- •Т.В. Барамикова, л.П. Ільєнко, к.Б. Кугай, а.В. Спіжова, н.В. Зимнікова, а.М. Ткаленко
- •Передмова
- •Unit 1 history of arts Part I
- •I Listen and remember the following words:
- •III Read and translate the following text: History of arts
- •V Complete the sentences with the words from the text:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •Renaissance
- •III Make up a plan of the text.
- •V Complete the sentences with the words from the text:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •The history of arts. Brief overview
- •III Make up a plan of the text.
- •IV Answer the questions:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: World War I and after the War
- •III Make up a plan of the text.
- •IV Answer the questions:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: Charles Frederick Worth industrializes fashion
- •III Make up a plan of the text.
- •Design elements
- •V Complete the sentences with the words from the text:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •Design principles
- •III Make up a plan of the text.
- •IV Answer the questions:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: Paco Rabanne
- •Pierre Cardin
- •Karl Lagerfeld
- •Emanuel Ungaro
- •III Make up a plan of the text.
- •IV Answer the questions:
- •V Complete the sentences with the words from the text.
- •X Speak on the topic using the following words and word combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: Dance costume
- •III Make up a plan of the text.
- •IV Answer the questions:
- •X Speak on the topic using the following words and word combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: Scenic makeup
- •III Make up a plan of the text.
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •III Make up a plan of the text.
- •IV Translate the paragraph in italics in a written form.
- •V Questions for discussion:
- •VI Render the text in brief in a written form.
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •III Make up a plan of the text.
- •III Listen to the text again and be ready to answer the questions:
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •VI Find the English equivalents to the words:
- •VII Make up sentences with the terms:
- •VIII Give definitions to the words and word-combinations:
- •IX Translate the sentences into English:
- •X Speak on the topic using the following words and word combinations:
- •I Read and learn:
- •II Read the text and define the main idea of it: Flower symbolism
- •III Make up a plan of the text.
- •IV Translate the paragraph in italics in a written form.
- •V Questions for discussion:
- •VI Render the text in brief in a written form.
- •I Mind the following words and word-combinations:
- •II Listen to the text and decide if the statements are true or false:
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •VI Find the English equivalents to the words:
- •III Make up a plan of the text.
- •Principles and elements of design
- •Graphic design theory
- •IV Answer the questions:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: Raymond Loewy. The father of industrial design
- •III Make up a plan of the text.
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •VI Find the English equivalents to the words:
- •VII Make up sentences with the terms:
- •VIII Give definitions to the words and word-combinations:
- •IX Translate the sentences into English:
- •X Speak on the topic using the following words and word combinations:
- •I Read and learn:
- •II Read the text and define the main idea of it: The importance of colour
- •III Make up a plan of the text.
- •IV Translate the paragraph in italics in a written form.
- •V Questions for discussion:
- •VI Render the text in brief in a written form.
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •VI Find the English equivalents to the words:
- •VII Make up sentences with the terms:
- •VIII Give definitions to the words and word-combinations:
- •IX Translate the sentences into English:
- •X Speak on the topic using the following words and word combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it:
- •Video design
- •III Make up a plan of the text.
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •VI Find the English equivalents to the words:
- •VII Make up sentences with the terms:
- •VIII Give definitions to the words:
- •IX Translate into English:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: The history of logo design
- •III Make up a plan of the text.
- •IV Translate the paragraph in italics in a written form.
- •V Questions for discussion:
- •VI Render the text in brief in a written form
- •Prehistoric costume
- •Textiles
- •Costume textiles
- •Some natural fibres facts
- •Textile yarns and fibres
- •The knitwear design process and the use of sources of inspiration
- •Coloured stitch designs in weft knitting
- •The great masters of fashion
- •Textiles and materials in the fashion industry
- •The history of fashion between 1970-1983
- •The designers
- •Fashion fifty years ago. Conclusion
- •Interior design. Style selection
- •Goals, functions and the human factor of interior design
- •Light in colour
- •Colour in your home
- •Accessories
- •Selecting accessories
- •Textiles
- •Textile uses in interior design
- •Selecting textiles for interiors
- •Harmony
- •Package design and display
- •Advertisements
- •Graphic designer
- •Commercial photography
- •Colour photography
- •What is a good photograph?
- •Colour harmony
- •Corporate logo design
- •Your hair
- •Hair colour
- •Hair style
- •The art of arranging the hair
- •Modern hairdressing procedure
- •History of styles
- •The development of styles in europe from the
- •9Th till 20th centuries
- •Cosmetics
- •Glossary a
Goals, functions and the human factor of interior design
The designer's ultimate goal should be the integration of the basic requirements for an efficient and aesthetically pleasing space. If the interior space satisfies the function requested by the client, meets the aesthetic criteria of the design, and is completed within the client's economic directives, the project is a success.
To be liveable, an interior first should fulfil its intended function of satisfying the needs of the people for whom it is designed. Careful consideration of functional space begins in the programming phase. Specific design requirements may be necessary for the special needs of users such as children, the elderly, or the physically challenged. The human factor is a primary concern when determining the function of the space.
From a psychological viewpoint, humans must feel comfortable in relation to the scale and proportion of the architecture. The three-dimensional aspects of ceiling height, wall length, and cubic feet should be considered, because if the space is too vast or too small, the occupants may feel uncomfortable or out of place. Satisfying human psychology entails many other design criteria as well, including selection and arrangement of line, colour, form, lighting, and texture to create a sense of balance and harmony.
Interior spaces and fixtures need to be scaled to meet the proportions of the users, while also meeting their physical needs. Furniture should be suitably scaled and arranged for purpose and efficiency. For example, a chair for relaxing should be comfortable and should fit the size of the occupant, with a table at the appropriate height close by to accommodate a lamp that produces adequate lighting with no glare.
The designer should create an environment that not only meets the client's needs, but is also a safe environment in which to live. Life safety and building codes must be followed. No matter how wonderful an interior space looks if the users cannot efficiently complete the activities and functions required in the space, the design has failed.
Light in colour
The great 19th-century writer and critic John Ruskin said, “Colour is the most sacred element in all visual things”. Designers agree that colour is the most vital and expressive of the elements of design. Therefore, it is essential that designers have a thorough knowledge of the properties and character of various colours, colour theory, colour schemes, colour associations, and other considerations of colour for use in planning both residential and commercial interiors.
Colour can have psychological effects. It can enliven a room or create a subdued mood. Colour's elemental partner is light. It can do the same thing. Light affects the colours we see. In bright afternoon sun, colours are crisp and clear. But in evening sunsets, red and orange tones cast a warm glow. In candlelight or moonlight, colours are muted and dulled. It is essential when studying about colour first to understand that the source of colour is light.
Light is a form of energy that is part of the electromagnetic spectrum. Daylight, or the light that humans are able to see in the visible spectrum, is a mixture of wavelengths in a narrow band of this field. Infrared waves, X-rays, and even radio waves are also forms of energy in this spectrum, but are not visible to the human eye. Colour is light broken down into electromagnetic vibrations of varying wavelengths. The longest wavelengths form the reds, followed by oranges, yellows, greens, blues, and violets. This effect can be seen on a rainbow or when light is shown through a prism, which separates or splits the spectrum. Artificial lighting that is designed to mimic the sun's light is called white light. Other types of artificial lighting create different combinations of wavelengths that change the colour or look of an object.
It is important to realize that without light, colour would not exist.
The colour that we actually see in an object is the colour of light that is not absorbed by the object, but reflected into the eye from the object's surface. A particular surface absorbs or reflects a colour of the spectrum depending on its composition. This is referred to as subtractive colour, because the objects subtract all the wavelengths except those that are seen. For instance, a teal rug subtracts all the wavelengths except for some of the blue and green wavelengths, which it reflects back. A black tiled wall subtracts all the wavelengths.
The colours in objects are referred to as pigment colours. Pigments are various substances that can be ground into fine powder and used for colouring dyes and paints. Pigments are combined to produce certain colours, such as when red and yellow are mixed to obtain orange. Pigments may be naturally occurring , artificially created or a combination of both.
The interaction between light and colours creates great opportunities for designers as well as unique challenges. Planning and accurate programming are required to determine a client’s personal tastes relating to a colour scheme. Colour schemes can be developed based on the mixing or blending of colours from the colour wheel, nature or from another colour source such as a work of art. The final development of the colour scheme must also take into account the juxtaposition of different colours to each other, the desired effects from the elements and principles of design, and the appropriate distribution of colour.