作者：谭淑敏
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艺术设计专业英语教程(第3版)(双色)试读：
Preface
前言
艺术设计专业，涵盖工业设计、平面视觉传达、环境艺术设计、网络多媒体设计及三维影视动画等诸多学科，既属于实用美术的范畴，又包含科学技术的成分，以其紧密结合大众生活，融理性思维与感性审美于一体，而日益受到社会关注。目前在美术院校和理工院校均设有此专业，以满足不断增长的教育需求。
作为现代艺术设计中心的欧美各国，在当代设计的产生、发展与市场化的进程中有诸多值得我们借鉴之处，阅读相关的英文原作显然是了解其基本理念的必要手段。本书以提高相关专业学生阅读英语文献的能力为目的，扩展其英语写、译和口头表达能力。同时，选材精到、译注得当的课文内容也将对有志赴海外深造的学子起到一定的帮助作用。
本书可读性强，题材覆盖面广，涉及设计历史、设计名家、设计技巧等，分别列入13个单元：工艺美术运动、包豪斯与设计教育、工业设计专题、平面设计专题、环境艺术专题、家具设计专题、织物图案设计、服饰设计、网络多媒体技术、电脑辅助设计、设计院校介绍、谋求设计职位、设计杂谈。每个单元包括课文、词汇、注释和练习，其中课文侧重展示本主题领域基础知识和关键内容，配合注释和完整译文，便于读者自学。为了方便教学，本书另配有电子教案，向采纳本书作为教材的教师免费提供（获取方式：登录电子工业出版社华信教育资源网www.hxedu.com.cn或电话联系010-88254485获得）。
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编 者
Unit One Arts and Crafts Movement
Lesson 1 William Morris
［1］Famous as the founder of the Arts and Crafts Move-ment，William Morris（1834-1896）was born at Elm House，［2］Walthamstow.Walthamstow in those days was a village above the Lea Valley，on the edge of Epping forest，but comfortably close to London.He was the third of nine children（and the oldest son）of William and Emma Shelton Morris.His family was well-to-do，and during Morris’s youth became increasingly wealthy：at twenty-one，Morris came into an annual income of ￡900，quite a tidy sum in those days.
Morris’s childhood was a happy one.He was spoiled by everyone，and was rather temperamental.At age four he began to ［3］read Sir Walter Scott’s Waverley Novels，and he had finished them all by the time he was nine.His doting father presented him with a pony and a miniature suit of armor，and，in the character of a diminutive knight-errant，he went off on long quests into the depths of ［4］Epping Forest.He was rather a solitary child，close only to his sister Emma，and even in childhood was possessed of a romantic attachment to forests and gardens and flowers and birds which，with his interest in mediaevalism，would recur in his art，his poetry，and ［5］his fiction for the rest of his life.
In 1853 Morris entered Exeter College at Oxford，where he met ［6］Edward Burne-Jones，who would become one of the greatest of ［7］the Pre-Raphaeliteartists，would remain Morris’s closest friend for the remainder of his life.At Oxford Morris became a member of an undergraduate aesthetic circle which was enamored of an idealized Middle Ages.There too Morris began to write poetry which was heavily indebted to the work of Tennyson，Keats，Browning，and，most of ［8］all，his beloved Chaucer.
In 1855 Morris made a walking tour of the great Gothic cathedrals of Northern France with Burne-Jones.Both of them were overcome and decided to abandon their clerical studies in order to become artists，［9］and Morris left Oxford at the end of the year.
In 1856 Morris began to work in the architectural office of G.E.Street，where he met Philip Webb，who would become another close friend and associate.
In 1860 Morris commissioned Philip Webb to design Morris’s famous Red House in South London：Morris and his friends and acquaintances decorated the house themselves in properly mediaeval fashion，building all the furnishings，designing stained glass windows，painting murals，and weaving tapestries，and discovered that they ［10］enjoyed it.
Morris&Co.had been founded in 1861，as a direct result of Red House by a group including Morris himself and a number of his friends and associates.The company was to produce such items as murals，wood-carvings，stained-glass windows，metalwork，furniture，and embroideries；and all this was to be accomplished according to the long-since abandoned principles of craftsmanship which had governed ［11］mediaeval art：the workman-artist would conceive of，design，and actually bring his own work into being，presiding over it from first to last.Wood-engraved illustration designed by Sir Edward Coley Burne-Jones，with border and typography by William Morris；from the Kelmscott Press edition of The Works of Geoffrey Chaucer，1896
Morris’s wallpapers were his best-known output，with complex designs incorporating plants，flowers and birds.Philip Webb designed much of the furniture，metalwork，and many tiles.For stained glass，Morris generally designed the backgrounds and Burne-Jones drew ［12］［13］most of the figures，with Rossettiand Ford Madox Brownalso contributing designs.Burne-Jones also collaborated with Morris on tapestries，designed many tiles，and drew for the books produced by the Kelmscott Press，founded by Morris in 1891.Morris was described as being the first to approach the craft of practical printing from the ［14］point of view of the artist.The most important book of the Press was the Kelmscott Chaucer，which has been described as the most ［15］beautiful book to be produced since the Renaissance.This had typography and borders by Morris，with 87 illustrations by Burne-Jones.Other artists working as designers for the Kelmscott Press included C.M.Gere，Arthur Gaskin，and E.H.New，all from theBirmingham School of Art，and the Birmingham illustrators were in ［16］general much influenced by Morris’s books.
Words and Expressions
1.well-to-do adj.富有的；有钱的
2.tidy[ˈtaidi]adj.[口]相当好的；巨额的（款项）
3.temperamental[ˈtempərəˈmentl]adj.敏感的，神经质的
4.doting[ˈdəutiŋ]adj.沉溺于爱的，溺爱的
5.miniature[ˈminjətʃə]adj.小型的，缩小的；小规模的
6.diminutive[diˈminjutiv]adj.小的，极小的，小型的
7.knight-errant 游侠骑士
8.solitary[ˈsɔlitəri]adj.孤独的
9.attachment[əˈtætʃmənt]n.依恋，爱慕
10.mediaevalism n.中世纪精神（特征、信仰、风俗）
11.recur[riˈkə：]vi.复发，重现，再来
12.remainder[riˈmeində]n.剩余的部分
13.undergraduate[ˈʌndəˈgrædjuit]adj.大学生的
14.aesthetic[i：sˈθetik]adj.美学的，审美的，有审美感的
15.beenamored[iˈnæməd]of倾心、着迷
16.indebted[inˈdetid]adj.（因受帮助而）感激的，蒙恩的
17.Gothic[ˈgɔθik]n.哥特式adj.哥特式的
18.abandon[əˈbændən]vt.放弃，遗弃
19.clerical[ˈklerikəl]adj.神职人员的；办事员的；办公室工作的
20.associate[əˈsəuʃieit]n.合作人，同事
21.commission[kəˈmiʃən]vt.委任，任命
22.acquaintance[əˈkweintəns]n.相识，熟人
23.stained［steind］glass n.彩色的玻璃（常用于镶嵌教堂的窗户）
24.mural[ˈmjuərəl]n.壁画，壁饰
25.tapestry[ˈtæpistri]n.织锦，挂毯
26.embroidery[imˈbrɔidəri]n.刺绣品，粉饰，刺绣，装饰
27.accomplish[əˈkɔmpliʃ]vt.完成，达到，实现
28.principle[ˈprinsəpl]n.法则，原则，原理
29.conceive[kənˈsi：v]of想象
30.preside[priˈzaid]v.主持
31.incorporate[inˈkɔ：pəreit]vt.合并，具体表现
32.collaborate[kəˈlæbəreit]vi.合作
33.approach[əˈprəutʃ]vt.接近，动手处理
34.typography[taiˈpɔgrəfi]n.排版；排印，版面；排版式样
35.illustration[ˈiləsˈtreiʃən]n.插图，图解
Notes
1.Arts and Crafts Movement：19世纪末的英国工艺美术运动
2.Walthamstow：沃瑟斯顿，英国英格兰东南部城市，在大伦敦郡的东北部。Walthamstow in those days was a village above the Lea Valley，on the edge of Epping forest，but comfortably close to London.“那时沃瑟斯顿只不过是里谷上的一个小村子，紧靠着伊平森林，离伦敦很近。”
3.Walter Scott：沃尔特·司各特（1771—1832），英国的民谣家和历史小说家。Waverley Novels 威渥莱小说集，是司各特的代表作之一。
4.His doting father presented him with a pony and a miniature suit of armor，and，in the character of a diminutive knight-errant，he went off on long quests into the depths of Epping Forest.“溺爱他的父亲曾送他一匹小马和一套小盔甲，而他便打扮成一个小小的游侠骑士，试图深入到伊平森林中探险。”此处 in the character of意为“扮演”；on long quests 相当于 in quest of adventure，即“寻求冒险活动”。
5.…even in childhood was possessed of a romantic attachment to forests and gardens and flowers and birds which，with his interest in mediaevalism，would recur in his art，his poetry，and his fiction for the rest of his life.“甚至还在幼年时期，他对森林、花园、鲜花和鸟类就有着浪漫的依恋之情，同时伴随着对中古风情的浓厚兴趣。这些在他以后的绘画、诗歌和小说中都得到体现。”此处，which指代前面所说的 romantic attachment。
6.Burne-Jones：爱德华·伯恩·琼斯（1833—1898）英国画家，前拉斐尔派成员，以其绘画作品和彩绘玻璃上神秘而又似梦境般的背景而闻名。
7.Pre-Raphaelite：拉斐尔前派，属于拉斐尔前派兄弟会（建于1848年的英国团体），提倡拉斐尔之前的意大利油画的风格和精神。
8.Tennyson，Keats，Browning，Chaucer 均为英国诗人。There too Morris began to write poetry which was heavily indebted to the work of Tennyson，Keats，Browning，and，most of all，his beloved Chaucer.“也是在那儿（指牛津），他开始作诗，并深深得益于丁尼生、济慈、勃朗宁等人的作品，乔叟尤其受到他的喜爱。”
9.Both of them were overcome and decided to abandon their clerical studies in order to become artists，and Morris left Oxford at the end of the year.两人都被深深打动，决定放弃学业投身艺术。这一年末，莫里斯离开了牛津。此处，overcome有“打动、征服”的含义。
10.Morris and his friends and acquaintances decorated the house themselves in properly mediaeval fashion，building all the furnishings，designing stained glass windows，painting murals，and weaving tapestries，and discovered that they enjoyed it.“莫里斯和他的朋友和熟人们一道依据中世纪的风格装修了这所房子，制作了全部的家具、设计了玻璃嵌花窗、绘制了壁画、编织了挂毯等，从中得到了不少的乐趣。”building…，designing…，painting…，weaving…，一组由现在分词引导的状语从句描述了“装修”的具体行为。
11.the long-since abandoned principles of craftsmanship which had governed mediaeval art“很久以来已被弃置的工艺法则，这些法则曾在中世纪艺术中占据主导地位”
12.Rossetti：但丁·加布里埃尔·罗塞蒂（1828—1882）英国诗人和画家，是拉斐尔前派兄弟会的创建人之一（1848年），以其肖像画与诗歌创作而出名。
13.Ford Madox Brown：福特·马多克斯·布朗（1821—1893），英国历史画画家，与拉斐尔前派联系在一起，画了一系列描绘英国曼彻斯特主要历史事件的壁画。
14.the first to approach the craft of practical printing from the point of view of the artist“第一个以艺术家的眼光来看待实用印刷工艺的人”
15.Renaissance：文艺复兴（古典艺术、建筑、文学和学识的人文主义复兴），起源于14世纪的意大利，后来蔓延到整个欧洲。
16.Birmingham：伯明翰，在英格兰中部。Other artists working as designers for the Kelmscott Press included C.M.Gere，Arthur Gaskin，and E.H.New，all from the Birmingham School of Art，and the Birmingham illustrators were in general much influenced by Morris’s books.“其他为凯姆阔特出版社进行设计的艺术家包括C.M.吉尔、阿瑟·盖斯金和E.H.律欧，他们都来自伯明翰艺术学院。一般来讲，这些来自伯明翰的插图设计家在很大程度上都受到莫里斯出品的书籍的影响。”
Exercises
Choose the best answer to each question according to the content of the text.
1.William Morris was famous as the founder of
a.Art Nouveau.
b.Arts and Crafts Movement.
c.Bauhaus.
2.Some friends of William Morris were artists who had a tight relationship with
a.impressionism.
b.cubism.
c.Pre-Raphaelite.
3.The best-known output of Morris were
a.furnitures.
b.wallpapers.
c.tapestries.
4.The artist who had drawn the illustrations of the book“Kelmscott Chaucer”was
a.Edward Burne-Jones.
b.Arthur Gaskin.
c.Ford Madox Brown.
Lesson 2 Arts&Crafts Style
“Have nothing in your houses that you do not know to be useful，or believe to be beautiful.”
——William Morris‘The Beauty of Life’1880
The core of Arts&Crafts style is simplicity.Architects，designers，makers and consumers aimed for simplicity because it provided a practical and clean environment.The use of built-in furniture such as cupboards and large settles became more common.
Visual simplicity in the home produced a restful setting.This was achieved by a concern for proportion and detail as well as the removal ［1］of clutter.Voyseythought that the flooring should be the same throughout a house.He also recommended that curtains should be made from a single width of material and laid down details such as the number of curtain rings to use and the depth of the ［2］hem.Arts&Crafts architects who also designed furniture and metalwork such as Ernest Gimson were able to create a simple but coherent look for a home.
For William Morris and the Arts&Crafts Movement，nature was the source of all pattern.The inspiration of the natural world，‘the outward face of the earth’，was chosen for its uplifting qualities.The natural rhythms and patterns of plants and flowers were a reflection of a purity of approach.Arts and Crafts designers reacted violently against ［3］the distortion of natural forms adopted by Art Nouveauin continental Europe.
An important part of the Arts&Crafts home was the garden.It was often laid out as a series of outdoor rooms becoming wilder and closer to nature as one went further away from the house.
Symbolism played as important a role in Arts&Crafts style.Motifs such as the heart symbolising friendship or the sailing ship representing the journey of life into the unknown reappear with ［4］regularity throughout the Arts&Crafts community.
The Arts&Crafts Movement was much more than a style，it had a strong social and moral purpose.
“The great advantage and charm of the Morrisian method is that it lends itself to either simplicity or splendour.”
——Walter Crane‘The English Revival in Decorative Art’1911
Splendour in the Arts&Crafts came from：
a）the passion for the decorative arts.Influential Art and Crafts architects such as Henry Wilson emphasised the importance of the crafts in building.His metalwork and jewellery designs such as this double-sided pendant，about 1907-1910，are rich in colour，texture and imagery.
b）the enthusiasm for making things.Voysey understood that making something for yourself or knowing who made the objects you ［5］own adds an emotional level of appreciation.
c）the interest in experimenting with different materials and new techniques.Arts&Crafts designers such as John Paul Cooper developed a distinctive style working with unusual materials such as gesso（a mixure of plaster and glue）.He is best known for his shagreen（sharkskin）boxes with silver mounts.
Words and Expressions
1.simplicity[simˈplisiti]n.简单，简易，朴素，直率
2.built-in[ˈbiltˈin]adj.内置的，固定的，嵌入的
3.settle[ˈsetl]n.有背的长凳
4.restful[ˈrestful]adj.宁静的
5.removal[riˈmu：vəl]n.移动，免职，切除
6.clutter[ˈklʌtə]n.混乱
7.coherent[kəuˈhiərənt]adj.粘在一起的，一致的，连贯的
8.inspiration[ˈinspəˈreiʃən]n.灵感
9.rhythm[ˈriðəm，ˈriθəm]n.节奏，韵律
10.purity[ˈpjuəriti]n.纯净，纯洁，纯度
11.react[riˈækt]vi.起反应，起作用，反抗，起反作用
12.violently[ˈvaiələntli]adv.猛烈地，激烈地，极端地
13.distortion[disˈtɔ：ʃən]n.扭曲，变形，曲解，失真
14.continental[ˈkɔntiˈnentl]adj.大陆的，大陆性的
15.outdoor[ˈautdɔ：]adj.室外的，户外的，野外的
16.symbolism[ˈsimbəlizəm]n.象征主义，符号论
17.motif[məuˈti：f]n.主题，主旨，动机，图形
18.reappear[ˈri：əˈpiə]vi.再出现
19.community[kəˈmju：niti]n.公社，团体，社会，（生物）群落
20.splendour[ˈsplendə]n.光彩壮丽，显赫，杰出
21.passion[ˈpæʃən]n.激情，热情
22.influential[ˈinfluˈenʃəl]adj.有影响的，有势力的
23.pendant[ˈpendənt]n.垂饰，下垂物
24.imagery[ˈimidʒəri]n.肖像（总称），比喻，雕刻
25.enthusiasm[inˈθju：ziæzəm]n.狂热，热心，积极性，激发热情的事物
26.distinctive[disˈtiŋktiv]adj.与众不同的，有特色的
27.gesso[ˈdʒesəu]n.（雕刻、绘画用的）石膏，石膏粉
28.plaster[ˈpla：stə]n.石膏，灰泥
29.shagreen[ˈʃægri：n]n.绿皮（指染成绿色的马、驴、海豹等的生皮），（用做擦光物的）鲨革
30.mount［maunt］n.衬纸，镶嵌，装配
Notes
1.Voysey：查尔斯·沃依赛（1857-1941）英国建筑师和工艺美术家，其作品包括著名的“果园”住宅，以及一系列的家具、金属器皿、墙纸、印花织物、地毯与花砖。
2.He also recommended that curtains should be made from a single width of material and laid down details such as the number of curtain rings to use and the depth of the hem.“他还建议窗帘应为同等宽度的材料制作，并给出诸多细节，比如窗帘环的数目以及包边的深度等。”此处，lay down意为“提供、给出”。
3.Art Nouveau：新艺术运动。19世纪后期和20世纪初期流行于欧洲大陆的一种建筑和装饰艺术风格，主要特征为用流动的曲折的线条绘出叶子和花卉图案来作为工艺装饰。
4.Motifs such as the heart symbolising friendship or the sailing ship representing the journey of life into the unknown reappear with regularity throughout the Arts&Crafts community.“心形纹样所代表的友谊这一主题，或者帆船所象征的驶向未知人生旅途的主题在工艺美术运动时期的作品中一再有规律地重复。”the Arts&Crafts community，指工艺美术运动波及范围以内的各类艺术家及其作品。
5.Voysey understood that making something for yourself or knowing who made the objects you own adds an emotional level of appreciation.“沃依赛认为，为自己制作某件物品，或了解那个为你制作物品的人，将使你的欣赏水准在情感方面更上一层楼。”an emotional level of appreciation，指欣赏工艺品过程中所包含的情感因素。
Exercises
Translate the following passages into Chinese.
1.Many people searching for personal fulfillment have found inspiration in the Arts&Crafts Movement.The movement emphasized the importance of useful，creative work to the individual and to society as a whole.Ideas about‘the simple life，’‘back-to-the-land，’and self-sufficiency were part of its philosophy as were issues around healthy eating and dress reform.
2.Crafts education is an important legacy of the Arts&Crafts Movement.The movement emphasized the importance of creativity but also encouraged individuals to learn through practical experience.The movement invigorated the teaching of embroidery and handwriting in primary schools from the early 20th century.Craft teaching in secondary schools，art colleges and teacher training colleges was heavily influenced by the practical‘hands-on’approach of the movement while craft manuals and materials produced by firms such as Dryad provided many individuals with a first-hand experience of arts and crafts.
Lesson 3 The Decorative Arts
——An Address Delivered by William Morris（Dec.4，1877）
Hereafter I hope in another lecture to have the pleasure of laying before you an historical survey of the Decorative Arts，and I must confess it would have been more pleasant to me to have begun my talk with you by entering at once upon the subject of the history of this ［1］great industry.But，as I have something to say in a third lecture about various matters connected with the practice of Decoration among ourselves in these days，I feel that I should be in a false position before you，and one that might lead to confusion，or overmuch explanation，if I did not let you know what I think on the nature and scope of these arts，on their condition at the present time，and their outlook in times to come.
Now as to the scope and nature of these Decorative Arts I have to say，that though when I come more into the details of my subject I shall not meddle much with the great art of Architecture，and less still with the great arts commonly called Sculpture and Painting.Yet I cannot in my own mind quite sever them from those lesser，so-called Decorative Arts，which I have to speak about：it is only in latter times，and under the most intricate conditions of life，that they have fallen ［2］apart from one another.And I hold that，when they are so parted，it is ill for the Arts altogether：the lesser ones become trivial，mechanical，unintelligent，incapable of resisting the changes pressed upon them by fashion or dishonesty；while the greater，however they may be practised for a while by men of great minds and wonder-working hands，unhelped by the lesser，unhelped by each other，are sure to lose their dignity of popular arts，and become nothing but dull adjuncts to unmeaning pomp，or ingenious toys for a ［3］few rich and idle men.
However，I have not undertaken to talk to you of Architecture，Sculpture，and Painting，in the narrower sense of those words，since，most unhappily as I think，these master-arts，these arts more specially of the intellect，are at the present day divorced from decoration in its narrower sense.Our subject is that great body of art，by means of which men have at all times more or less striven to beautify the familiar matters of everyday life：a wide subject，a great industry；but a great part of the history of the world，and a most important instrument to the study of that history.
A very great industry indeed，comprising the trades of house-building，painting，joinery and carpentry，smiths’work，pottery and glass-making，weaving，and many others.A body of art most important to the public in general，but still more so to us handicraftsmen.True it is，that in many or most cases we have got so used to this ornament，that we look upon it as if it had grown of itself，and note it no more than the mosses on the dry sticks with which we ［4］light our fires.So much the worse！For there is the decoration，or some pretence of it，and it has，or ought to have，a use and a meaning.For，and this is at the root of the whole matter，everything made by man’s hands has a form，which must be either beautiful or ugly；beautiful if it is in accord with Nature，and helps her；ugly if it is discordant with Nature，and thwarts her；it cannot be indifferent.We，for our parts are busy or sluggish，eager or unhappy，and our eyes are apt to get dulled to this eventfulness of form in those things which we are always looking at.It is one of the chief uses of decoration that it has to sharpen our dulled senses in this matter.For this end are those wonders of intricate patterns interwoven，those strange forms invented，that men have so long delighted in：forms and intricacies that do not necessarily imitate Nature，but in which the hand of the craftsman is guided to work in the way that she does，till the web，the cup，or the knife，look as natural，nay as lovely，as the green ［5］field，the river bank，or the mountain flint.
Words and Expressions
1.address[əˈdres]n.致辞，演讲
2.hereafter[hiərˈa：ftə]adv.今后，从此以后
3.survey[sə：ˈvei]n.概观，纵览
4.confess[kənˈfes]v.承认，坦白
5.overmuch[ˈəuvəˈmʌtʃ]adj.过多的
6.outlook[ˈautluk]n.展望，前景
7.meddle[ˈmedl]v.管闲事
8.sever[ˈsevə]v.切断
9.lesser[ˈlesə]adj.较小的，更少的，次要的
10.resist[riˈzist]vt.抵抗，反抗，抗，忍得住
11.dull［dʌl］adj.感觉或理解迟钝的，无趣的，呆滞的，阴暗的
12.adjunct[ˈædʒʌŋkt]n.附件，助手
13.idle[ˈaidl]adj.空闲的，懒惰的，停顿的，无用的，无价值的
14.undertake[ˈʌndəˈteik]vt.承担，担任，许诺，保证
15.instrument[ˈinstrumənt]n.工具，手段，器械，器具，手段
16.joinery[ˈdʒɔinəri]n.细木匠业，木工职业
17.carpentry[ˈka：pintri]n.木工工作
18.handicraftsman[ˈhændiˈkra：ftsmən]n.手艺人，巧手，工匠
19.ornament[ˈɔ：nəmənt]n.装饰物
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