Английский для дизайнеров (English for Designers). Учебное пособие
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UNIT 6. COLORS IN DESIGN
10.Fill in the gaps with the English equivalents.
1.Xu Jiayin, thefounder ofChina Evergrande, is(неожиданно) ________________
thecountry’srichestmanashiscompanyhasbeen(финансовоуспешна)________________
since the start of 2017. Surprisingly, Evergrander was (убыточной) ________________
at the end of 2016.
2.The famous fashion designer and a (новичок) ________________ in film production Tom Ford made his directorial debut with “ASingle Man” in 2009 which hit a (белая полоса) ________________ in his career of a filmmaker.
3.AUSANetworkTVseries (белый воротничок) ________________ premiered in 2009 was a rating hit all its six seasons.The fans (загрустили) ________________ when it ended.
4.(Жёлтая пресса) ________________ started as a way for two New York newspapers to compete with each other in the late 1890s. Since then yellow news have (выводят из себя) ___________________ the celebrities and killed public trust in media.
5.“Orange is (хит сезона) ________________ is anAmerican comedy-drama web televisionseriescreatedforNetflixwhichhasbecomeNetflix’smost-watchedoriginalseries and definitely the one which is (финансово успешным) __________________.
6.The third largest building in the world, the Palace of the Parliament in Bucharest, Romania, with area of 365,000 square meters and costs over US $ 6 million per year just to heat and light, with 70% of the building remains empty staying for long (убыточным) ________________ is the real (дорогой, но бесполезный проект)
________________.
Grammar
Adverbs
Adverbs Types |
Adverb |
Adjective + -ly |
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of place (where) |
here, there, |
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everywhere |
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of time (when) |
recently |
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now, sometimes |
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of manner (how) |
easily, reallya |
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fast, hard |
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of frequency (how often) |
nnually, usually |
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always, never |
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of degree (how) |
greatly, widely |
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almost, enough |
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Английский для дизайнеров
11. Write the correct adverbs.
1. busy, |
___________________ |
11. elegant, |
___________________ |
2. frequent, |
___________________ |
12. powerful, |
___________________ |
3. beautiful, |
___________________ |
13. passionate, |
___________________ |
4. wise, |
___________________ |
14. reliable, |
___________________ |
5. actual, |
___________________ |
15. peaceful, |
___________________ |
6. possible, |
___________________ |
16. creative, |
___________________ |
7. simple, |
___________________ |
17. impressive, |
___________________ |
8. calm, |
___________________ |
18. mysterious, |
___________________ |
9. direct, |
___________________ |
19. purposive, |
___________________ |
10. perfect, |
___________________ |
20. necessary, |
___________________ |
12. Fill in the gaps with the adverbs.
“Instead of trying to reproduce (impressive) ___________________ what I (exact)
___________________seebeforeme,Imakemorearbitraryuseofcolortoexpressmyself more (forceful) ___________________.To express thelove of two lovers by the marriage of two complementary colors... The thought of a brow by painting (expressive) ________
___________ the radiance of a light tone against a dark background. To express hope by some star… Someone’s passion by the radiance of the setting sun…” Vincent van Gogh
13.Fill in the gaps with the adverbs.
1.AfactoryintheUnitedStateschangedthecolorofthebathroomstoan(unpleasant)
___________________ perceived green and saw production increase by 8%.
2.Customers of a coffee house (constant) ___________________ complained about thecool temperature in theroom.At that time, thewalls were(full)___________________
painted a light blue.After changing the color to orange, there were no more complaints.
3.The color yellow can cause nausea, so it is (wide) ___________________ avoided in airplanes.
4.Black boxes seem(considerable) ___________________ heavier to workmen than green boxes filled with the same material.
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UNIT 6. COLORS IN DESIGN
5.Redcanmakeyouhungry,whiletheoppositecolor,green,suppressesit(significant)
___________________.
6.Blue street lighting (successful) ___________________ resulted in lower crime rates in Glasgow in 2000.
14.Match the English adverbs to their Russian equivalents.
1. undoubtedly |
а. значительно |
2. considerably |
b. определённо |
3. obviously |
c. несомненно |
4. significantly |
d. относительно, довольно |
5. relatively |
e. в значительной степени, намного |
6. definitely |
f. очевидно |
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15. Fill in the gaps with the English adverbs.
The2018Colorcalled“IntheMoment”is(очевидно)___________________inspired by nature. “In the Moment” is Pastel Spruce Blue combined of green, gray and blue tones has(в значительнойстепени)___________________ changedthecolorpalette. Thenameandcolorofthishue(определённо)___________________speakstoourwish to take a break, be present and relaxed. It is a (довольно) ___________________ soft color which supports an idea of comfort and peace. “In the Moment” is (несомненно)
___________________ perfect to use for both interior and exterior design projects as it improves our living conditions (значительно) ___________________.
BEHR, an american architectural paint supplier
Translation
16. Translate from Russian into English.
Цветовые тенденции, несомненно, отражают экономическую и политическую ситуацию в стране. Также значительно влияют на цветовые предпочтения общемировые тенденции. Например, в 1970-е годы в мире самыми популярными были яркие насыщенные цвета, в 1980-е годы – холодные тона, в 1990-е годы – тёплые оттенки красного и оранжевого. Международное сотрудничество экспертов в области архитектуры, искусства, моды и дизайна помогает разрабатывать относительно
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Английский для дизайнеров
универсальную цветовую палитру на определённый период времени. Например,
в2016 году дизайнеры работали с тёплыми приятными тонами, добавляя тёмные, почти мистические цвета. Баланс противоположностей, возможно, будет в тренде и
вдальнейшем. Очевидно, что тенденцией второго десятилетия XXI века является игнорирование основных чистых цветов. Дизайнеры создают разнообразные тона, смешивая и комбинируя их тональности и оттенки.
The Design Icon of the Unit
17. Translate from English into Russian.
Ettore Sottsass. Genius who designed the ‘80s
EttoreSottsass(1917–2007)wasanItalianarchitectanddesignerwhomadefurniture, jewelry,glass,lighting,homeobjectsandofficemachinedesign.Inthe1980sandearly1990s, garish graphics and colorful geometric shapes ruling American TV screens, department stores and high school playgrounds copied design of Sottsass’collective, Memphis, made up of two dozen Italian creatives. Sottsass inspired significantly themainstream aesthetics of that optimistic age as well as generations of green hand designers from across many fields. He was a real “renaissance figure” inventing extraordinary objects which attracted the attention of high-profile collectors, including Karl Lagerfeld and David Bowie. His mostly known products were orange red Valentine Typewriter in 1969 which has been considered as a milestone in 20th century and become the top fashion accessory; and EnormeTelephone which is now a part of thepermanent collection of NewYork’s MoMA.
Hans Ulrich Obrist, art director of London’s Serpentine Galleries, about Ettore Sottsass : “It’s common for people who make a great contribution in one field to go into different fields. But it’s very rare for people to make amazing contributions to entirely different fields. He was unique”.
The Key Terms of the Unit
18. Match the terms to their definitions.
1.color wheel
2.hue
3.tint
4.tone
5.shade
a.hue + white
b.hue + black
c.a chart in which complementary colors are arranged on opposite sides of a circle
d.hue + grey
e.a quality of a color as determined by its dominant wavelength
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UNIT 6. COLORS IN DESIGN
VOCABULARY
1 |
arbitrary (adj.) |
произвольный |
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2 |
brushstroke (n.) |
мазок, удар кисти |
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3 |
color wheel |
цветовой круг |
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compete (v.) |
конкурировать |
4 |
competitive (adj.) |
конкурентоспособный |
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competition (n.) |
конкуренция |
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5 |
complain (v.) |
жаловаться, выражать недовольство |
complaint (n.) |
жалоба |
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considerably (adv.) |
в значительной степени, намного |
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cool (adj.) |
прохладный, (сленг) классный |
cool colors |
холодные цвета |
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cyan (n.) |
зелёно-голубой, цвет морской волны |
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definitely (adv.) |
определённо |
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department store |
универмаг |
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determine (v.) |
определять |
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dichotomy (n.) |
деление на две части, дихотомия |
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discriminate (v.) |
видеть различия |
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14 |
download (v.) |
загружать, скачивать |
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15 |
embellish (v.) |
приукрашивать |
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16 |
entire (adj.) |
целый |
entirely (adv.) |
полностью, целиком |
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express (v.) |
выражать, выражать себя |
expressive (adj.) |
выразительный, экспрессивный |
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exuberant (adj.) |
буйный, обильный |
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19 |
fanciful (adj.) |
нереальный, фантастический |
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20 |
forbid (v.) |
запрещать |
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21 |
gainsay (v.) |
противоречить |
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22 |
garish (adj.) |
очень яркий, кричащий |
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Английский для дизайнеров
23 |
hammer (n.) |
молоток, молоточек (о механизмах) |
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hue (n.) |
основной тон |
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i.e. (от лат. id est) |
т.е. (то есть) |
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increase (v.) |
увеличивать, повышать |
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keyboard (n.) |
клавиатура |
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milestone (n.) |
знаковое событие, ключевой этап |
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mute (adj.) |
немой, приглушённый (о цвете) |
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nausea (n.) |
тошнота, дурнота |
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31 |
nebulous (adj.) |
расплывчатый, неясный |
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numerous (adj.) |
многочисленный |
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33 |
obvious (adj.) |
очевидный |
obviously (adv.) |
очевидный |
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passion (n.) |
страсть, увлечение |
passionate (adj.) |
страстный, увлечённый своим делом |
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pervade (v.) |
проникать, пропитывать |
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prefer (v.) |
предпочитать |
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preferable (adj.) |
предпочтительный |
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preference (n.) |
предпочтение |
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primary colors |
основные цвета |
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38 |
process data |
обрабатывать данные |
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psychology (n.) |
психология |
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psychological (adj.) |
психологический |
psychological state |
психологическое состояние |
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psychologist (n.) |
психолог |
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pure (adv.) |
чистый, без примесей |
purity (n.) |
чистота (цвета) |
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radiance (n.) |
сияние, яркость цвета |
radiant (adj.) |
сияющий, излучающий свет |
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rare (adj.) |
редкий |
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regardless |
независимо от |
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UNIT 6. COLORS IN DESIGN |
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reinforce (v.) |
усиливать, подкреплять |
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relatively (adv.) |
довольно, относительно |
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46 |
retinal (adj.) |
относящийся к клетчатке глаза |
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saturate (v.) |
насыщать |
saturated (adj.) |
насыщенный |
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secondary colors |
вторичные цвета |
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shade (n.) |
тень |
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significant (adj.) |
значительный, знаменательный |
significantly (adv.) |
значительно |
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spruce (n.) |
канадская ель |
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string (n.) |
струна |
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suppress (v.) |
подавлять, сдерживать |
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tint (n.) |
оттенок |
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tone (n.) |
тональность |
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vivid (adj.) |
живой, яркий |
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wealth (n.) |
богатство |
wealthy (adj.) |
состоятельный, богатый |
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wise (adj.) |
мудрый |
wisdom (n.) |
мудрость |
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UNIT 7. DESIGN PRINCIPLES
Happiness is not a matter of intensity but of balance, order, rhythm and harmony.
Thomas Merton, american writer and mystic
Quiz
1.Design Principles
1. |
What are the principles of design? |
a. similar elements to create an uncomplicated |
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design |
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b. the rules that help arrange the elements |
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c. repeating elements to create a pattern |
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2. |
Combination of elements to create |
a. balance |
an uncomplicated look of a composition |
b. unity |
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c. harmony |
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3. |
Repetition of elements to create a feeling |
a. rhythm |
of movement |
b. pattern |
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c. repetition |
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The equilibrium of various elements |
a. repetition |
in a composition |
b. emphasis |
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c. balance |
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The harmony of all the visual elements |
a. unity |
in a composition. |
b. balance |
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c. repetition |
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6. |
The center-of-interest, which might be |
a. contrast |
the largest, brightest, or lightest subject. |
b. emphasis |
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c. unity |
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7. |
The use of line, color, or a motif in more |
a. unity |
than one place in a composition. |
b. repetition |
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c. contrast |
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8. |
Shows a difference between the elements |
a. contrast |
in a composition |
b. unity |
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c. balance |
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UNIT 7. DESIGN PRINCIPLES
Pre-reading
2.Match the English nouns to their Russian equivalents.
1. axis |
a. движение |
2. emphasis |
b. повествование |
3. flow |
c. иерархия |
4. guideline |
d. акцент |
5. hierarchy |
e. темп |
6. pace |
f. ось |
7. storytelling |
g. разнообразие |
8. variety |
j. инструкция |
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Reading
Design Fundamentals
Design principles aren’t strict rules, they’re guidelines.You don’t need to follow any of these principles but you should understand them and have a reason for breaking them.
Balance
Balance is the concept of visual equilibrium, and relates to our physical sense of balance.Abalancedcompositioninvolvesarrangingbothpositiveelementsandnegative spaceinsuchawaythatnooneareaofthedesigndominatestheotherareas.Mostsuccessful compositions achieve balance in one of two ways: symmetrically or asymmetrically.
Symmetrical balance occurs when equal weights are on equal sides of a composition, balanced around an axis in the center which may be horizontal or vertical. Symmetrical balance evokes feelings of formality and elegance.
Asymmetrical balance results from unequal visual weight on each side of the composition. One side of the composition might contain a dominant element, which could be balanced by a couple or more elements on the other side.Asymmetrical balance is more dynamic and interesting. It evokes feelings of modernism, movement and energy as it offers more visual variety.
Rhythm
Nowadays the word “storytelling” appears more and more often in discussions about design and its optimization. Compositional flow helps to tell your story by presenting information in theright order as flow is about movement and direction, and leading theeye from one part of a composition to another in thedirection you want it to move. Flow starts with the dominant element, which should be the entry point into the composition. Here comes rhythm that helps to control the pace of flow. Rhythmic patterns are built from elements and the intervals between them. There are three primary types of rhythm.
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Английский для дизайнеров
Regular rhythm: occurs when the intervals between elements are predictable, or theelementsthemselvesaresimilarinsizeandlength.Placingrepeatingelementsatregular intervals would be an example for a regular rhythm.
Flowing rhythm: occurs when the elements or intervals are organic. This creates natural patterns that evoke a feeling of organic movement. Stripes on a tiger or zebra are good examples for a flowing rhythm.
Progressive rhythm: occurs when the sequence of forms or shapes is shown through progressive steps or metamorphosis.The gradual increase or decrease in sequence creates movement.Acolor gradient is a good example of a progressive rhythm.
Emphasis
Emphasis s refers to a point of focus. It marks the locations in a composition which most strongly draw the viewers’attention. Usually there is a primary or dominant point of emphasis,withperhapssecondaryemphases,orfocalpointsinotherpartsofthecomposition.
Dominant pointin design is thestarting point for thestory you’re telling.It is noticed first and sets the context for what’s seen next. It’s at the top of the hierarchy.
Focal points are also elements or areas of emphasis, just not to the same degree as the dominant element. Focal points are areas of interest, emphasis or difference within a composition that capture and hold the viewer’s attention. Contrast is a good way to create focal points, as it calls attention to itself for being different.Anything that can be contrasted and anything that can affect visual weight or direction can be used to create a focal point, in the same way that it can be used to create a dominant point.
Unity
Unity is the underlying principle that summarizes all of the principles and elements of design. It refers to the sense that all of the parts are working together to achieve a common result; a harmony of all the parts. Unity can be achieved through the effective use of any of the elements, but pattern is the most fundamental element for a strong sense of unity. However, a harmonic pattern isn’t made for the sake of it as it supports a function of a product. The principle “form follows function” proclaimed byAmerican architect Louis Sullivan in 1896 appears to be the most important one of all the design principles.
Adapted from “Design Fundamentals” by Steven Bradley
3.Which of the statements are true? Correct the false ones.
1.Storytelling requires a compositional flow.
2.Asymmetrical balance doesn’t require elements arrangement around an axis.
3.Rhythm occurs when the intervals between elements are predictable.
4.Emphasis makes a composition simple for understanding.
5.Focal points are less important than a dominant point.
6.Pattern should follow a function.
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