РАБОЧАЯ

ТЕТРАДЬ

ДЛЯ ПРАКТИЧЕСКИХ РАБОТ ПО ДИСЦИПЛИНЕ

«ИНОСТРАННЫЙ ЯЗЫК(АНГЛИЙСКИЙ)» В РАЗДЕЛЕ

«ПРОФЕССИОНАЛЬНО-НАПРАВЛЕННЫЙ МОДУЛЬ»

ДЛЯ СПЕЦИАЛЬНОСТИ 54.02.01 ДИЗАЙН (ПО

ОТРАСЛЯМ)

Коровкина Татьяна Владимировна

Оглавление

Введение        5

Методические указания по изучению дисциплины.        6

UNIT 1. Исторические и современные тенденции в развитии дизайна. (Historical and Modern Trends in the Development of Design).        7

TEXT 1. Industrial Design in Pre-Industrial Societies.        7

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.        7

Exercise 2. Read and translate the text using a dictionary.        7

Vocabulary and Grammar Exercise        8

TEXT 2. The First Industrial Designer.        13

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.        13

Exercise 2. Read and translate the text using a dictionary.        13

Vocabulary and Grammar Exercise        14

TEXT 3. The Revolution in the Fine Art        18

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.        18

Exercise 2. Read and translate the text using a dictionary.        18

Vocabulary and Grammar Exercise        19

TEXT 4. The Triumph of Modern Design 1900-1925.        23

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.        23

Exercise 2. Read and translate the text using a dictionary.        23

Vocabulary and Grammar Exercise        24

TEXT 5. Design from 1925 to 1950………………………………………………………...28

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.        28

Exercise 2. Read and translate the text using a dictionary.        28

TEXT 6. Design from 1950 to Present……………………………………………………...33

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.        33

Exercise 2. Read and translate the text using a dictionary.        33

UNIT 2. Направления дизайна. Графический дизайн. Дизайн интерфейсов. Мультимедиа. Промышленный дизайн. (Design Directions. Graphic design. Interface design. Multimedia. Industrial design)        37

TEXT 1. Graphic design: terminology, history, applications, skills, tools………….……..36

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.        37

Exercise 2. Read and translate the text using a dictionary.        37

TEXT 2. Interface design.        45

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.        45

Exercise 2. Read and translate the text using a dictionary.        45

TEXT 3. Multimedia: Major characteristics. Commercial uses. Entertainment and fine arts. Virtual reality. Augmented reality……………………………………………………54

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.        55

Exercise 2. Read and translate the text using a dictionary.        55

TEXT 4. Industrial design: Definition. Design process. Examples of Industrial design.        63

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.        63

Exercise 2. Read and translate the text using a dictionary.        63

UNIT 3. Направления дизайна. Потребительский дизайн (Design directions. Consumer design).        72

TEXT 1. Furniture Design………………………………………………………………….71

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.        72

Exercise 2. Read and translate the text using a dictionary.        72

TEXT 2. Fashion Design…………………………………………………………………….78

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.        79

Exercise 2. Read and translate the text using a dictionary.        79

TEXT 3. Designing for Business……………………………………………………………84

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.        84

Exercise 2. Read and translate the text using a dictionary.        84

UNIT 3. Направления дизайна. Экологический дизайн (Design directions. Ecological design).        87

TEXT 1. Green Design………………………………………………………………………87

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.        87

Exercise 2. Read and translate the text using a dictionary.        87

UNIT 4. Направления дизайна. Информационный дизайн (Design directions. Information design).        92

TEXT 1. Computer Design………………………………………………………………….92

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.        92

Exercise 2. Read and translate the text using a dictionary.        92

TEXT 2. Designing to Communicate……………………………………………………….97

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.        97

Exercise 2. Read and translate the text using a dictionary.        97

Приложение 1 …………………………………………………………………….……….102

Введение

Рабочая тетрадь предназначена для практических работ по дисциплине «Иностранный язык» в разделе «Профессионально-направленный модуль» для специальности 54.02.01 Дизайн (по отраслям). Основное назначение рабочей тетради – закрепить и активизировать языковой и речевой материал раздела «Профессионально-направленный модуль», автоматизировать лексико-грамматические навыки при работе с профессионально-ориентированными текстами. Тексты сопровождаются методически грамотно построенным комплексом упражнений, помогающим обучаемым совершенствовать навыки и умения самостоятельной работы с текстом. Лексико-грамматические упражнения нацелены на быстрое и качественное запоминание профессиональных терминов, используемых по специальности «Дизайн», повторение и практическое применение грамматических правил на базе профессионально-ориентированных текстов.

Рабочая тетрадь состоит из трех уроков (Units) и одного приложения (Appendix 1). Материал каждого раздела (Unit) предусматривает последовательное, поэтапное изучение определенной темы, связанной с будущей профессиональной деятельностью обучающихся и принципов, применяемых в практике дизайнерской работы. В основу каждого урока положен принцип развития речевой деятельности: чтения и устной речи. Специальные фонетические и морфологические упражнения способствуют лучшему усвоению звукового ряда английского языка. Приложение (Appendix 1) включают словарь профессиональных терминов и глоссарий.

Широкий спектр разнообразных практических заданий, организующих самостоятельную работу, требует от обучающихся творческого отношения при их выполнении (наличие заданий повышенной трудности), позволяет реализовать личностно-ориентированный подход при работе с обучающимися в разным уровнем подготовки и с разными интересами. Задания моделируют ситуации или используют реальные ситуации в целях анализа данного случая, поиска альтернативных решений и принятия оптимального решения проблем.

В тетрадь включены задания, готовящие обучающихся к объективному контролю и самоконтролю в процессе изучения английского языка.

Рабочая тетрадь соответствует уровню подготовки студентов по дисциплине «Иностранный язык (английский)» в разделе «Профессионально-направленный модуль» для специальности 54.02.01 Дизайн (по отраслям).

Методические указания по изучению дисциплины.

В соответствии с ФГОС по дисциплине Иностранный язык (английский) для специальности 54.02.01 Дизайн (по отраслям) студент должен:

УМЕТЬ: общаться (устно и письменно) на иностранном языке на профессиональные и повседневные темы; переводить (со словарем) иностранные тексты профессиональной направленности; самостоятельно совершенствовать устную и письменную речь, пополнять словарный запас;

ЗНАТЬ: лексический (1200 - 1400 лексических единиц) и грамматический минимум, необходимый для чтения и перевода (со словарем) иностранных текстов профессиональной направленности.

Структура практических занятий UNIT 1 – UNIT 5 включает в себя:

1. Texts. Тексты из оригинальных источников, раскрывающие фундаментальные понятия изобразительного искусства и рассказывающие об основных направлениях в искусстве и дизайне.
2. Exercises. Предтекстовые задания, облегчающие понимание текста; задания на проверку понимания содержания, задания на развитие и совершенствование грамматических умений и навыков, а также задания, стимулирующие развитие навыков на базе проблематики и словаря прочитанных текстов. Благодаря используемой системе упражнений данное пособие позволяет обучить студентов комплексу умений и навыков анализа смыслового содержания и логико-коммуникативной организации текста, необходимых как для полноты понимания читаемого, так и для его адекватного использования в речевой деятельности. Упражнения, направленные на обучение пониманию специальных материалов и использованию их в практической деятельности, прорабатывают основные проблемные области грамматики и словообразования.
3. В конце каждого раздела имеются вопросы, которые могут использоваться либо для выполнения домашних заданий, либо выступать в качестве тем для обсуждения во время занятий (Questions for revision).
4. Если обучающийся в своей работе сталкивается с термином, требующим перевода или толкования, и не обнаруживает его в настоящем рабочей тетради, огромное количество профессиональных переводчиков, работающих на сайте www.proz.com, помогут решить любые языковые проблемы.
5. Приложение 1. (Appendix 1). Содержит языковой комментарий (Глоссарий), представляющий собой словарь с наиболее частотной лексикой и выражениями, встречающимися в сфере дизайнерской работы. Содержит лингвистический комментарий, объясняющий смысл основных профессиональных терминов.

UNIT 1. Исторические и современные тенденции в развитии дизайна. (Historical and Modern Trends in the Development of Design).

TEXT 1. Industrial Design in Pre-Industrial Societies.

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.

Exercise 2. Read and translate the text using a dictionary.

Many of the standard principles of industrial design were known to pre-industrial societies. If one looks first at the most primitive societies one sees that their tools are typified both by fitness for use, and by the way a particular problem could be solved. Paleontologists measure man's evolution partly through the changes in flint implements, the earliest of all found in the Olduvai Valley Gorge in Tanzania. These tools are roughly made, but they show a clear understanding of the nature of the substance from which they are formed, and of the way in which it can be shaped by flaking. There is a narrow range of types - hand-axes, scrapers and pounders - but each type is already adapted to do a different job. In fact, the whole of industrial design is already there in embryo.

More sophisticated flint tools show unsurpassed elegance and control of form. Standardization and even a kind of industrial production were understood by the civilizations of the Ancient World, and particularly by the Romans. A more complex example of standardization is Roman weaponry. Rome relied on the power of her armies, and her soldiers were outfitted to a series of standard patterns. The magnificent Praetorian Guard did not wear outfits chosen according to their own fancy, but were equipped with identical shields, helmets and swords. Uniformity of weapons and equipment was essential to Roman military tactics, which assumed that a large body of men could be deployed as a single mass.

It is particularly interesting to examine the European Middle Ages for evidence of proto-industrial thinking. Among the Greeks and Romans, there existed a high degree of standardization. Many of the English imperial measures were already fixed at this period, for example, the English foot was exactly the one now in use, giving three feet to a yard, six to a fathom, and 16 to a rod, pole or perch. Naturally this affected the shapes and proportions of buildings and the sizes of many standard household articles. The tile industry was even more highly organized than the potteries.

Medieval artisans, like the Roman potters, knew the convenience of the casting process when it came to making things in series and at the same time repeating the form exactly, and molds for making all kinds of objects have survived, among them the mold for making seals. In a society which was still partly illiterate seals were of great importance for verifying documents, and it was convenient to have a supply of identical blanks, ready for engraving when either a replacement or a new design was needed. This is in fact a simple example of design logic applied to a particular type of production. Medieval attitudes towards design were still very much present in the workshops of the seventeenth and eighteenth centuries.

Eighteenth-century design philosophy was in many respects very close to that professed today. Designers excelled in devising plain but practical forms, with just enough ornamental detail to prevent dullness The George II walnut commode is basically a plain rectangular box. But its rectangularity is relieved both by the waist molding under the top drawer and by the bracket feet.

Metalwork in precious metals could be extremely ornate for reasons of ostentation and to show how much the craftsman-designer appreciated the fine quality of the material he was using. Yet a great deal shows extreme functional simplicity. The first English teapot, which dates to about 1670, is made of silver and looks more like a coffee-pot to twentieth-century eyes. But it shows an admirably direct use of material. A kettle on a stand, of about 1710-20, is almost equally plain. It is only in the curving cast feet of the stand that a little Baroque exuberance breaks out.

Eighteenth-century concern with visual style led to the issue of numerous pattern-books for the guidance of furniture-makers and their patrons. It would, however, be idle to pretend that there are no differences between eighteenth- century design attitudes and our own. The eighteenth-century household possessed many fewer machines than a contemporary one, and these machines were often of a type now completely obsolete.  

Eighteenth-century designers produced a wide range of precision instruments for various purposes. They were of considerable complexity. They were sometimes unable to restrain an exuberant feeling for decoration, especially when the instrument in question was produced for an important patron.

Anyone interested in the pre-history of design must be prepared to look beyond Europe, simply because so many of the leading designers of our own day have drawn inspiration from non-European sources. Islamic art, for example, has been laid under contribution by many leading designers, from the mid-nineteenth century onwards. The powerful forms of some Ottoman metalwork foreshadow what leading modern designers have tried to achieve, and do it perhaps better than they, because the shapes are less self-conscious. Islamic manipulation of abstract pattern has been especially influential.

An even more profound contribution to modern design philosophy has been made by the peoples of the Far East. Chinese and especially Japanese tools and implements of all kinds seem to have achieved functional perfection through a long period of evolution, without the conscious intervention of a designer. These tools continue to be manufactured in precisely the same form at the present day because nothing better for the intended purpose has been discovered. Certain of them - the Japanese pull-saw is a case in point have become increasingly popular in Europe, as craftsmen discover their superior qualities. When trying to trace the sources of modern design, one must also be prepared to think in cross-cultural terms.

Vocabulary and Grammar Exercise

Exercise 3. Find in the text English equivalents for the Russian words:

Exercise 4. Use one of the nouns given in the box to fill in each gap:

1. Paleontologists measure man’s evolution partly through the changes in flint _____________.        

2. Many of the standard principles of ______________ were known to pre-industrial societies.

3. Much Greek and Roman ____________ was made by methods which are recognizable industrial, and which must have involved the intervention of a designer.

4. A more complex example of standardization is Roman _______________ of weapons and equipment was essential to Roman military tactics.

5. Among the Greek and Romans, there existed a high degree of _______________.

6. Medieval _____________, like the Roman potters, knew the convenience of the casting process.

7. Eighteenth-century design ______________ was in many respects very close to that professed today.

8. Eighteenth-century concern with visual style led to the issue of numerous pattern-books for the guidance of furniture-makers and their ____________________.

9. Eighteenth-century designers produced a wide range of ______________ instruments for various purposes.

10. And even more profound _____________ to modern design philosophy has been made by the peoples of the Far East.

Exercise 5. Decide whether the following statements are True (T) or False (F) according to the text:

1. Many of the standard principles of industrial design were known to pre-industrial societies.

2. Paleontologists measure man’s evolution partly through the changes in flint implements, the earliest of all found in the Olduvai Valley Gorge in Tanzania.

3. Flint tools are roughly made and show little understanding of the nature of the substance from which they are formed.

4. There is a narrow range of tools, but each type is already adapted to do a different job.

5. Standardization was not understood by the civilizations of the Ancient World.

6. The medieval maker was perfectly capable of the kind of structural logic, economy and ingenuity.

7. The tile industry in the Middle Ages was less organized than the potteries.

8. Medieval attitudes towards design were not present in the workshops of the seventeenth and eighteenth centuries.

9. Eighteenth-century designers produced a wide range of precision instruments for various purposes.

10. Many of the leading designers of our own day have drawn inspiration from non-European sources.

Exercise 6. Match the description of pre-industrial society with its name:

Exercise 7. Translate the sentences into Russian. Pay attention to the Comparative pattern “the more... the better” (“чем (больше)... тем (лучше)”)

1. The higher the price of the goods, the fewer people are ready to buy them.

______________________________________________________________________

______________________________________________________________________

2. The more money I get, the more things I can buy.

______________________________________________________________________

______________________________________________________________________

3. The bigger the house is, the more money it will cost.

______________________________________________________________________

______________________________________________________________________

4. The longer the text, the longer it takes me to translate it.

______________________________________________________________________

5. The more work he has, the happier he is.

______________________________________________________________________

______________________________________________________________________

6. The older you get, the more difficult it becomes to find a job.

______________________________________________________________________

______________________________________________________________________

7. The longer the journey is, the more expensive the ticket is.

______________________________________________________________________

______________________________________________________________________

Exercise 8. Decide if the highlighted verbs in Passive (P) or Active (A) form.

1. Standardization and even a kind of industrial production         were understood by the civilizations of the Ancient World, and particularly by the Romans.

2. In fact, the whole of industrial design is already there in embryo.

3. The magnificent Praetorian Guard did not wear outfits chosen according to their own fancy, but were equipped with identical shields, helmets and swords.

4. Among Greek and Romans, there existed a high degree of standardization. Many of the English imperial measures already were fixed at this period.

5. Islamic art, for example, has been laid under contribution by many leading designers, from the mid-nineteenth century onwards.

6. The double-ended birch bark canoe can easily be lifted out of the water and carried overland until occasion comes to launch it again. It (to make) of easily available materials.

7. One thing which too little is noticed by writers on the history of design is the way in which experience gained in various specialized areas, and especially at sea, began to fertilize the whole design concept.

8. Anyone interested in the pre-history of design must be prepared to look beyond Europe.

9. An even more profound contribution to modern design philosophy has been made by the peoples of the Far East.

10. Islamic manipulation of abstract pattern has been especially influential. 

Questions for revision

Exercise 1. Write a short summery of the text describing one of the following:

1. The characteristics of design in pre-industrial societies.

2. Medieval design attitudes towards to eighteenth-century design philosophy.

3. Multicultural contribution to modern design philosophy.

_________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

TEXT 2. The First Industrial Designer.

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.

Exercise 2. Read and translate the text using a dictionary.

Christopher Dresser, who was born in Glasgow in 1834, and who died in 1904, is the first industrial designer. Significantly, however, Dresser is associated solely with domestic items, not with the products of heavy industry. Whereas the designers who had preceded him fell into three categories - they were architects, amateurs who made their designs ad hoc, or artisans and engineers turned designers as a result of practical experience in the workshop - Dresser received a much more academic training, of a kind then just becoming available. He studied at the Government School of Design at Somerset House, London, from 1847 to 1854.

There were other significant aspects of Dresser's education. He had a strongly scientific bent, and studied as a botanist, writing books and papers on this subject.

His scientific studies led to an interest in the relationship between natural forms and ornament - this was the subject of his first important series of articles, published in the “Art Journal” of 1857. In a more general sense, they clearly pointed him towards a rational and logical approach to practical problems of design.

Where ornament was concerned, Dresser opposed the then-flourishing ‘naturalistic’ school. For him, plant forms had to be conventionalized in order to be useful to the designer. But botany, where Dresser was concerned, was more than simply a source of shapes and patterns. In his own phrase, plants demonstrated ‘fitness for purpose’, or ‘adaptation’. He was thus linked, from an intellectual point of view, with early nineteenth-century utilitarianism. Darwin was Dresser’s contemporary, and announced his theory of natural selection in 1859, when Dresser was beginning his career. Though the latter apparently stopped short of embracing Darwin’s ideas when they were first announced, they certainly influenced him in the long run.

From 1862 onwards Dresser’s practice as a freelance designer started to blossom. It was in this year that he published his first book on design, “The Art of Decorative Design”. His business interests eventually expanded beyond this. In 1876 and 1877 he paid an extensive visit to Japan, and made a large collection of Japanese objects, some of which were later sold through the firm of Tiffany in New York. In 1879 he entered into partnership with Charles Holmes of Bradford, later the founder of the “Studio” magazine. They had a wholesale warehouse that imported oriental goods. When this partnership came to an end, Dresser was already involved in a new venture - the Art Furnishers' Alliance, founded in 1880 'for the purpose of supplying all kinds of artistic house-furnishing material, including furniture, carpets, wall- decorations, hangings, pottery, table-glass, silversmiths' wares, hardware and whatever is necessary to our household requirements'. The venture was not a financial success, but it was recognized at the time as something pioneering because it tried to reach a popular audience in a way which had not been attempted before.

Dresser’s own surviving designs cover a wide range of materials, styles and techniques. He worked, for instance, for the Coalbrookdale Company, making designs for domestic items in cast iron. Dresser also made designs for glass, and a large number for ceramics. He worked briefly for Wedgwood, and did a much larger series of designs for Minton. A big collection of his watercolour designs can be found in the Minton archives, and a number of Minton pieces decorated with these survive.

He had better luck with the Linthorpe Art Pottery, founded in 1879 chiefly as a vehicle for Dresser’s ideas. At Linthorpe, factory production methods were used - the pottery was inexpensive, and was manufactured on a large scale. The emphasis was on original shapes, rather than elaborate surface decoration. Dresser turned for inspiration to all kinds of historical sources - Pre-Columbian pottery, as well as Chinese and Japanese ceramics. Some pieces even look as if they were inspired by the Minoan civilization that was then still undiscovered, and may indeed be based on Helladic and Mycenaean wares.

Dresser’s most original work was in metal, and was produced for various leading firms of Birmingham silversmiths, prominent among them J. W. Hukin and J. T. Heath, and Messrs Elkington & Co. These designs are notable for their simplicity and their direct use of materials. In addition, they often show great originality of form, with strong emphasis on a kind of stripped-down geometric purity. Dresser was one of the first to analyze the relationships between form and function in a rational way. In his “Principles of Decorative Design” (1873) he provided diagrams demonstrating the laws that governed the efficient functioning of handles and spouts on jugs and other vessels, such as teapots. His own teapots are often extremely distinctive in shape, with emphatic slanted handles. The ergonomic and the metaphorical aspects are skillfully combined.

Dresser’s metalwork also shows his concern with economical use of materials. A plain oval sugar bowl has its edges rolled inward to strengthen the metal at the rim, so that a thinner gauge can be used. Very often, and indeed almost invariably in larger pieces such as soup tureens. Dresser used electroplate rather than silver. In these designs Dresser seems to anticipate the Bauhaus. He anticipates it, but he is not a direct ancestor. It is Dresser's surprising success in building relationships with industry as it then existed which seems in some ways to isolate him from the mainstream of orthodox design history.

Vocabulary and Grammar Exercise

Exercise 3. Find English equivalents for the Russian words in the text:

Exercise 4. Use a word given in the box to fill in each gap:

1. Dresser is associated solely with domestic ________, not with the products of heavy industry.

2. His scientific studies led to an interest in the relationship between natural forms and _______.

3. Dresser’s own surviving designs cover a wide range of materials, styles and __________.        

4. In 1879 Dresser entered into __________ with Charles Holmes of Bradford, later the founder of the Studio magazine.

5. When this partnership came to an end, Dresser was already involved in a new ________.        

6. They had a wholesale ____________ that imported oriental goods.

7. Dresser also made designs for glass, and a large number for ________.        

8. A big collection of his watercolour designs can be found in the Minton __________, and a number of Minton pieces decorated with these survive.

9. A plain oval sugar bowl has its edges rolled inward to strengthen the metal at the rim, so that a thinner __________ can be used.

10.        It is Dresser’s surprising success in building relationship with industry as it then existed which seems in some ways to isolate him from the ___________of orthodox design history.

Exercise 5. Decide whether the following statements are True (T) or False (F) according to the text:

1. Christopher Dresser, who was born in Glasgow in 1834, and who died in 1904, is the first industrial designer.

2. Dresser is associated solely with the products of heavy industry.

3. Where ornament was concerned, Dresser opposed the then-flourishing ‘naturalistic’ school.

4. Dresser published his first book on design, the Art of Decorative design, in 1864.

5. Dresser’s own surviving designs cover a wide range of materials, styles and ornaments.

6. Dresser’s most original work was in glass.

7. Dresser was first to analyze the relationship between form and function in a rational way.

Exercise 6. Match the words from the text with their a) synonyms b) antonyms.

a)

b)

Exercise 7. Use the right form of the verbs.

1. Listen to him, please. He (1) (speaks, is speaking) Chinese.
2. She often (2) (speaks, is speaking) French when she (3) (travels, is travelling) in France.
3. Mary is in the office now. She is very busy. She (4)(works, is working) on the computer.
4. What foreign languages (5) (does your friend learn, is your friend learning) now?
5. What (6) (do you read, are you reading) now?
6. The family (7) (owns, is owning) a big house in the country.
7. Most of the students (8) (were listening , listened) to the teacher but Mary (9) (was reading, read) a history book. She (10) (hated, was hating) maths.
8. These people never (11) (owned, were owning) a house. They always (12) (lived, were living) in apartments.
9. Everyone (13) (was reading, read) quietly when the door (14) (was opening, opened) and a policeman came in.
10. The dentist’s waiting room was full of people. Some (15) (were reading, read), others (16) (were just turning, just turned) pages.

Questions for revision

Exercise 1. Write a short summery of the text describing one of the following:

1. Christopher Dresser’s contribution to the development of design?

2. The creative work of Christopher Dresser. __________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

TEXT 3. The Revolution in the Fine Art

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.

Exercise 2. Read and translate the text using a dictionary.

The late nineteenth-century decorative arts existed within the broad context of the Symbolist movement. Symbolism had its roots in literature, but came to affect all forms of artistic expression. General currency was first given to the term by the minor French poet Jean Moreas, in a manifesto published in the French newspaper “Le Figaro” in 1886. Symbolism in its first phase involved a dandified revolt against materialism.

Symbolism, like all major cultural movements, had an inexorable dynamism of its own. Artists and craftsmen who pursued ever more esoteric and refined effects and sensations eventually reached the point where both they and their audience began to feel permanently jaded. The first stage of the reaction is contained within the general current of Symbolism itself, and is summed up in the bold neo-primitivism of Gauguin. But the search for the barbarous soon proved to be as disillusioning as all the other quests the Symbolists had pursued, and eventually a new generation began to feel that there was something even more fascinatingly brutal in the heart of their own society - the machine.

The first group actually to proclaim this view was the Italian Futurists, and it was they who established mechanical objects and the products of industry as key subjects in modern art.

In their paintings the Futurists wanted to render the dynamism of contemporary life - the movements of crowds in cities, and the rapid motion of an automobile or a train. The Futurists' paintings of crowds and machines in motion were perhaps their most spectacular achievements, but they did tackle other subjects as well. They even made Futurist versions of traditional still- life. Ardengo Soffici’s “Decomposition of the Planes of a Lamp” takes as its principal motif a banal mass-produced object. Soffici treated it in a way which gave it a new and startling authority. The Cubists, too, gloried in the banality of much of their source material. The collage - the key invention of Synthetic Cubism - featured scraps of newspaper, old labels, fragments of wallpaper, in fact all kinds of industrial detritus. The invented ‘reality’ of art was brought into shocking juxtaposition with the kind of reality that surrounded everyone. The Dadaists, particularly Duchamp, took matters even further, presenting mass-produced objects completely unaltered within a fine art context. The ironic suggestion was made that these be looked at not as objects of use but as formal inventions.

Three things established themselves at the very heart of the modernist aesthetic, and continued to influence artists long after Futurism had exhausted its impetus. One was the cult of the machine itself. Machines could be treated in a number of different ways - as a basis for abstraction, as in the impressive drawings of “Mechanical Elements” which Fernand Leger did in the early 1920s.

The second development was perhaps subtler, and also further-reaching in its effects. Duchamp presented ordinary mass-produced objects as if they were works of art. Other artists, less radical than he, took them into their vocabularies as subjects for painterly transformation. The American artist Stuart Davis, heavily influenced by French Cubism, took the Lucky Strike package as the subject-matter for a picture. Even before Raymond Loewy redesigned it, this package was one of the most familiar and ordinary of twentieth-century American objects. Davis asked his audience to shift focus and look at it in a totally different way, almost as if they had never seen it before.

Another American painter, Gerald Murphy, already seems to anticipate the Pop Art of the 1960s in a canvas produced in 1922. A matchbox, a safety- razor and a fountain pen are presented in quasi-heraldic fashion, almost as if they were images on an inn sign. Murphy seems to be saying that these industrial products, trivial and little considered, are in fact the emblems of a whole civilization and tell more about it than things with much greater pretensions to significance.

The fascination with machine forms had an inevitable impact on the decorative arts. Luxury products acquired an added frisson when they imitated what factories produced by the thousands or even the millions. Parisian jewelers made pendants in the shape of shells for heavy guns, and bracelets that seemed to be studded with ball-bearings. These fashionable follies were nevertheless a symptom of something important. People had started to study the products of industry in a new way, to savor industrial logic for its own sake. It is not too much to say that modern art, by separating industrial forms from their context, and holding them up to be admired in isolation, robbed industry of its innocence.

But there was a different kind of dialogue as well. In the nineteenth century pure machine forms were invisible. They only acquired visibility once they were ornamented in some way. Now art had endowed them with a kind of moral authority of their own. Design ceased to be pragmatic; men began to think of industry not as a brute force barely under the control of those who had created it, but as the paradigm of an ideal world. The machine must now be allowed to suggest its own forms and images, rather than having these imposed upon it by ignorant mankind.

Vocabulary and Grammar Exercise

Exercise 3. Find in the text English equivalents for the Russian words:

Exercise 4. Use one of the words given in the box to fill in each gap:

1. Symbolism had its roots in literature, but came to affect all forms of artistic __________.        

2. The Futurists’ paintings of crowds and machines in motion were perhaps their most spectacular ____________.

3. Ardengo Soffici’s Decomposition of the Planes of a Lamp takes as its principal _______a banal mass-produced object.

4. The _________ - the key invention of Synthetic Cubism – featured scraps of newspaper, old labels, fragments of wallpaper, in facts all kinds of industrial detritus.

5. Three things established themselves at the very heart of the modernist _______, and continued to influence artists long after Futurism had exhausted its impetus.

6. The American artist Stuart Davis, heavily influenced by French Cubism, took the Lucky Strike package as the ___________        for a picture.

7. Davis asked his audience to shift ________________ and look at it in a totally different way, as if they had never seen it before.

8. Another American painter, Gerald Murphy, already seems to anticipate the Pop Art of the 1960s in a ____________ produced in 1922.

9. The fascination with machine forms had an inevitable _____________ on the decorative arts.

10. In the nineteenth century pure machine forms were invisible. They only acquired ____________ once they were ornamented in some way.

Exercise 5. Decide whether the following statements are True (T) or False (F) according to the text:

1. The late nineteenth-century decorative arts existed within the broad context of the Symbolist movement.

2. General currency of the term ‘symbolism’ was first given by the French poet Jean Moreas in a manifesto published in the French Newspaper Le Figaro in 1886.

3. Symbolism had its roots in literature, but came to affect all forms of artistic expression.

4. In their paintings the Futurists wanted to render the dynamism of contemporary life.

5. The Dadaists, particularly Duchamp, took matters even further, presenting mass-produced objects completely unaltered within a fine art context.

6. The fascination with machine forms had little effect on the decorative arts.

7. In the nineteenth century pure machine forms were distinct and obvious.

8. The late nineteenth century design ceased to be pragmatic; men began to think of industry not as a brute force barely under the control of those who had created it but as the paradigm of an ideal world.

Exercise 6. Chose the right variant and underline it.

1. The money (is, are) on the desk.
2. Where (is, are) the money? Where did you put (it, them)! I can’t find (it, them).
3. - He is making a lot of money.

-And what does he do with (it, them)?

4. What (is, are) the news?
5. The news (is, are) very good.
6.  I have got very good news for you. Where (do, does) it come

from?

7.  There (is, are) no news.
8.  His progress in French (is, are) not surprising. His wife is a teacher of French.
9.  This information (come, comes) from the journal.
10.  I often followed his advice. (It was, they were) good.
11.  There (is, are) no news at the moment.
12.  His knowledge of accounting (is, are) very good.

Exercise 7. Translate the sentences into Russian paying attention to the “either…or”.

1. You can either use this method or that one.

______________________________________________________________________

______________________________________________________________________

2. When there is a crisis, they either do nothing of do something useless.

______________________________________________________________________

______________________________________________________________________

3. You can use either a diskette or a disk.

______________________________________________________________________

______________________________________________________________________

4. You must answer either yes or no.

 ______________________________________________________________________

5. You can either walk or take a lift.

______________________________________________________________________

Questions for revision

Exercise 1. Write a short summery of the text describing one of the following:

1. The late nineteenth-century art movements.

2. The Symbolist movement.

__________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

TEXT 4. The Triumph of Modern Design 1900-1925.

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.

Exercise 2. Read and translate the text using a dictionary.

During the second half of the nineteenth century, a number of forces transformed the avant-garde design scene. Two in particular played an important role: a reaction against the prevalent taste for academic historicism; and the rediscovery of the arts of Asia. Machine-produced pastiches of historical styles were increasingly shunned in favor of new designs that derived forms and decorative motifs from nature. Designers also began to reject superfluous surface ornament, often applied simply for the novelty of its effect, and focused instead on the total integration of form and decoration, recalling Asian prototypes.

By the turn of the twentieth century, a new stylistic vocabulary with distinct regional characteristics had been firmly established with exploration of new design influences.

Art Nouveau flourished in France and Belgium. Organic forms inspired by nature, frequently accentuated with asymmetrical curves or elaborate flourishes, characterize its decorative vocabulary. Its elegant forms often evoke the Rococo style of mid-eighteenth-century France. The term Art Nouveau derives from the name of Siegfried Bing’s Parisian shop L’Art Nouveau (“The New Art”), which opened in 1895 and sold exceptional works by many of the best-known designers working in this mode. In response to popular demand, however, poor-quality mass-production hastened the demise of this original style in the years after 1900.

Austrian and German Jugendstil, or “youth-style,” took its name from the popular illustrated magazine “Jugend” that was published in Munich. Contemporaneous with and related to Art Nouveau, the most innovative Jugendstil designers replaced the exuberance and naturalism of French and Belgian design with a comparatively restrained and abstracted aesthetic. Forms and decorative motifs often were treated in a linear or geometric manner that rendered them almost unrecognizably derived from nature.

Originating in Britain the Arts and Crafts movement had considerable influence into the twentieth century. Primarily through publications, the movement quickly spread across Europe (it was notably influential in Austria and Germany) and to America. Reacting against the perceived dehumanizing effects of industrialization, nineteenth-century British design reformers such as William Morris advocated a return to handcraftsmanship. The necessary handiwork, however, proved to be time-consuming and expensive, and designs could only be produced in limited numbers. Making well-designed objects accessible to a wide public required the assistance of machines, and in the years around 1900, designers began to reevaluate the importance of mass production as they attempted to make a new and positive alliance of art and industry.

A number of Viennese avant-garde designers made a switch from the flowing organic lines of Jugendstil and Art Nouveau to a strict yet vigorous geometry. In 1903, these designers banded together to form the “Vienna Workshops” - a designers’ cooperative under the direction of the noted architect/designer Josef Hoffmann. They provided a wide range of well-designed, often handmade products for a sophisticated audience, and indeed could supply everything from an architectural setting to the smallest decorative accessory.

Disillusioned by the failure of Art Nouveau and competing with advances in design and manufacturing in Austria and Germany in the early years of the century, French designers felt the need to reestablish their role as leaders in the luxury trade. The Société des Artistes Décorateurs, founded in 1900, encouraged new standards for French design and production through its annual exhibitions at the Salon d’Automne. In 1912, the French government voted to sponsor an international exhibition of decorative arts. The exhibition, scheduled for 1915, was postponed on account of World War I and did not take place until 1925. It was this fair, the Exposition des Arts Décoratifs et Industriels Modernes, that gave its name to the style now commonly known as Art Deco.

Vocabulary and Grammar Exercise

Exercise 3. Find in the text English equivalents for the Russian words:

Exercise 4. Use one of the words given in the box to fill in each gap:

1. During the second half of the nineteenth century, a number of _________ transformed the avant-garde design scene.

2. A number of Viennese avant-garde __________ made a switch from the flowing organic lines to a strict yet vigorous geometry.

3. The Société des Artistes Décorateurs, founded in 1900, encouraged new standards for French design and ___________.

4. Austrian and German Jugendstil, or “youth-style,” took its name from the popular illustrated __________ “Jugend” that was published in Munich.

5. The exhibition, scheduled for 1915, was postponed on ____________ of World War I.

6. Machine-produced __________ of historical styles were increasingly shunned in favor of new designs.

7. Originating in Britain the Arts and Crafts ___________ had considerable influence into the twentieth century.

8. Reacting against the perceived dehumanizing effects of industrialization, nineteenth-century British design _______ advocated a return to handcraftsmanship.

9. Designers began to reject superfluous surface _______, often applied simply for the novelty of its effect.

10. The term Art Nouveau derives from the _________ of Siegfried Bing’s Parisian shop L'Art Nouveau.

Exercise 5. Decide whether the following statements are True (T) or False (F) according to the text:

1. One in particular played an important role - a reaction against the prevalent taste for academic historicism.

2. By the turn of the twentieth century, a new stylistic vocabulary had been firmly established.

3. Art Nouveau flourished in France and Belgium.

4. The term Art Nouveau derives from the popular illustrated magazine “Jugend” that was published in Munich.

5. Viennese avant-garde designers provided a wide range of well-designed, often handmade products for a sophisticated audience.

6. The exhibition, scheduled for 1915, was postponed on account of World War I and did not take place until 1925.

Exercise 6. Put the sentences in right order.

Exercise 7. Insert the right article.

1. During (1) _ second half of (2) _ nineteenth century, a number of forces transformed the avant-garde design scene.
2. (3)__ new stylistic vocabulary with distinct regional characteristics had been firmly established with exploration of (4) __ new design influences.
3. (5)__ term Art Nouveau derives from the name of Siegfried Bing's Parisian shop L'Art Nouveau.
4. (6)__ most innovative Jugendstil designers replaced (7)__ exuberance and naturalism of French and Belgian design with (8)__ comparatively restrained and abstracted aesthetic.
5. Making (9) __ well-designed objects accessible to (10) __ wide public required the assistance of machines.
6. (11)__ French designers felt (12) __ need to reestablish their role as leaders in the luxury trade.

Questions for revision

Exercise 1. Answer the following questions:

1. What were two main forces that influence the avant-garde design scene?

______________________________________________________________________________________________________________________________________________

2. What kind of new design influences were established?

______________________________________________________________________________________________________________________________________________

3. What kind of features characterize the decorative vocabulary of Art Nouveau?

______________________________________________________________________________________________________________________________________________

4. Where does the term Art Nouveau derive from?

_____________________________________________________________________________________________________________________________________________

5. Austrian and German Jugendstil, or “youth-style,” took its name from the popular illustrated magazine “Jugend”, didn’t it?

______________________________________________________________________________________________________________________________________________

6. What was important for Jugendstil designers?

______________________________________________________________________________________________________________________________________________

7. What movement was opened in Britain?

______________________________________________________________________________________________________________________________________________

8. What did nineteenth-century British design reformers advocate? Why did they begin to reevaluate the importance of mass production?

____________________________________________________________________________________________________________________________________________

9. What kind of switch did Viennese avant-garde designers make? What did they provide?

______________________________________________________________________________________________________________________________________________

10. Why did French designers fell the need to reestablish their role as leaders in the luxury trade?

_____________________________________________________________________________________________________________________________________________

11. Why did the exhibition, scheduled for 1915, was postpone? Until what time?

______________________________________________________________________________________________________________________________________________

12. What gave a name to the style now commonly known as Art Deco?

_____________________________________________________________________________________________________________________________________________

Exercise 2. Write a short summery of the text describing one of the following:

1. The main features of the following design movement and style such as Art Nouveau.
2. The main features of the following design movement and style such as Jugendstil.
3. The main features of the following design movement and style such as Arts and Crafts.
4. The main features of the following design movement and style such as Vienna Workshops.
5. The main features of the following design movement and style such as Art Deco.

________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

TEXT 5. Design from 1925 to 1950.

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.

Exercise 2. Read and translate the text using a dictionary.

The second quarter of the twentieth century saw radical changes in design. The Art Deco style, which reached its apogee at the 1925 Exposition des Arts Décoratifs et Industriels Modernes in Paris, gradually waned; its decorative flourishes and emphasis on rich and exotic materials seemed increasingly irrelevant, considering the economic pressures of the Great Depression in the United States and growing political instability in Europe. It was replaced by young modernist reformers who believed that beauty need not depend on ornament but could be achieved through the manipulation of form and the judicious use of color and texture, that simplicity and economy were preferable aesthetically - even morally and politically - to the elaboration and extravagance that typified Art Deco. The geometric forms and plain undecorated surfaces favored by modernists were, however, too demanding for most people. It was with relief that consumers turned to the warmer organic design, with its emphasis on wood and natural materials, that emerged in Scandinavia in the mid-1930s.

The Bauhaus, founded in Weimar in 1919 as a school of arts and crafts, soon became known as a center of avant-garde design under the direction of Walter Gropius. The school strove to mold designers who could create beautiful and useful prototypes suitable for commercial production. In 1933, the Nazis closed down the Bauhaus, but during its brief existence it produced a generation of architects, artists, and designers who spread its teachings around the world. Among these were the architects Gropius, Ludwig Mies van der Rohe, and Marcel Breuer; the designers Laszlo Moholy-Nagy, Marianne Brandt, and Wilhelm Wagenfeld; and the painters Wassily Kandinsky, Paul Klee, Oskar Schlemmer, and Josef Albers.

One of the strongest and most influential reactions against the Art Deco movement came from the Swiss architect Le Corbusier. His Pavilion de l’Esprit Nouveau at the 1925 Exposition was a forceful rejection of the use of expensive, exotic materials in the extravagant, one-of-a-kind objects that typified Art Deco. He defined the house as a “machine for living in,” while furniture was “domestic equipment.” The pavilion itself was a prototype for standardized housing, conspicuously furnished with commonly available items such as leather club chairs. Like members of the Bauhaus, Le Corbusier advocated furniture that was rationally designed along industrial principles to reflect function and utility in its purist forms, with a strict rejection of applied ornament. Other important movements positing avant-garde theories of design and architecture included De Stijl in Holland, which advocated a seamless unity of art and architecture, and Russian Constructivism, whose utopian projects embraced a combination of machine forms and abstract art.

In the United States, designers responded to European influences, gradually transforming them into a uniquely American idiom. Many of the most prominent figures in the pre-war period were, in fact, European émigrés. The American Designers' Gallery in New York opened in 1928 and introduced consumers to modern interiors and furnishings by designers including Ilonka Karasz, Joseph Urban, and Donald Deskey. Many of its designers used industrial materials such as steel and chrome in their furniture. The machine aesthetic was an important influence on design. The Streamlined style, with its aerodynamic forms and implications of speed, reinforced the growing importance of automobiles and trains. The role of the industrial designer itself gained prominence, especially during the Great Depression, when companies relied on designers such as Henry Dreyfuss and Raymond Loewy to create enticing new product designs in an effort to stimulate consumer demand.

World War II profoundly affected the material and formal developments of architecture and design. Items such as steel, aluminum, and copper were rationed for use in the war effort, forcing designers to substitute nonessential materials, including cardboard, glass, and plywood, in their designs. Many American designers worked for the war effort itself, applying their knowledge and expertise to military exigencies. Charles and Ray Eames, for example, worked on behalf of the U.S. Navy, developing molded plywood designs for leg splints.

Much of this new technology found its way into furniture design following the war. Charles and Ray Eames developed their highly influential LCW chair, an inexpensive, mass-produced molded plywood object, from their wartime experiments. Museums and designers across the country turned their energies to promoting American design through the Good Design movement, which promised quality-of-life enhancing products for any budget. Inspired in part by pre-war European efforts to democratize design through industrial production, this movement energetically promoted modern design to the American consumer through museum exhibitions, trade shows, and advertising. Likewise, European design councils sponsored exhibitions and designers in an effort to stimulate national consumer interest. Following years of economic and political turmoil, consumers now had access to goods of modern design in rapidly increasing quantities.

Vocabulary and Grammar Exercise 

Exercise 3. Find in the text English equivalents for the Russian words:

Exercise 4. Use one of the prepositions given in the box to fill the gaps:

1. The second quarter of the twentieth century saw radical changes (1) _ design.

2. The geometric forms and plain undecorated surfaces favored (2) _ modernists were, however, too demanding (3) __ most people.

3. It was with relief that consumers turned (4) __ the warmer organic design, with its emphasis (5) __ wood and natural materials, that emerged in Scandinavia in the mid-1930s.

4. The school strove to mold designers who could create beautiful and useful prototypes suitable (6) __ commercial production.

5. One of the strongest and most influential reactions (7) __ the Art Deco movement came from the Swiss architect Le Corbusier.

6. The pavilion itself was a prototype for standardized housing, conspicuously furnished (8) __ commonly available items such as leather club chairs.

7. Le Corbusier advocated furniture that was rationally designed (9) __ industrial principles.

8. In the United States, designers responded (10) __ European influences, gradually transforming them into a uniquely American idiom.

9. The machine aesthetic was an important influence (11) __ design.

10. Museums and designers across the country turned their energies (12) __ promoting American design through the Good Design movement, which promised quality-of-life enhancing products for any budget.

11. Inspired in part (13) __ pre-war European efforts this movement energetically promoted modern design to the American consumer.

12. Consumers now had access (14) __ goods of modern design in rapidly increasing quantities.

Exercise 5. Match the notion with the right information about it. Some notions may have more than one information:

Questions for revision

Exercise 1. Translate the poem into Russian or write your own.

Design

Robert Frost

______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

TEXT 6. Design from 1950 to Present.

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.

Exercise 2. Read and translate the text using a dictionary.

The years following World War II were characterized by enormous change on every level. The war ended, leaving a new worldwide generation of veterans with young families struggling to rebuild their lives. The pressing need for inexpensive housing and furnishings spurred a boom in design and production. Commercial jet travel was introduced in 1957, and ease of travel in the jet age encouraged a growing fusion of cultural influences. In particular, a blurring of Eastern and Western aesthetics and technology represented an entirely new cultural fusion.

The elaborate households of the prewar years were gone, replaced by in-formality and adaptability. Gone, too, was the conventional approach to furnishings as expensive and permanent status objects. New materials and technologies, many of which had been developed during wartime, helped to free design from tradition, allowing for increasingly abstract and sculptural aesthetics as well as lower prices for mass-produced objects.

The most marked changes occurred in America, Italy, Scandinavia, and Japan. A growing number of American firms such as the Herman Miller Furniture Company and Knoll International began to build a reputation for manufacturing and marketing well-designed, high-quality, inexpensive furniture made from new materials like fiberglass and plastics for the consumer market in the postwar years. In an effort to revive their depressed postwar economy, Italian designers made a self-conscious effort to establish themselves as leaders in the lucrative international marketplace for domestic design. While initially they looked to traditional forms or materials for inspiration, they also soon embraced new materials and technologies to produce radically innovative designs that expressed the optimistic spirit of high-style modernism. Scandinavian designers preferred to combine the traditional beauty of natural materials with advanced technology, giving their designs a warm and domestic yet modern quality. Japanese designers, obviously aware of contemporaneous developments in Western architecture and design, strove to create a balance between traditional Asian and international modern aesthetics, while still evoking national values with their distinctly Asian sensibility.

At the same time, in reaction to the perceived impersonality of mass production, an alternative group of artist-designers who were interested in keeping alive the time-honored practices of hand-working traditional materials emerged during the 1960s. Their one-of-a-kind objects, made with tour-de- force virtuosity, helped elevate design to the status of art.

By the mid-1970s, a radically transformed “modern design” expressed it-self through a variety of idioms. There was a style for virtually every taste, from the bold forms and colors of Op Art - inspired super graphics to the refinement of Studio Movement handcraftsmanship to the pared-down industrial aesthetics of High Tech.

The last quarter of the twentieth century saw a surge of unbridled consumerism manifested in a number of diverse, often contradictory, design currents. Some architects and designers chose to conform to the previously established intellectual strictures of modernism, seeking expression through form rather than applied ornament. Others, inspired by texts that denounced the cool aridity of modernism - including Robert Venturi’s “Learning from Las Vegas” (1972), “Collage City” (1973) by Colin Rowe and Fred Koetter, and Rem Koolhaas’ “Delirious New York” (1978) - developed a postmodernism that celebrated the vernacular and reinterpreted motifs of the past. Still others used the design of objects as a means to make countercultural social or political statements. Many of the leaders of the Studio Craft Movement consciously abandoned the creation of useful objects in favor of nonfunctional art. Toward the end of the 1980s, designers, recognizing the inherent beauty of materials developed for science, began to employ them in a wide range of consumer products. In the century’s last decade, the environment became a major concern for designers offering “green”, socially responsible solutions to design problems.

Vocabulary and Grammar Exercise 

Exercise 3. Find in the text English equivalents for the Russian words:

Exercise 4. Put in the right forms of adjectives in brackets:

1. If the Modern Movement in art prepared the way for new attitudes towards design in (1) (broad) sense, in a much (2) (narrow) sense the change was due to a group of artists, architects, craftsmen, manufacturers, bureaucrats and politicians in Germany.

2. The single individual with (3) (great) responsibility for the Werkbund idea was a civil servant in the Prussian Ministry of Trade, Hermann Muthesius.

3. One of (4) (virulent) of rows occurred in July 1914, on the eve of the Werkbund’s Cologne exhibition.

4. Industrialization had taken place much (5) (late) than it did in England.

5. (6) (seminal) Werkbund designs were most of all to the increasing use of electricity in the home.

6. The single individual with (7) (great) responsibility for the Werkbund idea was a civil servant in the Prussian Ministry of Trade, Hermann Muthesius.

Exercise 5. Decide whether the following statements are True (T) or False (F) according to the text:

1. The war started, leaving a new worldwide generation of veterans with young families struggling to rebuild their lives.

2. The pressing need for inexpensive housing and furnishings spurred a boom in design and production.

3. New materials and technologies, many of which had been developed during prewar time, helped to free design from tradition.

4. Commercial jet travel was introduced in 1957.

5. A growing number of American firms began to build a reputation for manufacturing and marketing well-designed, high-quality expensive furniture.

6. Italian designers embraced new materials and technologies to produce radically innovative designs.

7. An alternative group of artist-designers who were interested in keeping alive the time-honored practices of hand-working traditional materials emerged during the 1960s.

8. The last quarter of the twentieth century saw a surge of unbridled consumerism manifested in a number of diverse, often contradictory, design currents.

9. Toward the end of the 1990s, designers, recognizing the inherent beauty of materials developed for science, began to employ them in a wide range of consumer products.

10. In the century's last decade, the environment became a major concern for designers offering “red”, socially responsible solutions to design problems.

Exercise 6. Match the words (1-10) with the adjectives (a - j) to make word combinations:

Questions for revision

Exercise 1. Complete the following:

1. The war ended, leaving a new _____________________________________________________________________
2. New materials and technologies, many of which had been developed ______________________________________________________________________
3. The most marked changes occurred in _______________________________________________________________________
4. Italian designers made a self-conscious effort to establish themselves as _______________________________________________________________________
5. Scandinavian designers preferred to combine _______________________________________________________________________
6. Japanese designers strove to create a balance ______________________________________________________________________
7. An alternative group of artist-designers were interested in keeping alive the time-honored practices of _______________________________________________________________________
8. Some architects and designers chose to conform to the previously established intellectual strictures of modernism, seeking _______________________________________________________________________

9. Others used the design of objects as a means to ______________________________________________________________________

10. In the century's last decade, the environment became a major concern for designers offering ______________________________________________________________________

UNIT 2. Направления дизайна. Графический дизайн. Дизайн интерфейсов. Мультимедиа. Промышленный дизайн. (Design Directions. Graphic design. Interface design. Multimedia. Industrial design)

TEXT 1. Graphic design: terminology, history, applications, skills, tools.

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.

Exercise 2. Read and translate the text using a dictionary.

Graphic design is the profession and academic discipline whose activity consists in projecting visual communications intended to transmit messages to social groups with specific objectives, using an applied art consisting of the use of text and graphics to communicate visually. Design is based on the principle of "form follows a specific function".

Therefore, graphic design is an interdisciplinary branch of design, whose foundations and objectives revolve around the definition of problems and the determination of objectives for decision-making, through creativity, innovation and lateral thinking along with manual or digital tools, transforming them for proper interpretation.

The role of the graphic designer in the communication process is that of encoder or interpreter of the message. They work on the interpretation, ordering, and presentation of visual messages. Usually, graphic design uses the aesthetics of typography and the compositional arrangement of the text, ornamentation, and imagery to convey ideas, feelings, and attitudes beyond what language alone expreses. The design work can be based on a customer’s demand, a demand that ends up being established linguistically, either orally or in writing, that is, that graphic design transforms a linguistic message into a graphic manifestation.

Graphic design has, as a field of application, different areas of knowledge focused on any visual communication system. For example, it can be applied in advertising strategies, or it can also be applied in the aviation world or space exploration. In this sense, in some countries graphic design is related as only associated with the production of sketches and drawings, this is incorrect, since visual communication is a small part of a huge range of types and classes where it can be applied.

With origins in antiquity and the Middle Ages, graphic design as applied art was initially linked to the boom of rise of printing in Europe in the 15th century and the growth of consumer culture in the Industrial Revolution. From there it emerged as a distinct profession in the West, closely associated with advertising in the 19th century and its evolution allowed its consolidation in the 20th century. Given the rapid and massive growth in information exchange today, the demand for experienced designers is greater than ever, particularly because of the development of new technologies and the need to pay attention to human factors beyond the competence of the engineers who develop them.

In both its lengthy history and in the relatively recent explosion of visual communication in the 20th and 21st centuries, the distinction between advertising, art, graphic design and fine art has disappeared. They share many elements, theories, principles, practices, languages and sometimes the same benefactor or client. In advertising, the ultimate objective is the sale of goods and services. In graphic design, "the essence is to give order to information, form to ideas, expression, and feeling to artifacts that document the human experience."

Graphic design can have many applications from road signs to technical schematics and reference manuals. It is often used in branding products and elements of company identity such as logos, colors, packaging and text as part of (see also advertising).

From scientific journals to news reporting, the presentation of opinion and facts is often improved with graphics and thoughtful compositions of visual information - known as information design. With the advent of the web, information designers with experience in interactive tools are increasingly used to illustrate the background to news stories. Information design can include data visualization, which involves using programs to interpret and form data into a visually compelling presentation, and can be tied in with information graphics.

A graphic design project may involve the creative presentation of existing text, ornament, and images.

The "process school" is concerned with communication; it highlights the channels and media through which messages are transmitted and by which senders and receivers encode and decode these messages. The semiotic school treats a message as a construction of signs which through interaction with receivers, produces meaning; communication as an agent.

Typography includes type design, modifying type glyphs and arranging type. Type glyphs (characters) are created and modified using illustration techniques. Type arrangement is the selection of typefaces, point size, tracking (the space between all characters used), kerning (the space between two specific characters) and leading (line spacing).

Typography is performed by typesetters, compositors, typographers, graphic artists, art directors, and clerical workers. Until the digital age, typography was a specialized occupation. Certain fonts communicate or resemble stereotypical notions. For example, 1942 Report is a font which types text akin to a typewriter or a vintage report.

Page layout deals with the arrangement of elements (content) on a page, such as image placement, text layout and style. Page design has always been a consideration in printed material and more recently extended to displays such as web pages. Elements typically consist of type (text), images (pictures), and (with print media) occasionally place-holder graphics such as a dieline for elements that are not printed with ink such as die/laser cutting, foil stamping or blind embossing.

In the mid-1980s desktop publishing and graphic art software applications introduced computer image manipulation and creation capabilities that had previously been manually executed. Computers enabled designers to instantly see the effects of layout or typographic changes, and to simulate the effects of traditional media. Traditional tools such as pencils can be useful even when computers are used for finalization; a designer or art director may sketch numerous concepts as part of the creative process. Styluses can be used with tablet computers to capture hand drawings digitally.

Designers disagree whether computers enhance the creative process. Some designers argue that computers allow them to explore multiple ideas quickly and in more detail than can be achieved by hand-rendering or paste-up. While other designers find the limitless choices from digital design can lead to paralysis or endless iterations with no clear outcome.

Most designers use a hybrid process that combines traditional and computer-based technologies. First, hand-rendered layouts are used to get approval to execute an idea, then the polished visual product is produced on a computer.

Graphic designers are expected to be proficient in software programs for image-making, typography and layout. Nearly all of the popular and "industry standard" software programs used by graphic designers since the early 1990s are products of Adobe Systems Incorporated. Adobe Photoshop (a raster-based program for photo editing) and Adobe Illustrator (a vector-based program for drawing) are often used in the final stage. Some designers across the world use CorelDraw. CorelDraw is a vector graphics editor software developed and marketed by Corel Corporation. Open source software used to edit the vector graphis is Inkscape. Primary file format used in Inkscape is Scalable Vector Graphics (SVG). You can import or export the file in any other vector format. Designers often use pre-designed raster images and vector graphics in their work from online design databases. Raster images may be edited in Adobe Photoshop, vector logos and illustrations in Adobe Illustrator and CorelDraw, and the final product assembled in one of the major page layout programs, such as Adobe InDesign, Serif PagePlus and QuarkXpress.

Powerful open-source programs (which are free) are also used by both professionals and casual users for graphic design, these include Inkscape (for vector graphics), GIMP (for photo-editing and image manipulation), Krita (for painting), and Scribus (for page layout).

Vocabulary and Grammar Exercise 

Exercise 3. Find in the text English equivalents for the Russian words:

Exercise 4. Use one of the nouns given in the box to fill in each gap. One noun is extra:

1. Graphic design is the profession and academic discipline whose activity consists in projecting ____ communications intended to transmit messages to social groups with specific objectives.        

2. The role of the graphic designer in the communication process is that of _____ or interpreter of the message.

3. The design work can be based on a customer’s demand, a demand that ends up being established linguistically, that is, that graphic design transforms a _____ message into a graphic manifestation.

4. Graphic design has, as a field of _____, different areas of knowledge focused on any visual communication system, since visual communication is a small part of a huge range of types and classes where it can be applied.

5. Given the rapid and massive growth in information exchange today, the demand for _____ designers is greater than ever, particularly because of the development of new technologies.

6. Graphic design is often used in ______ products and elements of company identity such as logos, colors, packaging and text as part of (see also advertising).

7. ____ includes type design, modifying type glyphs and arranging type.

8. Page ______ deals with the arrangement of elements (content) on a page, such as image placement, text layout and style.

9. Graphic designers are expected to be ______ in software programs for image-making, typography and layout.

10. Adobe Photoshop (a ______ program for photo editing) and Adobe Illustrator (a vector-based program for drawing) are often used in the final stage.

Exercise 5. Decide whether the following statements are True (T) or False (F) according to the text:

1. Graphic design is the profession and academic discipline whose activity consists in projecting visual communications intended to transmit messages to social groups with specific objectives

2. Graphic design has, as a field of application, different areas of knowledge focused on any visual communication system.

3. With the advent of the web, information designers with experience in interactive tools are decreasingly used to illustrate the background to news stories.

4. Typography is performed by typesetters, compositors, typographers, graphic artists, art directors, and clerical workers.

5. Page design has always been a consideration in printed material and more recently extended to displays such as web pages.

6. Some designers are sure that computers allow them to explore multiple ideas quickly and in more detail than can be achieved by hand-rendering or paste-up.

7. Most designers use a single process that combines only traditional, not computer-based technologies.

8. Adobe Photoshop (a vector-based program for photo editing) and Adobe Illustrator (a raster-based program for drawing) are often used in the final stage.

9. CorelDraw is a vector graphics editor software developed and marketed by Corel Corporation.

10. Powerful open-source programs (which are free) are also used by both professionals and casual users for graphic design, these include Inkscape (for vector graphics), GIMP (for photo-editing and image manipulation), Krita (for painting), and Scribus (for page layout).

Exercise 6. Match the basic terms of Graphic design with their descriptions. One description is extra:

Exercise 7. Fill in the blanks using words given in the box to fill in each gap in the text. One word is extra:

Occupations

Graphic design career paths cover all parts of the creative spectrum and often overlap. Workers perform (1) ___ tasks, such as design services, publishing, advertising and public relations. As of 2017, median pay was $48,700 per year. The main job titles within the industry are often country specific. They can include graphic designer, art director, (2) ___ director, animator and entry level production artist. Depending on the industry served, the (3) ___ may have different titles such as "DTP Associate" or "Graphic Artist". The responsibilities may involve specialized skills such as illustration, photography, animation, visual effects or interactive design.

Employment in design of online projects was expected to increase by 35% by 2026, while employment in traditional (4) ____, such as newspaper and book design, expect to go down by 22%. Graphic designers will be expected to constantly learn new techniques, programs, and methods.

Graphic designers can work within companies devoted specifically to the industry, such as design consultancies or (5) ____ agencies, others may work within publishing, marketing or other communications companies. Especially since the introduction of personal computers, many graphic designers work as (6) ___ designers in non-design oriented organizations. Graphic designers may also work (7) ____, working on their own terms, prices, ideas, etc.

A graphic designer typically reports to the art director, creative director or senior media creative. As a designer becomes more senior, they spend less time designing and more time leading and directing other designers on broader creative activities, such as brand development and corporate identity development. They are often expected to (8) ____ more directly with clients, for example taking and interpreting briefs.

Questions for revision

Exercise 1. Answer the questions in a written form using information given in the text:

1. What activity does the profession of Graphic design consist in?

_______________________________________________________

2. What do Graphic design foundations and objectives revolve around?

_____________________________________________________

3. The role of the graphic designer in the communication process is that of encoder or interpreter of the message, isn’t it?

___________________________________________________________

4. What field of application does Graphic design have?

____________________________________________________________

5. Why is the demand for experienced designers nowadays greater than ever?

____________________________________________________________

6. What Graphic design professionals is typography performed by?

______________________________________________________

7. What does page layout deal with?

_______________________________________________________

8. Do most designers use a hybrid process or a traditional one?

_____________________________________________________

9. What raster-based programs for photo editing are often used in the final stage?

____________________________________________________

10. What vector-based programs for drawing are often used in the final stage?

______________________________________________________

Exercise 2. Write a short summery of the text describing one of the following:

1. Graphic design is the profession and academic discipline whose activity consists in projecting visual communications and is an interdisciplinary branch of design.

2. Origins of Graphic design in antiquity and the Middle Ages, Industrial Revolution, 20th century.

3. Graphic design can have many applications.

4. Typography includes …

5. Page layout deals with …

6. Graphic designers are expected to be proficient in software programs for image-making, typography and layout.

TEXT 2. Interface design.

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.

Exercise 2. Read and translate the text using a dictionary.

Since the advent of personal computers, many graphic designers have become involved in interface design, in an environment commonly referred to as a Graphical User Interface (GUI). This has included web design and software design when end user-interactivity is a design consideration of the layout or interface. Combining visual communication skills with an understanding of user interaction and online branding, graphic designers often work with software developers and web developers to create the look and feel of a web site or software application. An important aspect of interface design is icon design.

User interface (UI) design or user interface engineering is the design of user interfaces for machines and software, such as computers, home appliances, mobile devices, and other electronic devices, with the focus on maximizing usability and the user experience. In computer or software design, user interface (UI) design primarily focuses on information architecture. It is the process of building interfaces that clearly communicates to the user what's important. UI design refers to graphical user interfaces and other forms of interface design. The goal of user interface design is to make the user's interaction as simple and efficient as possible, in terms of accomplishing user goals (user-centered design).

User interfaces are the points of interaction between users and designs. There are three types:

• Graphical user interfaces (GUIs) - Users interact with visual representations on a computer's screen. The desktop is an example of a GUI.
• Interfaces controlled through voice - Users interact with these through their voices. Most smart assistants, such as Siri on smartphones or Alexa on Amazon devices, use voice control.
• Interactive interfaces utilizing gestures- Users interact with 3D design environments through their bodies, e.g., in virtual reality (VR) games.

Interface design is involved in a wide range of projects, from computer systems, to cars, to commercial planes; all of these projects involve much of the same basic human interactions yet also require some unique skills and knowledge. As a result, designers tend to specialize in certain types of projects and have skills centered on their expertise, whether it is software design, user research, web design, or industrial design.

Good user interface design facilitates finishing the task at hand without drawing unnecessary attention to itself. Graphic design and typography are utilized to support its usability, influencing how the user performs certain interactions and improving the aesthetic appeal of the design; design aesthetics may enhance or detract from the ability of users to use the functions of the interface. The design process must balance technical functionality and visual elements (e.g., mental model) to create a system that is not only operational but also usable and adaptable to changing user needs.

User interface design requires a good understanding of user needs. It mainly focuses on the needs of the platform and its user expectations. There are several phases and processes in the user interface design, some of which are more demanded upon than others, depending on the project.

    Functionality requirements gathering – assembling a list of the functionality required by the system to accomplish the goals of the project and the potential needs of the users.

    User and task analysis – a form of field research, it's the analysis of the potential users of the system by studying how they perform the tasks that the design must support, and conducting interviews to elaborate their goals. Typical questions involve:

• What would the user want the system to do?
• How would the system fit in with the user's normal workflow or daily activities?
• How technically savvy is the user and what similar systems does the user already use?
• What interface look & feel styles appeal to the user?

    Information architecture – development of the process and/or information flow of the system (i.e. for phone tree systems, this would be an option tree flowchart and for web sites this would be a site flow that shows the hierarchy of the pages).

    Prototyping – development of wire-frames, either in the form of paper prototypes or simple interactive screens. These prototypes are stripped of all look & feel elements and most content in order to concentrate on the interface.

    Usability inspection – letting an evaluator inspect a user interface. This is generally considered to be cheaper to implement than usability testing (see step below), and can be used early on in the development process since it can be used to evaluate prototypes or specifications for the system, which usually cannot be tested on users. Some common usability inspection methods include cognitive walkthrough, which focuses the simplicity to accomplish tasks with the system for new users, heuristic evaluation, in which a set of heuristics are used to identify usability problems in the UI design, and pluralistic walkthrough, in which a selected group of people step through a task scenario and discuss usability issues.

    Usability testing – testing of the prototypes on an actual user—often using a technique called think aloud protocol where you ask the user to talk about their thoughts during the experience. User interface design testing allows the designer to understand the reception of the design from the viewer's standpoint, and thus facilitates creating successful applications.

    Graphical user interface design – actual look and feel design of the final graphical user interface (GUI). These are design’s control panels and faces; voice-controlled interfaces involve oral-auditory interaction, while gesture-based interfaces witness users engaging with 3D design spaces via bodily motions. It may be based on the findings developed during the user research, and refined to fix any usability problems found through the results of testing. Depending on the type of interface being created, this process typically involves some computer programming in order to validate forms, establish links or perform a desired action.

    Software maintenance – after the deployment of a new interface, occasional maintenance may be required to fix software bugs, change features, or completely upgrade the system. Once a decision is made to upgrade the interface, the legacy system will undergo another version of the design process, and will begin to repeat the stages of the interface life cycle.

The dynamic characteristics of a system are described in terms of the dialogue requirements contained in seven principles of the ergonomics standard, the ISO 9241. This standard establishes a framework of ergonomic "principles" for the dialogue techniques with high-level definitions and illustrative applications and examples of the principles. The principles of the dialogue represent the dynamic aspects of the interface and can be mostly regarded as the "feel" of the interface.

The seven dialogue principles are:

• Suitability for the task: the dialogue is suitable for a task when it supports the user in the effective and efficient completion of the task.
• Self-descriptiveness: the dialogue is self-descriptive when each dialogue step is immediately comprehensible through feedback from the system or is explained to the user on request.
• Controllability: the dialogue is controllable when the user is able to initiate and control the direction and pace of the interaction until the point at which the goal has been met.
• Conformity with user expectations: the dialogue conforms with user expectations when it is consistent and corresponds to the user characteristics, such as task knowledge, education, experience, and to commonly accepted conventions.
• Error tolerance: the dialogue is error-tolerant if, despite evident errors in input, the intended result may be achieved with either no or minimal action by the user.
• Suitability for individualization: the dialogue is capable of individualization when the interface software can be modified to suit the task needs, individual preferences, and skills of the user.
• Suitability for learning: the dialogue is suitable for learning when it supports and guides the user in learning to use the system.

The concept of usability is defined of the ISO 9241 standard by effectiveness, efficiency, and satisfaction of the user.

• Usability is measured by the extent to which the intended goals of use of the overall system are achieved (effectiveness).
• The resources that have to be expended to achieve the intended goals (efficiency).
• The extent to which the user finds the overall system acceptable (satisfaction).

Effectiveness, efficiency, and satisfaction can be seen as quality factors of usability. To evaluate these factors, they need to be decomposed into sub-factors, and finally, into usability measures.

The information presented is described in Part 12 of the ISO 9241 standard for the organization of information (arrangement, alignment, grouping, labels, location), for the display of graphical objects, and for the coding of information (abbreviation, colour, size, shape, visual cues) by seven attributes. The "attributes of presented information" represent the static aspects of the interface and can be generally regarded as the "look" of the interface. The attributes are detailed in the recommendations given in the standard. Each of the recommendations supports one or more of the seven attributes.

The seven presentation attributes are:

• Clarity: the information content is conveyed quickly and accurately.
• Discriminability: the displayed information can be distinguished accurately.
• Conciseness: users are not overloaded with extraneous information.
• Consistency: a unique design, conformity with user's expectation.
• Detectability: the user's attention is directed towards information required.
• Legibility: information is easy to read.
• Comprehensibility: the meaning is clearly understandable, unambiguous, interpretable, and recognizable.

The user guidance in Part 13 of the ISO 9241 standard describes that the user guidance information should be readily distinguishable from other displayed information and should be specific for the current context of use.

User guidance can be given by the following five means:

• Prompts indicating explicitly (specific prompts) or implicitly (generic prompts) that the system is available for input.
• Feedback informing about the user's input timely, perceptible, and non-intrusive.
• Status information indicating the continuing state of the application, the system's hardware and software components, and the user's activities.
• Error management including error prevention, error correction, user support for error management, and error messages.
• On-line help for system-initiated and user-initiated requests with specific information for the current context of use.

Vocabulary and Grammar Exercise 

Exercise 3. Find in the text English equivalents for the Russian phrases:

Exercise 4. Use one of the nouns given in the box to fill in each gap. One noun is extra:

1. Since the advent of personal computers, many graphic designers have become involved in interface design, in an environment commonly referred to as a Graphical User _____ (GUI).        

2. An important aspect of interface design is ____ design.

3. User interface (UI) design or user interface engineering is the design of user interfaces for machines and software, such as computers, home ______, mobile devices, and other electronic devices.

4. In graphical user interfaces (GUIs) users interact with visual _____ on a computer's screen. The desktop is an example of a GUI.

5. Graphic design and typography are utilized to support its ____, influencing how the user performs certain interactions and improving the aesthetic appeal of the design

6. User interface design mainly focuses on the needs of the platform and its user _____.

7. After the deployment of a new interface, occasional maintenance may be required to fix software bugs, change features, or completely _____ the system.

8. The dialogue is suitable for a task when it supports the user in the effective and ____ completion of the task

9. The dialogue is _____ if, despite evident errors in input, the intended result may be achieved with either no or minimal action by the user.

10. The "attributes of presented information" represent the static aspects of the interface and can be generally regarded as the "___" of the interface

Exercise 5. Complete the sentences choosing one of the given variants:

1. Combining visual communication skills with an understanding of user interaction and online branding, …

a) they can include graphic designer, art director, creative director, animator and entry level production artist.

b) graphic designers often work with software developers and web developers to create the look and feel of a web site or software application.

c) graphic designers can work within companies devoted specifically to the industry, such as design consultancies or branding agencies.

2. In interfaces controlled through voice users …

a) interact with visual representations on a computer's screen

b) interact with 3D design environments through their bodies.

c) interact with these through their voices.

3. Interface designers tend to specialize in certain types of projects and have skills centered on their expertise, whether …

a) it is software design, user research, web design, or industrial design.

b) it is type design, modifying type glyphs and arranging type.

c) it is the arrangement of elements (content) on a page, such as image placement, text layout and style.

4. Functionality requirements gathering is …

a) a good understanding of user needs.

b) the analysis of the potential users of the system by studying how they perform the tasks that the design must support, and conducting interviews to elaborate their goals.

c) an assembling a list of the functionality required by the system to accomplish the goals of the project and the potential needs of the users.

5. Usability inspection is …

a) letting an evaluator inspect a user interface.

b) development of wire-frames, either in the form of paper prototypes or simple interactive screens.

c) testing of the prototypes on an actual user.

6. Error tolerance is when …

a) the dialogue conforms with user expectations when it is consistent and corresponds to the user characteristics, such as task knowledge, education, experience, and to commonly accepted conventions.

b) the dialogue is suitable for learning when it supports and guides the user in learning to use the system

c) the dialogue is error-tolerant if, despite evident errors in input, the intended result may be achieved with either no or minimal action by the user.

7. Conciseness is the presentation attributes when…

a) information is easy to read.

b) users are not overloaded with extraneous information.

c) the information content is conveyed quickly and accurately.

8. Legibility is the presentation attributes when…

a) information is easy to read.

b) users are not overloaded with extraneous information.

c) the user's attention is directed towards information required

Exercise 6. Match the basic terms of Interface design with their descriptions. One description is extra:

Exercise 7. Fill in the blanks using words given in the box to fill in each gap in the text. One word is extra:

Golden Rules

The following are the (1) ___ rules stated by Theo Mandel that must be followed during the design of the interface.

Place the user in control:

• Define the interaction modes in such a way that does not force the user into unnecessary or undesired actions: The user should be able to easily enter and exit the mode with little or no (2) ____.
• Provide for (3) _____ interaction: Different people will use different interaction mechanisms, some might use keyboard (4) _____, some might use mouse, some might use touch screen, etc, hence all interaction mechanisms should be provided.
• Allow user interaction to be interruptible and undoable: When a user is doing a sequence of actions the user must be able to (5) _____ the sequence to do some other work without losing the work that had been done. The user should also be able to do undo operation.
• Streamline interaction as skill level advances and allow the interaction to be customized: (6) ____ or highly skilled user should be provided a chance to customize the interface as user wants which allows different interaction mechanisms so that user doesn’t feel bored while using the same interaction mechanism.
• Hide technical internals from (7) ____ users: The user should not be aware of the internal technical details of the system. He should interact with the interface just to do his work.
• Design for direct interaction with objects that appear on screen: The user should be able to use the objects and (8) ____ the objects that are present on the screen to perform a necessary task. By this, the user feels easy to control over the screen.

Questions for revision

Exercise 1. Answer the questions in a written form using information given in the text:

1. Since what period have many graphic designers become involved in interface design, in an environment commonly referred to as a Graphical User Interface (GUI)?

_______________________________________________________

2. What forms of design has Graphical User Interface (GUI) included?

_____________________________________________________

3. How many and what types of User interface (UI) design are there?

___________________________________________________________

4. What skills centered on interface designers’ expertise do they have?

____________________________________________________________

5. What phases and processes in the user interface design are there, depending on the project?

____________________________________________________________

6. Where is the technique called think aloud protocol used?

______________________________________________________

7. What are the seven dialogue principles of the ergonomics standard, the ISO 9241?

_______________________________________________________

8. The concept of usability is defined of the ISO 9241 standard by effectiveness, efficiency, and satisfaction of the user, isn’t it?

_____________________________________________________

9. What are the seven presentation attributes described in Part 12 of the ISO 9241?

____________________________________________________

10. Can User guidance be given by the following mean: “error management including error prevention, error correction, user support for error management, and error messages”?

______________________________________________________

Exercise 2. Write a short summery of the text describing one of the following:

1. User interface (UI) design or user interface engineering.

2. Three types of user interfaces.

3. User interface design requires a good understanding of user needs.

4. The seven dialogue principles of the ergonomics standard, the ISO 9241.

5. The concept of usability is defined of the ISO 9241 standard by effectiveness, efficiency, and satisfaction of the user.

6. The seven presentation attributes, described in Part 12 of the ISO 9241 standard.

TEXT 3. Multimedia: Major characteristics. Commercial uses. Entertainment and fine arts. Virtual reality. Augmented reality.

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.

Exercise 2. Read and translate the text using a dictionary.

Multimedia is a form of communication that combines different content forms such as text, audio, images, animations, or video into a single interactive presentation, in contrast to traditional mass media which features little to no interaction from users, such as printed material or audio recordings. Popular examples of multimedia include video podcasts, audio slideshows and animated videos.

Multimedia can be recorded for playback on computers, laptops, smartphones, and other electronic devices, either on demand or in real time (streaming). In the early years of multimedia, the term "rich media" was synonymous with interactive multimedia. Over time, hypermedia extensions brought multimedia to the World Wide Web.

Multimedia presentations may be viewed by person on stage, projected, transmitted, or played locally with a media player. A broadcast may be a live or recorded multimedia presentation. Broadcasts and recordings can be either analog or digital electronic media technology. Digital online multimedia may be downloaded or streamed. Streaming multimedia may be live or on-demand.

Multimedia games and simulations may be used in a physical environment with special effects, with multiple users in an online network, or locally with an offline computer, game system, or simulator.

The various formats of technological or digital multimedia may be intended to enhance the users' experience, for example to make it easier and faster to convey information. Or in entertainment or art, combine an array of artistic insights that includes elements from different art forms to engage, inspire, or captivate an audience.

Enhanced levels of interactivity are made possible by combining multiple forms of media content. Online multimedia is increasingly becoming object-oriented and data-driven, enabling applications with collaborative end-user innovation and personalization on multiple forms of content over time. Examples of these range from multiple forms of content on Web sites like photo galleries with both images (pictures) and title (text) user-updated, to simulations whose coefficients, events, illustrations, animations or videos are modifiable, allowing the multimedia "experience" to be altered without reprogramming. In addition to seeing and hearing, haptic technology enables virtual objects to be felt. Emerging technology involving illusions of taste and smell may also enhance the multimedia experience.

Multimedia finds its application in various areas including, but not limited to, advertisements, art, education, entertainment, engineering, medicine, mathematics, business, scientific research and spatial temporal applications. Several examples are as follows:

Creative industries use multimedia for a variety of purposes ranging from fine arts, to entertainment, to commercial art, to journalism, to media and software services provided for any of the industries listed below. An individual multimedia designer may cover the spectrum throughout their career. Request for their skills range from technical, to analytical, to creative.

Much of the electronic old and new media used by production companies and graphic designers is multimedia. Advertising companies rely heavily on social interfaces and television to promote products. Using these platforms, they are able to express their message or persuade a targeted audience. Business to business and interoffice communications are often developed by creative services firms for advanced multimedia presentations beyond simple slide shows to sell ideas or liven up training. Commercial multimedia developers may be hired to design for governmental services and nonprofit services applications as well. In addition, the prominence of data mining within multimedia platforms in order to adjust marketing techniques based on the data they mine is a crucial and notable practice of commercial advertisement to efficiently understand the demographic of a target audience.

Multimedia is heavily used in the entertainment industry, especially to develop special effects in movies and animations (VFX, 3D animation, etc.). Multimedia games are a popular pastime and are software programs available either as CD-ROMs or online. Video games class as multimedia, as such games meld animation, audio, and, most importantly, interactivity, to allow the player an immersive experience. While video games can vary in terms of animation style or audio type or even lack thereof, the element of interactivity makes them a striking example of interactive multimedia. Interactive multimedia defines multimedia applications that allow users to actively participate instead of just sitting by as passive recipients of information. In the arts there are multimedia artists, whose minds are able to blend techniques using different media that in some way incorporates interaction with the viewer. Another approach entails the creation of multimedia that can be displayed in a traditional fine arts arena, such as an art gallery. Although multimedia display material may be volatile, the is as strong as any traditional media. Digital recording material may be just as durable and infinitely reproducible with perfect copies every time. survivability of the content

Virtual reality is a platform for multimedia in which it merges all categories of multimedia into one virtual environment. It has gained much more attention over recent years following technological advancements and is becoming much more commonly used nowadays for various uses like virtual showrooms and video games. Virtual reality was first introduced in 1957 by cinematographer Morton Heilig in the form of an arcade-style booth called Sensorama. The first virtual reality headset was created by American computer scientist Ivan Sutherland and Bob Sproull, his student, in 1968. Virtual reality is used for educational and also recreational purposes like watching movies, interactive video games, simulations etc. Ford Motor Company uses this technology to show customers the interior and exterior of their cars via their Immersion Lab. In Pima County, Arizona their police force is trained by using Virtual Reality to create scenarios for police to practice in. Many video game platforms now support virtual reality technology, including Sony's PlayStation, Nintendo's Switch as part of their Labo project, as well as the Oculus VR headsets that can be used for Xbox and PC gaming, with it being more preferable to pair with a PC due to it only being compatible with the original Xbox One and providing limited capabilities.

Augmented reality became widely popular only in the 21st century; however, some of the earlier versions of such were things like the Sega Genesis Activator Controller back in 1992 which allowed users to literally stand in an octagon and control in game movement with physical movement or to stretch back even further the R.O.B. NES Robot back in 1984 which with its array of accessories was able to also provide users with the sensation of holding a firearm. These multimedia input devices are among some of the earliest of the augmented reality devices by allowing users to input commands to facilitate a different user experience.

While virtual reality strives to be a totally immersive multimedia experience, completely replacing reality with a digital simulation, augmented reality limits itself to overlaying digital output or content onto the real world. Augmented reality can be defined as "an enhanced version of reality created by the use of technology to overlay digital information on an image of something being viewed through a device (such as a smartphone camera)". Augmented reality systems can be used for tasks such as overlaying speed, altitude and heading information on an aircraft Heads-Up Display, or projecting images or animations into a real-life scene, such as in the game Pokémon Go. Sony uses augmented reality technology in their PlayStation 5 controllers with their haptic feedback feature to give users a greater sense of immersion while playing video games. For example, while users are playing Call of Duty and want to shoot their gun at the enemy, the triggers on the controller will provide tension to the player that will make it feel like they are actually pulling the trigger on a gun. The game Astro's Playroom that comes with a PlayStation 5 console showcases the different ways a game can make players feel more immersed and the depth and potential that the haptic feedback feature has for the future of gaming.

Vocabulary and Grammar Exercise 

Exercise 3. Find in the text English equivalents for the Russian phrases:

Exercise 4. Use one of the nouns given in the box to fill in each gap. One noun is extra:

1. Popular examples of multimedia include video podcasts, audio slideshows and _____videos.        

2. Multimedia can be recorded for playback on computers, _____, smartphones, and other electronic devices, either on demand or in real time (streaming).

3. Digital online multimedia may be downloaded or streamed, _______ multimedia may be live or on-demand.

4. The various formats of technological or _____ multimedia may be intended to enhance the users' experience

5. Online multimedia is increasingly becoming object-oriented and data-driven, enabling applications with collaborative end-user innovation and _____ on multiple forms of content over time.

6. _____ technology involving illusions of taste and smell may also enhance the multimedia experience.

7. ______ industries use multimedia for a variety of purposes ranging from fine arts, to entertainment, to commercial art, to journalism, to media and software services.

8. Interactive multimedia defines multimedia applications that allow users to actively ____ instead of just sitting by as passive recipients of information.

9. _____ reality is a platform for multimedia in which it merges all categories of multimedia into one virtual environment.

10. _____ reality can be defined as "an enhanced version of reality created by the use of technology to overlay digital information on an image of something being viewed through a device (such as a smartphone camera)"

Exercise 5. Decide whether the following statements are True (T) or False (F) according to the text:

1. Multimedia is a form of communication that combines different content forms in contrast to traditional mass media which features little to no interaction from users.
2. Multimedia can be recorded for playback on computers, laptops, smartphones, and other electronic devices, neither on demand nor in real time (streaming).
3. Broadcasts and recordings can be either analog or digital electronic media technology.
4. The poor formats of technological or digital multimedia may be intended to reduce the users' experience, for example to make it harder and slower to convey information.
5. Multimedia finds its application in various areas including, but not limited to, advertisements, art, education, entertainment, engineering, medicine, mathematics, business, scientific research and spatial temporal applications.
6. Using social interfaces and television, advertising companies are able to express their message or persuade a targeted audience.
7. Commercial multimedia developers can’t be hired to design for governmental services and nonprofit services applications as well.
8. Video games class as multimedia, as such games don’t meld animation, audio, and, most importantly, interactivity, not to allow the player an immersive experience.
9. Virtual reality is used for educational and also recreational purposes like watching movies, interactive video games, simulations etc.
10. Augmented reality systems can be used for tasks such as overlaying speed, altitude and heading information on an aircraft Heads-Up Display.

Exercise 6. Match the basic terms of Multimedia with their descriptions. One description is extra:

Exercise 7. Fill in the blanks using words given in the box to fill in each gap in the text. One word is extra:

New media art

New media art includes artworks designed and produced by means of electronic media (1) ___, comprising virtual art, computer graphics, computer animation, digital art, interactive art, sound art, Internet art, video games, (2) ____, 3D printing, and cyborg art. The term defines itself by the thereby created artwork, which differentiates itself from that deriving from (3) ___ visual arts (i.e. architecture, painting, sculpture, etc.). New Media art has origins in the worlds of science, art, and performance. Some common themes found in new media art include (4) ____, political and social activism, Afrofuturism, feminism, and identity, a ubiquitous theme found throughout is the incorporation of new technology into the work. The emphasis on medium is a defining feature of much contemporary art and many art schools and major universities now offer majors in "New Genres" or "New Media" and a growing number of (5) ____ programs have emerged internationally. New media art may involve degrees of interaction between artwork and observer or between the artist and the public, as is the case in performance art. Yet, as several theorists and curators have noted, such forms of interaction, social exchange, participation, and (6) _____ do not distinguish new media art but rather serve as a common ground that has parallels in other strands of contemporary art practice. Such insights emphasize the forms of cultural practice that arise concurrently with (7) ____ technological platforms, and question the focus on technological media per se. New Media art involves complex curation and preservation practices that make collecting, installing, and (8) _____ the works harder than most other mediums. Many cultural centers and museums have been established to cater to the advanced needs of new media art.

Questions for revision

Exercise 1. Answer the questions in a written form using information given in the text:

1. What is multimedia a form of communication that combines different content forms in contrast to?

_____________________________________________________________________

2. How can multimedia be recorded for playback on computers, laptops, smartphones, and other electronic devices?

____________________________________________________________________

3. What forms may Streaming multimedia be in?

_________________________________________________________________

4. What may the various formats of technological or digital multimedia be intended to?

______________________________________________________________

5. How can haptic technology enable virtual objects to be felt, in addition to seeing and hearing?

__________________________________________________________________

6. What areas does Multimedia find its application in?

__________________________________________________________________

7. What spectrum may an individual multimedia designer cover throughout their career?

______________________________________________________________

8. Why are Multimedia games a popular pastime?

____________________________________________________________________

9. What purposes is Virtual reality used for?

________________________________________________________________

10. Why did Augmented reality become widely popular in the 21st century?

___________________________________________________________________

Exercise 2. Write a short summery of the text describing one of the following:

1. Multimedia is a form of communication that combines different content forms such as text, audio, images, animations, or video into a single interactive presentation.

2. Online multimedia is increasingly becoming object-oriented and data-driven.

3. Creative industries use multimedia for a variety of purposes.

4. Video games class as multimedia, as such games meld animation, audio, and, most importantly, interactivity, to allow the player an immersive experience.

5. Virtual reality is a platform for multimedia.

6. Augmented reality became widely popular in the 21st century.

TEXT 4. Industrial design: Definition. Design process. Examples of Industrial design.

Exercise 1. Practice the pronunciation of the words from the text. Write the transcriptions of the words using a dictionary.

Exercise 2. Read and translate the text using a dictionary.

Industrial design is a process of design applied to physical products that are to be manufactured by mass production. It is the creative act of determining and defining a product's form and features, which takes place in advance of the manufacture or production of the product. It consists purely of repeated, often automated, replication, while craft-based design is a process or approach in which the form of the product is determined by the product's creator largely concurrent with the act of its production.

All manufactured products are the result of a design process, but the nature of this process can vary. It can be conducted by an individual or a team, and such a team could include people with varied expertise (e.g. designers, engineers, business experts, etc.). It can emphasize intuitive creativity or calculated scientific decision-making, and often emphasizes a mix of both. It can be influenced by factors as varied as materials, production processes, business strategy, and prevailing social, commercial, or aesthetic attitudes. Industrial design, as an applied art, most often focuses on a combination of aesthetics and user-focused considerations, but also often provides solutions for problems of form, function, physical ergonomics, marketing, brand development, sustainability, and sales.

Industrial design studies function and form — and the connection between product, user, and environment. Generally, industrial design professionals work in small scale design, rather than overall design of complex systems such as buildings or ships. Industrial designers don't usually design motors, electrical circuits, or gearing that make machines move, but they may affect technical aspects through usability design and form relationships. Usually, they work with other professionals such as engineers who focus on the mechanical and other functional aspects of the product, assuring functionality and manufacturability, and with marketers to identify and fulfill customer needs and expectations.

Industrial design can overlap significantly with engineering design, and in different countries the boundaries of the two concepts can vary, but in general engineering focuses principally on functionality or utility of products, whereas industrial design focuses principally on aesthetic and user-interface aspects of products. In many jurisdictions this distinction is effectively defined by credentials and/or licensure required to engage in the practice of engineering.

At the 29th General Assembly in Gwangju, South Korea, 2015, the Professional Practise Committee unveiled a renewed definition of industrial design as follows: "Industrial Design is a strategic problem-solving process that drives innovation, builds business success and leads to a better quality of life through innovative products, systems, services and experiences." An extended version of this definition is as follows: "Industrial Design is a strategic problem-solving process that drives innovation, builds business success and leads to a better quality of life through innovative products, systems, services and experiences. Industrial Design bridges the gap between what is and what's possible. It is a trans-disciplinary profession that harnesses creativity to resolve problems and co-create solutions with the intent of making a product, system, service, experience or a business, better. At its heart, Industrial Design provides a more optimistic way of looking at the future by reframing problems as opportunities. It links innovation, technology, research, business and customers to provide new value and competitive advantage across economic, social and environmental spheres. Industrial Designers place the human in the centre of the process. They acquire a deep understanding of user needs through empathy and apply a pragmatic, user centric problem solving process to design products, systems, services and experiences. They are strategic stakeholders in the innovation process and are uniquely positioned to bridge varied professional disciplines and business interests. They value the economic, social and environmental impact of their work and their contribution towards co-creating a better quality of life. "

Although the process of design may be considered 'creative,' many analytical processes also take place. In fact, many industrial designers often use various design methodologies in their creative process. Some of the processes that are commonly used are user research, sketching, comparative product research, model making, prototyping and testing. These processes are best defined by the industrial designers and/or other team members. Industrial designers often utilize 3D software, computer-aided industrial design and CAD programs to move from concept to production. They may also build a prototype or scaled down sketch models through a 3D printing process or using balsa wood for modeling. They may then use industrial CT scanning to test for interior defects and generate a CAD model. From this the manufacturing process may be modified to improve the product.

Product characteristics specified by industrial designers may include the overall form of the object, the location of details with respect to one another, colors, texture, form, and aspects concerning the use of the product. Additionally, they may specify aspects concerning the production process, choice of materials and the way the product is presented to the consumer at the point of sale. The inclusion of industrial designers in a product development process may lead to added value by improving usability, lowering production costs, and developing more appealing products.

Industrial design may also focus on technical concepts, products, and processes. In addition to aesthetics, usability, and ergonomics, it can also encompass engineering, usefulness, market placement, and other concerns—such as psychology, desire, and the emotional attachment of the user. These values and accompanying aspects that form the basis of industrial design can vary—between different schools of thought, and among practicing designers.

An industrial designer effectively balances their design process to include both producers and the market. In Design Issues, Vol 12, No.1, released in 1996, Tony Golsby-Smith wrote the following: “the enlightened industrial designer researches the market and its needs, the producing company and its processes of manufacture, as well as its market aspirations.”. In packaging design, a designer determines the usability and source of action of the artifact – like how the package design would attract a consumer, how the material feels, and access its contents. On the producer side, the designer finds the process to which the package is created and how its contents would fit inside. It places industrial designers to filter out information based on their research and determine the best solution. This form of the design process is what industrial designers commonly use today in their profession.

Third order also explains two services industrial designers offer. The first is the intervention of the designer in the decision-making process directly – this would be a product that is produced once only. The designer would directly focus on ensuring that the product works for the client. The second is when a designer intervenes indirectly in the process. An example of this would be a product that is produced regularly. Designers are tasked to create a prototype and describe how the client is able to adapt to the design process.

Recently, industrial designers are finding new methods to approach the design process. Industrial designers tend to work within small teams. This method is called participatory design or co-design. These teams would often consist of different professions based on the project at hand. An industrial designer designing a prosthesis would work with a volunteer patient and with a prosthetist throughout this process. It establishes an environment where the designer and the participants are active members throughout the design process – instead of the designer relying on them only as a primary source of research or reference.

A number of industrial designers have made such a significant impact on culture and daily life that their work is documented by historians of social science. Alvar Aalto, renowned as an architect, also designed a significant number of household items, such as chairs, stools, lamps, a tea-cart, and vases. Raymond Loewy was a prolific American designer who is responsible for the Royal Dutch Shell corporate logo, the original BP logo (in use until 2000), the PRR S1 steam locomotive, the Studebaker Starlight (including the later bulletnose), as well as Schick electric razors, Electrolux refrigerators, short-wave radios, Le Creuset French ovens, and a complete line of modern furniture, among many other items.

Richard Teague, who spent most of his career with the American Motors Corporation, originated the concept of using interchangeable body panels so as to create a wide array of different vehicles using the same stampings. He was responsible for such unique automotive designs as the Pacer, Gremlin, Matador coupe, Jeep Cherokee, and the complete interior of the Eagle Premier.

Viktor Schreckengost designed bicycles manufactured by Murray bicycles for Murray and Sears, Roebuck and Company. With engineer Ray Spiller, he designed the first truck with a cab-over-engine configuration, a design in use to this day. Schreckengost also founded The Cleveland Institute of Art's school of industrial design.

Charles and Ray Eames were most famous for their pioneering furniture designs, such as the Eames Lounge Chair Wood and Eames Lounge Chair. Other influential designers included Henry Dreyfuss, Eliot Noyes, John Vassos, and Russel Wright.

Dieter Rams is a German industrial designer closely associated with the consumer products company Braun and the Functionalist school of industrial design.

German industrial designer Luigi Colani, who designed cars for automobile manufacturers including Fiat, Alfa Romeo, Lancia, Volkswagen, and BMW, was also known to the general public for his unconventional approach to industrial design. He had expanded in numerous areas ranging from mundane household items, instruments and furniture to trucks, uniforms and entire rooms. A grand piano created by Colani, the Pegasus, is manufactured and sold by the Schimmel piano company.

Many of Apple's recent products were designed by Sir Jonathan Ive.

Vocabulary and Grammar Exercise 

Exercise 3. Find in the text English equivalents for the Russian phrases:

Exercise 4. Use one of the nouns given in the box to fill in each gap. One noun is extra:

1. Industrial design is a process of design applied to physical products that are to be _____ by mass production.        

2. Industrial design can emphasize intuitive creativity or calculated scientific ____, and often emphasizes a mix of both.

3. Industrial design studies function and form — and the connection between product, user, and _____.

4. Industrial design focuses principally on aesthetic and _______ aspects of products.

5. Industrial Design is a strategic _______ process that drives innovation, builds business success and leads to a better quality of life through innovative products, systems, services and experiences

6. Industrial Designers acquire a deep understanding of user ______ through empathy and apply a pragmatic, user centric problem solving process to design products, systems, services and experiences.

7. Although the process of design may be considered '___,' many analytical processes also take place.

8. In packaging design, a designer determines the ______ and source of action of the artifact.

9. A number of industrial designers have made such a significant impact on culture and ____ life that their work is documented by historians of social science

10. Dieter Rams is a German industrial designer closely associated with the _____ products company Braun and the Functionalist school of industrial design.

Exercise 5. Complete the sentences choosing one of the given variants:

1. It consists purely of repeated, often automated, replication, while …

a) the nature of this process can vary.

b) often emphasizes a mix of both.

c) craft-based design is a process or approach in which the form of the product is determined by the product's creator largely concurrent with the act of its production.

2. It can be influenced by factors as varied as …

a) materials, production processes, business strategy, and prevailing social, commercial, or aesthetic attitudes.

b) a combination of aesthetics and user-focused considerations.

c) form, function, physical ergonomics, marketing, brand development, sustainability, and sales.

3. Industrial design focuses principally on …

a) functionality or utility of products.

b) the practice of engineering.

c) aesthetic and user-interface aspects of products.

4. Industrial Design is a strategic problem-solving process that…

a) good understands the user needs.

b) drives innovation, builds business success and leads to a better quality of life through innovative products, systems, services and experiences.

c) assembles a list of the functionality required by the system to accomplish the goals of the project

5. Industrial Designers acquire a deep understanding of user needs through …

a) empathy and apply a pragmatic, user centric problem solving process to design products, systems, services and experiences.

b) reframing problems as opportunities.

c) innovative products, systems, services and experiences.

6. Industrial designers often utilize 3D software, computer-aided industrial design and CAD programs …

a) to value the economic, social and environmental impact of their work.

b) to move from concept to production.

c) to resolve problems.

7. In packaging design, a designer determines the usability and source of action of the artifact - …

a) like lowering production costs, and developing more appealing products.

b) like specify aspects concerning the production process.

 c) like how the package design would attract a consumer, how the material feels, and access its contents.

8. Recently, industrial designers tend to work …

a) individually.

b) on technical concepts, products, and processes.

c) within small teams.

Exercise 6. Match the basic terms of Industrial design with their descriptions. One description is extra: