（節(jié)選）平面設(shè)計(jì)外文翻譯（選自書籍）

1、<p>　　1170單詞，6700英文字符，1960漢字</p><p><b>　　一、英文</b></p><p>　　About Graphic Design</p><p>　　Graphic design is so much a part of our lives that at times it goes unnotic

2、ed. The layout of type and imagery on the page you’re reading right now is a key aspect of graphic design. This book was designed by organizing all the visual and textual information into a communicable message, an objec

3、t bound between two covers. But if organizing were the only job of graphic designers, the computer would have replaced us by now.</p><p>　　The field uses the two words graphicand design because of the dual n

4、ature of its process. Successful design solutions stimulate viewers intellectually and move them emotionally by including both familiar and surprising elements. As a result, a design communication can not only explain so

5、me-thing to an audience but also affect that group on another level. </p><p>　　If you apply this complex thinking to your design process, the results will reflect your intentions, and your messages will be c

6、lear. A website is user friendly when its pages are attractive and its navigation simple; a book’s content might be more accessible when its cover presents an expressive visual metaphor; a building is easier to navigate

7、when the architect has applied a logical system of signage to its passageways. Each of these situations presents a unique communication problem, solved </p><p>　　Being a designer also involves finding ways t

8、o reveal the beauty in something that others may not see and expressing a thought in an unexpected way—a mission through which blending the useful with the aesthetically appealing has one primary goal—to communicate. For

9、 example, Rafael Esquer embraced the notion of giving instead of receiving by transforming a clothing collection bag into a typographic call to action (Figure 1.1). The fresh approach was also a declaration that read vis

10、ually as “This </p><p>　　In another example, Pierre Bernard transformed the scaffolding for an architectural renovation into a sidewalk spectacle for the Centre Pompidou in Paris (Figure 1.2). A giant progra

11、m listed the museum’s monthly events, and, after each event was over, it was manually crossed out by mountaineers hoisting themselves down on ropes. This creative idea made a simple calendar into a continually dramatic a

12、nd entertain-ing performance. The designer found an idea and pushed it further than anyone would h</p><p>　　Design work incorporates aesthetics (to achieve notions of beauty) structure (to organize and arran

13、ge), emotion (to accentuate feelings), and utility (for use). Whether designing for an individual, a small business, or a large corporation, the designer brings a degree of art, craft, intelligence, and intuition to ever

14、y project.</p><p>　　Graphic designers often collaborate with writers, illustrators, photographers, and printers, making for an energizing work environment. Clients sometimes invest large sums of money, and a

15、n audience of mil-lions just might see the designer’s work, but the most exciting aspect of the graphic designer’s job—and the most admirable one—is saying some-thing that matters, and saying it with both grace and intel

16、ligence. </p><p>　　Graphic Design’s Heritage</p><p>　　Graphic design(the art of conveying messages) has always been a part of us, even as far back as the early cave paintings of approximately 16

17、,000 years ago. Scenes of the hunt—like the ones pictured at Lascaux—may have been more than merely decorative, possibly serving a number of </p><p>　　purposes (Figure 1.3). One purpose may have been to lite

18、rally describe the animals as an instruction manual might, picturing what to chase and what to avoid. Another likely purpose may have been to bring good for-tune by symbolically capturing the animals on the wall. Made wi

19、th only burnt sticks and colored pigments, these beautifully executed designs could have motivated the hunting group and helped it to survive.</p><p>　　Fast-forwarding 14,000 years, a stone mosaic from Pompe

20、ii was used to communicate an important message: “Beware of the dog” (Figure 1.4). A ferocious dog perfectly translated into the black and white mosaic along with words of caution made its point clearly to visitors. Forw

21、ard </p><p>　　another 1,700 years to America’s first political cartoon, Join or Die, a woodcut by Benjamin Franklin (1706–1790) (Figure 1.5). Franklin’s wit and conviction can be seen in the design of a snak

22、e severed into eighths, each segment representing a British American colony or region. The </p><p>　　design inspired colonial unity in a yet-to-be-born country.</p><p>　　Today, digital printing

23、and electronic media have replaced cave wall paintings, mosaics, and woodcuts. But the functional aspect of graphic design is the same—to educate, symbolize, and even compel us to action. </p><p>　　Understan

24、ding graphic design in the context of its history is essential to being a good designer. In Chapter 2, A Brief History of Graphic Design, you will come to see why this context is so important.</p><p>　　The C

25、oining of the Term</p><p>　　The great book designer W. A. Dwiggins (1880–1956) coined the term “graphic design” in 1922. Since then, graphic design has grown into its own, legitimate profession. Dwiggins had

26、 it right in two ways. First by blending the words graphicand design, he better explained the process—graphic sensibility fused with planning and organizing. Second, by naming the profession, he categorized it as its own

27、, legitimate activity.</p><p>　　Although graphic design had an association with commerce, just as printing, lettering, and the advertising trades did, it was no longer considered a subcategory of those trade

28、s but a valid field in its own right. Dwiggins’s term was just abstract enough to encompass many kinds of </p><p>　　design. (See the upcoming Excerpt from “The Name Game,” by Michael Worthington.) The catego

29、ries of graphic design, as described in this chap-ter, all have their own particular practices, and what unites them is the process graphic designers go through to communicate a concept.</p><p>　　As you cont

30、inue reading this book, you will see just how that con-cept of process applies to the art of graphic design. The field is as much about problem solving, clear thinking, and creativity as it is about the end result, the f

31、inal design.</p><p>　　Graphics Design</p><p>　　1.6 The s in graphics was eventually dropped by the media at the insistence of the profession.</p><p>　　In Practice: Oddly enough, it

32、wasn’t until the late 1970s that the media began to refer to the profession as “graphic design.” Until then it was mistakenly called “graphics design,” describing only the end product (the design of graphics), and neglec

33、ting the idea that there was an approach to the process, which the term graphic design more accurately describes. The media dropped the “s” (Figure 1.6).</p><p>　　The Expanding Field of Design</p><

34、;p>　　One of the wonderful things about the graphic design field is that it encourages creative people to develop personally challenging goals. Pushing further, beyond the most obvious design solution, is integral to b

35、eing a good designer. This effort includes pushing how we develop concepts, how computer technology enables us to complete our tasks, and how new media can help expand graphic design language itself. </p><p>

36、;<b>　　二、譯文</b></p><p><b>　　平面設(shè)計(jì)</b></p><p>　　平面設(shè)計(jì)在我們的生活中十分常見，以致有時(shí)我們會(huì)忽視它。或許你現(xiàn)在所讀文本的文字圖片排版設(shè)計(jì)就是平面設(shè)計(jì)應(yīng)用的重要表現(xiàn)之一。書籍就是一種把視覺信息和文本信息按一定方式組織起來的信息載體，一條連接編者與讀者的紐帶。但是如果平面設(shè)計(jì)師的工作只是組織排序，那

37、么到如今計(jì)算機(jī)就早已經(jīng)代勞了。</p><p>　　由于平面設(shè)計(jì)過程的雙重性，所以這個(gè)工作的命名使用了“平面”和“設(shè)計(jì)”這兩個(gè)詞語。成功的設(shè)計(jì)方案一般會(huì)包含讀者熟悉的元素，同時(shí)也有能使讀者驚奇的元素，這樣才能在理性和感性上引起讀者的共鳴，打動(dòng)讀者。因此，設(shè)計(jì)交流不僅能向讀者解釋一些東西，也能在某種程度上影響讀者。</p><p>　　如果你在設(shè)計(jì)過程中使用這種復(fù)合思維，你的作品將能反映出你

38、的意圖，也能清楚的傳遞你要表達(dá)的信息。當(dāng)一個(gè)網(wǎng)站的頁面有吸引力并且布局簡(jiǎn)單清晰時(shí)，它才具有用戶親和性；當(dāng)一本書的封面有一個(gè)富有表現(xiàn)力的視覺隱喻時(shí)，它的內(nèi)容可能更容易理解；當(dāng)建筑師用富有邏輯性的圖例來標(biāo)識(shí)圖紙的時(shí)候，它會(huì)更容易建造。這些例子說明每一個(gè)獨(dú)一無二的交流問題都能用特別的設(shè)計(jì)方法來解決。</p><p>　　一名設(shè)計(jì)師的使命是能夠找到方法揭示某個(gè)事物的美麗之處，這些美麗之處可能是他人未能發(fā)現(xiàn)的，同時(shí)還要能夠

39、以一種出人意料的方式表達(dá)想法，這樣才能實(shí)現(xiàn)在審美性與實(shí)用性并俱的情況下實(shí)現(xiàn)“交流”這個(gè)首要目標(biāo)。例如，通過把衣物收納袋上印上標(biāo)語這種文字呼吁行動(dòng)（如圖1.1），Rafael Esquer接受了贈(zèng)予這個(gè)概念。這也是一種從視覺上宣傳的新途徑，這種宣言可以理解為“這個(gè)主意很好，我想要參與”。據(jù)設(shè)計(jì)師說，大部分人都很喜歡這個(gè)設(shè)計(jì)，因此他們把它保留起來作為洗衣袋，然后用普通口袋或者盒子來寄捐贈(zèng)的衣物。</p><p>　　

40、另一個(gè)例子：Pierre Bernard把腳手架改造成人行道上的一道奇觀（如圖1.2），實(shí)現(xiàn)了皮杜藝術(shù)中心建筑學(xué)上的革新。根據(jù)登山運(yùn)動(dòng)員提升繩索的方法，每完成一項(xiàng)活動(dòng)，列滿博物館每月所有活動(dòng)的節(jié)目單上相應(yīng)的活動(dòng)就會(huì)被劃掉。這種富有創(chuàng)意的想法使得簡(jiǎn)單的活動(dòng)日歷成為了具有戲劇性和娛樂性的活動(dòng)。設(shè)計(jì)師的工作是提出他人沒有的想法并且把它深化，而平面設(shè)計(jì)師某種程度上既是藝術(shù)家、科學(xué)家、研究員，也是心理學(xué)家和商人。</p><p

41、>　　設(shè)計(jì)就是把美學(xué)（傳達(dá)美的概念）、建造（組織和排列）、情感（強(qiáng)調(diào)感覺）和實(shí)用性（用途）有機(jī)組合成一個(gè)整體。不管是為個(gè)人設(shè)計(jì)，還是為小企業(yè)或者大公司做設(shè)計(jì)，每個(gè)作品都是設(shè)計(jì)師藝術(shù)、工藝、智慧和靈感的結(jié)晶。</p><p>　　平面設(shè)計(jì)師通常會(huì)和作家、插圖畫家、攝影師、印刷廠合作，營(yíng)造一個(gè)充滿活力的工作環(huán)境?？蛻粲袝r(shí)會(huì)投入大筆資金，數(shù)百萬的觀眾可能看到的只是設(shè)計(jì)師的作品，但是平面設(shè)計(jì)師的工作里最令人激動(dòng)也是

42、最令人欽佩的是以一種優(yōu)雅、智慧的方式表達(dá)一些重要的東西。</p><p><b>　　平面設(shè)計(jì)的歷史</b></p><p>　　追溯到大約16000年前早期洞穴壁畫時(shí)期，平面設(shè)計(jì)（傳遞信息的藝術(shù)）就已經(jīng)成為了我們生活中的一部分。就像刻拉斯科洞窟壁畫中的狩獵場(chǎng)景一樣，可能不僅僅只是為了裝飾，還有其他許多目的（如圖1.3）。一是為了正確地描繪動(dòng)物，以便指導(dǎo)人類狩獵，另一

43、個(gè)目的可能是通過在墻上象征性的刻畫捕獲動(dòng)物的場(chǎng)景，以期能夠帶來好運(yùn)。</p><p>　　直到14000年后，龐貝古城使用石頭鑲嵌畫傳遞了一個(gè)重要的信息——當(dāng)心惡犬（如圖1.4）。 黑白色的鑲嵌畫完美的刻畫了一條惡犬，在圖畫的下方附上了警示語，這樣便清楚地向游客傳遞了信息。又過了1700百年，美國本杰明·富蘭克林(1706–1790)用木板雕刻了美國第一幅政治卡通畫——加入或者滅亡（如圖1.5）。圖中一

44、條蛇被切割為了八個(gè)部分，每一個(gè)部分代表了一個(gè)英國在美國的殖民地，體現(xiàn)出了富蘭克林的智慧與信念。這個(gè)設(shè)計(jì)鼓舞了一個(gè)尚未誕生國家的人民團(tuán)結(jié)一致。</p><p>　　如今，數(shù)字印刷和電子媒體已經(jīng)替代了洞穴壁畫、鑲嵌畫和木版畫，但是平面設(shè)計(jì)的功能依然沒有改變，還是具有教育、象征、甚至敦促我們行動(dòng)的功能。</p><p>　　對(duì)一名優(yōu)秀的設(shè)計(jì)師而言，在平面設(shè)計(jì)的歷史背景下理解平面設(shè)計(jì)是十分有必要的

45、。在第二章——平面設(shè)計(jì)簡(jiǎn)史，你將會(huì)明白為什么這種背景如此重要。</p><p><b>　　術(shù)語的誕生</b></p><p>　　1992年，杰出的書刊設(shè)計(jì)師W. A. Dwiggins (1880–1956)提出了“平面設(shè)計(jì)”這個(gè)術(shù)語。從那時(shí)起，平面設(shè)計(jì)已經(jīng)發(fā)展為一個(gè)獨(dú)立正統(tǒng)的職業(yè)。Dwiggins從兩個(gè)方面使它具有正確性。首先，通過把“平面”和“設(shè)計(jì)”兩個(gè)詞語組

46、合在一起，他更好地說明了圖形與組織設(shè)計(jì)相融合這個(gè)過程。其次，通過給這個(gè)行業(yè)命名，他使之成為了一種獨(dú)立的正統(tǒng)的職業(yè)。</p><p>　　正如印刷業(yè)、字體設(shè)計(jì)、廣告貿(mào)易所體現(xiàn)的，盡管平面設(shè)計(jì)與商業(yè)有聯(lián)系，但是它不再被視為這些行業(yè)的子行業(yè)，而是一個(gè)獨(dú)立的領(lǐng)域。Dwiggins的術(shù)語足夠抽象，包含了各個(gè)種類的設(shè)計(jì)（見Michael Worthington The Name Game的摘錄）。正如本章所描述的，平面設(shè)計(jì)這