academic painting

academic drawing

Graphic presentation

Design research

Design-project-course project

Design engineering

Information Technology

History and methodology of design engineering

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 get an idea of ​​the role of technology in the development of civilization, its influence on the formation of lifestyle and thinking; get an idea of ​​the role and place of design in modern world culture, an understanding of the possibilities and ways of developing technology and design. The course covers: Design as an activity. Design in the system of culture, art, production. History of the development of technology. Philosophy of technology. The origins of design, design and craft. Origin industrial production and the emergence of design issues. Technical progress of the XIX - early XX centuries. The specifics of the 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 get an idea about world cultures, their history, features, traditions and heritage in the field of visual arts; understanding of the general cultural context of which design is a part. The course covers: Culture and art of primitive society and the Ancient World. The development of the arts, types of arts. Culture and art of the Middle Ages and the Renaissance. Baroque, Rococo, Great Age French Revolution and Empires, Romanticism and Modernism. Realism, modernism, postmodern. Great masters of the past and present. Art of the East, America and Africa in the context of their cultural characteristics. Culture and art of Ancient Russia, the originality of Russian culture. Russian art of the XYI-XX centuries. Mass culture and the twentieth century. Trends and features of the development of contemporary world art. Trends in the development of contemporary world art - realism, modernism, postmodern, mass culture; features of the development of culture and art in the second half of the twentieth century. Directions and theories in art history. School of contemporary art.

Academic drawing

Discipline" academic drawing"Studies the language for representing graphic information about three-dimensional objects of varying complexity and methods for displaying graphic information in two-dimensional graphics to prepare students for independent professional work. The discipline "Academic drawing" refers to the cycle of general professional disciplines, aimed at developing students' aesthetic taste, artistic thinking and vision, compositional flair, the ability to abstract the shapes of objects, independently set 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 the necessary basis for more successful mastering of the most important disciplines of an advanced level, such as "Special drawing", "Designing and modeling of industrial products", etc.

Sculpture and plastic modeling

Despite the widespread use of computer-aided design technologies and the growing use of rapid prototyping methods for the manufacture 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 labor-intensive mock-ups made from available materials make it possible, already at the initial stages of a design project, to visually and voluminously 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 layout, skills in working with layout materials and tools, teaches accuracy and accuracy, allows you to perform certain design solutions in simple layout materials at different stages of design project development. Laboratory works are devoted to the implementation of various exercises and the rear, aimed at studying the properties of individual mock-up materials, gaining skills in working with paper, cardboard, hand-held mock-up tools, plasticine and foam plastic. Students gain skills in working with the most common simple layout materials, using their properties and capabilities, develop volumetric and design thinking. Mastering various methods and techniques of layout using examples of objects of different nature and using materials with different properties, students learn to choose the optimal materials and technology for layout, develop a rational structure of the layout and the design of its parts, and plan the entire process of developing and manufacturing the layout. The discipline "Sculpture and plastic modeling" in its nature and purpose is close to the course "Fundamentals of composition in industrial design" and technically complements it. Therefore, the disciplines are methodically closely related: some of the training exercises and assignments are common for both courses, logically complement each other, making the learning process more integrated, and the work of students more meaningful and purposeful. The knowledge, skills and experience gained in the course of studying this course are further used by students in the course "Design Design" in the development of products and for the visualization of design results, as well as in the subsequent course "Prototyping in industrial design".

Flower science and coloring

The discipline "Colour science and coloristics" introduces two areas of knowledge: the first, preliminary, refers to the field of psychology and introduces the laws of visual perception necessary for understanding color harmony and compositional principles, as well as for design practice in general. The second, main one, is devoted directly to color, its theory, the study of properties and the experience of using it in professional activity. This course studies the conditions for the emergence of visual phenomena, the laws of their perception; the laws of color formation and the principles of color harmony, classical and modern color models and color theory, the basics of the psychological impact of color. Students explore the conditions for the occurrence of visual phenomena, master the methods of their assessment; observe and investigate the conditions for the appearance of color, the effects of its manifestation and mixing, study the properties of light, color, pigments. Students receive practical skills in the use of color, gain experience in working with paints and digital color when creating pictorial compositions, experience in selecting colors according to standard catalogs and according to a sample. Homework is aimed at consolidating the acquired knowledge and skills and at developing color perception in the practice of working with color.

Information technology in design

The discipline "Information technologies in design" aims to study and master the basic programs of vector two-dimensional and three-dimensional graphics used in design activities; acquiring skills to work with them for their practical application in the process of learning and design. The main packages are being studied: Corel Draw (two-dimensional graphics) and Rhinoceros (three-dimensional modeling). In the course of lectures, students get acquainted with the principles of work in two-dimensional and three-dimensional vector graphics; the structure and tools of the respective programs and how to work in them. Laboratory works are devoted to the practice of using these programs in solving graphic problems, in creating objects and models. Students receive computer drawing and 3D modeling skills; basic skills in modeling and visualization of simple products; basic skills in the development of objects of graphic and industrial design. Students use the experience gained in the course "Design Engineering" in the development of products and to visualize the results of design.

Organization of project activities

In this course, students acquire the ability to rationally and effectively organize the process of design design, the process of communication with the client; the ability to observe and defend their creative commercial interests; the ability to correctly and rationally conduct contractual relations; the ability to bring the project to implementation; knowledge of copyright protection.

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

Painting

Seminars in the discipline "Painting" are held in an interactive mode, and aim to master the basics of academic and planar decorative painting. The discipline studies the basic laws of painting, its means, techniques, means of expression and harmony, which contributes to the deepening of knowledge, and develops the necessary techniques for independent professional creativity. At the seminars, students master the methods of working on drawing, composition and color, in practice they learn the professional skills of working with pictorial materials, such as watercolor, gouache and acrylic paints. Students get acquainted with the search for a choice of expressive compositional and coloristic 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, generalizing nature, to see the main thing in it. Students set themselves creative tasks, and find the means to solve them, have their own artistic vision and taste, and have a high level of performance. Thus, students receive practical and theoretical skills of the artist to further implement the creative concept of the industrial designer from the analytical stage to the final result. Homework is aimed at the accumulation of knowledge and skills, to gain practical experience necessary in the professional activities of an industrial designer.

Fundamentals of composition in industrial design

The discipline "Fundamentals of composition in industrial design" aims to study and master the basic principles of compositional construction, the development of volumetric-spatial thinking, the interaction of flat and volumetric elements and color on a plane and in space. Various techniques of harmonization and techniques for constructing compositions are mastered. This discipline is a deep organic basis for the design of industrial products. It is the general compositional solution, together with the composition of nuances and details, that determines the image and appearance of the product - integral components of its overall design. Therefore, this course is one of the most important components of the training program for industrial designers. During the lectures, students get acquainted with various types of composition in art, architecture and industrial design, the basic laws of its construction, learn to analyze ready-made compositional solutions. Seminars dedicated to practical training on the creation of planar, relief and three-dimensional compositions. Students get the skills to work with various materials and techniques, develop "vision and sense of composition", learn to be creative in the search and selection of compositional solutions. The discipline "Fundamentals of composition in industrial design" is somewhat close in nature to the course "Sculpture and plastic modeling", complements and creatively enriches it. Therefore, the disciplines are methodically closely related: some of the training exercises and assignments are common for both courses, logically complement each other, making the learning process more integrated, and the work of students creatively interesting, more meaningful and purposeful. The knowledge, skills and experience gained in the course of studying this course are actively used by students in the main course "Design Engineering", as well as in the courses "Special Drawing" and "Design of Packaging and Accompanying Documents".

Fundamentals of the theory and methodology of design 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, project stages; solve the main types of design problems.
The course covers:
Design definitions. Design and production, design and technology, design and market, design and lifestyle. Areas of application of design - design in the environment; design in the transport sector; design in the social sphere; design for the disabled, the elderly, children, etc. Design process, project stages. Basic requirements and composition of the design project. Categories of design activity of the designer. 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 design design of system objects, design typologies and classifications.

Design of accompanying documentation and packaging of industrial products

In this course, students learn 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 a holistic view of the project; development methods and practice.

Design and modeling of industrial products (design engineering)

Seminars in the discipline "Design-projecting" are held in an interactive mode and aim at mastering practical design project activities by students. The discipline studies the methods of designing products of varying complexity and methods for solving various design problems to prepare students for independent professional work. During the seminars, students get acquainted with the subject of design, its scope, state of the art, with the specifics of design, the composition of a typical design project. Students master the methods of analysis of the pre-project situation; methods for setting goals and objectives, choosing a strategy and tactics for a design project; methods of searching for ideas through various creative techniques; methods, approaches and means of conceptual, draft and technical design design. Students receive practical skills in developing a design project for products of varying complexity from the analytical stage to the final result; skills of visualization and argumentation of 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 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. In the course of its study, it is planned to carry out projects on real orders from industry.

Layout in industrial design

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

Design in industrial design

In this course, students get acquainted with the basics of design in mechanical engineering; get an idea about the strength and performance characteristics of structures and typical structural elements and their application.
The course covers:
Basic principles and design methods. 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 significance in the general cultural context. Font, sign, color alphabets. Industrial design objects as carriers of graphic and font information.

Materials Science in Industrial Design

In this course, students get an idea about technologies, knowledge of materials, their design features and decorative properties for practical use in design engineering.
The course covers:
Technological shaping, manufacturability. Materials processing technologies (metals, plastics, composites). Form-building 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 their use in design activities, get acquainted with the ergonomic support of a design project.
The course covers:
Fundamentals of ergonomics, ergonomic requirements, anthropometry. The system "man - machine - environment". Ergonomic support for the design of products and equipment; workplaces, visual systems, interfaces.

Designing Visual Communications

Design computer software

The discipline "Computer Software for Design Engineering", being a logical continuation of the course "Information Technologies in Design", gives students knowledge and skills in the field of two-dimensional raster 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 study the Photoshop raster graphics program and the Rhinoceros and Flamingo 3D modeling and rendering programs - software actively used by 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 industrial design computer design tools, are studied in in full. The course of the Rhinoceros program is a continuation and extension of the study of three-dimensional modeling methods, begun in the course "Information Technologies in Design"; The Flamingo section is a self-guided course in computer rendering of 3D models and scenes.
The study of programs is based on a combination of two forms of classroom studies:
a) lecture-demonstration type, in which the teacher talks about the capabilities and tools of the software, while 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 gained in lectures and laboratory classes. As topics for laboratory and homework assignments, not only abstract training models are used, but also objects designed in parallel courses "Volumetric spatial composition" and "Design Design", thanks to which individual training courses are connected, and the work of students becomes more meaningful and productive. Successful mastering of the program of the course "Computer Software for Design Design" allows students to effectively use the acquired modeling and visualization skills both in the course of further education, and in the course of future professional activity.

Each stage of design has its own approach, determined by the specifics of the project, the totality of initial data and some subjective features of the author's performance.

Modeling can be intended for the designer himself when translating the idea into a real visible three-dimensional form.

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

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

Modeling takes place at the stage of an art and design project. The content of this stage is the development and deepening of the approved art and design proposal, final goal- execution of an art and design project in the amount provided for in the assignment.

Since ancient times, prototyping has been widely used; unlike graphics, it slightly reflected culture, had little to do with plastic art, and had only practical significance.

Models of architectural structures belonging to the period of the Renaissance, Baroque and Classicism are known. Russian architects of the XVIII - XIX centuries. Rastrelli, Bazhenov, Thomas de Thomon, Montferan practiced prototyping widely. On the model, the main proportions, the scale of details, and possible visual distortions were checked. Quite often the layouts were made detachable and it was possible to judge not only about appearance buildings, but also about its interior. The architecture of the middle of the last century excluded prototyping not only from design practice, but from the educational process. Modeling again revived constructivism. Since then, layout in architecture has been widely used.

Modeling, as a method associated with the design of an object, was rarely used at the time of handicraft production. However, a lot of time has passed since then. modern technology and its widespread use in the field of design make it possible to put the prototyping process at the forefront in design.

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

Methodology and technique of prototyping is a tool for the design and research work of an artist-designer. The better the methods and techniques are mastered, the more complete the arsenal of design tools, the faster and better it is possible to solve design and research problems.

There are typical, most common tasks that determine the strategy and tactics of design, regardless of whether a separate product is 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 for variant transformations, aggregation and unification require knowledge of some design rules, the observance of which contributes to the achievement of the desired result.

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

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

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

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

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

Modeling the planning structure of a residential building is carried out using the application. Rectangles or other figures are cut out of thick, preferably multi-colored paper, corresponding to the rooms and other premises 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 planning solutions (within one floor) are drawn up on a sheet of cardboard lined with a modular grid with an interval 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 sub-model.

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 whole composition is laid out like a mosaic, while the color differentiation of the 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 premises. The height of the room or alcove is taken equal to the width of the room. When making a layout, the walls are made of flat paper , equal in height, width of the room, and in length - 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 covered 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 configuration of the plan, dimensions, boundaries, orientation of the interior, the location of windows and bay windows, niches; will tell you the ratio of illuminated and shaded spaces, the arrangement of furniture. Ready-made solutions are glued to the mock-up with glue along the supporting edge. Modeling of a volume-spatial composition can be performed from clay, plasticine, polystyrene, paper. The initial data for the manufacture of the layout are cubes-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. Modeling is carried out in generalized forms, the elements of the composition are clean and cut planes, three-dimensional figures, and a supporting frame. Particular attention is paid to the tectonics of the structure, which is related to the material of real structures. Flat structures are easier to imitate from paper, natural stone masonry and columns from foam blocks, vaulted structures, convex and concave shapes from plasticine. Modeling the volumetric and spatial composition of a residential building will clarify the dimensions, proportions, configuration of the building as a whole and individual elements: walls, windows, roofs, porches, turrets, attics, terraces, verandas. With the help of volume-spatial composition, you can check the color scheme of the building and placement on the site (using the layout of the underlying). Working prototyping makes the idea clear and accessible for analysis. Working prototyping causes vigorous activity related to the study of the problem situation, visual, bodily representation of the future building, verification and comparison of options. Working layouts are made of cheap and plastic materials for a visual check of the compositional and structural construction of the building, its placement on the site and illumination at different positions of the sun above the horizon. If the layout is made on a scale of 1:50, then using a conventional camera, you can capture a view of the future building from the most characteristic points of view. The final layout is done in 1:50 or 1:20 scale and can replace blueprints for a small building. The final layout is made of hard materials: wood, foam plastic with metal fasteners and surface texture imitation using improvised materials. The final layout is a collapsible three-dimensional model of the structure in all the details available for reproduction in the accepted scale. Based on design experience, the components of the model are: a block of foundations, a basement, a basement, including the floor level of the first floor; wall box with stairs and second floor floor level; attic and roof. Such a structure of the layout allows you to show all the features of structures and volumetric solutions, to facilitate the construction of a house.

Basic techniques for giving paper configurations. Cardboard and paper are convenient and easy to handle. In addition, they have sufficient rigidity, which ensures the strength of the layout, and plasticity, which practically makes it possible to embody all the author's creative ideas in one form or another. Roll "Whatman" does not represent a flat, smooth surface suitable for use due to twisting. The same applies to rolled formatted paper. To make the surface of the paper even, it must be stretched on a stretcher or board. In order to stretch the paper on a stretcher, the Whatman sheet is soaked in cold water on both sides for 1-2 minutes. Then, after slightly shaking the paper, it is placed on a stretcher or board lying in a horizontal position and smoothed, dispersing the water to the corners. After that, the ends of the stretcher are smeared with glue and paper is glued on them, making sure that the glue does not get on the plane of the board. For paper stickers, you can use PVA glue, casein glue, or glue made from flour. In order for the sheet to stretch evenly, without any extra effort, gently (from the inside to the edges) straighten the corners and, folding the allowances with an “envelope”, crimp the sheet and fasten with buttons on each side. Dry the board in a horizontal position. As the paper dries, it will stretch on its own and the surface will be smooth. Only after the paper dries can you start working on it: draw scans and perform other necessary operations.

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

Incisions in all types of reamers are made with a dummy knife along a metal ruler. If the sheet is thin, then you can use a non-sharp, narrow object, for example, the outer side of the end of the scissors. Thus, it is possible to make notches of ribs in the development of layout details drawn on a stretched stretcher, where there is a danger of tearing a sheet of paper from a strong notch. This method gives the layout additional rigidity and allows you to achieve significant strength. Layouts often use structures or rigid spatial frameworks. U-shaped or l-shaped elements in section are suitable for this, because. they have considerable rigidity. Edges, edges of folds should be clear, without creases and distortions. To do this, along the lines of the future fold, it is necessary to make cuts on the side where the outer edge will be formed. After all these operations have been carried out, that is, paper and cardboard are ready for work, the details and scans are qualitatively drawn and cut out, the necessary notches and cuts are made, you can start assembling and gluing the layouts.

The most accurate way of gluing is butt gluing (on the edge), but for this you should have a lot of experience with layouts. A simpler version of gluing is gluing one form to another using the lapels of the edges of the paper. This method of gluing is the most effective and necessary for the manufacture of sufficiently large cylindrical volumes, where it is required to have all surfaces closed. In this case, it is necessary to very carefully, along the circumference, make notches of the unfolded triangles in order to preserve the curvature of the circle to the maximum and avoid the formation of cracks between the circle and the rectangular part of the cylinder development. Lapels are cut in the direction of the bend.

For greater expressiveness in layout, color is often used. 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, easily "rolls", tightly attaches the sheet and makes it possible to evenly smooth the surface of the sheet to be glued. In order to tightly glue the colored paper, you need to spread the glue on the unfolded part, which has not yet been assembled, and smear the surface of the colored paper with glue, let it dry, and then attach one surface to the other. If you need to use a color or tone that is not in the set, then you can make drawings from white paper.

Watercolors are used to tint paper, and gouache paints or ink are used to obtain a rich, opaque color. The paper must be stretched on a stretcher, whether it be tinted with watercolor or stamped with gouache. For tamping, a piece of foam rubber wound around a pencil or stick is usually used. The paint is applied with a swab to the paper with light tapping movements. Only after the paint has dried can you draw a scan and cut it out, and then proceed to assemble the layout details.

mockup loft sketch interior

Design is undoubtedly an innovative activity, but, unlike discovery and invention, it has a well-defined goal, which is formulated in the form of a design task. In our science, for a long time, 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 scheme: demand - planning - programming (forecasting) - design - production - replication - distribution - consumption. The starting point of the designer's creativity is the needs of man and society. He must study, know, feel and translate 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 the pre-project analysis when creating a new thing: the study of 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-project analysis - a study carried out at the initial stage of design and comparison of data on the desired functions of a thing or a complex of things or an environment, about the appearance of the designed product and environment, about the manufacturing method, about the presence of analogues of the proposed object (an analogue is a product similar to the one being designed for its functional purpose, principle of operation, conditions of use). Pre-project analysis reveals the shortcomings of existing products, the wishes of consumers.

In addition to pre-project 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 ways of manufacturing a product), shape analysis (study of the structure of a product and its analogues, search for options for compositional, constructive and plastic solutions).

The results of the analysis carried out should be integrated into the synthesis operations by means of objectification (structure formation) and harmonization (composition) of the object. Structure formation of single objects - shaping. Composition is a method of harmonization, a system of means and methods for creating an aesthetically integral object. In the process of synthesis, the results of the studies carried out are implemented in specific methods shaping: combinatorial, analog, figurative-associative. Combinatorial and analogue methods of costume shaping have been studied quite well*. Synthesis in design is a mental ordering of design information selected during design analysis, and their combination into a single whole - a design image. Synthesis methods can be either systemic (combinatorial, analog) or spontaneously 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 design tools.

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

The design idea is "embodied" in the design process in a sketch - in a layout - in a model. The initial stage of designing a new product is the creation of its sketch. The designer first creates in his imagination a prototype of the future thing, taking into account the existing project ideas, technology, economics of production, achievements of 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. At the same time, the project acquires concrete outlines in the process of design modeling.

Modeling is a display, presentation or description of an integral object (system of objects), situation or process. Allocate artistic and figurative modeling, mathematical modeling(payment 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 setting a design task based on this analysis. However, this method does not allow you to fulfill the main task of design - the creation of 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 (morphology of a thing - material form things organized according to its functions). Constructive modeling can be: corrective (the functions and form of a thing are improved); transitional (functions and morphology are rethought to give the object new qualities - as an example from fashion design, one can cite the direction of deconstructivism in design); projective (the functions and form of things are created again - the work of the Japanese clothing designer I. Miyake). The most innovative modeling technique 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 - the creation of three-dimensional images of the designed objects.

Prototyping - making models of products from various materials in full size or in the desired scale. The following layout methods are used in clothing design: tattoo and fake. Model - a material spatial image of the designed product.

When designing devices and machines, it is necessary to check the technical viability of the idea by an engineer, after which the designer makes his own adjustments to the design, taking into account real technical capabilities. Final stage - teamwork designer and engineer for 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 are talking about industrial design, then at its different stages, other specialists take part in the work, first of all, the designer and technologist.

Clothing design - the creation of a new sample of clothing with specified properties, including research, the creation of sketches, layouts, models, calculations and construction of drawings of products, the manufacture of prototypes. Designing clothes, like designing in general, involves the same steps and uses the same methods. Based on research on 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 when making a layout, and then the layout is embodied in a model. Modeling the shape of a suit - the organization of the material in accordance with the compositional idea of ​​​​the suit, the embodiment of the idea of ​​\u200b\u200bthe clothing model in the material. The result of the simulation is the finished thing.

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

Clothing design is the development of a design (construction, relative position 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), production of patterns, preparation of working documentation.

Technical modeling - development of drawings and a sample of clothing according to the 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, semi-finished products or products in the production process; a set of techniques and methods for making clothes.

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

In the article, the author considers prototyping in environmental design as an important part in the process of preparing general designers in the field of environmental design and in the process of artistic and design activities.

Keywords: constructive thinking, layout-structures, volume-spatial composition.

In the existing system of art education in Russia great importance has the problem of improving the professional training of artists-designers. Therefore, there is a need to improve the level of artistic and technological professional skills of specialists in the field of artistic and design activities.

Nowadays, we are actively searching 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, the study and application of the latest technological progress and innovative technologies in the design activities of designers aimed at improving professional skills. future professionals.

Nowadays, without the comprehensive training of design students, which includes the study of special major disciplines - design, layout, basics artistic skill and the mandatory study of auxiliary disciplines - drawing, painting, sculpture, art history, design history 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 items play 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, due to the specifics of artistic design and layout as an art form that meets the criteria of "usefulness, strength and beauty". Designers, as professional specialists, must meet the rapidly changing socio-economic conditions, the development and implementation of the latest technologies, be able to independently solve complex professional problems of creating a modern environment at a high aesthetic and artistic level.

Modeling in environmental design is an important part in the process of training generalists in the field of environmental design and in the process of artistic and design activities.

The model has been known since ancient times, back in the days of Ancient Egypt and ancient Greece, architects used not drawings, but a model. The word "layout" itself comes from the French - maquette and from the Italian - macchietta - a sketch and means a spatial image of something, usually in reduced sizes. Models of architectural structures belonging to the period of the Renaissance, Baroque and Classicism are known. Russian architects of the 18th–19th centuries. Rastrelli, Bazhenov, Thomas de Thomon, Montferan widely practiced prototyping. On the model, the main proportions, the scale of details, and possible visual distortions were checked. Quite often the mock-ups were made detachable and from them it was possible to judge not only the appearance of the building, but also its interior.

The purpose of the prototyping process is to master the technique and skills of volumetric modeling of environmental objects and their elements, as well as the acquisition of skills in working with paper, cardboard and other prototyping materials; development of spatial thinking.

The layout is visual, so the layout process 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 the proportions, the ratio of divisions, their scale, helps to find the correct volumetric-spatial solution of the composition and determine the ways to achieve it. Also in the work on the composition of the layout, the basic concepts and principles of the harmonic organization of the form are studied: ratios, proportions, rhythm, balance.

The model is, as it were, a temporary generalization of representations in large masses and relatively abstract forms of a certain idea, model, carrying a generalized functional and constructive content, one of the means of achieving the optimal answer to the task. The model is made in a homogeneous material (as a rule, in paper, cardboard, plastic) and can be of two types: working and exhibition.

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

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

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

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

At the stage of making sketches, the layout is also intended for practical purposes, i.e. for the designers themselves, so it does not have to be visually attractive. But the internal blocks that make it up must be able to move, change their position, and combine in different ways.

When designing monosyllabic objects, the layout surface must be able to change in order to be able to give it one form or another in search of the best solution. The nature of the surface and the modeling of the volume are laid in the objects already at the draft stage of the project. The material and manufacturing technology of the layout should help this. Since the layout at the draft stage of design must be to some extent conditional, it does not use those materials in which this product will be performed in kind. When designing objects with a complex three-dimensional structure, from the very beginning of the design search, there are other tasks and, accordingly, a different layout 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 should be checked only when moving one in relation to another.

Breadboarding is work on the object itself, in the process of working on which the designer's hand directly affects the form being made. The layout process is important for an artist-designer because through them the experience of transforming a spatial image develops, a spatial representation and spatial thinking are formed. By making models from various materials, students themselves intuitively discover their constructive properties. For example, when making models from paper, its main design features become clear. In a different state, the paper perceives the load in different ways. It can be curved, corrugated, rolled into a tube.

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

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

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

The layout, its integrity, generality, extremely simple geometric forms instill in students a method of working from a large form to details, from the general to the particular.

Modeling as the most understandable form of compositional search is also reflected in the nature of design decisions. With the complication of design tasks, prototyping remains one of the main forms of work on composition, therefore prototyping is a subject-based practical activity in which perception and action turn into a practical skill in working with various prototyping materials.

Modeling of volume-spatial composition develops spatial thinking. This is especially helped by work with three-dimensional structures, with composition in space, together with all sorts of exercises in the material.

Modeling is closest to real analogues, it makes it possible to trace the change in the general structural construction of the projected volume, brings up the method of thinking "from the general to the particular", directs the student's thinking to the choice of material, design, makes it possible to master the laws of volume-spatial composition in generalized forms. This is the significance of layout for the preparation of an artist-designer of a high professional level.

Literature

1., Maksimova from paper and cardboard. - M .: University, Book House, 2000.

2. Drawing. Prototyping. Figure: Methodological guide for preparing to study at an architectural institute. – M.: MARKHI, 2002.

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

4., Architectural layouts. - M., 1965.

5., - Drawing, layout, 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.

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1 Non-state educational institution higher professional education "Russian-British Institute of Management" (NOUVPO RBIM) Department of Design V.S.Bannikov LAYOUT IN ENVIRONMENT DESIGN Reference material and guidelines for students in the direction of "Design" Chelyabinsk, 2015

2 Landscape design of the environment: Reference material and guidelines for the implementation of practical tasks. Chelyabinsk: NOUVPO RBIM, p. Author-compiler: V.S. Bannikov, Member of the RF SD. This publication includes theoretical and reference material, structured by models, determines the content of practical tasks by type independent work; offers one of the options for offset in the form of testing. In order to ensure high-quality performance of tasks, educational literature with page indications is presented. Reviewer: I.V. Vinokur Ph.D.

3 CONTENTS Introduction... 4 Contents academic discipline... 4 Guidelines for independent work ... 5 Assignments for independent work of students ... 8 Bibliographic list ... 10

4 METHODOLOGICAL RECOMMENDATIONS FOR STUDYING THE DISCIPLINE "PROTOTYPE IN ENVIRONMENT DESIGN" for independent work of students The main objective of the course "Prototyping in environment design" is to develop the personality of students, preparing them for their future professional activities as a designer. Methodological recommendations aim to help students in organizing independent extracurricular work on the course, as well as in deepening and systematizing subject knowledge on the main issues of the course. The study of landscape design is focused on students mastering the system of knowledge about the aesthetic qualities of natural and cultural landscapes; consideration of the historical experience of gardening art and topical problems of the architectural and landscape organization of the city's territories; mastering skills in the field of landscape design (architectural and landscape analysis of the territory, creating landscape compositions in the form of draft graphic sketches, working and layout drawings, plans and writing explanatory notes to them). Before starting to master the discipline Modeling in Environment Design, the student needs to carefully read the Course Program, which reveals its structure, logic and sequence of studying topics, fixes the list of knowledge that the student must master upon completion of the course. In the learning process, such forms are used as lectures, seminars, independent work. CONTENT OF THE EDUCATIONAL DISCIPLINE 2.1. The content of the discipline Section I. Methodology of layout. Topic 1. Introduction. Connections General introduction to the purpose, scope and purpose of the course "Prototyping". The content of the work. The model and its role in the design activity of the designer. Stiffness elements. Ways of connection (gluing): butt (on the edge), gluing one form to another with the help of lapels of the edges of the paper. Topic 2. Platonic solids. Shells.

5 Study of the properties of the Platonic solids. Create a form from repeating elements. 1. Marking 2. Cutting 3. Making developments, assembling polyhedra from them - a tetrahedron, a kexahedron (cube), an octahedron, an icosahedron, a dodecahedron .. Topic 3. Solids of revolution. Creation of bodies of revolution.1. Generating markup. 2. Assembly of repeating elements. Topic 4. Reverse fold. "Relief of the area". Examining the properties of paper through opposite folds of paper. Learning how to make a relief from a single sheet. Sketch development. Drawing by markup. Notches. Backbends Topic 5. Origami. Mastering the technique of origami. 1. Markup.2. Flexion. Topic 6. Transformations. "Showcase Space". : Creation complex shapes through transformation. 1. Markup. 2. Notches according to the markup. 3. Bonding. 4. Formation of volumes by folds. Topic 7. Elements of interior equipment. Creation of separate elements of interior filling. The study of methods for manufacturing complex volumetric forms.1. Sketch markup. 2. Cutting out individual elements. 3. Production of individual elements and their layout. 4. Assembly. Topic 8. Room interior (bedroom, office, kitchen). The study of methods for manufacturing interior space (deep spatial composition). 1. Create a sketch. 2. Cutting out individual elements. 3. Manufacture of individual items of equipment and their layout. 3. Assembly. Guidelines for independent work It is advisable for each student to listen to all the lectures on the course Modeling in the design of the environment, making notes and highlighting the most significant provisions in them. Independent work consists of participation in seminars and practical classes, allowing the student to

6 theoretical and practical levels to understand difficult problems for him, to get answers to questions that turned out to be incomprehensible. An exchange of opinions and an active discussion with other students of the group on the problems of the historical and further development of landscape design will contribute to a more successful mastering educational material. In preparation for the seminar and practical exercises, the student should use the Program of the Course on Prototyping. in environment design: read the list of questions, as well as the list of topics of reports, read the list of basic and mandatory literature. After that, the student will have to review the required literature. To do this, you need to carefully read the recommended texts, and then, having studied the analogues, make a number of analytical sketches of sketches that clearly demonstrate those ideas that are important for their further application in practical work. Further, it is advisable for the student to study the relevant sections of the textbooks. If any questions remain incomprehensible or arouse special interest, they should be recorded and refer to additional literature. Such questions, further, should be proposed for general discussion at the seminar and visually demonstrate in the sketches possible options for their implementation. All the literature necessary for preparation is available in the reading room of the NOUVPO RBIM library. In addition, students receive from the teacher individual tasks for independent work, which consist in preparing the study of visual and theoretical material for further solving problematic design problems. When preparing a report, the student, having studied the list of literature recommended on this issue and consulting with the teacher, studies the literature, visual material, draws up a plan for his work and selects analogs that allow him to reveal the main issues of this plan. Next, the student performs a series of sketches (5 10 options). In order to achieve awareness of learning process students need to learn how to independently build their work, look for an idea, formulate goals, identify hidden problems, and improve technical skills. When performing practical independent work, it is necessary to clearly fulfill the tasks and requirements set by the teacher. You should also pay attention to the thoroughness of the work.

7 When preparing for a seminar, which involves, along with listening to reports, answers to theoretical questions, it is recommended to adhere to the following sequence in work: 1. First, repeat, and if necessary, study the visual series related to the material covered: practical work, diagrams and illustrations in lecture notes and educational literature; 2. Repeat special words and expressions; 3. Repeat the text material of the lectures; 4. Read the text of the lectures and educational literature. Preparation for independent work is carried out on the following topics, which are given in the table. Independent work of students Table 1. Theme Content Form of control hours 5 semester Topic 1. Introduction. Connections Topic 2. Platonic solids. Topic 3. Bodies of revolution. Gluing one form to another using the lapels of the edges of the paper. 1. Marking 2. Cutting 3. Making reamers, assembling polyhedrons from them. 1 Marking along the generatrix. 2.Assembly of repeating elements. Examination homework; discussion of the results of work Checking homework; discussion of the results of work Checking homework; presentation Topic 4. Reverse fold. "Terrain" 1. Development of a sketch. 2. Drawing on the markup. 3. Notches. 4. Deflection Checking homework; presentation. 2

8 Topic 5. Origami 1. Markup. 2.Bending. Presentation, discussion of issues on the topic. 6 Topic 6. Transformations. “Showcase space” Topic 7. Elements of interior equipment Topic 8. Room interior 1. Markup. 2. Notches according to the markup. 3. Bonding. 4. Formation of volumes by folds. 1. Markup sketch. 2. Cutting out individual elements. 3. Production of individual elements and their layout. 4. Assembly. 1. Create a sketch. 2. Cutting out individual elements. 3. Production of individual elements of equipment and their layout. 3. Assembly. Checking homework; discussion of the results of work Checking homework; discussion of the results of work Checking homework; discussion of the results of the work Tasks for independent work of students: Topic 1. Introduction. Connections Quest: Paste dice 30*30mm. Gluing one form to another using the lapels of the edges of the paper. Whatman material. Topic 2. Platonic solids. Task: Glue one of the Platonic solids. Step by step work. 1. Marking 2. Cutting 3. Making reamers, assembling a polyhedron from them. Whatman material. Topic 3. Bodies of revolution. Task: Glue a cylinder 10mm high, 40mm in diameter. Whatman material. Topic 4. Reverse fold. "Terrain"

9 Task: Develop a sketch of the terrain. Having drawn according to the markup, make the necessary cuts, deflections, thereby simulating the terrain. Whatman material. Topic 5. Origami Task: Find analogues that clearly demonstrate the origami technique. According to the selected sample, having made the necessary markup, make folds in the designated places, thereby achieving the expected result. Whatman material. Topic 6. Transformations. “Showcase space” Task: Complete a draft design of a shop window on a specific topic (“clothing”, “furniture”, etc.). Actual dimensions: height 2100mm, width 3400mm, depth 1300mm. Scale 1*25. The color range is limited to 2 colors. Whatman material, cardboard. Topic 7. Elements of interior equipment Task: Draw a specific element of interior equipment: sofa, bed, Wardrobe, desk. Scale 1:10. The color range is limited to 2 colors. Whatman material, cardboard. Topic 8. Interior of the room Task: Complete the preliminary design of the room. You can take as a basis a ready-made situation from any project. Scale 1:10. The color range is limited to 2 colors. Whatman material, cardboard. Internet resources 1. Paper origami schemes, instructions, step-by-step origami assembly Schemes for assembling paper origami how to make figurines, modular origami Origami paper for professionals. Schemes.

10 References: Main literature: 1. Zolotukhina E.N. Composition and layout: Study method. complex. - Chelyabinsk: CHGI, p. 2. Kalmykova N.V., Maksimova I.A. Modeling in educational design: Proc. allowance for universities. M.: Architecture-S, p. 3. Kalmykova N.V., Maksimova I.A. Prototyping from paper and cardboard: Proc. allowance for universities. M.: University, p. 4. Stasyuk N.G. Fundamentals of architectural composition: Proc. allowance for universities. M.: Architecture-S, p. 5. Volumetric-spatial composition: Proc. manual for universities / Ed. A.F. Stepanova. Moscow: Stroyizdat, p. 6. Ruzova E.I., Kurasov S.V. Fundamentals of Composition in Environment Design practical course: Proc. allowance for universities. Moscow: MGHPA im. S.G. Stroganova, p. Additional literature: 1. Grozhan D.V. A beginner's guide. Rostov n/a: Phoenix, s. 2. Ustin V.B. Composition in design: methodological foundations of compositional and artistic shaping in design work: Proc. allowance for universities. M.: AST, p. 3. Ustin V.B. Composition in design: methodological foundations of compositional and artistic shaping in design creativity. M.: AST, p. 4. Chernyshev O.V. formal composition. Creative workshop on the basics of design. Mn.: Harvest, p. 5. Shapovalov V.G. Asymmetric composition in fine arts: theory-methodology-pedagogy. Chelyabinsk: Chelyabinsk humanitarian Institute, from. 6. Shimko V.T. Architectural and design design. Fundamentals of the theory: Proc. allowance for universities. M.: Architecture-S, p.

11 Appendix Fig. 1. Gluing one form to another with the help of lapels of the edges of the paper Fig. 2. Development of Platonic solids

12 Fig.3. Terrain model made of corrugated cardboard. Rice. 4. Origami "tulip".

13 Fig. 5. Origami "bird".

14 Fig. 6. Origami "elephant". Rice. 7. Layout of a showcase for a clothing store. Rice. 8. Layout of a shop window "hours".

15 Fig. 9. Model of furniture equipment.

16 Fig. 10. Model of a residential interior. Rice. 11. Model of a residential interior. Hallway.

17 Fig. 12. Model of a residential interior. Living room with dining area.

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