工業設計專業英語(第3版)（簡體書）

《面向21世紀高等院校規劃教材:工業設計專業英語(第3版)》的課文及閱讀短文主要選自國際上有影響的學術著作及期刊，因此，《面向21世紀高等院校規劃教材:工業設計專業英語(第3版)》也是一本有一定學術價值的專業論文集。

Unit 1 Design History & Theory
Lesson 1 Design-Led Innovation
Lesson 2 Design Revolution: An Interview with Emily Pilloton
Lesson 3 Interaction Design
Lesson 4 The Kyoto Design Declaration: Building a Sustainable Future
Lesson 5 Design and Culture
Lesson 6 Italian Design
Unit 2 Design Dundamental
Lesson 7 Why User Experience Cannot Be Designed
Lesson 8 Painter-Van Gogh
Lesson 9 Myths about Paper Prototyping
Lesson 10 On the Case Study Method of Research and Teaching in Design
Lesson 11 User Research Strategies: What Works, What Does Not Work
Lesson 12 Handmade and Craftsman
Unit3 Product Design
Lesson 13 Sir Jonathan Ive, the British Man Behind the Design of Apple's Iconic Products
Lesson 14 The Mobile Office
Lesson 15 iPod: 10 Breathtaking Years of Industrial Design
Lesson 16 Does Culture Matter for Product Design
Lesson 17 Insect and Design
Lesson 18 A Bitter Pill to Swallow: The Rise and Fall of the Tablet Computer
Unit 4 Visal Design
Lesson 19 Understanding Web Design
Lesson 20 Information Design: the Understanding Discipline
Lesson 21 Communication as Design
Lesson 22 Do Typefaces Really Matter?
Lesson 23 Bifocal Display
Unit5 Technology & Design
Lesson 24 Saving Advertising (Part Ⅰ)
Lesson 25 Just in Time Design
Lesson 26 How Much Do We Need? - Materials Knowledge
Lesson 27 Eye Tracking
Lesson 28 3-D Printers Redefine Industrial Design
Lesson 29 Brain, Body and Bytes: Psychophysiological User Interaction
Lesson 30 Behind the Google Goggles, Virtual Reality
Unit 6 Service Design
Lesson 31 Copycat Design as An Open Platform for Innovation
Lesson 32 The Future of Context: Mobile Reading from Google to Flipboard to FLUD...
Lesson 33 Making Things Fun: an Introduction to Gamification
Lesson 34 The Truth about SoLoMo

This half indoor, half outdoor scene thus provides an excellent subject for analyzing the variedeffects of sunlight and shadow. The striking contrast between the more subdued hues of theforeground emphasizes the brilliant luminosity or the full-face sunlight seen through the frame ofthe canopy. Richer, deeper contrasts of warm and cool colors play against the paler, more dazzlingtints of the background, producing a harmony of varied tones within the broad color axis blur toorange-yellow. The paint layer itself is typical of Monet's work. It is exploiting opaque colors,made lighter and more light-scattering by the addition of lead white, and it is liberally applied,forming an almost unbroken skin obscuring the pale ground beneath. As a result the ground color,although evidently pale, is hard to identify with certainty. The ground colors most commonly usedby Monet in the 1870s were pale gray, putty, oatmeal and white. The paint consistency is stiff andchalky, with colors mainly applied wet over dry. However, there is some slurring together of colors,such as the blues and white of the central cloud of steam. The effects of colored light on moisture inthe atmosphere- whether steam, mist, fog or heat haze- fascinated Monet throughout his life,and provided him with an excellent vehicle for the study of light refraction through the droplets ofmoisture. Under such conditions the light is often shattered into its component rainbow elements,the drops of moisture serving as myriad prisms filling the atmosphere, and resulting in morecolorful, scintillating effects of light.
Monet worked rapidly and enthusiastically on this group of pictures, of which seven werealready finished in time for the third impressionist show in April 1877, where this canvas wasexhibited. It was bought by Gustave Caillebotte, who left his collection to the Louvre.Lucian FreudThe fascinated unblinking stare with which Lucian Freud fixed his subjects enabled him torepresent them in a manner that makes it impossible for the spectator ever to look at them casually:"The eye is compelled to see them, down to the smallest detail, with something of the intensity withwhich he saw them himself," art historian Hohm Rothenstein commented. Much has been made ofthe fact that Lucian Freud is the grandson of Sigmund Freud, the inventor of psychoanalysis; andthe grandson does seem to have inherited a passionate interest in the codification and seizure ofstates of mind from his grandfather.
Lucian Freud was born in Berlin in 1922 and was brought to England by his parents 10 yearslater. Lucian Freud drew and painted from an early age, and always wanted to become an artist.After a spell of making sculpture at school, he had a sporadic and varied period from 1939 to 1942drawing and painting. By the middle of the 1940s his early style had been formed - It was at thesame time sophisticated and naive, and reliant upon detailed draftsmanship.