上海人民美術出版社《藝術設計名家特色精品課程》系列叢書


叢書名: 藝術設計名家特色精品課程
作者: 張孟常
頁數: 280
出版日期: 2017.05
定價: 45元
書號: 978-7-5586-0345-7

編輯推薦
本教材從理論性和實踐性結合出發,系統全面地介紹了有關藝術設計的相關體系、基礎理論和設計應用等方面的知識。
1)本教材主要針對高等院校藝術設計專業一、二年級學生的設計理論必修課;
2)能夠從理論性和實踐性結合出發,系統全面地介紹了有關藝術設計的相關體系、基礎理論和設計應用等方面的知識;
3)作者有著豐富的教學實踐經驗,理論基礎扎實,并注入最新教學實例,以體現教材的時代感。

內容簡介
本教材針對高等院校藝術設計專業一、二年級學生,是設計理論必修課,主要講述六方面的內容:設計的學科性質,設計的概念與內涵,設計的分類與特征,設計思維,設計的形態,設計師職業結構與價值觀。通過學習設計概論,使學生了解設計的基本概念,掌握設計理論研究的一般方法,學會運用非文字形式加深對理論知識的理解,形成自己對設計的認識。本教材在編寫時,在內容上以延續經典、面向未來為主導思想,既介紹經過多年沉淀的、已規范化的經典教學內容,同時也注重創新,納入新的科研成果和試驗性、探索性內容,并配有新穎的圖片,以體現教材的時代感。
作者簡介
張孟常?湖南湘鄉人,1997年獲清華大學美術學院(原中央工藝美術學院)博士學位,上海大學美術學院任教至今。以中國工藝美術史、設計心理學、設計概論等課程涉及內容為研究領域,以美術學院藝術設計專業學生為具體教授對象,以“知行合一”為教學之本。出版專著有:《工藝美術》、《器以載道》、《服飾之美》等。

目錄

緒論 我是誰? ·······································1
第一節 獨一無二的我···································4
一、我喜歡做的事情·····································6
二、左右手與設計······································10
第二節 不同的我們·····································14
一、五大洲四大洋······································14
二、男女有別··········································18
三、擁抱生命的強者····································20
第三節 設計以人為本···································24
一、為人的需要········································24
二、生態的內在價值····································27
三、不應該設計什么····································29
第一章 三大專業從何而來?·····························33
第一節 時代的設計·····································33
一、現實與理想········································33
二、王受之看世界······································34
三、藝術設計院校及專業································35
第二節 原因與結果·····································36
一、日常生活的平凡與偉大······························36
二、三大需要形成的設計································39
第三節 器具形態的設計·································42
一、器必有形··········································42
二、形-功能-結構····································44
三、學習與創新········································47
第四節 視覺傳達設計···································49
一、學習與創新········································49
二、滿足視覺心理的歷史································52
三、時代的動漫藝術····································56
第五節 人居環境設計···································59
一、建筑類型與景觀設計································59
二、街道設施與環境標志設計····························62
三、城市規劃設計······································66
第二章 誰率先而來?··································71
第一節 藝術是什么?···································71
一、時代的晴雨表······································72
二、和諧與驚奇········································73
三、寬闊深刻的主題····································74
四、使高新科技閃光····································75
五、高技巧傳導的激情天真······························76
六、解析潛意識········································78
第二節 設計是什么?···································80
一、設計是一種創造····································80
二、關系的創造設計····································83
第三節 藝術設計或設計藝術·····························86
一、生活方式的設計藝術································86
二、與“藝術”的不同之處······························91
第四節 誰率先而來·····································95
一、 “藝術”還是“設計”······························95
二、公共藝術的新發展··································98
第三章 設計了些什么? ································103
第一節 回首漫漫來路——手工藝························103
一、古代中國的藝術設計·······························104
二、古代西方世界的藝術設計···························108
第二節 工藝美術運動前后······························112
一、手工藝的建樹·····································112
二、新藝術···········································115
三、風格派、構成派···································118
四、裝飾藝術風格·····································120
第三節 現代主義及現代設計····························123
一、世界的工業設計···································123
二、包豪斯···········································125
三、斯堪的納維亞設計·································127
四、商業繁榮下的設計·································129
第四節 發展中的當代設計······························132
一、從波普到流行·····································132
二、現代主義與后現代主義·····························134
三、結構與解構的高技術·······························137
第四章 如何評價我們的設計?··························142
第一節 什么是好?什么是不好?評價標準并非生態的·······143
一、價值標準·········································143
二、人的標準·········································147
第二節 甲方乙方和我的理想····························149
一、談判的藝術·······································149
二、“概念設計”的概念 ·······························151
第三節 市場的巨手····································153
一、作品-產品-商品···································153
二、品牌之路·········································155
第四節 兼容的殿堂——世界博覽會······················159
一、21世紀之后······································159
二、2008年后的期待··································160
三、變與不變·········································160
第五章 尋找創造的心跡································162
第一節 看世界的方法··································162
一、信息、信息傳播與設計·····························162
二、系統概念與系統設計·······························166
三、需要控制的設計···································169
第二節 生態的也是可操作的····························172
一、分形的自然與分形設計·····························172
二、符號的設計與生態·································175
三、完形心理學·······································178
第三節 設計的時代思潮································180
一、從結構到解構·····································181
二、非物質社會設計···································183
第四節 創新的設計師··································187
一、達?芬奇——仿生設計的機械························187
二、高迪——自然形態的建筑結構化·····················189
三、賴特——從自然結構到有機建筑·····················190
四、密斯——探索宇宙模式的建筑結構···················191
五、阿爾瓦?阿爾托——模具化有機形態··················193
六、貝聿銘——人與人關系的生態·······················194
七、蓋里——高科技的人間自然·························195
八、靳埭強——人的尺度與符號范式·····················197
第六章 訓練我們的眼和手······························200
第一節 我們的眼,我們的手····························200
一、心明眼亮,十指連心·······························200
二、因為我們的心,手工藝得以永恒·····················202
三、 家居金木水火土··································204
四、公共藝術實驗中心·································208
第二節 穿行在城市(母性的擁抱)·······················211
一、高能成,低難就···································211
二、尋找桃花源·······································214
第三節 簡潔的豐富與模糊的明晰························216
一、記憶的奧秘·······································216
二、視覺空間的識辨···································218
第四節 速度的快感····································220
一、從千里江陵(一日還), 到巡天遙看(一千河)········220
二、人機工學·········································222
三、形態的速度感·····································224
第五節 Web 上延展的感官(新媒體設計)·················226
一、技術與藝術·······································226
二、感官的意義·······································227
結?語 我們要成為怎樣的設計師?·····················231
第一節 中國的準設計師 (我是誰?)····················232
一、時代的人(眼光)··································232
二、國際社會準則·····································234
第二節 在一萬年文化5000年文明上創造
(我們從哪里來?)································237
一、道法自然·········································237
二、生態設計與設計的生態·····························241
第三節 明天在每個設計師的雙手中
(我們要到哪里去?)······························244
一、設計哲學在當代(世界性的)························244
二、始于足下(個人的)································247
后?記···············································253
參考書目·············································263