文献信息：
文献标题：Aesthetics and design in three dimensional animation process（三维动画过程中的美学与设计）
国外作者：Gokce Kececi Sekeroglu
文献出处：《Procedia - Social and Behavioral Sciences》, 2012 , 51 (6):812-817
字数统计：英文2872单词，15380字符；中文4908汉字
外文文献：
Aesthetics and design in three dimensional animation process
Abstract Since the end of the 20th century, animation techniques have been widely used in productions, advertisements, movies, commercials, credits, visual effects, and so on, and have become an indispensable part of the cinema and television. The fast growth of technology and its impact on all production industry has enabled computer-generated animation techniques to become varied and widespread. Computer animation techniques not only saves labour and money, but it also gives the producer the option of applying the technique in either two dimensional (2D) or three dimensional (3D), depending on the given time frame, scenario and content. In the 21st century cinema and television industry, computer animations have become more important than ever. Imaginary characters or objects, as well as people, events and places that are either difficult or costly, or even impossible to shoot, can now be produced and animated through computer modelling techniques. Nowadays, several sectors are benefiting from these specialised techniques. Increased demand and application areas have put the questions of aesthetics and design into perspective, hence introducing a new point of view to the application process. Coming out of necessity, 3D computer animations have added a new dimension to the field of art and design, and they have brought in the question of artistic and aesthetic value in such designs.
Keywords: three dimension, animation, aesthetics, graphics, design, film
1.Introduction
Centuries ago, ancient people not only expressed themselves by painting still images on cave surfaces, but they also attempted to convey motion regarding moments and events by painting images, which later helped establish the natural course of events in history. Such concern contributed greatly to the animation and cinema history.
First examples of animation, which dates back approximately four centuries ago, represents milestones in history of cinema. Eadweard J. Muybridge took several photographs with multiple cameras (Figure 1) and assembled the individual images into a motion picture and invented the movie projector called Zoopraxiscope and with the projection he held in 1887 he was also regarded as the inventor of an early movie projector. In that aspect, Frenchmen Louis and Auguste Lumière brothers are often credited as inventing the first motion picture and the creator of cinematography (1895).
Figure 1. Eadweard J. Muybridge’s first animated picture
J. Stuart Blackton clearly recognised that the animated film could be a viable aesthetic and economic vehicle outside the context of orthodox live action cinema. In
particular, his movie titled The Haunted Hotel (1907) included impressive supernatural sequences, and convinced audiences and financiers alike that the animated film had unlimited potential. (Wells, 1998:14)
“Praxinoscope”- invented by Frenchman Charles-émile Reynaud - is one of the motion picture related tools which was developed and improved in time, and the invention is considered to be the beginning of the history of animated films, in the modern sense of the word. At the beginning of the 20th century, animated films produced through hand-drawn animation technique proved very popular, and the world history was marked by the most recognisable cartoon characters in the world that were produced through these animations, such as Little Nemo (1911), Gertie the Dinosaur (1914), The Sinking of the Lusitania (1918), Little Red Riding Hood (1922), The Four Musicians of Bremen (1922) Mickey Mouse(1928), Snow White and the Seven Dwarfs (1937).
Nazi regime in Germany leads to several important animation film productions. When Goebbels could no longer import Disney movies, he commissioned all animation studios to develop theatrical cartoons. Upon this, Hans Fischerkoesen began to produce animation films and by end of the war, he produced over a thousand cartoons (Moritz, 2003:320).
In due course, animated films became increasingly popular, resulting in new and sizable sectors, and the advances in technology made expansion possible. From then on, the computer-generated productions, which thrived in the 1980's, snowballed into the indispensable part of the modern day television and cinema.
The American animated movie Aladdin grossed over 495 million dollars worldwide, and represented the success of the American animation industry, which then led to an expansion into animated movies which targeted adults (Ayd?n, 2010:110).
Japan is possibly just as assertive in the animation films as America. Following the success of the first Japanese animation (anime) called The White Snake Enchantress 1958 (Figure 2)which resulted in awards in Venice, Mexico and Berlin film festivals, Japanese animes became ever so popular, which led to continuous
international success. For example, the movie titled Spirited Away won an Oscar for Best Animated Feature Film, and became the winner of the top prize at this year's Berlin film festival. Following their ever-increasing success in anime production, Japan became one of the most sought after hubs of animation industry by European and American companies interested in collaboration.
Figure 2. The White Snake Enchantress 1958
2.Three Dimensional Animation
The development of animation techniques, a process that can be traced back to the 18th century brought with it a thematic variety in animation genres. Today, animation techniques based on cartoons, puppets, stop-motion, shadow, cut-out and time lapse can be applied both manually and based on digital technology. Furthermore the use of 3D computer graphics in the 1976-dated film "Futureworld" opened the way for this technology to be in high demand in a variety of industries. 3D animations occupy a central role today in cinema, TV, education and video games alike, and their creative processes in both realistic and surreal terms seem to know no limits. This new medium that with its magical powers makes the impossible possible and defies the laws of physic (G?k?earslan, 2008: 1) open a door for designers and artists to an
unlimited imagination. "In particular in the movies of the 80s, computer-aided animated effects turned out to be life-savers, and the feature film Terminator 2 (1991) in which 3D animation technology was used for the first time received praise from both audience and film critics" (Kaba, 1992: 19). Toy Story (Walt Disney Pictures, 1995), a film that became very popular among audiences of all ages due to its script, characters, settings and animation technique, was the first fully 3D animated feature film in history, and was followed by two sequels.
By help of the support coming from the homeland, and its form oriented realistic format, Disney characters have been amongst the top animated characters. In order to achieve a realistic production, Disney even kept animals such as horses, deer, and rabbits in the studios, while the artists studied their form, movements and behaviour. As for human characters, famous movie stars of the period were hired as a reference point for human form and behaviour. (G?k?earslan, 2009:80).
Another American movie "Shrek" (2001) created by William Steig, whose book Shrek (1990) formed basis for the DreamWorks Pictures full length 3D animation film, attracted millions of people. The movie is a great example of a clever and aesthetically pleasing combination of powerful imagination and realistic design. Also, by means of certain dialogues and jokes, the theme of "value judgement" is simplified in a way that it is also understood by children. These are amongst two undeniable factors which are thought to have contributed to the worldwide success of the movie.
Most successful 3D animation movies are of American make. The importance of budget, historical and political factors, as well as contextual and stylistic factors which bring in simplicity and clarity to the movies is incontrovertible.
“The era of the post-photographic film has arrived, and it is clear that for the animator, the computer is essentially "another pencil". Arguably, this has already reached its zenith in PIXAR's Monsters Inc. Consequently, it remains important to note that while Europe has retained a tradition of auteurist film making, also echoed elsewhere in Russia, China, and Japan, the United States has often immersed its animation within a Special Effects tradition, and as an adjunct to live action cinema.” (Wells, 2002:2).
3.Aesthetics and Design in Three Dimensional Animations
Low-budget and high-budget 3D animation movies go through the same process, regardless. This process is necessary in order to put several elements together properly.
The first step is to write up a short text called synopsis, which aims to outline the movie plot, content and theme. Following the approval of the synopsis, the creative team moves on to storyboarding, where illustrations or images are displayed in sequence for the purpose of visualising the movie (Figure 3). Storyboarding process reflects 3D animator's perspective and the elements that are aimed to be conveyed to the audience. The animation artists give life to a scenario, and add a touch of their personality to the characters and environment. “"Gone With The Wind" is the first movie where the storyboarding technique, which was initially used in Walt Disney Studios during the production process of animated movies, was used for a non-animation movie, and since the 1940's, it has been an indispensible part of the film industry.
Figure 3: Toy Story, storyboarding, Pixar
Story board artists are the staple of film industry, and they are the ones who either make or break the design and aesthetics of the movie. While they their main
responsibility is to enframe the movie scenes with aesthetics and design quality in mind, they are also responsible for incorporating lights, shadows and colours in a way that it enhances the realistic features of the movie.
The next step following storyboarding, is "timing" which is particularly important in determining the length of scenes, by taking the script into consideration. In order to achieve a realistic and plausible product, meticulous mathematical calculations are required.
The next important step is to create characters and environment in 3D software, and finalise the production in accordance with the story-board. While character and objects are modelled in 3D software, such as 3Ds Max, Cinema 4D , Houdini, Maya, Lightwave, the background design is also created with digital art programs such as Photoshop, Illustrator, Artage, depending on the type or content of the movie (Figure: 4). Three dimensional modelling is the digital version of sculpturing. In time, with ever-changing technology, plastic arts have improved and become varied, leading to a new form of digital art, which also provides aesthetic integrity in terms of technique and content. Same as manually produced art work, 3D creations are also produced by highly skilled artist with extensive knowledge of anatomy, patterns, colours, textures, lights and composition. Such artists and designers are able to make use of their imagination and creativity, and take care of both technical and aesthetic aspects of creating an animated movie.
Figure 4: Examples of 3D modelling (left) and background (right).
In a movie, the colour, light and shadow elements affect the modelled character, setting and background to a very large extent. Three dimensional computer graphics software provides a realistic virtual studio and endless source of light combinations.
Hence, the message and feeling is conveyed through an artistically sensitive and aesthetically pleasing atmosphere, created with a certain combination of light and colours. Spot light, omni, area and direct lights are a few examples to the types of options that can be used on their own or as a combination. For example, in 3D animations the 'direct light' source can be used outdoors as an alternative for the sun, whereas the 'area light' which uses vertical beams can help smooth out the surface by spreading the light around, which makes it ideal for indoors settings. Blue Sky Studio's 3D movie called “Ice Age” (Figure 5) produced in 2001 achieved a kind of unique and impressive technology-driven realistic technique with clever use of lights and colours, becoming one of the first exceedingly successful 3D animations of the period.
Figure 5: “Ice Age”, Blue Sky Studios, 2001
Following the modelling and finishing touches of other visual elements, each scene is animated one by one. “Actions assigned to each and every visual element within the scene have to have a meaningful connection with the story, in terms of form and content. In fact, the very fundamental principle of computer animations is that each action within the scene serves a certain purpose, and the design within the frame creates visual pleasure” . Underscoring element is also expected to complement the visuals and be in harmony with the scene. It is an accepted fact that a good visual is presented along with suitable music, affects the audience in emotional and logical
sense a lot more than it would have done so otherwise. For that reason, underscores are just as important as other audio elements, such as voiceovers and effects, when it comes to visual complements. Sound is an indispensable part of life and nature, therefore it can be considered as a fundamental means of storytelling. Clever and appropriate use of sound is very effective in maintaining the audience's attention and interest.
In order to produce a meaningful final product in the editing phase, a careful process of storyboarding and timing have to be carried out. Skilfully executed editing can add rhythm and aesthetics to scenes. The integrity of time, setting, audio and atmosphere within a movie is also profusely important in terms of conveying the semantic rhythm. Meticulously timed fade-out, fade-in, radiance or smoke effects would allow the audience to follow the story more attentively and comfortably, and it would also establish consistency in terms of aesthetics of the movie itself.
4. Conclusion
No matter how different the technological circumstances are today, and used to be back in the ancient times when humans painted images on cave surfaces, human beings have always been fascinated with visual communication. Since then, they have been striving to share their experiences, achievements, wishes and dreams with other people, societies or masses. For the same purpose, people have been painting, acting, writing plays, or producing movies. Incessant desire to convey a message through visual communication brought about the invention of the cinema, and since the 18th century, it has become an essential means of presenting ideas, thoughts or feelings to masses. 3D animations, which were mainly used in advertisements, commercials, education and entertainment related productions in the 2000's, brought about many blockbuster 3D movies.
When recorded with a camera, the three dimensional aspect of reality is lost, and turned into two dimensions. In 3D animations, the aim is to emulate the reality and present the audience an experience as close to the real life as possible. “Human eye is much more advanced than a video camera. infinite sense of depth and the ability to
focus on several objects at the same time are only a few of many differences between a camera and the human eye. Computer-produced visuals would give the same results as the camera. Same as painting and photography, it aims to interpret the three dimensional world in a two dimensional form.” As a result, 3D animations have become just as important as real applications, and thanks to their ability to produce scenes that are very difficult, even impossible to emulate, they have actually become a better option. Big companies such as Walt Disney, Pixar, and Tree Star have been making 3D animations which appeal to both children and adults worldwide. Successful productions include the elements of appropriate ideas, decent content, combined with expert artists and designers with technical backgrounds. For that reason, in order to establish good quality visual communication and maintain the audience's attention, art and design must go hand in hand. Sometimes, being true to all the fundamental design principles may not be enough to achieve an aesthetically pleasing scene. In order to achieve an aesthetically pleasing scene, warmth and sincerity, which are typical attributes of human beings, must be incorporated into the movie. The modelling team, which functions as the sculptor and creates authentic materials like a painter, teams up with creative story-board artists, and texture and background artists, to achieve an artistically valuable work. In order to achieve plausibility and an aesthetically valuable creation, it is important that colour, light, shadow and textures used during the process are true to real life. Camera angles, speed and direction of movement, the sequence of the scenes and their harmony with the underscoring are essential in determining the schematic and aesthetic quality of a movie.
In conclusion, Art does not teach. Rather, art presents the full and concrete reality of the end target. What art does is presents things "as they should be or could have been", which helps people attain such things in real life. However, this is just a secondary benefit of art. The main benefit of art is that it provides people with a taste of what "things would be like if they were the way they were supposed to be" in real life. Such an experience is essential to human life. Surely, people cannot watch a movie with the schematic or aesthetic quality of it in mind. However, as the movie
progresses, a visual language settles into the spectator's subconsciousness, creating a sense of pleasure. Walter Benjamin claims that a spectator analysing a picture is able to abandon himself to his associations. However, this is not the case for people watching a movie at the cinema. Rather, the cinema audience can only build associations after they have watched the movie, therefore the process of perception is delayed. (Benjamin, 1993:66).
中文译文：
三维动画过程中的美学与设计
摘要自20世纪末以来，动画技术在生产、广告、电影、商业、节目、视觉效果等方面得到了广泛的应用，并已经成为影视业不可或缺的组成部分。技术的飞速发展及其对所有生产行业的影响，使得计算机生成的动画技术变得多样化和普及化。计算机动画技术不仅节省了劳动力和资金，而且还可以根据给定的时间框架、场景和内容，给生产者提供二维（2D）或三维（3D）技术的选择。在21世纪的影视业，计算机动画变得比以往任何时候都重要。虚构的人物或物体, 以及人、事件和地点，无论是困难的，还是昂贵的，甚至是无法拍摄的，现在都可以通过计算机建模技术来制作和生成动画。如今，有一些行业正在从这些专业技术中获益。需求和应用领域的不断增加，将美学和设计问题纳入了研究的视野，从而为应用过程引入了新的观点。不可避免，3D计算机动画为艺术和设计领域增添了新的一面，并提出了这种设计中的艺术和审美价值问题。
关键词：三维，动画，美学，图形，设计，电影
1.引言
几个世纪以前，古代人不仅通过在洞穴表面上画静止的图像来表达自己，而且还尝试通过绘画来传达关于时间和事件的示意，这后来有助于确立历史事件的自然进程。这种活动极大地推动了动画和电影史的发展。
动画的第一个例子可以追溯到大约四个世纪以前，它代表了电影史上的里程碑。埃德沃德·迈布里奇用多个相机拍摄了好几张照片（图1），并将多个单个
图像组合成一幅运动画面，还发明了名为动物实验镜的电影放映机，在1887年举行了投影，他也被认为是早期电影放映机的发明者。在这方面，法国人路易斯和奥古斯塔·卢米埃尔兄弟经常被誉为发明第一部电影和电影摄影的创作者（1895）。
图1.埃德沃德·迈布里奇的第一部动画图片
詹姆斯·斯图尔特·布莱克顿清楚地认识到，动画电影可能是正统的真人电影之外的可行的审美和经济工具。特别是，他的电影《闹鬼的旅馆》（1907）包含了令人印象深刻的超自然的镜头，让观众和金融家们相信动画电影有无限的潜力（韦尔斯，1998：14）。
法国人埃米尔·雷诺发明的“活动视镜”是与电影有关的工具之一，它被及时地发展和改进，从现代意义上来讲，这种发明被认为是动画电影历史的开始。20世纪初，通过手绘动画技术制作的动画电影非常受欢迎，动画电影历史是以世界上最知名的卡通人物为标志，这些卡通人物是通过动画制作的，如《小尼莫》（1911），《恐龙葛蒂》（1914），《卢西塔尼亚号》（1918），《小红帽》（1922），《不来梅的四个音乐家》（1922），《米老鼠》（1928），《白雪公主与七个小矮人》（1937）。
德国的纳粹政权产生了几部重要的动画电影作品。当戈培尔不能再进口迪士尼电影时，他委托所有动画工作室开发戏剧卡通片。在此之后，汉斯·费什柯森开始制作动画电影，在战争结束时，他创作了一千多部卡通片（莫里茨，2003：
320）。
在合适的时候，动画电影越来越受欢迎，产生了新的和相当大的产业，并随着技术的进步持续扩展。自此，计算机产生的作品在20世纪80年代蓬勃发展，成为了现代影视业不可或缺的一部分。
美国动画电影《阿拉丁》的全球票房超过4.95亿美元，代表了美国动画产业的成功，这导致了针对成人的动画电影得到进一步发展（艾登，2010：110）。
像美国一样，日本在动画电影方面也同样非常出色。继第一部日本动画（动漫）《白蛇传》（1958）（图2）获得成功，在威尼斯、墨西哥和柏林的电影节中获奖后，日本的动漫变得如此受欢迎，导致了在国际上的连续成功。例如，这部名为《千与千寻》的电影获得了奥斯卡最佳动画片奖，并成为当年柏林电影节的最高奖项得主。随着他们在动漫制作上的日益成功，日本成为欧洲和美国公司最想合作的动漫产业中心之一。
图2.白蛇传（1958）
2.三维动画
动画技术的发展，其过程可以追溯到18世纪，带来了动画流派的主题变化。今天，基于漫画、木偶、定格、投影、裁剪和延时的动画技术，既可以手动应用，也可以基于数字技术。此外，在1976年的电影《未来世界》中使用3D计算机图
形，为这项技术在各种行业中的高需求开辟了道路。3D动画在电影、电视、教育和视频游戏方面都占据着重要地位，它们的创作过程无论在现实还是超现实中都是不受限制的。这种具有魔力的新媒介使不可能成为可能，违背了物理学规律（G?k?earslan，2008：1），为设计师和艺术家打开一扇无限的想象之门。“特别是在八十年代的电影中，计算机辅助的动画效果最终成了救星，电影动画《终结者2》（1991）首次使用3D动画技术，受到了观众和影评人的好评”（卡巴，1992：19）。《玩具总动员》（华特迪士尼影片，1995）因其剧本、人物、背景和动画技巧而广受各年龄段观众的喜爱，是历史上第一部完整的3D动画长片，之后是两部续集。
借助于来自本土的支持和形式化的现实格式，迪士尼角色跻身于动画角色之首。为了实现逼真的制作，迪士尼甚至在工作室里饲养动物，如马、鹿和兔子，而艺术家们则研究它们的形态、动作和行为。至于人物特征，聘请了著名的电影明星作为人类形体和行为的参考点（G?k?earslan，2009：80）。
另一部美国电影《怪物史莱克》（2001）由威廉·史塔克创作的，他的书《怪物史莱克》（1990）是梦工厂电影制作的3D动画电影的基础，吸引了数百万人。这部电影是强大的想象力和现实设计的巧妙和美观的组合的一个很好的例子。此外，通过某些对话和笑话，“价值判断”的主题被简化了，也能被儿童所理解。这些都是两个不可否认的因素，有助于电影在全球范围内的成功。
最成功的3D动画电影是美国制作的。预算、历史和政治因素，以及语境和文体因素，在促成电影的简洁和清晰方面，其重要性毋容置疑。
“摄影后电影的时代到了，很明显，对于动画师来说，电脑本质上是‘另一支铅笔’。可以说，这在皮克斯的《怪兽电力公司》中达到了顶峰。因此，值得注意的是，虽然欧洲也和俄罗斯、中国、日本一样，保留了传统的导演主创论电影制作，而美国经常沉浸在其动画特效的传统中，并将其作为真人电影的附加部分。”（韦尔斯，2002：2）
3.三维动画的美学与设计
无论是低预算的3D动画电影，还是高预算的3D动画电影，都经历了相同的过程。为了将几个元素正确地放在一起，这个过程是必要的。
第一步是写出一个简短的故事大纲，其目的是概述电影情节、内容和主题。在大纲获得批准之后，创意团队继续创建故事板，其中插图或图像按顺序显示，以便可视化电影（图3）。故事板过程反映了3D动画师的观点，以及旨在传达给观众的元素。动画艺术家赋予了场景以生命，并为角色和环境增添了个性。乱世佳人》是首例在动画电影制作过程中最初使用华特迪士尼工作室的故事板技术的非动画电影，自20世纪40年代以来，它一直是电影业不可缺少的一部分。
图3：《玩具总动员》，故事板，皮克斯
故事板艺术家是电影业的主要人物，他们是创造或打破电影设计和美学的人。虽然他们的主要责任是将心中高质量的美学和设计制作成电影场景，但他们也负责整合灯光、阴影和色彩，以增强电影的逼真性。
故事板之后的下一步是以脚本为出发点来“定时”，这在确定场景长度方面尤其重要。为了完成一部逼真可信的作品，需要进行精确的数学计算。
接下来的重要步骤是在3D软件中创建人物和环境，并根据故事板完成创作。虽然人物和物体是在3D软件（如3Ds Max, Cinema 4D , Houdini, Maya, Lightwave）中进行建模的，但还可以使用数字艺术软件（如Photoshop, Illustrator, Artage）创建背景设计，具体取决于电影的类型或内容（图4）。三维模型是雕刻的数字版。随着技术的不断变化，造型艺术也得到了改进和多样化，形成了一种新的数字艺术形式，在技术和内容方面也提供了美学完整性。与手工制作的艺术作品一样，3D创作也是由具有丰富剖析、图案、颜色、纹理、灯光和构图知
识的高技能艺术家制作的。这些艺术家和设计师能够利用他们的想象力和创造力，在制作动画电影的同时又能兼顾技术和美学方面。
图4：3D建模（左）和背景（右）的示例
在电影中，色彩、光和影元素在很大程度上影响了塑造的角色、设置和背景。三维计算机图形软件提供了一个逼真的虚拟演播室和无尽的光源组合。因此，信息和感觉是通过一种艺术敏感和审美愉悦的气氛传达的，它是由光和色彩的某种组合创造出来的。聚光、泛光、区域光和直射光是可单独使用或作为组合使用的选项类型的几种例子。例如，在3D动画中，“直射光”可以当作太阳的替代品在室外使用，而使用垂直光束的“区域光”可以通过散射光线来平滑表面，这使得它非常适合室内环境。蓝天工作室在2001年制作的3D电影《冰河世纪》（图5），巧妙地运用灯光和色彩，实现了一种独特的、令人印象深刻的技术驱动的现实技术，成为当时第一个非常成功的3D动画。
图5：《冰河世纪》，蓝天工作室，2001
在其他视觉元素的建模和润色之后，每个场景都是一个接着一个的动画。“从形式和内容上看，分配给场景中每个视觉元素的动作都必须与故事有一个有意义的联系。事实上，计算机动画的基本原理是，场景内的每一个动作都有一定的用途，框架内的设计创造了视觉快感。”强调元素也有望补充视觉效果, 并与场景相协调。良好的视觉和适当的音乐一起呈现，在情感和逻辑感上对观众的影响比原先要大得多，这是一个公认的事实。因此，在视觉补充方面，影片伴奏乐与其他音频元素（如画外音和配音）一样重要。声音是生命与自然中不可或缺的一部分，因此它可以被认为是讲故事的基本手段。巧妙而恰当地运用声音对保持听众的注意力和兴趣非常有效。
为了在编辑阶段产生有意义的最终产品，必须要仔细地进行故事板和定时处理。娴熟的编辑可以为场景添加节奏和美学。在传达语义节奏方面，电影中时间、场景、声音和气氛的完整性也非常重要。精心的定时淡出、淡入、灯光效果或烟雾效果会让观众更用心、更舒适地追随故事，并且还将在电影本身的美学方面建立一致性。
4.结论
无论今天的技术环境有多大的不同，在远古时代，人类在洞穴表面上画图像时，人类就一直着迷于视觉传达。从那时起，他们总是努力地与其他人、社会或观众分享他们的经历、成就、愿望和梦想。出于同样的目的，人们一直在画画、演戏、写剧本或制作电影。通过视觉传达信息的愿望带来了电影的发明，自18世纪以来，电影已经成为向大众表达想法、思想或情感的重要手段。在21世纪，3D动画主要用于广告、商业、教育和娱乐相关的产品，并带来了许多轰动性的3D电影。
当用照相机记录时，现实的三维面就丢失了，变成了二维。在3D动画中，目标是模仿现实，向观众展示一种尽可能贴近现实生活的体验。“人眼比摄像机要先进。无限的深度感和同时聚焦于多个物体的能力只是照相机和人眼之间的一些差异。计算机制作的视觉效果和照相机的效果是相同的。与绘画和摄影一样，它旨在以二维形式诠释三维世界。”因此，3D动画已经变得和实际应用一样重要，并且由于它们能够制作出非常困难的场景，甚至不可能模拟的场景，所以它
们实际上已经成为一个更好的选择。像迪斯尼、皮克斯和树星等大公司一直在制作3D动画，吸引了全世界的儿童和成人。成功的作品包含的元素有：适当的想法，合适的内容，以及具有技术背景的专业艺术家和设计师。因此，为了建立良好的视觉传达，保持观众的注意力，艺术与设计必须携手并进。有时，忠实于所有基本的设计原则，可能不足以达到一个审美赏心悦目的场景。为了实现一个美观的场景，温暖和真诚是人类的典型特征，必须融入到电影中。建模团队，扮演着雕刻家的角色，像画家一样创造真实的材料，与创意故事板艺术家、纹理和背景艺术家合作，实现了艺术上有价值的作品。为了达到合理性和审美价值的创造，在过程中使用的色彩、光、影和纹理都忠于现实生活，这一点很重要。相机的角度、速度和运动方向，场景的顺序及其与强调的和谐，是决定一部电影的图式或审美品质的关键。
总而言之，“艺术不教。相反，艺术呈现了终极目标的全面而具体的现实。艺术所做的是呈现“他们应该或可能是”的东西，这有助于人们在现实生活中获得这些东西。然而，这仅仅是艺术的次要好处。艺术的主要好处是它给人们提供了一种在现实生活中“如果他们本来就是这样”的体验。这样的经历对人类生活至关重要。当然，人们看不到电影的图式或审美品质。然而，随着电影的发展，一种视觉语言沉淀到观众的潜意识中，创造出一种愉悦感。瓦尔特·本雅明说，观看图片的观众能够放弃自己的联想。不过，在电影院看电影的人并不是这样的。相反，电影观众在观看电影后只会建立联想，因此感知的过程被推迟了。（本雅明，1993：66）。
外文文献原文+译文 原文 The study on the design of neuter clothing H ous e W Abstract Social and economic development, social thought, opening up and the progress of science and technology, men and women style presented the diversified pattern of neuter the fuzzy gender differences in style, from the beginning of non-mainstream des ign till n ow has develop ed i nt o on e of the mains t ream fas hi on d es ign style. Fashion brands have launched in recent years, the neutral flavor of fashion, neuter clothing market share of more and more, neutral fashion, with its broad group of sex leads the urban street fashion. Neutralization of free and open way of life style, gave people a comfortable and enjoyable. K ey words: Neut e r; Cl ot hing; Gender roles; Design 1 Introduction The beginning of the 20th century the rise of the feminist movement, make the neutral clothing as a kind of style into the line of sight of people. In the 90 s, the neutral clothing has used by each big brand clothing as one of the fashionable e lement s, s uc h a s dust coa t w i th a ne ut ral style, s ui ts, t-shirt s and j e ans have bec om e people like everyday clothes. Neuter clothing style is a simple, pure; reject all multifarious mincing, personalized style. As a special kind of clothing style, neuter clothing fashion has been intensified in the social life, so it is necessary for us to study the clothing neutralization phenomenon, to study its causes and the development of sociology. This article mainly from the sociological association as well as the relationship between men and women clothing and gender status in the society, which is based on analyzing the change of the study the social basis of the neutral clothing appear; Again from the social system, economic development, cultural trend and fashion designers to the influence of the neutral clothing style, etc., it is concluded that the neuter clothing phenomenon is the development of social consciousness, the sexual role transformation, the new clothing design trends are affecting the results.
文献综述 《中国设计的力量》把当今市场上的白酒酒包装编辑成册，研究酒包装设计对人们的消费观念的影响。书中所列举的包装充分表现出了历史文化和高尚生活元素的结合。随着当今酒市场竞争的激烈，酒包装设计本身所呈现出的价值也越来越得到人们的认可，不仅带给人们实用和审美的艺术价值，还创造了不可估量的经济价值。酒并不是生活必需品，但在社会生活中，酒却具有其它物品所无法替代的功能。酒是随着人类文明不断的发展和创新的。酒包装设计也是在不断更新、变化、发展的。 《设计大师的对话》这不是一本普通的访谈录，而是凝聚着当代日本设计大师们发自肺腑心声的箴言集。本书汇编出了一组包罗万象的时代创意阵容，并且进行访谈的二十五个人物绝对不可缺一。用文字和图片去记录日本设计源头所发生的一切。凭着作者那股近乎门外汉般的好奇精神和不懈的努力，最终成就了他对智慧的生产现场的执著探访。从表面上看，除了要传递那些成为我们新的共同关注点，即设计专业的整体和真实以外，似乎并没有什么特别之处。但是本书却汇编出了一组包罗万象的时代创意阵容，并且到了书中的二十五个人物绝对不可缺一，若有一人被排斥在外便难以成书的微妙地步。 《包装设计基础与创意》这本书介绍了在艺术设计领域中，包装设计以其与人们生活的密切而占有重要的位置。今天的消费在一定程度上，已经成为一种文化消费的趋势。随着文化消费圈层的不断扩大，文化消费已经渗透到我们社会生活的各个层面。人们对商品的购买已经不再是单单的实用，而是越来越注重外观的美感。特别是产品的包装，更是文化和艺术的载体。这需要我们对包装的设计，进行深入地研究与发掘。在继承的前提下充分融合时代需求，不断地发展与创新，满足人们的文化追求。从包装发展的历史中涉取宝贵的经验与教训，这样才能在继承优秀的外在形式和内在的精神基础上不断提高和创新，才能超越和创造历史，把包装设计艺术不断的创新和发展下去。 《设计中的设计》这本书中，原研哉认真阐述了“设计领域的再配置”这一问题。显然，他对设计的思考已经远远超出了技术层面，而是围绕信息传达这一设计的本质功能，以充满自省的精神在深化和反思自己的设计意识。在原研哉看来，设计不是一种技能，而是捕捉事物本质的感觉能力和洞察能力。所以，设计师要时刻保持对社会的敏感度。他正是以这一想法为中心展开论述。原研哉以“无中生有”的理念为圭臬，凸现了“无”的力量。同时，作为一名非常具有社会责任感的设计师，他也把引导消费欲望作为自己的任务之一，并对其进行了深入的思考。 《绝对包装》此书体现了包装设计创新的精华理念。以大量成功经典作品为案例，对其创意的关键所在进行深入分析。食品、非酒精类饮料、酒精类饮料、CD、化妆品、生活用品、礼品盒等包装精品光彩夺目、美伦美奂；作者的点评文字，敏锐精当，每每切入作品独特奥妙之处。 《标牌与标签设计》在这本书中作者，列举了大量的实例。详细地介绍了国外标牌与标签设计的发展情况。在国外设计分工越来越细，一个小的标牌，不过方寸。却显示出大
吉林化工学院理学院 毕业论文外文翻译English Title（Times New Roman ，三号） 学生学号：08810219 学生姓名：袁庚文 专业班级：信息与计算科学0802 指导教师：赵瑛 职称副教授 起止日期：2012.2.27～2012.3.14 吉林化工学院 Jilin Institute of Chemical Technology
1 外文翻译的基本内容 应选择与本课题密切相关的外文文献（学术期刊网上的），译成中文，与原文装订在一起并独立成册。在毕业答辩前，同论文一起上交。译文字数不应少于3000个汉字。 2 书写规范 2.1 外文翻译的正文格式 正文版心设置为：上边距：3.5厘米，下边距：2.5厘米，左边距：3.5厘米，右边距：2厘米，页眉：2.5厘米，页脚：2厘米。 中文部分正文选用模板中的样式所定义的“正文”，每段落首行缩进2字；或者手动设置成每段落首行缩进2字，字体：宋体，字号：小四，行距：多倍行距1.3，间距：前段、后段均为0行。 这部分工作模板中已经自动设置为缺省值。 2.2标题格式 特别注意：各级标题的具体形式可参照外文原文确定。 1．第一级标题（如：第1章绪论）选用模板中的样式所定义的“标题1”，居左；或者手动设置成字体：黑体，居左，字号：三号，1.5倍行距，段后11磅，段前为11磅。 2．第二级标题（如：1.2 摘要与关键词）选用模板中的样式所定义的“标题2”，居左；或者手动设置成字体：黑体，居左，字号：四号，1.5倍行距，段后为0，段前0.5行。 3．第三级标题（如：1.2.1 摘要）选用模板中的样式所定义的“标题3”，居左；或者手动设置成字体：黑体，居左，字号：小四，1.5倍行距，段后为0，段前0.5行。 标题和后面文字之间空一格（半角）。 3 图表及公式等的格式说明 图表、公式、参考文献等的格式详见《吉林化工学院本科学生毕业设计说明书（论文）撰写规范及标准模版》中相关的说明。
文献综述 建筑设计参考文献综述： [1]《房屋建筑学》，邢双军主编 建筑学作为一门内容广泛的综合性学科，它沙及到建筑功能、工程技术、建筑经济、建筑艺术以及环境规划等许多方面的问题。般说来，建筑物既是物质产品，又具有一定的艺术形象，它必然随着社会生产生活方式的发展变化而发展变化，并且总是受科学技术、政治经济和文化传统的深刻影响*建筑物—一作为人们亲手创造的人为环境的重要组成部分，需要耗用大量的人力和物力。它除了具行满足物质功能的使用要求外，其空间组合和建筑形象又常会赋予人们以精神上的感受。 [2]《建筑设计防火规范》（GB50016-2006） 1.0.1 为了防止和减少建筑火灾危害，保护人身和财产安全，制定本规范。 1.0.2 本规范适用于下列新建、扩建和改建的建筑： 1 9层及9层以下的居住建筑（包括设置商业服务网点的居住建筑）； 2 建筑高度小于等于24.0m 的公共建筑； 3 建筑高度大于24.0m 的单层公共建筑； 4 地下、半地下建筑（包括建筑附属的地下室、半地下室）； 5 厂房； 6 仓库； 7 甲、乙、丙类液体储罐（区）； 8 可燃、助燃气体储罐（区）； 9 可燃材料堆场； 10 城市交通隧道。 注：1 建筑高度的计算：当为坡屋面时，应为建筑物室外设计地面到其檐口的高度；当为平屋面（包括有女儿墙 的平屋面）时，应为建筑物室外设计地面到其屋面面层的高度；当同一座建筑物有多种屋面形式时，建筑 高度应按上述方法分别计算后取其中最大值。局部突出屋顶的瞭望塔、冷却塔、水箱间、微波天线间或设 施、电梯机房、排风和排烟机房以及楼梯出口小间等，可不计入建筑高度内。 2 建筑层数的计算：建筑的地下室、半地下室的顶板面高出室外设计地面的高度小于等 于 1.5m 者，建筑底部设置的高度不超过2.2m 的自行车库、储藏室、敞开空间，以及建筑屋顶上突出的局部设备用房、出屋面 的楼梯间等，可不计入建筑层数内。住宅顶部为两层一套的跃层，可按1 层计，其它部位的跃层以及顶部 多于2 层一套的跃层，应计入层数。 1.0.3 本规范不适用于炸药厂房（仓库）、花炮厂房（仓库）的建筑防火设计。 人民防空工程、石油和天然气工程、石油化工企业、火力发电厂与变电站等的建筑防火设计，当有专门的国家现行标准时，宜从其规定。 1.0.4 建筑防火设计应遵循国家的有关方针政策，从全局出发，统筹兼顾，做到安全适用、技术先进、经济合理。 1.0.5 建筑防火设计除应符合本规范的规定外，尚应符合国家现行有关标准的规定。
文献信息： 文献标题：Evolution of Fashion Design in the Era of High-Tech Culture （高科技文化时代服装设计的演变） 国外作者：Galina Mihaleva，C.Koh 文献出处：《International Scholarly and Scientific Research and Innovation》,2016,10(7):2447-2451 字数统计：英文2079单词，11462字符；中文3549汉字 外文文献： Evolution of Fashion Design in the Era of High-Tech Culture Abstract Fashion, like many other design fields, undergoes numerous evolutions throughout the ages. This paper aims to recognize and evaluate the significance of advance technology in fashion design and examine how it changes the role of modern fashion designers by modifying the creation process. It also touches on how modern culture is involved in such developments and how it affects fashion design in terms of conceptualizing and fabrication. By comparing case studies, existing fashion design examples and crafting method experimentations; we then spot patterns in which to predict the direction of future developments in the field. A breakdown on the elements of technology in fashion design helps us understand the driving force behind such a trend. The results from explorations in the paper have shown that there is an observed pattern of a distinct increase in interest and progress in the field of fashion technology, which leads to the birth of hybrid crafting methods. In conclusion, it is shown that as fashion technology continues to evolve, their role in clothing crafting becomes more prominent and grows far beyond the humble sewing machine. Keywords: Fashion design, functional aesthetics, smart textiles, 3D printing. INTRODUCTION It is common knowledge that the environment we live in greatly influences the
(文档含英文原文和中文翻译) 中英文翻译 平面设计 任何时期平面设计可以参照一些艺术和专业学科侧重于视觉传达和介绍。采用多种方式相结合，创造和符号，图像和语句创建一个代表性的想法和信息。平面设计师可以使用印刷，视觉艺术和排版技术产生的最终结果。平面设计常常提到的进程，其中沟通是创造和产品设计。 共同使用的平面设计包括杂志，广告，产品包装和网页设计。例如，可能包括产品包装的标志或其他艺术作品，举办文字和纯粹的设计元素，如形状和颜色统一件。组成的一个最重要的特点，尤其是平面设计在使用前现有材料或不同的元素。 平面设计涵盖了人类历史上诸多领域，在此漫长的历史和在相对最近爆炸视觉传达中的第20和21世纪，人们有时是模糊的区别和重叠的广告艺术，平面设计和美术。毕竟，他们有着许多相同的内容，理论，原则，做法和语言，有时同样的客人或客户。广告艺术的最终目标是出售的商品和服务。在平面
设计，“其实质是使以信息，形成以思想，言论和感觉的经验”。 在唐朝（ 618-906 ）之间的第4和第7世纪的木块被切断打印纺织品和后重现佛典。阿藏印在868是已知最早的印刷书籍。 在19世纪后期欧洲，尤其是在英国，平面设计开始以独立的运动从美术中分离出来。蒙德里安称为父亲的图形设计。他是一个很好的艺术家，但是他在现代广告中利用现代电网系统在广告、印刷和网络布局网格。 于1849年，在大不列颠亨利科尔成为的主要力量之一在设计教育界，该国政府通告设计在杂志设计和制造的重要性。他组织了大型的展览作为庆祝现代工业技术和维多利亚式的设计。 从1892年至1896年威廉?莫里斯凯尔姆斯科特出版社出版的书籍的一些最重要的平面设计产品和工艺美术运动，并提出了一个非常赚钱的商机就是出版伟大文本论的图书并以高价出售给富人。莫里斯证明了市场的存在使平面设计在他们自己拥有的权利，并帮助开拓者从生产和美术分离设计。这历史相对论是，然而，重要的，因为它为第一次重大的反应对于十九世纪的陈旧的平面设计。莫里斯的工作，以及与其他私营新闻运动，直接影响新艺术风格和间接负责20世纪初非专业性平面设计的事态发展。 谁创造了最初的“平面设计”似乎存在争议。这被归因于英国的设计师和大学教授Richard Guyatt，但另一消息来源于20世纪初美国图书设计师William Addison Dwiggins。 伦敦地铁的标志设计是爱德华约翰斯顿于1916年设计的一个经典的现代而且使用了系统字体设计。 在20世纪20年代，苏联的建构主义应用于“智能生产”在不同领域的生产。个性化的运动艺术在俄罗斯大革命是没有价值的，从而走向以创造物体的功利为目的。他们设计的建筑、剧院集、海报、面料、服装、家具、徽标、菜单等。 Jan Tschichold 在他的1928年书中编纂了新的现代印刷原则，他后来否认他在这本书的法西斯主义哲学主张，但它仍然是非常有影响力。 Tschichold ，包豪斯印刷专家如赫伯特拜耳和拉斯洛莫霍伊一纳吉，和El Lissitzky 是平面设计之父都被我们今天所知。 他们首创的生产技术和文体设备，主要用于整个二十世纪。随后的几年看到平面设计在现代风格获得广泛的接受和应用。第二次世界大战结束后，美国经济的建立更需要平面设计，主要是广告和包装等。移居国外的德国包豪斯设计学院于1937年到芝加哥带来了“大规模生产”极简到美国;引发野火的“现代”建筑和设计。值得注意的名称世纪中叶现代设计包括阿德里安Frutiger ，设计师和Frutiger字体大学;保兰德，从20世纪30年代后期，直到他去世于1996年，采取的原则和适用包豪斯他们受欢迎的广告和标志设计，帮助创造一个独特的办法，美国的欧洲简约而成为一个主要的先驱。平面设计称为企业形象;约瑟夫米勒，罗克曼，设计的海报严重尚未获取1950年代和1960年代时代典型。 从道路标志到技术图表，从备忘录到参考手册，增强了平面设计的知识转让。可读性增强了文字的视觉效果。 设计还可以通过理念或有效的视觉传播帮助销售产品。将它应用到产品和公司识别系统的要素像标志、颜色和文字。连同这些被定义为品牌。品牌已日益成为重要的提供的服务范围，许多平面设计师，企业形象和条件往往是同时交替使用。
软件专业毕业论文外文文献中英文翻译 Object landscapes and lifetimes Tech nically, OOP is just about abstract data typing, in herita nee, and polymorphism, but other issues can be at least as importa nt. The rema in der of this sect ion will cover these issues. One of the most importa nt factors is the way objects are created and destroyed. Where is the data for an object and how is the lifetime of the object con trolled? There are differe nt philosophies at work here. C++ takes the approach that con trol of efficie ncy is the most importa nt issue, so it gives the programmer a choice. For maximum run-time speed, the storage and lifetime can be determined while the program is being written, by placing the objects on the stack (these are sometimes called automatic or scoped variables) or in the static storage area. This places a priority on the speed of storage allocatio n and release, and con trol of these can be very valuable in some situati ons. However, you sacrifice flexibility because you must know the exact qua ntity, lifetime, and type of objects while you're writing the program. If you are trying to solve a more general problem such as computer-aided desig n, warehouse man ageme nt, or air-traffic con trol, this is too restrictive. The sec ond approach is to create objects dyn amically in a pool of memory called the heap. In this approach, you don't know un til run-time how many objects you n eed, what their lifetime is, or what their exact type is. Those are determined at the spur of the moment while the program is runnin g. If you n eed a new object, you simply make it on the heap at the point that you n eed it. Because the storage is man aged dyn amically, at run-time, the amount of time required to allocate storage on the heap is sig ni fica ntly Ion ger tha n the time to create storage on the stack. (Creat ing storage on the stack is ofte n a si ngle assembly in structio n to move the stack poin ter dow n, and ano ther to move it back up.) The dyn amic approach makes the gen erally logical assumpti on that objects tend to be complicated, so the extra overhead of finding storage and releas ing that storage will not have an importa nt impact on the creati on of an object .In additi on, the greater flexibility is esse ntial to solve the gen eral program ming problem. Java uses the sec ond approach, exclusive". Every time you want to create an object, you use the new keyword to build a dyn amic in sta nee of that object. There's ano ther issue, however, and that's the lifetime of an object. With Ian guages that allow objects to be created on the stack, the compiler determines how long the object lasts and can automatically destroy it. However, if you create it on the heap the compiler has no kno wledge of its lifetime. In a Ianguage like C++, you must determine programmatically when to destroy the
I. City and The Landscape (1) Overview of Landscape Design Landscape design, first, is a people's thinking activity, performed as an art activity.Diversified thoughts formed complex diverse landscape art style. Contemporary landscape design apparently see is the diversity of the landscape forms,in fact its essence is to keep the closing up to the natural order system, reflected the more respect for human beings, more in-depth perspective of the nature of human's reality and need, not to try to conquer the nature.it is not even imitating natural, but produce a sense of belonging. Landscape is not only a phenomenon but the human visual scene. So the earliest landscape implications is actually city scene. Landscape design and creation is actually to build the city. (2) The Relationship Between Landscape and Urban City is a product of human social, economic and cultural development, and the most complex type. It is vulnerable to the artificial and natural environmental conditions of interference. In recent decades, with worldwide the acceleration of urbanization, the urban population intensive, heavy traffic, resource shortage,
中英文对照外文翻译 (文档含英文原文和中文翻译) Create and comprehensive technology in the structure global design of the building The 21st century will be the era that many kinds of disciplines technology coexists , it will form the enormous motive force of promoting the development of building , the building is more and more important too in global design, the architect must seize the opportunity , give full play to the architect's leading role, preside over every building engineering design well. Building there is the global design concept not new of architectural design,characteristic of it for in an all-round way each element not correlated with building- there aren't external environment condition, building , technical equipment,etc. work in coordination with, and create the premium building with the comprehensive new technology to combine together. The premium building is created, must consider sustainable development , namely future requirement , in other words, how save natural resources as much as possible, how about protect the environment that the mankind depends on for existence, how construct through high-quality between architectural design and building, in order to reduce building equipment use quantity and
英文翻译： The unique expression in fashion design Abstract: With the social progress and people's aesthetic awareness, clothing design requirements are constantly changing, not only beautiful, comfortable, personalized for different purposes, and more and more people started to pay attention the unique design of the clothing. unique expression of the clothing design has something in common, in common, there are three factors most typical one of the means of the use of the plastic arts; is to follow the basic rules of the plastic arts; the pursuit of art content and beauty of form harmony and unity. The face of increasingly fierce competition in society, from clothing unique starting to play to their strengths, so that the costume design perfected. Key words: aesthetic sense; costume design; uniqueness; expression Introduction With the rich substance of social development, improved quality of life, the pursuit of unique clothing is also more than plus strong, the face of the popularity and unity to the mass production of clothing has become a problem to be solved in order to fashion designers. An important design point, then become a unique expression of the costume design costume design costume design unique refers to the characteristics of the presentation of the representative from the clothing on the whole, it is unique content and form unity. China fashion design unique expression as a complete system of disciplines to study the ancient times to now there, but the uniqueness of expression in fashion design is not perfect, therefore, the uniqueness of this study fashion design to express Modern fashion design is of great significance. 1. The unique overview of clothing In short, The unique nature of the clothing is the clothing unique. In a broad sense refers to the presentation of the representative characteristics from the whole of the clothing works, it is one of the unique form and the objectivity of the unity of the unity of content, costume designer on the subjective aspect of creative and clothing subject matter difficult to find words to express, but it is not difficult to make us feel unique style. The unique nature of the clothing, but also refers to the values, artistic characteristics and inherent character of a nation, an era, a genre or a person's clothing in the content and format of the show out. The unique nature of the appearance of the mind, the pursuit of the realm of fashion design in the final analysis is unique in design and positioning, the unique expression of the costume design also reflects the designer's unique creative thinking and the pursuit of art also reflects the distinctive character.
包装设计外文翻译文献(文档含中英文对照即英文原文和中文翻译)
包装对食品发展的影响 消费者对某个产品的第一印象来说包装是至关重要的，包括沟通的可取性，可接受性，健康饮食形象等。食品能够提供广泛的产品和包装组合，传达自己加工的形象感知给消费者，例如新鲜包装/准备，冷藏，冷冻，超高温无菌，消毒（灭菌），烘干产品。 食物的最重要的质量属性之一，是它的味道，其影响人类的感官知觉，即味觉和嗅觉。味道可以很大程度作退化的处理和/或扩展存储。其他质量属性，也可能受到影响，包括颜色，质地和营养成分。食品质量不仅取决于原材料，添加剂，加工和包装的方法，而且其预期的货架寿命（保质期）过程中遇到的运输和储存条件的质量。越来越多的竞争当中，食品生产商，零售商和供应商；和质量审核供应商有着显著的提高食品质量以及急剧增加包装食品的选择。这些改进也得益于严格的冷藏链中的温度控制和越来越挑剔的消费者。 保质期的一个定义是：在规定的贮存温度条件下产品保持其质量和安全性的时间。在保质期内，产品的生产企业对该产品质量符合有关标准或明示担保的质量条件负责，销售者可以放心销售这些产品，消费者可以安全使用。 保质期不是识别食物等产品是否变质的唯一标准，可能由于存放方式，环境等变化物质的过早变质。所以食物等尽量在保质期未到期就及时食用。包装产品的质量和保质期的主题是在第3章中详细讨论。
包装为消费者提供有关产品的重要信息，在许多情况下，使用的包装和/或产品，包括事实信息如重量，体积，配料，制造商的细节，营养价值，烹饪和开放的指示，除了法律准则的最小尺寸的文字和数字，有定义的各类产品。消费者寻求更详细的产品信息，同时，许多标签已经成为多语种。标签的可读性会是视觉发现的一个问题，这很可能成为一个对越来越多的老年人口越来越重要的问题。 食物的选择和包装创新的一个主要驱动力是为了方便消费者的需求。这里有许多方便的现代包装所提供的属性，这些措施包括易于接入和开放，处置和处理，产品的知名度，再密封性能，微波加热性，延长保质期等。在英国和其他发达经济体显示出生率下降和快速增长的一个相对富裕的老人人口趋势，伴随着更加苛刻的年轻消费者，他们将要求和期望改进包装的功能，如方便包开启（百货配送研究所，IGD）。 对零售商而言存在有一个高的成本，供应和服务的货架体系。没有储备足够的产品品种或及时补充库存，特别是副食品，如鲜牛奶，可能导致客户不满和流失到竞争对手的商店，这正需要保证产品供应。现代化的配送和包装系统，允许消费者在购买食品时，他们希望在他们想任何时间地点都能享用。近几年消费者的选择已在急剧扩大。例如在英国，20世纪60年代和90年代之间在一般超市的产品线的数量从2000年左右上升到超过18000人（INCPEN）。 自20世纪70年代以来，食品卫生和安全问题已成为日益重要的关注和选择食物的驱动力。媒体所关注的一系列问题，如使用化学添
本科毕业设计（论文）中英文对照翻译 院（系部）电气工程与自动化 专业名称电子信息工程 年级班级 04级7班 学生姓名 指导老师
Infrared Remote Control System Abstract Red outside data correspondence the technique be currently within the scope of world drive extensive usage of a kind of wireless conjunction technique,drive numerous hardware and software platform support. Red outside the transceiver product have cost low, small scaled turn, the baud rate be quick, point to point SSL, be free from electromagnetism thousand Raos etc.characteristics, can realization information at dissimilarity of the product fast, convenience, safely exchange and transmission, at short distance wireless deliver aspect to own very obvious of advantage.Along with red outside the data deliver a technique more and more mature, the cost descend, red outside the transceiver necessarily will get at the short distance communication realm more extensive of application. The purpose that design this system is transmit cu stomer’s operation information with infrared rays for transmit media, then demodulate original signal with receive circuit. It use coding chip to modulate signal and use decoding chip to demodulate signal. The coding chip is PT2262 and decoding chip is PT2272. Both chips are made in Taiwan. Main work principle is that we provide to input the information for the PT2262 with coding keyboard. The input information was coded by PT2262 and loading to high frequent load wave whose frequent is 38 kHz, then modulate infrared transmit dioxide and radiate space outside when it attian enough power. The receive circuit receive the signal and demodulate original information. The original signal was decoded by PT2272, so as to drive some circuit to accomplish