Layout - search for new forms of design objects. Compositional basics of layout in graphic design

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

In addition to pre-design 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 methods of manufacturing a product), shape analysis (research of the structure of a product and its analogues, search for options for compositional, structural and plastic solutions).

The results of the analysis must be integrated into synthesis operations through reification (structure formation) and harmonization (composition) of the object. Structuring of individual objects - shaping. Composition is a method of harmonization, a system of means and methods for creating an aesthetically holistic object. In the process of synthesis, the results of the research conducted are implemented in specific methods of shaping: combinatorial, analog, figuratively associative. Combinatorial and analogue methods of suit shaping have been quite well studied*. Synthesis in design is the mental ordering of design information selected during design analysis, and combining them into a single whole - a design image. Synthesis methods can be either systematic (combinatorial, analog) or spontaneous-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 means of design.

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

The design idea is “materialized” during the design process in a sketch - in a layout - in a model. The initial stage of designing a new product is creating its sketch. The designer first creates in his imagination a prototype of the future thing, taking into account existing design 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 way of practical use. In this case, the project takes on specific shape in the process of design modeling.

Modeling is a display, representation or description of an entire object (system of objects), situation or process. There are artistic and figurative modeling, mathematical modeling (calculating a 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 the formulation of a design problem based on this analysis. However, this method does not allow fulfilling the main task of design - creating 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 (the morphology of a thing is the material form of a thing, organized in accordance with its functions). Constructive modeling can be: corrective (the functions and shape of a thing are improved); transitional (functions and morphology are subject to rethinking to give the object new qualities - as an example from clothing design, one can cite the direction of deconstructivism in design); projective (the functions and form of a thing are created again - the work of the Japanese clothing designer I. Miyake). The most innovative method of modeling 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 - creating three-dimensional images of designed objects.

Layout - making mock-ups of products from various materials in full size or on the required scale. The following methods of layout are used in clothing design: tattooing and moulage. A model is a material spatial image of the designed product.

When designing instruments and machines, it is necessary for an engineer to check the technical viability of the plan, after which the designer makes adjustments to the design taking into account the actual technical capabilities. The final stage is the joint work of the designer and engineer on the 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, since he has all the necessary skills. But if we are talking about industrial design, then at different stages other specialists take part in the work, first of all, the designer and technologist.

Clothing design is the creation of a new sample of clothing with specified properties, including research, creation of sketches, layouts, models, calculations and construction of product drawings, production of prototypes. Designing clothing, like designing in general, involves the same steps and uses the same methods. Based on research of 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 the material during prototyping, and the layout is then embodied in a model. Modeling the shape of a suit - organizing the material in accordance with the compositional idea of the suit, embodying the idea of a clothing model in the material. The result of modeling is a finished product.

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

Clothing design - development of the design (construction, relative arrangement 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), making patterns, drawing up working documentation.

Technical modeling - development of drawings and clothing samples based on a 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, materials, semi-finished products or products in the production process; a set of techniques and methods for making clothing.

Each design stage has its own approach, determined by the characteristics of the project, the totality of initial data and some subjective features of the author’s execution.

Layout can be intended for the designer himself when translating an idea into a real visible volumetric form.

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

1. Preparatory (pre-project research);
2. Artistic and design proposal;
3. Implementation of artistic and design development.

Layout takes place at the stage of the art and design project. The content of this stage is the development and deepening of the approved artistic and design proposal, the ultimate goal is the execution of the artistic and design project to the extent provided for in the assignment.

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

Models of architectural structures dating back to the Renaissance, Baroque and Classicism periods are known. Russian architects of the 18th - 19th centuries. Rastrelli, Bazhenov, Thomas de Thomon, Montferrand practiced prototyping widely. The main proportions, scale of details, and possible visual distortions were checked on the model. Often the models were made detachable and from them one could judge not only the appearance of the structure, but also its interior. The architecture of the middle of the last century excluded prototyping not only from design practice, but from the educational process. Modeling was again revived by constructivism. Since then, prototyping in architecture has been widely used.

Modeling as a method associated with the design of an object was rarely used during the time of craft production. But, nevertheless, a lot of time has passed since then; modern technology and its widespread use in the field of design make it possible to place the prototyping process at the main place in design.

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

The methodology and technique of prototyping is a tool for the design and research work of the design artist. The better the methodology and technology are mastered, the more complete the arsenal of design tools is, the faster and better it is possible to solve design and research problems.

There are typical, most common tasks that determine the design strategy and tactics, regardless of whether a separate product is being 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 on variant transformations, aggregation and unification require knowledge of certain design rules, the observance of which helps to achieve the required result.

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

Variant transformations in artistic design pose 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 variant design tasks is to find out what forms and for what reasons the product being created can have, what are the possible search limits and what needs to be done to make the solution optimal.

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

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

Modeling of the planning structure of a residential building is carried out using an application. Rectangles or other shapes are cut out of thick, preferably multi-colored paper, corresponding to rooms and other areas 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 the planning solution (within one floor) are drawn up on a sheet of cardboard, lined with a modular grid at intervals 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 dummy.

In order to move on to more complex spaces, the rectangles of the rooms are cut into squares (corresponding to a modular grid), and the entire 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 rooms. The height of the room or alcove is taken equal to the width of the room. When making a model, the walls are made of flat paper, equal in height and width to the room, and in length to 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 enclosed 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 plan configuration, dimensions, boundaries, orientation of the interior, location of windows and bay windows, niches; will suggest the ratio of illuminated and shaded spaces, the arrangement of furniture. Ready-made solutions are glued to the baseboard with glue along the supporting edge. Layout of a volumetric-spatial composition can be made from clay, plasticine, foam plastic, paper. The initial data for making the layout are cube 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. Layout is carried out in generalized forms, the elements of the composition are clean and slotted planes, three-dimensional figures, and a supporting frame. Particular attention is paid to the tectonics of the structure associated with the material of real structures. Flat structures are easier to imitate from paper, masonry from natural stone and columns from foam blocks, vaulted structures, curved and concave shapes from plasticine. Modeling the volumetric-spatial composition of a residential building will allow us to clarify the dimensions, proportions, configuration of the building as a whole and individual elements: walls, windows, roof, porch, turrets, attics, terraces, verandas. Using a volumetric-spatial composition, you can check the color scheme of the building and its placement on the site (using the layout of the underlying structure). Working prototyping makes the idea visual and accessible for analysis. Working prototyping causes active activity associated with the study of a problem situation, a visual, physical representation of a future building, checking and comparing options. Working models are made from cheap and plastic materials to visually check the compositional and structural design of the building, its placement on the site and illumination at different positions of the sun above the horizon. If the model is made on a scale of 1:50, then using a regular camera you can capture a view of the future building from the most characteristic points of view. The final layout is made at a scale of 1:50 or 1:20 and can replace drawings for a small building. The final layout is made from hard materials: wood, foam with metal fastening elements and imitation of surface texture using available materials. The final model is a collapsible three-dimensional model of the structure in all details available for reproduction on the accepted scale. Based on design experience, the components of the model are: a block of foundations, a basement, a plinth, including the ground floor level; box of walls with stairs and second floor floor level; attic and roof. This layout structure allows you to show all the design features and volumetric solutions, making it easier to build a house.

Basic techniques for giving paper shapes. Cardboard and paper are convenient and easy to process manually. In addition, they have sufficient rigidity, which ensures the strength of the layout, and plasticity, which practically makes it possible to embody in one form or another all the creative ideas of the author. Rolled Whatman paper does not provide a flat, smooth surface suitable for use due to curling. The same applies to rolled formatted paper. To make the surface of the paper smooth, it must be stretched onto a stretcher or board. In order to stretch the paper onto the stretcher, a Whatman sheet is soaked in cold water on both sides for 1-2 minutes. Then, after shaking the paper slightly, 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 coated with glue and paper is glued onto them, making sure that the glue does not get on the plane of the board. To glue the paper, you can use PVA glue, casein glue or glue made from flour. In order for the sheet to be evenly stretched, you should, without any extra effort, carefully (from the inside to the edges) straighten the corners and, folding the allowances into an “envelope,” crimp the sheet and secure each side with buttons. The board should be dried in a horizontal position. When dry, the paper will stretch itself and the surface will be smooth. Only after the paper has dried can you start working on it: drawing patterns and performing other necessary operations.

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

Cuts in all types of reamers are made with a breadboard knife along a metal ruler. If the sheet is thin, then you can use a non-sharp, narrow object, for example, the outside of the end of a pair of scissors. Thus, it is possible to make notches of the ribs in the developments of the layout parts drawn on a stretched stretcher, where there is a danger of tearing the sheet of paper from a strong cut. This method gives the layout additional rigidity and allows you to achieve significant strength. Layouts often use structures or rigid spatial frames. U-shaped or l-shaped elements in cross-section are suitable for this, because they have significant rigidity. The edges and edges of the folds must be clear, without creases or bends. To do this, it is necessary to make cuts along the future fold lines on the side where the outer edge will be formed. After all the specified operations have been carried out, that is, the paper and cardboard are prepared for work, the parts and developments are drawn and cut out with high quality, the necessary notches and cuts are made, you can begin assembling and gluing the layouts.

The most accurate way of gluing is end-to-end gluing (on edge), but for this you need to have extensive experience working with layouts. A simpler gluing option is gluing one form to another using folded edges of the paper. This gluing method is most effective and necessary in the manufacture of fairly large cylindrical volumes, where all surfaces are required to be closed. In this case, it is necessary to very carefully make notches around the circumference of the unfolded triangles in order to maximally preserve the curvature of the circle and avoid the formation of gaps between the circle and the rectangular part of the cylinder development. The lapels are cut towards the fold.

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

Watercolor paints are used to tint paper, and gouache paints or ink are used to obtain a rich, covering color. The paper should be stretched on a stretcher, regardless of whether it is tinted with watercolors or stamped with gouache. For tamping, a piece of foam rubber is usually used, wound around a pencil or stick. The paint is applied to the paper with a swab using light tapping movements. Only after the paint has dried can you draw the pattern and cut it out, and then begin assembling the layout parts.

layout loft sketch interior

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 component in the process of training general designers in the field of environmental design and in the process of artistic and design activities.

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

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

Nowadays, there is an active search for new ways to improve the artistic and technological education of future artist-designers, and there is also an active improvement in the teaching methods of special art disciplines, the study and application in the design activities of designers of the latest achievements of technical progress and innovative technologies aimed at improving professional skills future specialists.

Nowadays, without comprehensive training of student designers, which includes the study of special core disciplines - design, layout, the basics of artistic skill and the mandatory study of auxiliary disciplines - drawing, painting, sculpture, art history, history of design and other subjects, it is impossible to create a competent work of art in areas of artistic design and layout. Therefore, in the system of artistic training of an artist-designer, these subjects are given 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 environmental design. It is necessary to harmoniously combine the artistic, technological and aesthetic components of professional activity, determined by the very specifics of artistic design and layout as an art form that meets the criteria of “usefulness, durability and beauty.” Designers, as professional specialists, must meet rapidly changing socio-economic conditions, the development and implementation of new technologies, and be able to independently solve complex professional problems of creating a modern environment at a high aesthetic and artistic level.

Layout in environmental design is an important component in the process of training general specialists in the field of environmental design and in the process of artistic and design activities.

The model has been known since ancient times; even during the times of Ancient Egypt and ancient Greece, architects used not drawings, but a model. The word “model” itself comes from the French - maquette and from the Italian - macchietta - sketch and means a spatial image of something, usually in reduced sizes. Models of architectural structures dating back to the Renaissance, Baroque and Classicism periods are known. Russian architects of the 18th–19th centuries. Rastrelli, Bazhenov, Thomas de Thomon, Montferrand widely practiced prototyping. The main proportions, scale of details, and possible visual distortions were checked on the model. Often the models were made detachable and from them one could judge not only the appearance of the structure, but also its interior.

The goal of the prototyping process is to master the techniques and skills of three-dimensional modeling of environmental objects and their elements, as well as to acquire skills in working with paper, cardboard and other prototyping materials; development of spatial thinking.

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

A model is, as it were, a temporary generalization of ideas in large masses and relatively abstract forms of a certain idea, model, which carries generalized functional and constructive content, one of the means of achieving an optimal answer to the task. The layout is made in a homogeneous material (usually paper, cardboard, plastic) and comes in two types: working and exhibition.

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

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

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

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

At the sketching stage, the layout is also intended for practical purposes, that is, for the designers themselves, so it does not necessarily have to be visually attractive. But the internal blocks that make it up must be able to move, change their relative positions, and combine in different ways.

When designing monosyllabic objects, the surface of the layout must be able to change so that it can be given one shape or another in search of the best solution. The nature of the surface and volume modeling are laid down in objects already at the draft stage of the project. The material and technology for making the model should help with this. Since the layout at the preliminary design stage must be to some extent conditional, it does not use the same materials in which this product will be made in kind. When designing objects with a complex volumetric-spatial structure, from the very beginning of the design search, there are different tasks and, accordingly, a different prototyping 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 must be checked only when moving one in relation to another.

Layout is work on the object itself, during the process of working on which the designer’s hand directly influences the form being manufactured. The process of layout is important for the artist-designer because through them the experience of transforming a spatial image develops, spatial representation and spatial thinking are formed. By making models from various materials, students themselves intuitively discover their design properties. For example, by making paper layouts, its main design features become clear. In different states, paper takes the load differently. It can be curved, corrugated, rolled into a tube.

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

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

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

The layout, its integrity, generality, and extremely simple geometric shapes instill in students the method of working from the large form to the details, from the general to the specific.

Layout as the most understandable form of compositional search is also reflected in the nature of design solutions. As design tasks become more complex, prototyping remains one of the main forms of work on a composition, therefore prototyping is a subject-based practical activity in which perception and action transform into practical skills in working with various prototyping materials.

Layout of volumetric-spatial composition develops spatial thinking. This is especially helped by working with three-dimensional structures, with composition in space, along with all sorts of exercises in the material.

Layout is closest to real analogues; it makes it possible to trace changes in the general structural structure of the designed volume, fosters a method of thinking “from the general to the particular,” directs the student’s thinking to the choice of material and design, and makes it possible to master the laws of volumetric-spatial composition in generalized forms. This is the importance of prototyping for the preparation of a high professional level artist-designer.

Literature

1., Maksimov from paper and cardboard. – M.: University, Book House, 2000.

2.Drawing. Layout. Figure: Methodological guide for preparing for studying at an architectural institute. – M.: MARCHI, 2002.

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

4. Architectural layouts. – M., 1965.

5. – Drawing, prototyping, 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.

Transcript

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

2 Landscape design of the environment: Reference material and guidelines for performing practical tasks. Chelyabinsk: NOUVPO RBIU, p. Author-compiler: V.S. Bannikov, Member of the Board of Directors of the Russian Federation. This publication includes theoretical and reference material, structured according to models, determines the content of practical tasks by type of independent work; offers one of the test options in the form of testing. In order to ensure high-quality completion of assignments, educational literature is presented with page numbers. Reviewer: I.V. Vinokur, Candidate of Pedagogical Sciences, Director of the Higher School of Art of the NOUVPO RBIU, Head of the Department of Drawing and Painting of the NOUVPO RBIU

3 CONTENTS Introduction... 4 Contents of the academic discipline... 4 Methodological recommendations for independent work... 5 Assignments for students’ independent work... 8 Bibliography...10

4 METHODOLOGICAL RECOMMENDATIONS FOR STUDYING THE DISCIPLINE "LAYOUTING IN ENVIRONMENTAL DESIGN" for independent work of students The main objective of the course "Layouting in Environmental Design" is to develop the personality of students, preparing them for future professional activities as a designer. Methodological recommendations are intended to help students organize independent extracurricular work on the course, as well as deepen and systematize subject knowledge on the main issues of the course. The study of landscape design is focused on students mastering a system of knowledge about the aesthetic qualities of natural and cultural landscapes; consideration of the historical experience of gardening art and current problems of architectural and landscape organization of city 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 for them). Before starting to master the discipline Modeling in Environmental Design, the student must carefully familiarize himself with the Course Program, which reveals its structure, logic and sequence of study topics, and records the list of knowledge that the student must master upon completion of the course. In the learning process, forms such as lectures, seminars, and independent work are used. CONTENT OF THE ACADEMIC DISCIPLINE 2.1. Contents of the discipline Section I. Layout methodology. Topic 1. Introduction. Connections General introduction to the purpose, scope and objectives of the Layout Course. The content of the work. Layout and its role in the designer’s design activities. Rigidity elements. Methods of joining (gluing): end-to-end (on edge), gluing one form to another using folded edges of paper. Topic 2. Platonic solids. Shells.

5 Study of the properties of Platonic solids. Creating a form from repeating elements. 1. Marking 2. Cutting 3. Making developments, assembling polyhedra from them - tetrahedron, cexahedron (cube), octahedron, icosahedron, dodecahedron.. Topic 3. Bodies of revolution. Creation of bodies of rotation.1. Marking along the generatrix. 2. Assembly from repeating elements. Topic 4. Reverse fold. "Terrain". Studying the properties of paper through opposite paper folds. Studying how to make a relief from one sheet. Sketch development. Drawing according to markings. Incisions. Deflections Topic 5. Origami. Mastering the origami technique. 1. Marking.2. Flexion. Topic 6. Transformations. "Showcase space." : Creation of complex shapes through transformation. 1. Marking. 2. Cuts according to the markings. 3. Gluing. 4. Formation of volumes by folding. Topic 7. Elements of interior equipment. Creation of individual interior filling elements. Studying methods for manufacturing complex volumetric shapes.1. Sketch marking. 2. Cutting out individual elements. 3. Manufacturing of individual elements and their arrangement. 4. Assembly. Topic 8. Interior of a room (bedroom, office, kitchen). Studying methods of creating interior space (deep spatial composition). 1. Creating a sketch. 2. Cutting out individual elements. 3. Manufacturing of individual equipment elements and their arrangement. 3. Assembly. Methodological recommendations for independent work It is advisable for each student to listen to all lectures on the course Layout in Environmental Design, 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 problems that are difficult for him, to get answers to questions that turned out to be incomprehensible. Exchange of opinions and active discussion with other students in the group about the historical and future development of landscape design will contribute to more successful mastery of the educational material. When preparing for the seminar and practical exercises, the student should use the Layout Course Program. in environmental design: read the list of questions, as well as the list of report topics, familiarize yourself with the list of basic and required literature. After this, the student will have to take notes on the required literature. To do this, you need to carefully read the recommended texts, and then, having studied the analogues, make a series of analytical sketches that clearly demonstrate those ideas that are important for their further application in practical work. Next, it is advisable for the student to study the relevant sections of the textbooks. If any questions remain unclear or arouse special interest, they should be recorded and referred to additional literature. Such questions, further, should be proposed for general discussion at the seminar and possible options for their implementation should be clearly demonstrated in sketches. All the literature necessary for preparation is available in the reading room of the library of NOUVPO RBIU. In addition, students receive from the teacher individual assignments for independent work, which consist of 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 recommended literature on this issue and in consultation with the teacher, studies the literature, visual material, draws up a plan for his work and selects analogues that allow him to reveal the main issues of this plan. Next, the student completes a series of sketches (5–10 options). In order to achieve a conscious attitude towards the educational process, students need to learn how to organize their work independently, 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 answering theoretical questions along with listening to reports, it is recommended to adhere to the following sequence in work: 1. First repeat, and, if necessary, study the visual range related to the material covered: practical work, diagrams and illustrations in lecture notes and educational literature; 2. Repeat special words and expressions; 3. Repeat text material from lectures; 4. Read the text of 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. Topic Contents Control form hours 5th semester Topic 1. Introduction. Compounds Topic 2. Platonic solids. Topic 3. Bodies of rotation. Gluing one form to another by turning over the edges of the paper. 1. Marking 2. Cutting 3. Making developments, assembling polyhedra from them. 1Marking along the generatrix. 2.Assembly of repeating elements. Checking homework; discussion of work results Checking homework; discussion of work results Checking homework; presentation Topic 4. Reverse fold. “Terrain” 1. Development of a sketch. 2. Drawing according to the markings. 3.Incisions. 4. Deflections Checking homework; presentation. 2

8 Topic 5. Origami 1. Marking. 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.Marking. 2.Incisions according to the markings. 3.Gluing. 4.Formation of volumes by folds. 1. Marking the sketch. 2.Cutting out individual elements. 3. Manufacturing of individual elements and their arrangement. 4.Assembly. 1. Creating a sketch. 2. Cutting out individual elements. 3. Manufacturing of individual equipment elements and their arrangement. 3. Assembly. Checking homework; discussion of work results Checking homework; discussion of work results Checking homework; discussion of the results of the work. Tasks for independent work of students: Topic 1. Introduction. Connections Task: Glue out a 30*30mm dice. Gluing one form to another by turning over the edges of the paper. Whatman material. Topic 2. Platonic solids. Task: Glue out any of the Platonic solids. Step by step work. 1. Marking 2. Cutting 3. Making developments, assembling a polyhedron from them. Whatman material. Topic 3. Bodies of rotation. Task: Glue out 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 markings, make the necessary cuts and deflections, thereby simulating the terrain. Whatman material. Topic 5. Origami Task: Select analogues that clearly demonstrate the origami technique. According to the selected sample, having made the necessary markings, make bends in the designated places, thereby achieving the expected result. Whatman material. Topic 6. Transformations. “Showcase space” Task: Complete a preliminary design of a storefront 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 tones. Material: Whatman paper, cardboard. Topic 7. Elements of interior equipment Assignment: Make a drawing of a certain element of interior equipment: sofa, bed, wardrobe, desk. Scale 1:10. The color range is limited to 2 tones. Material: Whatman paper, cardboard. Topic 8. Interior of the room Assignment: Complete a preliminary design of the room. You can take a ready-made situation from any project as a basis. Scale 1:10. The color range is limited to 2 tones. Material: Whatman paper, cardboard. Internet resources 1. Origami from paper diagrams, instructions, step-by-step assembly of origami Schemes for assembling origami from paper, how to make figures, modular origami Origami from paper for professionals. Scheme.

10 Bibliography: Basic literature: 1. Zolotukhina E.N. Composition and layout: Educational method. complex. - Chelyabinsk: ChGI, p. 2. Kalmykova N.V., Maksimova I.A. Layout in educational design: Proc. manual for universities. M.: Architecture-S, p. 3. Kalmykova N.V., Maksimova I.A. Layout from paper and cardboard: Textbook. manual for universities. M.: University, p. 4. Stasyuk N.G. Fundamentals of architectural composition: Textbook. manual for universities. M.: Architecture-S, p. 5. Volume-spatial composition: Textbook. manual for universities / Ed. A.F. Stepanova. M.: Stroyizdat, p. 6. Ruzova E.I., Kurasov S.V. Fundamentals of composition in environmental design practical course: Proc. manual for universities. M.: MGHPA im. S.G. Stroganova, p. Additional literature: 1. Grozhan D.V. A beginner's designer's guide. Rostov n/a: Phoenix, s. 2. Ustin V.B. Composition in design: methodological foundations of compositional and artistic form-building in design creativity: Textbook. manual for universities. M.: AST, p. 3. Ustin V.B. Composition in design: methodological foundations of compositional and artistic form-building 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. Asymmetrical composition in fine arts: theory-methodology-pedagogy. Chelyabinsk: Chelyabinsk Humanitarian Institute, p. 6. Shimko V.T. Architectural and design design. Fundamentals of theory: Textbook. manual for universities. M.: Architecture-S, p.

11 Appendix Fig. 1. Gluing one form to another using folded edges of paper Fig. 2. Developments of Platonic solids

12 Fig.3. Layout of the terrain made of corrugated cardboard. Rice. 4. Origami “tulip”.

13 Fig. 5. Origami “bird”.

14 Fig. 6. Origami “elephant”. Rice. 7. Layout of a clothing store display window. Rice. 8. Layout of a “watch” shop window.

15 Fig. 9. Layout 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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The purpose of the lesson: to develop the ability to use techniques and means of composition, to develop aesthetic taste using the example of works of art constructed taking into account compositional laws.

Lesson objectives:

Educational: introduce students to different types of graphics, basic definitions and concepts of graphic design
Developmental: develop cognitive interest, promote the formation of creative imagination, develop taste and sense of composition
Educational: fostering cognitive interest in the art of design

Lesson equipment:

1. Computer class

2. Multimedia projector

3. Exhibition of printed products

Lesson plan:

1. Define graphics, the main types of graphics and the role of graphic design in modern art.

2. Showing a computer presentation followed by an explanation

3. Carrying out independent work using ICT technologies.

Organizing time

Introduction. You and I know how diverse fine art is. Let's name the types of fine arts.

Children's answers: Painting, graphics, sculpture, etc.

Today we will talk to you about graphics and its varieties..

The topic to be studied today is: “Compositional principles of layout in graphic design. Text and image as elements of composition.”

1. Harmony, contrast and expressiveness of a planar composition

2. Symmetry, asymmetry and dynamic balance

3. Movement and statics

4. Straight lines and organization of space

5. Color - an element of compositional space

6. Letter - line - font. Type art

7. Compositional basics of layout in graphic design. Text and image as composition elements

Graphics (from the gr. grapho - I write, draw) is a type of fine art that is associated with images on a plane. Graphics combines drawing, as an independent area, and various types of printed graphics: woodcut (woodcut), metal engraving (etching), cardboard engraving, etc.

Graphics can be easel, book, applied.

Easel graphics. A type of graphic art, the works of which are independent in purpose and form, are not included in the ensembles of a book, album or in the context of a street, public interior, like a poster, and do not have an applied purpose, like industrial graphics. The main types of easel graphics are easel drawing and easel sheet of printed graphics (printmaking). The main forms of easel graphics are museum and exhibition collections and displays, hanging on the walls of public and residential interiors. Easel graphics decorate offices, galleries, and the walls of our apartments

Book graphics. Book graphics are one of the types of graphic art. This includes, in particular, book illustrations, vignettes, headpieces, initial letters, covers, dust jackets, etc. The history of drawing has been largely associated with the handwritten book since antiquity and the Middle Ages, and the development of engraving and lithography has been largely associated with the printed book. In the ancient world, a font appeared, also classified as graphics, since the letter itself is a graphic sign. The artist illustrates the text and complements it with visual images, helping the reader understand the writer’s intent.

Graphic design is an artistic and design activity to create a harmonious and effective visual and communicative environment. Graphic design makes an innovative contribution to the development of the socio-economic and cultural sphere, contributing to the formation of the visual landscape of our time

Graphic design spans human history from the Lascaux cave to the dazzling neon of Ginza. In the long history of visual communications, there are subtle differences and overlaps between the arts of advertising, graphic design, and fine art. They share many common elements, theories, principles, practices and languages, and sometimes the same patron or client. In the art of advertising, the absolute goal is to sell goods and services.

Graphic design: “The essence is to give order to information, form to ideas, expression and feelings to objects that confirm human experiences.”

Graphic design can be classified according to the categories of problems it solves.

Typography, calligraphy, fonts, including newspaper, magazine and book design

Corporate identity, brand names, logos, brand books

Visual communications, orientation systems

Poster products

Visual solutions for product packaging, including confectionery and food

Web design tasks

Visual style of television programs and other media products

Common uses of graphic design include magazines, advertising, packaging, and web design. Composition is one of the most important properties of graphic design, especially when using preliminary materials or other elements

Graphic design is the human activity of creating functionally and artistically significant products made using manual or computer graphics. Brush, pencil, pen, computer mouse, felt-tip pen are equal tools for creating graphic design products. Various artistic techniques and effects are used, designed for a positive perception by both the author and the user.

Let's try to formulate the properties of the composition:

1. Symmetry and asymmetry

2. Dynamics and statics

4. Contrast and nuance

5. Proportionality and scale

6. Color and tonal unity

By type of execution, three groups can be clearly distinguished:

Text only

Only a sign

Combined version

What can be called graphic design products?

The corporate style of the company and its main element is the logo

Packaging, labels, covers

Souvenir products

Internet sites

Book layouts and illustrations

from Greek logos - word + typos - imprint

Logo is an original design, an image of the full or abbreviated name of a company or a company’s products, which works to enhance the company’s image.

The logo is the face of the company. Creating a logo is the beginning of the development of such an important visual characteristic of a company as a corporate identity.

Like any graphic image, a logo is created

according to the laws and properties of composition Construction of the whole, where the arrangement and interrelation of parts are determined by the meaning, content, purpose and harmony of the whole. The main thing in composition is the creation of an artistic image.

The main criteria when developing a logo, sign or trademark:

Individuality - this property allows you to stand out in the product market and make good competition

Originality - creating an image of the logo bearer that is different from competitors; this property should evoke positive emotions and associations among consumers

Functionality is a criterion that allows you to place a logo both on letterheads and web pages, and on fax messages, souvenirs or leaflets, for which the logo must be easily scalable and relatively simple

Associativity - this property means the presence of connections, associations between the logo and the features of the product.

Before we begin the practical part of our lesson, let's take a little rest. Physical education minute

Task 1 Create a logo

Develop a logo under the auspices of:
Physical health (sports show)
Competition of creative projects (fair of ideas)
Art gallery (vernissage)
Moral health (action "Do good")
Arts Festival (holiday - Olympics)
When developing a logo, you can use your own themes.

To complete this task you will need a program based on a vector solution. The vector format allows you to resize the image, for example, enlarge it to the size of a billboard or more, without losing quality. This is very important, as it will allow you to apply your logo on T-shirts and pens, as well as on large media, including various promotional products. Such logo creation tools are programs such as Adobe Illustrator, Corel Draw, Freehand, XARA X, etc.

Things to consider when creating a logo:

Originality

Expressiveness

Conciseness

Readability

Memorability

It is advisable to avoid multicolor in logos.

1. the more colors, the more difficult it is to achieve balance and harmony;

2. a logo that is too colorful is less memorable and may look annoying;

Graphic design includes posters.

Poster (German Plakat from French placard - announcement, poster, from plaquer - stick, stick) - a catchy, usually large-format, image accompanied by a short text, made for campaigning, advertising, information or educational purposes. In another meaning - a type of graphics . In modern design, a poster is perceived as “a message summarized in a clear visual formula, intended for a contemporary to draw conclusions and specific actions.” This formula reflects a certain level of graphic design and informs about the subject of communication.

The specificity of the artistic language of a poster is determined by the fact that it must be perceived from a great distance, attract attention, and the meaning of what is depicted must immediately catch the eye. As a special type of graphic art, posters have existed since the 2nd half of the 19th century. The features of the genre include the following: the poster must be visible from a distance, be understandable and well perceived by the viewer. The poster often uses artistic metaphor, figures of different scales, depictions of events occurring at different times and in different places, and contour designation of objects.

For text, the font, location, and color are important.

Posters also use photography in combination with drawing and painting.

Poster art these days is multi-genre. Posters can be: political, theatrical, film, advertising, circus and environmental. The image and font should convey the message of the poster. It is difficult to choose the font that is most appropriate in each individual case. The color of the font attracts attention and evokes a special relationship with the image presented on the poster. A font poster is a common type of visual propaganda.

Specific features of the figurative language of the poster: clarity of image, catchiness, decorativeness.

First of all, you need to outline and decide the composition of the poster.

With a symmetrical composition, the central figure dominates the poster. Asymmetrical, on the contrary, is like a fragment, part of some larger whole. And attention is focused on movement. There is also a linear and diagonal construction of the composition.

Only those things that have clear semantic functions should appear in the image on the poster.

A poster is not a painting; it is not always necessary to convey color nuances and depict the smallest details. It is advisable to use a sparing selection of colors (no more than three or four), which will allow you to create an expressive color scheme. The color wheel will help you choose harmonious color combinations. Achromatic colors also combine beautifully.

Student message

The subject and purpose of posters can be very diverse:

Information

Educational

Instructional

Satirical

Task 2. Image - a figurative element of the composition

Based on the rules of composition, perform exercises combining images and text in which:

1. Instead of rectangles - photographs, and instead of lines - lines of text

2. Instead of spots - images (photos, drawings, cut out along the contour, growing like lines from the background

3. The photograph serves as a background for text and other compositional elements

The poster layout solves the problem of compositional and semantic connection of image and text. The image can be in the form of a drawing, photograph or abstract spot. The combination of image and text should create an image that reveals the theme of the poster. All the features of the composition are realized in the poster sketch: harmony and balance of masses, rhythm, diversity, clearly expressed dominant, etc.

Having determined the theme of the poster and selected the constituent compositional elements, arrange them in a certain format.

The text of the poster should be short and easy to read, as if growing out of the background.

The composition can be deep and frontal.

Task 3. Postcard layout

Having chosen the theme and genre of the postcard, determine its design.

The text can be on the background of the image or outside it.

The compositional tasks here are the same as in the poster.

Before you start working, decide on the choice of task. You can create a poster layout or a postcard layout. Determine the theme of the poster or postcard and what program you will work in

Summing up the lesson.

What basic concepts have we learned today?
Students' answers. (graphics, poster, etc..)
Viewing works and analysis.

Bibliography.

1. N.M. Sokolnikova Fundamentals of Composition, Moscow, Publishing house. "Title", 1993

2. A.S.Piterskikh, G.E.Gurov, Fine arts. Design and architecture in human life, Moscow, "Enlightenment", 2008.