[雙語(yǔ)翻譯]動(dòng)畫(huà)設(shè)計(jì)外文翻譯--新時(shí)期動(dòng)畫(huà)設(shè)計(jì)的發(fā)展與藝術(shù)特征

1、1860 英文單詞， 英文單詞，9400 英文字符，中文 英文字符，中文 2900 字文獻(xiàn)出處： 文獻(xiàn)出處：Zhang, Hua W.Developments and Art Features of Animation Design in New Era[J]. Applied Mechanics and Materials, 2012, 174-177:2575-2578.Developments and Art Features o

2、f Animation Design in New EraZHANG WeihuaAbstract The objective of this research is to examine the digital animation industry and current government policies and supporting systems. The academic objective of this study e

3、merged from the fact that the pace of research on digital animation has not kept up with that of the industry and market. It is necessary to provide and explain the up-to-date information about the digital animation indu

4、stry, and this research will be helpful to those who conduct research on the current situation of international digital animation.Keywords: Animation Design, Art Features, digital cultureIntroductionTo date, the research

5、 on digital cultural products has been conducted by only a few countries that possess enough competitive market power to dominate the world market. There are several developing countries, however, that are rising to prom

6、inence and seizing the opportunity from fully developed countries in cultural industries as well as in the information and communication technology area. Chinese, Korea and Singapore are a case in point [1]. These countr

7、ies originated from the fact that these countries not only have had impressive economic development during the final twenty-five years of the 20th century, but also have been on the cutting edge in the implementation of

8、information and communication technologies. Therefore, examining these countries carefully as to how they have become prominent in the IT industry will be another important issue in international communication. In partic

9、ular, research could be expanded to all of these Asian countries if an investigation were based within one individual country as the first step. This study serves as that starting point.Digital cultural industries combin

10、e characteristics of the information and communication technology industries as well as of the cultural industries. These industries reap tremendous financial profits and receive much attention around the world [2]. Kore

11、a, in particular, is the country that has promising potential and is trying to make a quantum leap economically through utilization of these industries. Korea has a relatively long animation history for Asia, and in addi

12、tion shows rapid development in the area of information and communication technologies. Moreover, since systematic research on digital animation has not been conducted sufficiently both in terms of its quantity as well a

13、s its quality, such research is particularly valuable. Thus, the central focus of this study of Korean digital animation will be an examination of the industrial characteristics caused by digitalization as well as of the

14、 supporting systems managed by governments.Design of Animation based on web and its art featuresText is the simplest element on the web page, and it can come in the form of headers, paragraphs, or simple words. Text can

15、be used to describe an event, introduce a product, explain a topic, or just to provide information. Text can be coded into the page with simple HTML code, and it can be saved in the same HTML file that is being displayed

16、 on the web page. Therefore, no additional files are needed if the web page contains text only. While text is simple and does not study included a web site with different contact points and concluded that the contact poi

17、nts made through the use of animation are more likely to draw the attention of the users.Design of 3D and its art featuresTraditional stereoscopy simulates human vision by presenting two separate images offset to match a

18、 human’s eyes. The left eye sees an image that is slightly to the left and the right eye sees an image that is slightly to the right. The human brain then processes the two images and leads the viewer to believe he or sh

19、e is viewing a real 3D space [8]. Many methods have been used to present these two separate images. The first was an invention called the Stereoscope by Sir Charles Wheatstone in 1838.The stereoscope presents two slightl

20、y different pictures to the viewer’s eyes using mirrors to produce an illusion of a 3D space. Although the stereoscope was a marvel for its time, the design was not readily conducive to motion pictures. Projected anaglyp

21、hs consist of two different images projected on a single surface in two different primary colors. If the projection is then viewed through glasses of the same primary colors (Figure 1), one over each eye, a 3D image will

22、 be perceived. This method relies on two facts: an object of a primary color viewed through a transparent screen of the same color will be invisible to the viewer; and an object of a primary color viewed through a transp

23、arent screen of its complementary color will appear almost black. The anaglyph method for 3D, however, does lead to two significant limitations [9]. First, images are severely color restricted because each image can only

24、 contain the complementary color of the viewer’s opposite eye glass, essentially limiting a film to black and white. Second, projection of exact complementary colors to the colors in the anaglyph glasses is difficult, an

25、d results in a phenomenon known as ghosting, which occurs when the viewer not only sees the complementary color they should, but also a faint blur of the color they should not. With these two restrictions, anaglyphs have

26、 been more popular for use in printed media where control of image color allows a more precise match with the filter color used in glasses.Figure 1: Anaglyph 3D glassesThe latest stereoscopic technology to hit the market

27、 has been in the form of active shutter glasses. Images are displayed to the viewer in a single sequence with alternating images for the right eye and the left. The viewer wears glasses, synchronized to the display unit,

28、 that black out the right eye or the left eye based on what is currently displayed on the screen [10]. Each eye must view an image at a rate of at least 48Hz, with 60Hz preferred, in order to avoid flicker and motion art