Neil Birtley, FCSD
這一章的主旨是
 回顧造型設(shè)計(jì)師和空氣動(dòng)力分析師的角色
 概述從概念到最后設(shè)計(jì)的各個(gè)設(shè)計(jì)階段
 證明機(jī)械工程師和造型設(shè)計(jì)師前后協(xié)同工作的必要性
4.1簡(jiǎn)介
除了設(shè)計(jì)師的草圖的常規(guī)外觀和專業(yè)汽車(chē)出版社里的油膩模型，這個(gè)主題在其他地方很少被寫(xiě)到。汽車(chē)設(shè)計(jì)師的工作仍然得到很多人包括工業(yè)設(shè)計(jì)師的很少的理解。一些以設(shè)計(jì)師角度思考的有趣的見(jiàn)解和他們事業(yè)的性質(zhì)在1988年由Armi給出，在這里他闡明“汽車(chē)設(shè)計(jì)在商業(yè)藝術(shù)中是最不能被充分理解的”。
這個(gè)操作程序主要是由Harley Earl創(chuàng)造的東西演變過(guò)來(lái)的，Harley Earl1927年在通用汽車(chē)創(chuàng)建了第一個(gè)為特定目的建造的設(shè)計(jì)部門(mén)。這個(gè)方法包括在紙上設(shè)計(jì)出2D草圖，然后將他們轉(zhuǎn)變成全尺寸的2D正交的插圖。這些都被用于創(chuàng)建模板等，用于創(chuàng)建全尺寸的三維模型（通常用油泥做模型，有時(shí)也用木材和石膏）。
然后全尺寸實(shí)物模型為結(jié)構(gòu)設(shè)計(jì)部門(mén)提供全車(chē)身表面信息基礎(chǔ)，并機(jī)加工出來(lái)。概念圖的產(chǎn)生、概念圖轉(zhuǎn)換成的全尺寸“膠帶圖”和涂色以及全尺寸油泥模型都是設(shè)計(jì)師工作的一部分。同時(shí)他們的許多技能訓(xùn)練和體驗(yàn)出來(lái)的，許多決定性的制作和解釋很多時(shí)候是憑直覺(jué)的。在造型技術(shù)的開(kāi)發(fā)方面可以確定的是，不管對(duì)于內(nèi)部的還是外部的，草圖方案的實(shí)施幾乎遵循一系列難定義的未成文規(guī)則，是一個(gè)非常寬泛的參量。


Neil Birtley, FCSD
The aim of this chapter is to:
• Review the role of the stylist and aerodynamist;
• Give an overview of the design stages from concept to final design;
• Demonstrate the need for engineers and stylist to work in tandem.
4.1 Introduction
Very little has been written elsewhere on this subject, despite the regular appearance of stylists’
sketches, and clay models in the specialist motoring press. The work of the automobile stylist
remains little understood by many, including other industrial designers. Some interesting insights
into the way stylists think, and the nature of their business, is given by Armi, 1988 where he
states that (car styling) ‘. . . is amongst the least understood of the commercial arts’.
The operational procedures are mainly evolved from those created by Harley Earl, who set
up the first purpose-built styling department at General Motors in 1927. The method includes
creating designs on paper as 2D sketches, then converting them to full size 2D orthogonal
illustrations. These are used to create templates, etc., to create full-size three-dimensional
models, usually in clay, though wood and plaster are sometimes used.
The full size mock-up is then used as the basis for all body surface information required by
the engineering department for structural design and tooling to be developed. The generation of
concept sketches, their conversion into full size ‘tape drawings’ and renderings and the creation