、 the first go- round, or based on something that occurred to you while mapping. You can articulate a range of connections or see links among items on the map. The resulting mind map is a tangible representation of associ

34、ations (that may reveal thinking or lead to an idea). You can rearrange items to create a new beginning (central word or image), reordering subtopics (secondary</p><p>　　How to Create a Mind Map</p>&

35、lt;p>　　Mapping software is available that offers templates, shuffling, notes, labels, cross-linking, and more. However, since the nature of the drawing process maximizes spontaneous mapping, doing it by hand offers be

36、tter outcomes. Drawing your own map is likely to increase personalization and a natural flow of thoughts.</p><p>　　? Position an extra-large sheet of paper in landscape position.</p><p>　　? At t

37、he center of the page, your starting point, draw a primary visual or write a key word, topic, or theme.</p><p>　　? Starting with the central word or image, draw branches (using lines, arrows, any type of bra

38、nch) out in all directions, making as many associations as possible. (Don’t be judgmental; just write or draw freely.)</p><p>　　Each subtopic should branch out from the major central topic. Then, each subsub

39、topic or image should branch out from the subtopic, branching out on and on. Seek relationships and generate branches among as many items as possible. Feel free to repeat items and/or cross-link.</p><p>　　Sp

40、ontaneous mapping draws upon the unconscious. Write or draw as quickly as possible without deliberating or editing. This type of mapping promotes nonlinear thinking. Interestingly, it can be the most unforeseen item or p

41、ossibility that becomes a key to idea generation. (You can always go back into the map to make adjustments later.)</p><p>　　Deliberate mapping utilizes long and careful thinking. As a complement, you could c

42、onsider note taking—writing down some explanatory notes near the items or branches so that later, when you reexamine the map, you can more easily recall exactly what you were thinking. This piece in Robert Skwiat’s senio

43、r portfolio was based on a mind map (Figure 4-02).</p><p>　　Oral Presentation Tool:</p><p>　　Present the Problem to Someone Else</p><p>　　Most people realize that writing or sketchi

44、ng can lead to an idea. Talking about the design problem can lead to ideas and insights as well.</p><p>　　This tool is based on two premises: (1) talking about your problem may reveal insights (analogous to

45、speaking to a therapist who listens, more than speaks, so that you can hear yourself ), and (2) having to present or explain the design problem to someone unfamiliar with it will force you to organize and articulate your

46、 thoughts, which might lead to better understanding of the problem and ultimately to an insight or idea.</p><p>　　Oral Presentation Tool Technique</p><p>　　1/ Solicit a friendly listener. This p

47、erson should not attempt to help you solve the problem or make any comments. If no one is available, use a tape recorder. You do not need oratory skills; however, you will have to listen to what you say for a possible ke

48、y insight.</p><p>　　2/ First, give an overview of the design problem. Then explain it in more detail. The listener should focus on you, nod to encourage you to keep speaking, but not comment so as not to int

49、errupt your stream of thoughts.</p><p>　　3/ If this process has not yet stimulated an insight from which you can develop an idea, then go to step 4.</p><p>　　4/ Once you finish speaking, the lis

50、tener is then free to ask questions—questions to clarify points or questions that pop into that person’s head based on what you have presented. If the person has been attentive, then he or she may have some pointed quest

51、ions that can aid in focusing your thinking. Or ask the person to take notes, which you could use as jumpstarts.</p><p>　　CREATIVITY THROUGH PROBLEM FINDING</p><p>　　In The Mystery of Picasso (a

52、 1956 documentary film by director Henri-Georges Clouzot and cinematographer Claude Renoir), Picasso is painting. As we watch Picasso paint, we realize his process is spontaneous—each form he paints brings him to another

53、; nothing was preconceived. His free-form association continues. Five hours later, Picasso declares that he will have to discard the canvas: “Now that I begin to see where I’m going with it, I’ll take a new canvas and st

54、art again.” Picasso used the pro</p><p>　　Like Picasso, designers can employ problem finding or problem seeking, where the process of sketching or making marks allows visual thinking, allows for discovery, f

55、or staying open to possibilities during the visual-making process.</p><p>　　Brainstorming by Image Making (Individual Tool)?</p><p>　　The act of creating art—painting, drawing, sculpture, cerami

56、cs, collage, photography, any traditional or nontraditional art—activates several parts of the brain, sharpens thinking, provokes the mind’s associative network, and increases focus to a point where creative thinking can

57、 occur. When creating art for a solid period of uninterrupted time, you enter into a meditative “zone” of active experimentation. Creating fine art frees the subconscious mind from the design problem and may lead to idea

58、</p><p>　　Spontaneous Art Improvisation:?Problem Finding (Individual Tool)?</p><p>　　One of the premises of spontaneous art is that it allows access to your subconscious and liberates you from i

59、nhibitions; you create images without concerns regarding conventions, aesthetics, composition, or intention, without concerns about content, not governed by the constraints of a design assignment. In The Creative Vision:

60、 A Lon- gitudinal Study of Problem Finding in Art, a study of art students, Jacob W. Getzels and Mihaly Csikszentmihalyi found that the more creative students were more ad</p><p>　　Spontaneous Art Process<

61、;/p><p>　　Enjoy the process without concern about an end product or finishing anything. Choose any preferred art medium—traditional or nontraditional, nonrepresentational, abstract or representational.</p>

62、;<p>　　? Start making art</p><p>　　? Keep working</p><p>　　? Move from surface to surface or medium to medium, as you like it.</p><p>　　If you’re not sure which subject matte

63、r or techniques to explore, choose from one of the following:?</p><p>　　? Everyday experiences</p><p>　　? Environments: cities, landscapes, oceanscapes ? Emotions?</p><p>　　? Nonrep

64、resentational patterns, textures</p><p>　　? Rubbings (creating an image by rubbing, as with a soft pencil, over a textured surface placed underneath the paper)</p><p>　　? Collage?? Photomontage&

65、lt;/p><p>　　Happy Accidents</p><p>　　If we go back to how Picasso painted on one canvas for five hours, only to discard the canvas, declaring he now found direction, then we can understand somethin

66、g about how visual artists work. According to an evolutionary model of creativity,we need two processes:</p><p>　　? one process to generate things that we can’t or don’t plan and</p><p>　　? anot

67、her process to assess what we have generated for merit</p><p>　　As with being successful in most disciplines, knowledge, study, and experience enable a practitioner to distinguish between what has merit and

68、what does not. However, as Professor Robert D. Austin, Technology and Operations Management unit at Harvard Business School, stated, the key here is “being a bit skeptical of preset intentions and plans that commit you t

69、oo firmly to the endpoints you can envision in advance.”</p><p>　　Professor Austin believes: “Artists think they develop a talent for causing good accidents. Equally or perhaps even more important, they beli

70、eve they cultivate an ability to notice the value in interesting accidents. This is a non-trivial capability. Pasteur called it the ‘prepared mind.’ . . . Knowing too clearly where you are going, focusing too hard on a p

71、redefined objective, can cause you to miss value that might lie in a different direction.”</p><p>　　Exquisite Corpse (Group Tool)</p><p>　　“While researching my talk for the Kean University ‘Thi

72、nking Creatively’ conference, I began to think about what it truly means to be creative in what is essentially a collaborative field. I recalled a game I used to play with my father, wherein one person draws the beginnin

73、g of a figure, folds the paper, and the next one continues the draw- ing without seeing what came before. When I invited Milton Glaser to participate, he informed me that the ‘game’ was actually an ‘Exquisite Corpse,’ in

74、vente</p><p>　　Believing in artistic collaboration while pursuing the enigma of accidental art and their belief, the surrealists played a collective word game called Exquisite Corpse (cadavre exquis). (See “

75、Case Study: Kobo Abe Book Cover Series” for another example using the Exquisite Corpse tool.)</p><p>　　Each player contributes one word to a collective sentence, without seeing what the other players have wr

76、itten. Adapted to using collective images, each player is assigned a different section of the human body, though the original players did not adhere to any conventional sense of human form. Steven Brower talks about his

77、process:</p><p>　　How to Play Exquisite Corpse: Collective Images</p><p>　　1/ Fold a piece of paper into four parts. (Fold the paper in half from top to bottom. Fold it again from top to bottom.

78、)</p><p>　　2/ On the first fold, the first player draws a head. That player extends the lines of the neck slightly below the fold and then folds the paper over so the second player cannot see what has been d

79、rawn.</p><p>　　3/ The second player creates the neck, shoulders, and top half of the torso with arms, extending the waist below the fold so that the third player cannot see what has been drawn.</p>&l

80、t;p>　　4/ The third player creates the bottom half of the torso. The upper thighs extend below the fold so that the fourth player cannot see what has been drawn.</p><p>　　5/ The fourth player continues unt

81、il the figure is drawn.</p><p>　　6/ The group unfolds the paper and discusses the resulting figure.</p><p>　　Attribute Listing (Individual Tool)</p><p>　　By focusing on the attribut

82、es of an object, person, place, character, topic/theme, product, or service, you can find a characteristic that might lead to an idea. Attribute listing, a technique developed by Robert Platt Crawford in Techniques of Cr

83、eative Thinking, is a method for analyzing and separating data through observing and identifying various qualities that might have otherwise been overlooked; it is a diagrammed list of attributes. The process works decon

84、structively, breaking down inform</p><p>　　It can be useful to first break the object down into constituent parts and examine the attributes of each part. For example, if the item under examination is a lapt

85、op computer, you could break it down into the screen, keyboard, and motherboard; or if the topic in question is a tax preparation service, you could break it down into the online operation, the brick-and-mortar storefron

86、t, the name, the staff, the environment, their proprietary preparation process, and so on.</p><p><b>　　中文譯文：</b></p><p><b>　　平面設(shè)計方法</b></p><p><b>　　羅賓&

87、#183;蘭達(dá)</b></p><p><b>　　第四章</b></p><p>　　創(chuàng)造力和平面設(shè)計過程</p><p>　　正如諺語所說，成功的平面設(shè)計方法是汗水與靈感的結(jié)合，這需要專注的、批評的、有創(chuàng)造力和嚴(yán)格的思維。當(dāng)所有一個受人尊敬的設(shè)計師的所需掌握的技能熟練以后，創(chuàng)造力是最難以捉摸的。一個可以很好的解決和組合的人仍然創(chuàng)

88、造出淺薄的解決方法。在你著手解決設(shè)計任務(wù)之前，增強你的創(chuàng)造力可以有助于提高你的一切──從如何做平面設(shè)計到如何過你的生活。</p><p><b>　　創(chuàng)造性思維</b></p><p>　　創(chuàng)造性思維是超越普通的能力，是原始的，創(chuàng)新的，活力的思維。例如，創(chuàng)建一個記憶裝置（輔助記憶）就是創(chuàng)造性思維的一種方式，在一個視覺設(shè)計的語境中連接不相關(guān)的事物。對于TheHive.c

89、om，它是一個音樂家和音樂愛好者的一個新的在線社區(qū)，視覺對話決定了他們需要一個強有力的標(biāo)志作為它們是關(guān)于什么的記憶裝置。（如圖4-01）</p><p>　　圖4-01 標(biāo)志，TheHive.com</p><p>　　問題：TheHive.com是音樂家和音樂粉絲們的一個新的在線社區(qū)。他們需要一個強有力的標(biāo)志可以作為解釋他們是什么樣的一個組織的記憶載體。</p><p

90、>　　解決方法：標(biāo)志的變化呈現(xiàn)出了視覺對話探索中的典型的變化。在這個案例中，參考音樂與beehives對標(biāo)志設(shè)計做出特殊的重點強化。</p><p>　　其他創(chuàng)造性思維的方面：</p><p>　　?聯(lián)想思維（認(rèn)識共同點，共同的屬性）</p><p>　　?隱喻思維（認(rèn)識看似無關(guān)的事物之間的相似性）</p><p>　　?制定和修改（了

91、解事物的細(xì)節(jié)，并且能夠做出改變）</p><p>　　?想象思維（在腦海中形成圖像并且想象不可能的事物）</p><p><b>　　創(chuàng)造性思維的特征</b></p><p>　　某些特征是創(chuàng)造性思維的說明：</p><p>　　?勇氣：害怕鎮(zhèn)壓住了創(chuàng)意冒險，使得它支持保險穩(wěn)妥。勇氣只有加上了求知欲才能成為創(chuàng)造力的動力。

92、</p><p>　　?感受：對于不同思考方式和建設(shè)性批評保持開放的態(tài)度使得你能夠擁抱更多的可能性和新的思路。</p><p>　　?靈活：一個靈活的頭腦和靈活的個性不僅可以讓你跟上時代，同時讓你在成熟的想法的道路或者并不是卓有成效的途徑中收放自如。</p><p>　　?眼光敏銳：關(guān)注你每天所看到的事物（陰影，并置，顏色組合，質(zhì)地，發(fā)現(xiàn)成分，剝落的海報等等）可以讓

93、你在任何給定的環(huán)境下看到內(nèi)在的創(chuàng)意的可能性，關(guān)注到其他人可能忽略掉的或者覺得不值得的。</p><p>　　?尋求與認(rèn)識連接：有創(chuàng)造力的人能夠?qū)蓚€相關(guān)或者不相關(guān)的事物組成為一個新的組合；他們安排聯(lián)想層次的方式讓他們能夠避免其他人做出連接的可能。</p><p>　　刺激創(chuàng)造性思維的工具</p><p>　　提高個人創(chuàng)造性的特征是幫助創(chuàng)造性思維的工具的目的。除了使用

94、這些創(chuàng)造技術(shù)來幫助概念的產(chǎn)生，一些設(shè)計師和學(xué)生用他們作為可視化和自發(fā)組成的工具（見第五章的可視化和第六章的組成）</p><p>　　頭腦風(fēng)暴（小組或者個人的工具）</p><p>　　在《你的創(chuàng)造動力》。發(fā)表于1945年，由BBDO公司的一位廣告合作伙伴亞歷克斯·奧斯本提出頭腦風(fēng)暴，他已經(jīng)在BBDO的設(shè)計中使用多年。奧斯本的技術(shù)的目的是在于激發(fā)那些可能作為解決廣告問題方案的想法

95、。頭腦風(fēng)暴的概念是在不受拘束的氛圍中培養(yǎng)學(xué)生的創(chuàng)造性思維。傳統(tǒng)的頭腦風(fēng)暴是由一組人組成，這樣一個參與者的思維可以建立在其他人的思維之上或者觸發(fā)其他人的思維，盡管它甚至可能比個人使用發(fā)揮的作用更好，因為沒有保留。</p><p>　　奧斯本的自評量表（個人工具）</p><p>　　在20世紀(jì)60年代中期，美國藝術(shù)家理查德·塞拉開始嘗試使用非傳統(tǒng)的材料，包括玻璃纖維，霓虹燈，硫化橡

96、膠和鉛。他憑借著對在雕塑過程中的物理過程的興趣，結(jié)合檢測了這些材料和它們的性能。實驗的結(jié)果是塞拉編寫的一個列表的動詞─“滾，折，彎曲”─將這些動詞列在紙上然后用他收集在工作室的材料來制定。由塞拉所作的《升》，“由下曼哈頓區(qū)的一個倉庫回收的廢舊橡膠組成的作品，是藝術(shù)家對于動詞‘升’的獨特的解答。”</p><p>　　“我很震驚，不是思考雕塑要做成什么樣并且如何做出來，如果你只是將這些動詞與材料關(guān)聯(lián)起來而不擔(dān)心結(jié)果

97、？”</p><p><b>　　──理查德·塞拉</b></p><p>　　在塞拉的雕塑實驗之前，亞歷克斯·奧斯本，BBDO，創(chuàng)造出了清單技術(shù)作為轉(zhuǎn)換存在的理念或者其他事物的工具。（例如，如果你要放大一個事物，你可以增加長度，高度或者強度；或者你可以復(fù)制，疊加或者夸張。）可以認(rèn)為，這個可以成為你樹立創(chuàng)造性思維所需要的唯一工具。簡短來說，奧斯本的

98、清單就是這些動詞的組成：</p><p><b>　　?適應(yīng)</b></p><p><b>　　?修改</b></p><p><b>　　?放大</b></p><p><b>　　?縮小</b></p><p><b&g

99、t;　　?替代</b></p><p><b>　　?重新安排</b></p><p><b>　　?顛倒</b></p><p><b>　　繪圖（個人工具）</b></p><p>　　思維導(dǎo)圖是一種可視化的呈現(xiàn)方式，數(shù)據(jù)圖或者演示字母，圖像，想法可以相互連接起

100、來的各種途徑。思維導(dǎo)圖是一個理解關(guān)系，組織想法的有效工具，它可以引出創(chuàng)意的產(chǎn)生。繪圖是一個頭腦風(fēng)暴和可視化的工具，是用來開發(fā)一個想法或者導(dǎo)致一個想法；它也可以被稱為字繪圖，想法繪圖，思維繪圖，詞聚類和蜘蛛圖解。它可以被用于分析，結(jié)構(gòu)分類思想，并且作為研究中的一個輔助工具，可以用來組織，解決問題和決策。由此產(chǎn)生的視覺圖是一個可以用來代表思想，文字，信息，任務(wù)的圖像，或者是在特定的圖式安排下的圖像。這其中又一個中心的關(guān)鍵詞或者想法，所有其他

101、的詞，想法或者視覺支干都是圍繞這個中心點散射開來的。有人說，繪圖是一個古老的可視化技術(shù)，可以追溯到古希臘。</p><p><b>　　思維導(dǎo)圖的種類</b></p><p>　　繪圖是一個非常有用的工具，可以運用在寫作過程，設(shè)計過程，或者是頭腦風(fēng)暴的過程，甚至只是簡單的思考。以下有兩種基本的接觸方式。</p><p>　　?自動繪圖在很大程度

102、上依賴于自發(fā)的自由聯(lián)想的超現(xiàn)實主義的策略，試圖避免有意識的選擇，讓關(guān)系自由流動。</p><p>　　?故意繪圖雖然沒有完全控制，更多的依賴于關(guān)系的自然生長，揭示出你的思維中本能的組織和制造關(guān)系的方式。</p><p>　　你可以調(diào)整或者修改你所繪制的思維導(dǎo)圖，基于新的信息，基于第一輪之后更深的了解，或者基于在你繪圖過程中發(fā)生的事情。你能夠說出地圖上一系列的連接或者個體之間的關(guān)系。由此產(chǎn)生