1、本科毕业论文外文翻译 原文： Basic theory about car design A small collection of tips directed to make that the exposition of a project or simple sketch has more possibilities of success. The drawing is an act of communication of ideas, and the main tool for a designer who wants to shape on paper and to transmit
2、the soul of his projects. Choosing the view Depending on the detail or part of the car that you want to show, you have to chose an angle of view. But be careful not to overdone the angle of view when the car changes the proportions. Also very important is to show right the proportions of the car dep
3、ending on the market level where it belongs. Like if is a super-mini, be sure that every person that looks at it will understand that you have draw a super-mini not a minivan or an off road vehicle. Also if the car is a tall one, be sure it shows. Choosing the size Many times the first idea is made
4、on small thumbnails that dont have to be very well finished, it is more important not to lose the idea that you have and be quick in generating more ideas and variations on the idea. Many times you have heared the quick draw on a post-it or a tissue. Latter on, you can get to a high level of definit
5、ion and bigger size of the drawing that allows better detailing. The technique There are a lot of different techniques that can be applied to sketching and rendering, so you can really choose the one that suits you best. Lets say that there are two basics, that can be combined: the traditional pan a
6、nd paper, and the computer aided design. The first one, we start with the paper and basic ball pen, or pencil, markers, the colored pencils and guides for the curves and ellipses, and all this can go on to an infinite array of instruments that can be used depending on your skills, imagination and ab
7、ilities. Generally all this equipment is expensive and it needs replacing as soon as some of it is worked out. For the CAD part there is also a large election to be made of. We can start with the software and looking just to the 2D part of the process, we have the Photoshop, Painter, Sketch Book Pro
8、 so on. All of them are offering more than enough resources to get the best out of our ideas. There are some accessories, apart from the computer and mouse. You dont want to draw using the mouse, believe me. What you need using this software is something like a Wacom Cintiq screen, or at least, one
9、of the cheaper offers of the Intuos tablets. Now here starts another debate: whats better, a Wacom Cintiq or a good screen and the Intuos tablet?. Well, again depends on your possibilities and how you feel more confident and get the best result. We have seen professional that dont want the Cintiq an
10、d others that dont want to use the Intuos. We prefer the Cintiq, but as I said before, it is just our preference not a rule! Both are great as long as you get the best result for the render you want to do. Starting Start by trying to see the car in the simplest way you can decompose it. Try to imagi
11、ne the position the car will have on the paper by drawing the perspective line. Also the outside lines of the cars body. Many times to help you draw in faded lines the unseen parts of the car, like the wheels on the unseen side. All this will help you get the right perspective. But again there is th
12、e exception from the rule: Sometimes the idea can start from playing with a certain volume, or graphics so on. Think the lines The one element that defines a drawing is the line, so this gives the orientation of the drawing. Even if they define complex surfaces they are the basic elements in a drawi
13、ng, everything is defined by line: the DLO (Day Light Outline), door cuts, lights, body trim From this phase on it is very important to start thinking at what you will do in terms of design criteria. The design language have to start working in the same way for whole the project. Think volumes We ca
14、n distinguish between two different ways that a project can take: The shape is conditioned by the technical requirements. Well every time “the form follow function” rule is the main theme, because we design a functional object. So we cant ignore completely this rule. But here we talk about productio
15、n oriented cars that are totally determined by the technical requirements. Here we start with a package given by the engineers with certain points that have to be respected for the product latter to be eligible for industrialization. The volume needed for the engine, car interior, safety structure a
16、nd elements, so on, catt be changed so our job is to dress all this “ugly” mechanical part with the best dress we are capable of. So in a production project we have little margin for freedom and on top we have to deal with all the legislation and bureaucracy that the market requires. Please dont tak
17、e this as the ugly part of the design or the unattractive prospect. It is a very rewarding feeling that after you start with a difficult package you are capable to obtain a masterpiece of design. And also it is the part where the great designers are separated from the good ones. The second is when t
18、he most important is the shape and the technical requirements follow the shape. Here we talk about concepts, school projects searching for new ways of transportation, imagining new worlds so on. This are the spectacular projects and the ones that give a lot to talk about them. They are giving you th
19、e possibility to try new unexplored ways of design language and formal concepts. But also this are projects that if you are not careful can bring you in trouble, because behind every form and shape it has to be a very good and strong concept, very well explained and as always it has to be very evide
20、nt and instead of bringing questions to give instant answers. Even if the everything from technical part of view it will be argumented just theoretically. But in both cases the need for the existence of a real or imaginative package has to be there, this making the designer to think in a way or anot
21、her with the option of those volumes. And here comes the part where to designer needs to show his/her capacity to play with the balance of the entire design by trying to get the best design that is not boring, unpleasant and in the same time is simple and easy to look at and needs not too many words
22、 to be explained. Like in the case of a minivan where you have to play with elements and volumes to get a sober and uniform feeling, while a SUV has to give the sensation of toughness and strong mechanical parts even it does not need them. Think surfaces As a designer you will have to think in terms
23、 of surfaces also. How this surfaces will encounter one to another, how it will be made the transition from one surface to another one. Radiuses and blends that are needed to create a strong passage from a wheel arch to the fender and so on. The lines that define the volumes defines also the surface
24、s belonging to them. So is very important that you understand what you are drawing. One line can ruin or make great the design of a car. Think light and shadow Starting by assuming that the light comes always from above, imagining the way the shape reflects this light is the best to get a good resul
25、t. Playing with the lights incidence on the object we get the realistic aspect of the object and actually we just show the shape of the object to the world around. Latter by letting the surfaces of the car to mirror the surrounding we can make it appear even more real. Also in this phase of the draw
26、ing we may not have the need to draw section to show the true shape. Here everything depends on our skill to best render the object. Also a real vehicle always mirrors the surroundings, so it is important if we can do the same with our render. Designing a car is not just making a nice drawing Design
27、ing a car is therefore defining shapes volumes, lines and emotions. The drawing is just a reflection of a latter “incarnation” of an idea that we have. The final meaning of the object is not to get a nice drawing ( also while nicer the drawing the more attractive the idea and in a presentation the n
28、icer the drawing the easier to win that presentation, to get the model of the car done, and to get the success as a designer) but to get the right drawing for the idea that we have. So it is very important to keep in mind that the drawing is just first part of a longer process. It is not the final o
29、f the process. Try to give the main place to the car not the surroundings or the lady designed close to the car Your idea is what counts first. 外文文献翻译： 关于汽车设计的基础理论 一些对项目细节的论证和描述会使成功的可能性变大。绘画是一种思想观念交流的行为，是设计师将自己的灵魂表达到纸上的一种工具。 选择视角 你必须根据你想展示的汽车的实际部分或者细节选择一个视角。但要小心当汽车的大小改变时 你的视角不要过度。（字面意思就是这样我也不懂这是在说什么
30、希望你懂）另外一点非常重要的是要根据市场定位来选择车子正确的大小。例如说如果是一辆超级迷你（ super-mini） ,你要确信你能让每个人都看懂你画的是一辆超级迷你而不是小型货车或者越野车。如果车身是高的，你也要确定你的画上能展示这一点。 选择尺寸 很多次一开始你脑海中只有一个小缩略图，不需要很高的完成度。更重要的是不要失去这个想法并且迅速产生更多的想法以及变化。很多次你可能听说过在纸巾或便利贴上迅速的作画，之后你可以将它提升到一个更高的水平，更好的清 晰度和更大的尺寸以便获得更好的细节。 技术 有很多用于表现草图和透视的不同的技术，你可以选择最适合你自己的一种。我们可以说有两个基本要素要结
31、合起来，传统的纸笔和 CAD. 一开始我们用纸和基本的圆珠笔、铅笔、马克笔、彩色铅笔（这个作者怎么这么烦不就是笔么），来画曲线或者椭圆的辅助线，按照你本人的技术，能力和想象力所有这些工具都可以被无限地排列使用。一般来说这些器具都很贵，当它们被使用完以后必须马上替换。（这是神马逻辑，我给作者跪了。） 在 CAD 的部分我们仍然有大量的选择余地。我们可以从软件开始，只看我们步骤中 2D的部分，我们有 Photoshop, Painter, Sketch Book Pro 等等（软件名字我也不翻了你懂得）它们都可以提供足够的资源来充分表达我们的想法。除了鼠标和电脑以外还有一些辅助程序，相信我，你不会
32、想要用鼠标来作画。你所需要的是一款像是 Wacom Cintiq screen 的软件，或者至少是便宜一些的 Intuos tablets. 现在我们又开始了另一个争论： Wacom Cintiq 和 Intuos tablet 哪一个更好 ？这再度取决于你的潜力和你对哪个软件的使用更为自信。有些人不喜欢用 Intuos tablet也有些人不想用 Wacom Cintiq.我们倾向于 Wacom Cintiq但正如我之前所说的这只是一种倾向而不是准则。只要你能做出你想做的，两者都很好。（废话！） 开始 试着从最简单的角度去分解和看待（你所要设计的）汽车。试着去通过在纸上画出透景线来想像车的位
33、置，同样画出车身的外线。很多时候车体看不见的位置画虚线会帮助你，例如说看不见的那一侧车轮。以上这些都能帮助你画出正确的透视图。 但也有一些例外：有时我们的想法 可能始于一张明确的图或者画册等等。 考虑线条 构成一张画的要素是线条，所以线条给予了绘画的定位。即使它们构成了复杂的表面它们依然是绘画的基本要素。所有的东西都是由线条构成的： the DLO (Day Light Outline),门切面（直译，不知道是神马），灯光，车身装饰 从这个阶段起就应该开始考虑你想做什么样的设计标准。设计语言要同样要开始运用到整个项目中去了。 考虑体积（或容量） 我们可以用两种不同的方法来区分一个项目： 形状要
34、受到技术要求的制约，我们设计的是一个功能对象，所以形式应该为功能 服务。我们不能忽略这一原则。但我们这里讨论的是面向生产的车，它完全受制于工业技术水平。我们接受工程师们的一些具体的理念并且给与尊重，我们更要尊重之后将被投入工业生产的产品。我们作品 所需的发动机、汽车内饰、安全结构与要素都不能被改变，所以我们的工作是为这些个丑陋的工业机械穿上尽可能好看的外衣。所以在一个设计中我们仅有很少量的自由并且我们要考虑到所有法律和官僚市场的要求。请不要把这认为是设计的丑陋面或者不吸引人的一面。当你面对了极大的困难并且取得了很大的进展时你会感到更大的成就感。这也是一个伟大的设计区别于一个 好设计的重要一点。
35、 第二点，有时形式比技术更为重要。这里我们指的是我们的理念，或者是学校内的对新交通方式的研究或者对新世界的想象。这些都是人们讨论的很多的伟大的项目。 他们会给你带来尝试新的探索途径和形式的可能性和设计语言的概念。而且这是如果你不小心的话会给你带来麻烦的项目 ,因为每个形式和形状的背后是一个很好很强大的概念 ,并像往常一样 ,能很好地解释它是很重要的一点 ,而是将给即时的答案。即使从技术层面上看这也将只是理论上论证。 但在这两种情况下都必须有确实存在的想象力，这使得设计师们能从这样那样的角度去考虑 和设计他们的作品。这就引致了设计师们必须有平衡两者的能力，不但要设计出最好的作品还要使之不无聊不令
36、人不快却又足够的简洁易懂。就像一辆小货车你必须考虑给予它冷静而又统一的形象而一辆 SUV 需要被赋予坚韧而强悍的机械印象。（神马乱七八糟的） 考虑外观 作为一个设计师你同样要注意考虑事物的外观。如何使外观相遇（完蛋了这个不通），如何使外观从一个过渡到另一个（也不通），需要在车轮毂和挡泥板之间用半径和曲线制造出一个强悍的通道等等。 重要的是你要知道你在画的是什么，一根线条可以成就一个伟大的设计也可以毁掉一个伟大的设计。 考虑光影 开始时我们假想光是从上面照射下来，想象一下光的反射的最佳角度和结果。画出光反射的最逼真的角度，实际上我们展示的是物体和外界的相对形状关系。 然后让我们的车的表面像镜子一
37、样反射出周围的景物，使之更加逼真。 在这阶段的图纸我们可能不需要绘制反映出真实的形状的部分。这一切都取决于我们渲染对象的技巧。一个真正的车总是映射到了周围环境，如果我们能做到这一点是很重要的。 设计一辆车并不仅仅是画一幅好画 因此设计一辆车是定义一个形状、线条和情感。绘画是反映我们“化身”和表达我们想法的。我们的最终目的不是得到一张好画（当然好的绘画能表达出更为引人注意的观点，也更能容易地获得关注使设计者更容易获得成功）而是能够准确地表达出我们的理念。 所以要牢记这一点：绘画只是漫长的设计过程中的一部分。试着去关注车辆的本身而不是周围的环境或者车边的女士（这句戳中我笑点了哈哈哈）你的设计是第一位的。
