“写意式” 与“ 工笔式” 产品设计手绘技法的比较分析

进行产品设计时,设计师通常会使用快速表现来展现其创意想法,而“工笔式”和“写意式”是设计师常用的手绘技法。本文通过对中国“工笔画”与“写意画”的造型艺术和表现手法进行分析,结合产品设计手绘的特点,从线稿的运笔、透视和线型,以及马克笔上色的运笔、着色、叠色和留白等方面比较总结了“写意式”与“工笔式”产品设计手绘的技法要点。以期为产品设计手绘技法提供一定借鉴。

近代写意印式对汉印的借鉴——以吴昌硕、齐白石为例

汉印可谓是篆刻界的艺术宝库,具有划时代的意义,从古至今,影响深远。近代写意印式大多是从汉印中汲取养料和精华,吴昌硕、齐白石以书入印、以画求印的形式也离不开汉印,这使晚清及近代写意印式篆刻独树一帜,引领时代风骚,为近代篆刻艺术的发展添上浓重的一笔。

思古向幽守正出新——范斌教授及其篆刻艺术

"中国篆刻"申遗成功,篆刻艺术备受世人关注。西泠印社社员、湖州师范学院范斌教授在书法篆刻乃至理论研究方面都卓有成绩。其于篆刻,揣摩玺印,出入秦汉;思古向幽,守正出新;创作作品在刀法笔趣中透出浓重的写意气质。

汉画像砖艺术语言对木刻版画创作的借鉴意义

汉画像砖是汉代艺术的杰出代表,其简洁的画面、夸张的人物动态、精练的浮雕语言、散点式的构图、冲突性的情节,无不以"写意式"的美感向世人传递着汉代的"气魄深沉雄大"和"浪漫古拙"。当代木刻版画创作如何继承传统,找到自己所要的养分,融入个人风格,并把其纳入时代精神之中?本文提出可从中国传统文化和古代哲学思想中汲取精华,尤其是汉画像砖"写意式"的艺术语言对木刻版画创作有一定的借鉴意义和启示作用。

THE FACILITATING EFFECT OF TRANSLATION ON EFL (ENGLISH AS A FOREIGN LANGUAGE)WRITINGⅡ:WRITERS' ATTENTION PATTERNS

This study is undertaken to find out writers' attention patterns in these two different writing methods (the direct method and the translation-based method) during the writing process through the think-aloud method and EFL learners' perception of the advantages and disadvantages of those two writing methods.The results show that the subjects' attention patterns in the direct method and in the translation-based method are quite different and the differences are mainly embodied in the linguistic level attention and personal comment.As far as the subjects are concerned,writing directly in English is easier and faster than writing through translation,and the direct writing method often helps them learn English language and forces them to focus on English expression.In contrast,for the translation-based writing method,the subjects as a whole relate that they have a wide range of vocabulary and expressions,have a greater number of ideas,and can think through ideas clearly.