Types of computer graphics and computer visualization in the project

Computer graphics – the area of ​​the designer's activity in which computers are used as a technical tool for creating and processing visual information, as well as the result of this activity (project visualizations - renders). Fields of application of computer graphics: graphic tools (special effects, visual effects (VFX)), digital cinematography and television, digital photography and artistic processing of photography, digital painting, visualization of scientific and business data, computer-aided design systems, sample production, etc. There are two types computer graphics by the method of operating with objects: two-dimensional graphics (vector, raster, fragmentary) and three-dimensional graphics (3D - from English. three dimensions- "three dimensions", CGI graphics). Any image on a computer monitor becomes a bitmap. Three-dimensional graphics exist only in the imagination, since everything visible on the monitor is a projection of a three-dimensional figure, and the person himself creates the space. Thus, visualization of graphics can only be raster and vector, and the rendering method is only a raster (a set of pixels), and the way the image is executed depends on the number of these pixels. Thus, the result of computer-aided design is always a “flat picture-projection”.

So, there are two main formats of computer graphics: vector and raster (pixel).

Raster graphics- format, representation of an image in a computer in the form of a set of points (pixels). These images include scanned images and photographs. An important advantage of raster graphics is their photorealism. The file formats for saving bitmaps are standard, so it doesn't matter in which graphics editor you create a particular image. Disadvantages of raster graphics: file size in raster graphics is uniquely determined by the product of the image area by resolution and color depth; each pixel is represented in a computer by several bits, therefore, such images require significant amounts of memory. With any transformations in a bitmap, distortion is indispensable.

V vector graphics all images are described in the form of mathematical objects - paths. Each path is an independent object that can be moved, scaled and changed without losing image quality. Vector graphics are economical in terms of disk space. Vector graphics make the most of the resolution capabilities of any output device. Disadvantages of vector graphics: they are limited in purely pictorial means and are not intended for creating photorealistic images. Software dependency is also a significant disadvantage: each program saves data in its own format. However, recently there has been a tendency for the interpenetration of vector and raster programs. The choice of software depends on the tasks and determines the convenience and productivity of work, the content and quality of the final result.

The most popular vector drawing software packages are CorelDRAW, Adobe Illustrator, Macromedia Freehand /

Raster graphics programs - Adobe Photoshop, Painter.

Layout programs - Adobe PageMaker, QuarkXPress.

Business graphics and presentation software - Power Point from the Microsoft Office suite.

2D and 3D modeling programs - Autocard, Strata Studio Pro, Adobe Dimension.

Animation software - Animator Pro, 3D StudioMAX.

Multimedia Graphics Software for Web Design - Adobe PageMill, 3D Website Builder, Microsoft FrontPade.

Computer products - the result of electronic processing of special material. Software - a means of mechanizing the production of design objects (for example, programming the stages of sequential performance of technological operations aimed at making projects, models, sample products, etc.). Computer graphics objects: electronic version of decoration elements and design solutions for various types of design, computer animation, etc. Web sites- an electronic database containing pages with one or another information and organized using banners, animation effects, dynamic elements, etc. in special computer programs.

Computer technologies and their place in the training of a designer (2 hours).

Design as a sociocultural phenomenon has put forward before many researchers, primarily art historians, philosophers, sociologists and ergonomists, the problem of understanding the spheres of its activity, mechanisms, origins, internal incentives and abilities of innovative creation. The level of this awareness determines the extent to which it will be possible to continue the line of further improvement of the skills of designers. The synthesis of artistic forms of individual objects, their complexes or systems is due not only to the professional qualifications of an artist-designer, but also to the depth of his comprehension of the axiological field of modern culture. The vector of development of the morphology of design objects proceeds from the continuity of evolutionary experience within the framework of a certain artistic and aesthetic tradition and is based on the innovative achievements of science and technology.

Digital technologies are being actively introduced into the system of modern design culture. The use of powerful computer tools to activate the internal mechanisms of a designer's humanistically oriented creativity can enrich the idea of ​​design. Multimedia tools allow the designer to immerse himself in virtual reality, visualize his thoughts and work directly with the thought form; perception of virtual objects is carried out through several sensory channels simultaneously. Now it is possible to simulate the spatio-temporal and cultural context for innovative design. At the same time, insufficient awareness of the unique capabilities of multimedia, the unwillingness to solve socio-cultural design and artistic tasks at a new level becomes a serious problem.

Computer tools are effectively used to solve technical design problems. However, the impact of digital technologies is increasingly spreading to the humanitarian aspects. Computer virtuality increases the level of the subject's emotional and introspective activity, and this can affect the mechanism for the synthesis of creative solutions. The method of introspection, as an in-depth comprehension of a person's own inner spiritual life (thoughts, images, feelings, experiences), is always present in an artistic act. Its result is outstanding works, the appearance of which would have been impossible without internal self-examination, self-identification, reflecting the mentality of the author.

An attempt to direct the capabilities of multimedia to enhance introspection in subject-oriented design, which makes it possible to reveal in design projects the ideological attitudes characteristic of the Russian mentality. They are determined not so much by the desire to achieve maximum everyday convenience and increase the material status of life, as by the priority of humanistic consciousness aimed at spiritual and aesthetic experience. The inclusion of such a powerful tool as a computer in the design should strengthen the eco-cultural, anthropocentric orientation of the profession. The ideas of spirituality and reanimation of cultural memory are directly related to the cultural and ecological concept of design, developed in the works of O.I. Genisaretsky, K.A. Kondratyeva, V.F. Sidorenko, G.G. Courier. “The design conformity of the cultural and environmental problems of design is that in any circumstances of technological, informational or economic development ... it is important to look for and find such a turn of events, such a strategy of project development of the“ proposed circumstances ”that would serve to strengthen, and not weaken, the cultural uniqueness of the subject environment, lifestyle. None of the possible development trends should be excluded from the designer's field of vision. "

So far, however, innovative opportunities have sparked the interest of designers in technical effects, diverting their attention from comprehending the aesthetic potential of computer-aided design. As a result, the flawed use of digital technologies leads to a decrease in the quality of design projects. Against this background, the task of maximizing the possibilities of computerization of design, bringing its goals and methods in line with the humanistic aspirations of both an individual and society as a whole, is clearly outlined. The multimedia layer of the design culture must be mastered by designers and projected onto the task at hand. Hence the need for an adequate definition of the category of "multimedia design".

This complex phenomenon, closely related to conceptual audiovisual art, is characterized by fundamentally new technical artifacts capable of affecting the human psyche interacting with the computer environment. The reaction of the creative subject in the “dual” modality (both as an emotional being and as a technical specialist who thinks in the categories of computer operations and algorithms) does not always fit into the framework of established views, therefore, certain concepts of the classical design theory require a broader interpretation. It is necessary to determine the essential specifics of this border zone from the standpoint of artistic design.

The term "multimedia" has different definitions depending on the science within which it is viewed. In natural sciences, multimedia is interpreted as a set of computer technologies that simultaneously use several information media: graphics, text, video, photography, animation, sound effects, high-quality soundtrack. The author's extrapolation of the specified definition to design activity made it possible to approach the understanding of multimedia design as an integrated use of interactive multimedia technologies in the design culture of design. The listed information environments are dominant in the present case, but they do not exhaust all the sensory channels that take place in a multimedia exposition, among which tactility, temperature, gravity, etc. play a significant role. These factors are used in the design ad-hoc and considered in the context of the work as needed. In general, attention is focused on the interaction of the subject of artistic design activity with the multichannel information field of virtual reality, as a result of which there is an activation of internal mental acts and states that affect the processes of perception and self-knowledge, increasing the effectiveness of creativity. We see this as the effect of the emergence of the multimedia space, transmitting new creative impulses into the sphere of the design culture of design.

Analysis of the forms of mastering digital technologies by traditional types of design and clarification of the concepts of "computer design", "multimedia design", "computer virtuality"

The means of electronics, deeply and effectively mastered in various fields of industry and science, spread their influence on the artistic sphere, including design. The emergence of a qualitatively new type of design activity based on an organic combination of flexible multifunctional digital technologies and artistic design creativity is becoming relevant. The concept of "computer design" used in modern vocabulary is interpreted and understood ambiguously. It can mean a new technology of a designer's work, and a way of presenting a project, and a type of artistic creation, and a design method. According to the author, the term computer design should denote a multidimensional art-design activity supported by digital technologies, in which two directions are clearly expressed:

Using a computer as an effective tool that speeds up work and improves the quality of the final result in traditional design methods (industrial, automotive, graphic, interior design, etc.).

Designing multimedia (multi - many, media - method, means, environment of existence) objects and environments, the condition for the emergence and functioning of which is the interactive interaction of a person with computer technology. These include relaxation and play projects, simulators, information environments.

The section shows that multimedia, being a logical stage in the development of the "instrumental" use of a computer, opens up new opportunities for artistic and project activities. The history of the implementation of digital technologies in design has been investigated since the 50s, when D.T. Ross (Massachusetts Institute of Technology) began working on a CAD (Computer-Aided Design) technical support project. In the early 60s, P. Henretty (General Motors) created the first interactive graphical production support system, which was based on the figurative presentation of information. The clarity, plasticity of display objects and interactivity ensured the accuracy of constructing the form, simplified the tasks of combinatorics and parameterization. By the mid-1980s, CAD systems took on a form that still exists today. Despite the rapid development of CAD, which took place in the 90s, programs such as AutoCAD, which are based on Henretti's drawing board modeling techniques, remain basic.

In parallel with the development of algorithmic approaches to design, a system for computer modeling of sensory influences was formed. In 1966 A. Sutherland developed a video helmet (Head-Mounted Display) for Bell Helicopter - a system of "artificial eyes" for controlling night flights. The direction was named "Remote Reality". In the mid-eighties, "tactile" tools began to develop. In the mid-eighties, T. Zimmerman created a hardware interface - "smart" gloves (DataGlove). Thus, a manipulator for the hand appeared. In 1984, Jaron Lanier developed software that translates hand movement into sounds (Body Electric) and coined the terms virtual reality and virtual environment.

Today, computer virtual reality is used in many areas - from simulators to art practices. It is based on multimedia technologies: formalized digital coding of information of various types and reproduction of these codes with special equipment. The technogenic specificity of multimedia is the possibility of direct and reverse conversion of electronic impulses into "analog" methods of information transmission, adequate to the human way of perception. The multimedia effect is formed as a result of the synthesis of various types of contacts: in the general case of visual and sound, for example, tactile and olfactory, work is underway on the gustatory. Complex perceptual influence and the ability to communicate with a computer in real time make it possible to design interactively controlled plastic objects that are included in the complex fabric of actions and interrelated events. Reproduction of movement and transformation of objects, computer sound, lighting, etc. create the illusion of "parallel life". Objects that exist only on the screen react to human actions and affect, in turn, his senses. This interactive multi-channel interaction and physically felt feedback shape virtual reality.

Design (English design - to design, construct, draw) - in the broad sense of the word, any design, that is, the process of creating new objects, tools, equipment, the formation of a subject environment. In a narrow sense, it is a new type of artistic and design professional activity that arose at the beginning of the 20th century. Its goal is to organize a holistic aesthetic environment for human life. Designing objects in which the form corresponds to their purpose, proportionate to the figure of a person, economical, convenient, beautiful. The scientific basis of design is technical aesthetics. The peculiarity of the design lies in the fact that each thing is considered not only from the point of view of benefits and beauty, but also in all the variety of its connections in the process of functioning. The meaning of design is an integrated systematic approach to the design of each item. Design objects bear the stamp of time, the level of technical progress and socio-political structure of society.

The concept of "design" today is associated with the most progressive phenomena and modern technical achievements. Largely thanks to the searches of designers, today you can already look into the future in real-life industrial designs.

The central problem of design is the creation of a cultural and anthropos-like object world, aesthetically assessed as harmonious and holistic. Hence, the special importance for design is, along with knowledge of the means of humanitarian disciplines: philosophy, cultural studies, sociology, psychology, semiotics, etc., the use of IT and natural sciences. All this knowledge is integrated in the act of design and artistic modeling of the objective world, based on figurative, artistic thinking.

Revolutionary changes in the field of electronic computing, namely the emergence of personal computers led to the active introduction of new information technologies in the field of design, modern market relations are pushing for the continuous improvement of the production process, the search for new effective technologies, the introduction of scientific developments and technical innovations into production, the use of new materials. All this not only expands the boundaries of the designer's creativity, but also makes special demands on his professional knowledge and skills.

Design is a chronicle of the development of technology and technology. The concepts of "progress" and "new technologies" are almost synonymous today. Major discoveries and scientific and technical achievements are immediately reflected in design, in the form of new artistic forms and a new typology of industrial products, and often a new philosophy of shaping.

In this regard, this work will consider general issues of a new scientific direction of design - the role of informatics in design, as well as the use of IT in design.

Today, when the flow of information is growing exponentially and the methods of processing, storing and presenting information are constantly being improved, a designer cannot become a professional without using computer technologies in his scientific and educational practice. The designer's possession of new information technologies allows him to reach a different level of self-awareness.

Among the literature on the topic of using information technology in interior design, one should single out books on mastering the skills of three-dimensional modeling programs. These are primarily such programs as 3ds max, Coreldraw, AutoCAD, photoshop.

Today, 3ds max is one of the most popular three-dimensional packages and occupies a stable position in the group of leaders in the market for the production of various three-dimensional graphics and special effects, a full-featured professional software system for working with three-dimensional graphics, developed by Autodesk Media & Entertainment. Works in Windows operating system (both 32-bit and 64-bit). ...

For example, the book by Mikhail Marov "3ds max 6 Encyclopedia". The book is equally useful for both beginners and professionals of three-dimensional graphics, as it contains help on almost all issues that arise in the course of everyday work with 3ds max 6. Beginners will find in it detailed descriptions of the installation and authorization of the program, as well as basic tools and techniques for creating geometric models, particle systems and sources of volumetric deformations, editing objects using modifiers, creating and setting up light sources, preparing materials and assigning them to objects, and applying graphic effects to them.

AutoCAD is designed to create drawings of projects of various interior items (furniture items) or projects of various mechanisms.
The skills of using this program allow you to independently develop various types of drawings and design projects - layouts for the production of kitchen furniture, furniture for home and office, as well as other interior items and much more. For example, the book by A.A. Chekatkov. “Three-dimensional modeling in AutoCAD. Designer Guide ”The book tells about 3D modeling tools in AutoCAD system, with the main attention paid to the issues of solid modeling, which allows you to get a complete and intuitive model of a real object with minimal costs. The book covers all popular versions of AutoCAD, from AutoCAD 2002 to AutoCAD 2006. The material of the book is based on an example of a training project that exactly simulates a real object. At the same time, the reader is invited to go through all the stages of building a full-fledged three-dimensional model of a complex object: from creating a basic parallelepiped to performing photorealistic rendering of a complex scene.

When writing the final work, a complex of logical methods was used, primarily the methods of analysis and synthesis - the actual and mental decomposition of the whole into its component parts and the reconstruction of the whole from the parts. The analysis makes it possible to reveal the structure of the object under study, to separate the essential from the insignificant, and to reduce the complex to the simple. At the same time, synthesis complements analysis, is inextricably linked with it, leads from the essential to its diversity, to the unification into a single whole of parts, properties, relations, previously identified with the help of analysis.

Two more complementary methods are induction and deduction. If induction provides an opportunity for the transition from single facts to general provisions, then deduction helps to systematize the collected material and derive consequences from it, is designed to help build a scientific theory.

In addition, in the process of preparing the abstract, general scientific methods were used, in particular, the methods of theoretical research. Among them, it is necessary to highlight the historical and logical methods, as well as the method of ascent from the abstract to the concrete, which allows you to move from limited knowledge obtained through the ascent from the concrete to the abstract, to a more complete, concrete theoretical knowledge.

Methodologically, the work is based on the principles of objectivity, historicism and an integrated approach. The first of them is ensured by the unity and interconnection of the methods used, the second - by the sequence of consideration of the problem, the third is based on a comprehensive study and analysis of the object of research.

Design strives to encompass all aspects of the human environment that is driven by industrial production.

The prerequisites for design art are:

first of all, the natural human desire for beauty, as well as the desire to embody new and more and more perfect images;

economic benefit, which is a huge motive for the development of design.

A new stage in its development arose during the transition from manual production to machine production. In order to use the newly invented products, they had to be given a certain form that would attract buyers with its appearance, which is what modern design successfully does. Now there is practically no area of ​​human activity that is not influenced by design.

Of course, the development of spatial thinking is necessary to solve creative graphic problems. Realization of a creative idea occurs in stages, from a two-dimensional image to a spatial model and, finally, to photorealistic rendering. Performing geometric-compositional tasks requires deep comprehension of spatial thinking, because the designer is deprived of the opportunity to touch the model he has created with his hand. To do this, he needs a deep knowledge of the methods of analytical and applied geometry and their application. The best means of developing and deepening spatial thinking are such information computer technologies (ICT), which, during spatial geometric modeling, in the process of constructing a figure by visual control over the model, based on changing parameters, make it possible to achieve the best result and from a variety of options for choosing the optimal one.

Analog modeling has long played an essential role in a number of areas of science and technology, on the basis of which a great deal of experience in modeling complex systems has been accumulated. In recent years, digital modeling has become the dominant research method. By means of modern ICT it is possible to solve the problems of modeling such complex geometric problems as sweeping (sweeping) a moving solid body, which is one of the long-standing and difficult problems in solid modeling. Computer systems of geometric modeling make it possible to construct curves and surfaces of arbitrary shape, or as they are otherwise called “sculptural surfaces”. Whereas earlier design was defined by “convenience, strength and beauty”, now another category has been added - cost, which is no less important than the first three. Today, a serious project, as a rule, is created not by one group of people or even organizations, but by a number of organizations or firms. Modern ICT provide the opportunity for simultaneous work on one file-project of specialists in related fields, which ensures the rapid development of the project. Changes made to it at any stage of design immediately become available to specialists in related fields and does not require re-execution of the project

The designer can perform analytical, design, experimental research, production and management, pedagogical and other types of professional activities.

One of the driving forces behind graphic design at the forefront of design culture. The demands placed on him for a keen sense of time, the ability to reflect today and look into tomorrow, predetermine his quick response to the emergence of new technological opportunities.

For a designer, working with various IT means helping in the development of interior projects in the 3ds max 7 three-dimensional graphics editor, starting with modeling interior items and furniture, ending with the visualization of high-quality sketches and creating a small presentation video of the future room. Working with three-dimensional graphic programs allows the designer to make calculations, develop projects, select the appropriate finishing materials, decorate the interior of residential and public premises, creating the illusion of materials based on various texture maps, simulating environmental effects, applying filters to form optical effects, working with curves and NURBS surfaces using numerous modifiers.

In modern society, taking into account the level of development of science and the progress of information technologies, their introduction into all spheres of life, the designer needs to use innovative technologies and achievements in his work. To do this, it is necessary - at the first stage, to master the skills of working on a computer, to productively use the already created electronic resources in their activities, to create electronic resources, especially electronic libraries on key issues that are especially needed in design work. Mastering the designer at the first stage of computer technology will allow him to automate his work. Since a designer working on a specific project in the process of work naturally accumulates a source base, which is accompanied by fragmentation and unsystematization, in this regard, the advantage of computer technology is that the designer has the opportunity to systematize information to simplify and automate work.

In the context of the information explosion, the designer today is not able to master all the necessary information. Therefore, there is a need to create specialized Internet resources for designers, and it is also necessary to attract professional designers to create educational and "cultural and educational" sites, since today the level of information posted on sites and information portals of this orientation is not high enough to consider it a full-fledged tool in activities of the designer.

The current level of development of technology allows us to safely talk about computer modeling, but today not every designer uses it.

Thus, today, when the flow of information is growing exponentially and the methods of processing, storing and presenting information are constantly improving, a designer cannot become a professional without using computer technologies in his scientific and educational practice. The designer's possession of new information technologies allows him to reach a different level of self-awareness.

1. Borodaev D. Website as an object of graphic design: Dis. Cand. art studies / D. Borodaev; KSADI. - Kharkov, 2004 .-- 232 p. / More - in the announcement of the monograph "Website as an object of graphic design" /

http://www.rudesign.ru/ - everything about design and designers

http://designcollector.ru/- magazine for the designer

http://www.artlebedev.ru/kovodstvo/paragraphs/40/ - Color theory

http://www.artlebedev.ru/kovodstvo/paragraphs/117/ - Rules and guidelines for the use of corporate identity

http://www.rosdesign.com/ - design as a lifestyle. History, theory, practice, Articles about design. Design e-books. Design training

http://www.intellsketch.com/ - modern technologies in design

http://www.ndn.su/text/text.htm - 100 articles
about design, types of design

http://art-side-design.ru/teory-1.html - theory and history of design

http://blender3d.org.ua/cgi-bin/def.pl?33 - the use of IT in the design of cartoons and computer games

http://www.internetburo.ru/articles/?subid=11 - using the 3D program in design projects.

SUBJECT INDEX

design, 2, 5, 7, 8, 12

Design, 2, 3, 7, 12

interior, 9

simulation, 5, 8, 12

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Types of computer graphics and computer visualization in the project

Computer graphics- the area of ​​the designer's activity, in which computers are used as a technical means for creating and processing visual information, as well as the result of this activity (project visualizations - renders). Fields of application of computer graphics: graphic tools (special effects, visual effects (VFX)), digital cinematography and television, digital photography and artistic processing of photography, digital painting, visualization of scientific and business data, computer-aided design systems, sample production, etc. There are two types computer graphics by the method of operating with objects: two-dimensional graphics (vector, raster, fragmentary) and three-dimensional graphics (3D - from English. three dimensions- "three dimensions", CGI graphics). Any image on a computer monitor becomes a bitmap. Three-dimensional graphics exist only in the imagination, since everything visible on the monitor is a projection of a three-dimensional figure, and the person himself creates the space. Thus, visualization of graphics can only be raster and vector, and the rendering method is only a raster (a set of pixels), and the way the image is executed depends on the number of these pixels. Thus, the result of computer-aided design is always a “flat picture-projection”.

So, there are two main formats of computer graphics: vector and raster (pixel).

Raster graphics- format, representation of an image in a computer in the form of a set of points (pixels). These images include scanned images and photographs. An important advantage of raster graphics is their photorealism. The file formats for saving bitmaps are standard, so it doesn't matter in which graphics editor you create a particular image. Disadvantages of raster graphics: file size in raster graphics is uniquely determined by the product of the image area by resolution and color depth; each pixel is represented in a computer by several bits, therefore, such images require significant amounts of memory. With any transformations in a bitmap, distortion is indispensable.

V vector graphics all images are described in the form of mathematical objects - paths. Each path is an independent object that can be moved, scaled and changed without losing image quality. Vector graphics are economical in terms of disk space. Vector graphics make the most of the resolution capabilities of any output device. Disadvantages of vector graphics: they are limited in purely pictorial means and are not intended for creating photorealistic images. Software dependency is also a significant disadvantage: each program saves data in its own format. However, recently there has been a tendency for the interpenetration of vector and raster programs. The choice of software depends on the tasks and determines the convenience and productivity of work, the content and quality of the final result.

The most popular vector drawing software packages are CorelDRAW, Adobe Illustrator, Macromedia Freehand /

Raster graphics programs - Adobe Photoshop, Painter.

Layout programs - Adobe PageMaker, QuarkXPress.

Business graphics and presentation software - Power Point from the Microsoft Office suite.

2D and 3D modeling programs - Autocard, Strata Studio Pro, Adobe Dimension.

Animation software - Animator Pro, 3D StudioMAX.

Multimedia Graphics Software for Web Design - Adobe PageMill, 3D Website Builder, Microsoft FrontPade.

Computer products - the result of electronic processing of special material. Software - a means of mechanizing the production of design objects (for example, programming the stages of sequential performance of technological operations aimed at making projects, models, sample products, etc.). Computer graphics objects: electronic version of decoration elements and design solutions for various types of design, computer animation, etc. Web sites- an electronic database containing pages with one or another information and organized using banners, animation effects, dynamic elements, etc. in special computer programs.

SECTION 2. DESIGN BASICS

9. The concepts of "design", "project", "project schedule";

Project graphics tasks

Design -(from Latin projectus, literally - thrown forward) - a type of activity aimed at creating (description, image) of objects, phenomena with given conditions and properties; the process of creating a project. Design is a universal type of activity characteristic of various areas of human life: industrial production, construction, education, everyday life, leisure, politics, culture.

Project(Latin - project, French - plan, assumption, predestination) - a planned, proposed business and stated in a letter or drawing; design development presented in the form of a visual graphic solution.

Project graphics- the area of ​​professional activity of an artist-designer, where possession of a variety of types of images allows you to more expressively and convincingly convey the idea. It is no coincidence that project graphics have a special artistic status in design and play a leading role in creating a figurative-plastic solution.

Initially the concept "graphics" meant "write, draw, draw" and "graphic" - "drawn, represented by a drawing or drawing." "Graphics" acquired a new meaning at the end of the 19th - beginning of the 20th centuries, when it was defined as an independent type of fine art, based on a drawing made with strokes and lines, without paints. Graphics, as the main method of image, unites drawing as an independent area, and various types of printed graphics: woodcut (woodcut), metal engraving (etching), lithography, linocut, cardboard engraving, etc. The language of graphics, its expressive means are line, stroke, contour, spot and tone. Some types of graphics use color, but most often it is complementary. Graphics unites the artistic and drawing field of activity, at the same time they are different types of images. If we consider them from the point of view of mechanical execution, then it can be noted that drawings, sketches, sketches are made by hand. In drawing, most of the images are using drawing tools, with a high degree of accuracy, which is strictly determined by state standards (ESKD). It is this property that allowed the drawing to firmly take its niche in the methods of storing and transmitting information about the world around it. From this point of view, perspective images should be attributed to drawings, since they are also most often performed using a ruler.

If we consider images from the position of transferring the spatial form of an object, then easel drawing and perspective create the illusion of three-dimensional space as much as possible. The drawing, however, does not possess this, does not bear artistic expressiveness and versatility of perception, on the contrary, its reading should be unambiguous. If we divide the images into types according to the degree of abstraction from the real properties of the depicted objects, then we can come to the following row, where the images are arranged according to the degree of spatial similarity with nature:

· Drawing, perspective images - adequate to visual perception;

· Axonometric image - correcting visual perception;

· Projections with numerical marks - obtained with a one-sided direction of visual perception;

· Complex drawing - dismembering visual perception;

· Drawing-diagram - symbolizing the generalized signs of the object.

This list shows the increasing complexity of human perception of images - from the simplest to the most complex. Therefore, in a narrow sense, graphic activity is an activity associated with reading or executing drawings. To carry out this activity, knowledge of the methods of reflecting a spatial form on the plane of the sheet, graphic and measuring skills and abilities are required. However, this is not enough for the professional training of a designer.

Project graphics have stepped over a hundred-year milestone along with design, developing intensively in recent decades. Despite the historical changes in the art form of design graphics, it is possible to trace the general principles inherent in it, analyze them and give some general recommendations in relation to a particular stage of design.

For the first time, a detailed analysis of the issues of design graphics, its place in design practice and teaching methods was carried out in I.A. Spichak. He introduced the concept of "artistic design" graphics, the specificity of which is determined by the design object, its functional features and a specific design task. The author noted that in all cases it is a combination of drawing and sketching methods, the use of various means of image, which the designer must master in full. Project graphics become a factor, that is, a driving force, of the design process itself and an integral part of the professional training of designers.

The arsenal of images of design graphics includes sketch, sketch, search drawing, demonstration (technical) drawing, general arrangement drawings (layout of the appearance).

Graphic methods of representation, being an integral part of artistic design, are constantly changing along with the change in the design itself. Design graphics originated in the field of architecture. Two-dimensional images were used in ancient times, however, then more often already existing buildings and objects were depicted. Images of projected objects date back to the Renaissance. They are sketches, drawings, schematic diagrams, perspectives and all kinds of combinations of these images.

Over time, design has developed its own professional language, which allows you to capture the ideal image that arose in the designer's head. It is possible to create and evaluate a project of a future product only on the basis of a comprehensive, complete and deep analysis, the result of which should be described in the same precise, clear (and even figurative) language that is inherent in scientists and artists. Only in this case, the designer possesses both a universal design tool and an effective, efficient, reliable means of interdisciplinary communication of specialists - a specific design language. This language should give a methodological understanding of the object and the design process, make it possible to see and solve design problems, at the same time combine and manage work in various areas.

The digital revolution in recent years has revolutionized the concept of design graphics. Ten years ago, art critics attributed the design graphics to the genre of artistic creative activity. Previously there was a term "easel project", it was carried out in order to demonstrate the skill of the designer, his ability for a figurative, creative vision of the topic and the search for adequate expressive graphic means. The quality of the graphic presentation of the project was used to determine the professionalism of the author, his creative rating.

Today, the need for a graphic presentation of the project exists only as a factor in the persuasion of the customer, who often does not have an associative fantasy. Therefore, the modern format of project graphics, as a rule, is rendering 3D vector model, captured from possible and impossible points of view. In principle, this is true, but a certain specific "flavor" of the profession, the author's self-identification, disappears. Designers become alike, alike.

Western visual culture, which has not experienced the shocks of social restructuring, is very sensitive to author's project schedule... Fore-sketches, architectural drawings, plans, schemes, perspectives are carefully selected and must be included in the portfolio, published together with photographs of completed projects.

The most common type of project graphics is 3D rendering. Apparently, now and in the future, the project is unthinkable without creating a three-dimensional model. Many display system vendors offer their own versions of the software to facilitate the design process. The temptation to use them is great. As a rule, they contain modules for the warehouse of elements and the calculation of the estimated cost. But there are always nuances. First, the habit of the interface. It is very important for a designer or architect to be comfortable working with the program. Usually, a soft that is accidentally turned up, consistently mastered in applied problems, becomes a method of individual design. I know this from my own experience. Despite the fact that I can work in many programs, I consider True Space to be the most comfortable for myself. Most people prefer 3D Max. Actually, the capabilities of all software products are approximately the same. It should be noted that all of them are divided into two groups: engineering, allowing you to receive detailed documentation, and animation, specially designed for making films. Although at the level of vector modeling, they are almost the same. The rendering itself, that is, the translation of the model into a raster photographic image, is a delicate and delicate process. It is here that the measure of taste and design culture of the designer manifests itself. How to correctly place the light in the scene, determine the point and lens of the camera, find the angles that best emphasize the plastic merits of the object - these are questions that are resolved very individually. You can make an extremely real image, and sometimes it is appropriate to leave a share of convention, room for imagination ...