基础图案,是工艺美术专业的一门基础课,课时量大,内容丰富,一直在染织设计,装璜设计等专业的教学中占有重要的地位。但自八十年代以来,以三大构成为主体的新的设计教学体系的建立,或多或少地冲击了基础图案的地位,使其受到了程度不同的冷落,并使人产生一种过时的感觉。造成这种局面的原因。除了上述的客观因素外,我们认为基础图案教学方式本身也存在着有待重新认识,调整和改进的问题。本文试图就此作一些探讨。 基础图案的教学方式是以写生变化为主,通过写生对自然物象的构成形志作深入、细致、全面的了解,从而掌握第一手素材。变化的过程是对写生的素材加工整理,态粗取精,保留最能体现原物象本质的特征,在此基础上运用夸张、变形、添加等手法使原形象更完美、更具典型性和表现力。写生变化的核心是始终不离原形的本质特征,要求做到神形兼备,但整个过程有两个方面值得注意: Basic pattern, is a basic course of arts and crafts major, class hours, rich in content, has been in the dyeing and weaving design, decoration design and other professional teaching occupies an important position. However, since the 1980s, the establishment of a new design teaching system with the three major components as the main body has more or less hit the groundwork, leaving it with different degrees of neglect and giving rise to an outdated person a feeling of. The reason for this situation. In addition to the above objective factors, we think there is a problem to be re-recognized, adjusted and improved in the basic pattern teaching method itself. This article attempts to make some discussion about this. The basic pattern of teaching is based on the sketch changes, through the sketching of the formation of natural objects form a deep, detailed, comprehensive understanding to master the first hand material. The process of change is to process and sort the sketches of raw materials in a rough and refined manner, and preserve the features that can best reflect the essence of the original objects. On the basis of this, exaggeration, deformation and addition are used to make the original image more perfect, more typical and more representative force. The core of the sketch changes is always the essence of the original features, the requirements of both god-shaped, but the whole process has two aspects worth noting: