Традиційні та нові виражальні засоби і види графіки промислового дизайнера
Traditional and new expressive means and the kinds of graphics of an industrial designer

Summary/Abstract: Working knowledge of project and graphical visualization information technique and the ability to present it in a simple and understandable form are necessary conditions for design profession. Clarity of visual expression is achieved not only by means of long experience, but also by knowledge of project and graphic language and understanding of principles of its effective use. The visual language of the industrial designer has its own resources and capabilities that are typical for designer such as the dictionary of form elements, the grammar of spatial organization, idioms of three-dimensional perspective and syntax of phrasing images. The aim of the article is to reveal the qualitative uniqueness of project and graphic language of an industrial designer through the identification, analysis and systematization of traditional and new means of representation as well as types of graphics. Fundamental publications of W. Bowman, R. Wilson, E. Beutler, D. Lockhart, E. Ruder, V. Kandinsky are dedicated to the consideration of the language of visual forms. W. Bowman provides guidance on methods for graphical information representation in his book "Graphic Presentation". Despite the fact that the material is presented through the prism of a vision of an artist, he was characterized by extreme accuracy, constructive thinking in expression of ideas, most of which are used in modern design graphics. The book of R. Wilson «An alphabet of visual experience» is devoted to the consideration of key design elements such as line, two-dimensional and three-dimensional form, space, texture and colour. The author notes that they exist in relation to each other. In his work the author lays the main emphasis on psychology of visual perception in the practice of graphic design. In spite of definite targeted message, the main points put forward by the author, play an important role in the field of industrial design. E. Beutler and D. Lockhart in «Design for you» represent the classification of lines, they divide them into two categories: structural are used to define the outline of the object and create the background; decorative lines have emotional qualities, which express the beauty of the line itself. In authors' opinion methods of expression of graphic and three-dimensional space, placement techniques of textual information, as well as interrelationship of pattern, shape and texture of the object are also of great interest. V. Kandinsky, A. Hoffman, P. Klee, A. Rodchenko also investigated placement, combination, interaction of lines and points in the graphic field. The theory of V.Kandinsky as for the impact of points and lines on human perception is also known. Study of publications devoted to this subject shows that the image of industrial goods and other objects is created using a traditional set of images, namely, points, lines, shapes, colours and tones. It should be noted that line, colour and tone are determinative for hand graphics. Apart from above-mentioned means, modeling of goods in computeraided design involves the use of ready-made surfaces and three-dimensional forms inputted into the database of such programs as Maya, 3D Studio Max, Rhino, Solid Works, and others. Some authors also included texture and pattern in the list, but they are the characteristics of the surface properties of the object's form and they are pointed out in this context in this article, along with lighting, scale, functional and structural qualities and position in space. The engineer mainly uses the line in order to create technical drawings, but the designer is not so much connected with conventions or application purposes, the designer is not limited to lines to fix his/her ideas. Project graphic modeling in industrial design can be effectively implemented only with conscious awareness of all resources of the form that provides an opportunity to achieve maximum expressiveness and information value of the author's intention. Analysis and systematization of the existing means of representation contributed to the selection of only those of them that allow us to express a set of linear-plastic elements that determine the structure, the spatial relationship of forms in industrial design and surface properties. Traditional and determinative means of images creation (point, line, tone, colour) and new (two-dimensional or three-dimensional shapes (splines, standard and superior primitives, compound objects, NURBS-surfaces) that are basic for 3D-modeling are highlighted. At the same time comparative characteristics of expressive means of project graphics are analyzed. It is revealed that not much attention is paid to the point in project graphics of industrial designer in comparison with graphic design, easel graphics, decorative and applied arts and so on. It is reaffirmed that the line is a visual means of the most common type of graphics, namely, linear graphics, an industrial designer deals with. In any case, the choice of graphic techniques and tools depends on the specific problem to be solved in the project. Another important factor is the individual creative style and level of skill of the author. Every expressive means is not self-sufficient in the practice of an industrial designer: the designer fixes his ideas manipulating with lines, tone and colour. The linear graphics represents shape, constructive and structural features of form, but tone graphics reflects its more complex conditions such as weight, texture, pattern, lighting, plastic peculiarities, position in space, and so on. Most of the project documentation is represented by means of linear and colour graphics that is polychrome graphics. Features of colour application have their own specifics, require special graphic techniques, and knowledge of rules and laws governing the use of colour graphics.

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