车身设计：造型设计过程------外文翻译.doc
约33页DOC格式手机打开展开
车身设计：造型设计过程------外文翻译,neil birtley, fcsd这一章的主旨是回顾造型设计师和空气动力分析师的角色概述从概念到最后设计的各个设计阶段证明机械工程师和造型设计师前后协同工作的必要性4.1简介除了设计师的草图的常规外观和专业汽车出版社里的油腻模型，这个主题在其他地方很少被写到。汽车设计师...
内容介绍
此文档由会员 wanli1988go 发布
Neil Birtley, FCSD
这一章的主旨是
回顾造型设计师和空气动力分析师的角色
概述从概念到最后设计的各个设计阶段
证明机械工程师和造型设计师前后协同工作的必要性
4.1简介
除了设计师的草图的常规外观和专业汽车出版社里的油腻模型，这个主题在其他地方很少被写到。汽车设计师的工作仍然得到很多人包括工业设计师的很少的理解。一些以设计师角度思考的有趣的见解和他们事业的性质在1988年由Armi给出，在这里他阐明“汽车设计在商业艺术中是最不能被充分理解的”。
这个操作程序主要是由Harley Earl创造的东西演变过来的，Harley Earl1927年在通用汽车创建了第一个为特定目的建造的设计部门。这个方法包括在纸上设计出2D草图，然后将他们转变成全尺寸的2D正交的插图。这些都被用于创建模板等，用于创建全尺寸的三维模型（通常用油泥做模型，有时也用木材和石膏）。
然后全尺寸实物模型为结构设计部门提供全车身表面信息基础，并机加工出来。概念图的产生、概念图转换成的全尺寸“胶带图”和涂色以及全尺寸油泥模型都是设计师工作的一部分。同时他们的许多技能训练和体验出来的，许多决定性的制作和解释很多时候是凭直觉的。在造型技术的开发方面可以确定的是，不管对于内部的还是外部的，草图方案的实施几乎遵循一系列难定义的未成文规则，是一个非常宽泛的参量。
Neil Birtley, FCSD
The aim of this chapter is to:
• Review the role of the stylist and aerodynamist;
• Give an overview of the design stages from concept to final design;
• Demonstrate the need for engineers and stylist to work in tandem.
4.1 Introduction
Very little has been written elsewhere on this subject, despite the regular appearance of stylists’
sketches, and clay models in the specialist motoring press. The work of the automobile stylist
remains little understood by many, including other industrial designers. Some interesting insights
into the way stylists think, and the nature of their business, is given by Armi, 1988 where he
states that (car styling) ‘. . . is amongst the least understood of the commercial arts’.
The operational procedures are mainly evolved from those created by Harley Earl, who set
up the first purpose-built styling department at General Motors in 1927. The method includes
creating designs on paper as 2D sketches, then converting them to full size 2D orthogonal
illustrations. These are used to create templates, etc., to create full-size three-dimensional
models, usually in clay, though wood and plaster are sometimes used.
The full size mock-up is then used as the basis for all body surface information required by
the engineering department for structural design and tooling to be developed. The generation of
concept sketches, their conversion into full size ‘tape drawings’ and renderings and the creation
这一章的主旨是
回顾造型设计师和空气动力分析师的角色
概述从概念到最后设计的各个设计阶段
证明机械工程师和造型设计师前后协同工作的必要性
4.1简介
除了设计师的草图的常规外观和专业汽车出版社里的油腻模型，这个主题在其他地方很少被写到。汽车设计师的工作仍然得到很多人包括工业设计师的很少的理解。一些以设计师角度思考的有趣的见解和他们事业的性质在1988年由Armi给出，在这里他阐明“汽车设计在商业艺术中是最不能被充分理解的”。
这个操作程序主要是由Harley Earl创造的东西演变过来的，Harley Earl1927年在通用汽车创建了第一个为特定目的建造的设计部门。这个方法包括在纸上设计出2D草图，然后将他们转变成全尺寸的2D正交的插图。这些都被用于创建模板等，用于创建全尺寸的三维模型（通常用油泥做模型，有时也用木材和石膏）。
然后全尺寸实物模型为结构设计部门提供全车身表面信息基础，并机加工出来。概念图的产生、概念图转换成的全尺寸“胶带图”和涂色以及全尺寸油泥模型都是设计师工作的一部分。同时他们的许多技能训练和体验出来的，许多决定性的制作和解释很多时候是凭直觉的。在造型技术的开发方面可以确定的是，不管对于内部的还是外部的，草图方案的实施几乎遵循一系列难定义的未成文规则，是一个非常宽泛的参量。
Neil Birtley, FCSD
The aim of this chapter is to:
• Review the role of the stylist and aerodynamist;
• Give an overview of the design stages from concept to final design;
• Demonstrate the need for engineers and stylist to work in tandem.
4.1 Introduction
Very little has been written elsewhere on this subject, despite the regular appearance of stylists’
sketches, and clay models in the specialist motoring press. The work of the automobile stylist
remains little understood by many, including other industrial designers. Some interesting insights
into the way stylists think, and the nature of their business, is given by Armi, 1988 where he
states that (car styling) ‘. . . is amongst the least understood of the commercial arts’.
The operational procedures are mainly evolved from those created by Harley Earl, who set
up the first purpose-built styling department at General Motors in 1927. The method includes
creating designs on paper as 2D sketches, then converting them to full size 2D orthogonal
illustrations. These are used to create templates, etc., to create full-size three-dimensional
models, usually in clay, though wood and plaster are sometimes used.
The full size mock-up is then used as the basis for all body surface information required by
the engineering department for structural design and tooling to be developed. The generation of
concept sketches, their conversion into full size ‘tape drawings’ and renderings and the creation
