Sketching Storyboards to Illustrate Interface Behaviors

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2023年新高考英语试题Ⅱ卷{附答案}

2023年普通高等学校招生全国统一考试(新课标Ⅱ卷)英语学科本试卷共12页。

考试结束后，将本试卷和答题卡一并交回。

注意事项:1. 答题前，考生先将自己的姓名、准考证号码填写清楚，将条形码准确粘贴在考生信息条形码粘贴区。

2. 选择题必须使用2B铅笔填涂；非选择题必须使用0.5毫米黑色字迹的签字笔书写，字体工整、笔迹清楚。

3. 请按照题号顺序在答题卡各题目的答题区域内作答，超出答题区域书写的答案无效；在草稿纸、试卷上答题无效。

4. 作图可先使用铅笔画出，确定后必须用黑色字迹的签字笔描黑。

5. 保持卡面清洁，不要折叠，不要弄破、弄皱，不准使用涂改液、修正带、刮纸刀。

第一部分听力听力(1-20小题)在笔试结束后进行。

注意事项：英语听力共两节，20小题，每小题1.5分，满分30分。

第一部分听力（共两节，满分30分）做题时，先将答案标在试卷上。

录音内容结束后，你将有两分钟的时间将试卷上的答案转涂到答题卡上。

第一节（共5小题；每小题1.5分，满分7.5分）听下面5段对话。

每段对话后有一个小题，从题中所给的A、B、C三个选项中选出最佳选项。

听完每段对话后，你都有10秒钟的时间来回答有关小题和阅读下一小题。

每段对话仅读一遍。

例：How much is the shirt?A. £19.15.B. £9.18.C. £9.15.答案是C。

1.What will Jack probably do this weekend?A. Go camping.B. Visit a friend.C. Watch a film.2.What does the woman ask the man to do?A. Take care of her bags.B. Pack the food for her.C. Check the train schedule.3.When will the man see Bob?A. This Friday.B. This Saturday.C. Next Monday.4.Why does the man apologize?A. For the terrible food.B. For the overcharge.C. For the waiter’s rudeness.5.What are the speakers talking about?A. Writing a book.B. Holding a celebration.C. Buying a present.第二节（共15小题；每小题1.5分，满分22.5分）听下面5段对话或独白。

storyboard简介

A storyboard.The storyboarding process, in the form it is known today, was developed at the Walt Disney Studio during the early 1930s, after several years of similar processes being in use at Walt Disney and other animation studios.MoviesA film storyboard is essentially a large comic of the film or some section of the film produced beforehand to help film directors, cinematographers and television commercial advertising clients visualize the scenes and find potential problems before they occur. Often storyboards include arrows or instructions that indicate movement.In creating a motion picture with any degree of fidelity to a script, a storyboard provides a visual layout of events as they are to be seen through the camera lens. And in the case of interactive media, it is the layout and sequence in which the user or viewer sees the content or information. In the storyboarding process, most technical details involved in crafting a film or interactive media project can be efficiently described either in picture, or in additional text.Some live-action film directors, such as Joel and Ethan Coen, used storyboard extensively before taking the pitch to their funders, stating that it helps them get the figure they are looking for since they can show exactly where the money will be used. Alfred Hitchcock's films were strongly believed to have been extensively storyboarded to the finest detail by the majority of commentators over the years, although recent research indicates that this was exaggerated for publicity purposes. Other directors storyboard only certain scenes, or none at all. Animation directors are usually required to storyboard extensively, sometimes in place of writing a script.A common misconception is that storyboards are not used in theater. They are frequently special tools that directors and playwrights use to understand the layout of the scene. The great Russian theatre practitioner Constantin Stanislavski developed storyboards in his detailed production plans for his Moscow Art Theatreperformances (such as of Chekhov's The Seagull in 1898). The German director and dramatist Bertolt Brecht developed detailed storyboards as part of his dramaturgical method of "fabels."AnimaticsIn animation and special effects work, the storyboarding stage may be followed by simplified mock-ups called "animatics" to give a better idea of how the scene will look and feel with motion and timing. At its simplest, an animatic is a series of still ima ges edited together and displayed in sequence. More commonly, a rough dialogue and/or rough sound track is added to the sequence of still images (usually taken from a storyboard) to test whether the sound and images are working effectively together.This allows the animators and directors to work out any screenplay, camera positioning, shot list and timing issues that may exist with the current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard is perfected. Editing the film at the animatic stage can avoid animation of scenes that would be edited out of the film. Animation is usually an expensive process, so there should be a minimum of "deleted scenes" if the film is to be completed within budget.Often storyboards are animated with simple zooms and pans to simulate camera movement (using non-linear editing software). These animations can be combined with available animatics, sound effects and dialog to create a presentation of how a film could be shot and cut together. Some feature film DVD special features include production animatics.Animatics are also used by advertising agencies to create inexpensive test commercials. A variation, the "rip-o-matic", is made from scenes of existing movies, television programs or commercials, to simulate the look and feel of the proposed commercial. Rip, in this sense, refers to ripping-off an original work to create a new one.BusinessStoryboards were adapted from the film industry to business, purportedly by Howard Hughes of Hughes Aircraft. Today they are used by industry for planning ad campaigns, commercials, a proposal or other projects intended to convince or compel to action.A "quality storyboard" is a tool to help facilitate the introduction of a quality improvement process into an organisation.Design comics are a type of storyboard used to include a customer or other characters into a narrative. Design comics are most often used in designing web sites or illustrating product usage scenarios during design.One advantage of using storyboards is that it allows (in film and business) the user to experiment with changes in the storyline to evoke stronger reaction or interest. Flashbacks, for instance, are often the result of sorting storyboards out of chronological order to help build suspense and interest.The process of visual thinking and planning allows a group of people to brainstorm together, placing their ideas on storyboards and then arranging the storyboards on the wall. This fosters more ideas and generates consensus inside the group.。

loq地编场景制作流程

loq地编场景制作流程Creating a loq地编场景 is a fascinating process that combines imagination, creativity, and technical skill. It involves designing a virtual environment that reflects the unique story and atmosphere of the scene. From conceptualization to final editing, each step plays a crucial role in bringing the scene to life.制作一个loq地编场景是一个充满想象力、创造力和技术技巧的过程。

它涉及设计一个虚拟环境，反映场景的独特故事和氛围。

从概念化到最终编辑，每个步骤在将场景塑造成现实中扮演了至关重要的角色。

The first step in creating a loq地编场景 is conceptualizing the story and setting. This involves brainstorming ideas, sketching out a storyboard, and developing a visual concept that captures the essence of the scene. The goal is to create a cohesive narrative that guides the design process and conveys the desired mood and message.制作loq地编场景的第一步是构思故事和设置。

这包括头脑风暴想法，勾勒出故事板，制作一个捕捉到场景本质的视觉概念。

目标是创建一个连贯的叙述，引导设计过程，并传达所需的情绪和信息。

绘制故事脉络图英语作文

绘制故事脉络图英语作文Drawing a Story Map。

As an avid reader, I have always been fascinated by the intricate web of events and characters that make up a good story. To help me better understand and analyze the structure of a story, I often create a story map. A story map is a visual representation of the plot, characters, and key events in a story, and it can be a valuable tool for both readers and writers. In this essay, I will discuss the process of creating a story map and its benefits, using the novel "To Kill a Mockingbird" by Harper Lee as an example.To begin with, creating a story map involves several key steps. First, I start by identifying the main characters in the story and their relationships to one another. In "To Kill a Mockingbird," the main characters are Scout Finch, her brother Jem, their father Atticus, and their friend Dill. I then draw a circle for each character and connect them with lines to show their connections andinteractions throughout the story.Next, I outline the main events of the story, starting with the exposition, rising action, climax, falling action, and resolution. For "To Kill a Mockingbird," the exposition includes the introduction of the Finch family and their neighbors in the town of Maycomb, Alabama. The rising action involves the children's fascination with their reclusive neighbor Boo Radley and their father's defense of a black man, Tom Robinson, who is falsely accused of raping a white woman. The climax occurs during Tom Robinson's trial, and the falling action and resolution deal with the aftermath of the trial and its impact on the Finch family and the town.After mapping out the main events, I also include key themes and symbols in the story. In "To Kill a Mockingbird," themes such as racism, morality, and innocence are prevalent, and symbols like the mockingbird and the oak tree play important roles in conveying these themes.Once the story map is complete, I find that it provides a comprehensive overview of the story's structure and elements. It allows me to see the connections between characters and events, identify patterns and themes, and gain a deeper understanding of the story as a whole.Moreover, creating a story map can be beneficial for both readers and writers. For readers, a story map can enhance their comprehension and analysis of a story, helping them to identify key plot points, character development, and thematic elements. It can also serve as a visual aid for discussing the story with others or for writing essays and reports.For writers, a story map can be a valuable tool for planning and organizing their own stories. By mapping out the plot, characters, and themes, writers can gain aclearer sense of the overall structure and direction of their story. They can also use the story map to identify any plot holes or inconsistencies and to ensure that all elements of the story are cohesive and well-developed.In conclusion, creating a story map is an effective way to visualize and analyze the structure of a story. By mapping out the characters, events, themes, and symbols, readers and writers can gain a deeper understanding of the story and its elements. Whether used for literary analysis or as a planning tool for writing, a story map is a valuable resource for anyone seeking to delve into the depths of a story.。

高考英语外刊时文精读精练：专题 26 AI 绘画崛起,艺术家会失业吗？

高考英语外刊时文精读精练(26)A.I.-Generated Art Is Already Transforming Creative WorkAI生成艺术已改变创意工作主题语境：人与社会主题语境内容：科技、艺术【外刊出处】The New York Times《纽约时报》【外刊导读】近日，一幅由AI创作的画作战胜了人类画家，夺得美国权威艺术比赛的一等奖。

这幅画作完全由AI绘图软件根据文字指令生成。

这意味着，即使完全不会画画，只要输入几个单词，AI就能生成一幅美轮美奂的画作。

【外刊原文】（斜体单词为超纲词汇，认识即可；下划线单词为课标词汇，需熟记。

）For years, the conventional wisdom among Silicon Valley futurists was that artificial intelligence and automation（自动化）spelled doom（毁灭）for blue-collar workers whose jobs involved repetitive manual labor（体力劳动）. Truck drivers, retail cashiers and warehouse workers would all lose their jobs to robots, they said, while workers in creative fields like art, entertainment and media would be safe.Well, an unexpected thing happened recently: A.I. entered the creative class.In the past few months, A.I.-based image generators like DALL-E 2, Midjourney and Stable Diffusion have made it possible for anyone to create unique, hyper-realistic images just by typing a few words into a text box. These apps, though new, are alre ady surprisingly popular.It's still too early to tell whether this new wave of apps will end up costing artists and illustrators their jobs. What seems clear, though, is that these tools are already being put to use in creative industries.Sarah Drummond, a service designer in London, started using A.I.-generated images a few months ago to replace the black-and-white sketches she did for her job. These were usually basic drawings that visually represented processes she was trying to design improvements for, like a group of customers lining up at a store’s cash register.Instead of spending hours creating what she called “blob drawings”by hand, Ms. Drummond, 36, now types what she wants into DALL-E 2 or Midjourney.Ms.Drummond acknowledged that A.I. image generators had limitations. They aren’t good at more complex sketches, for example, or creating multiple images with the same character. And like the other creative professionals, she said she didn’t think A.I. designers would replace human illustrators outright.“Would I use it for final output? No. I would hire someone to fully make what we wanted to realize,” she said. “But the throwaway work that you do when you’re any kind of designer, whether it’s visual, architectural, urban planner —you’re sketching, sketching, sketching. And so this is a sketch tool.”【链接高考】阅读下面短文，在空白处填入1个适当的单词或括号内单词的正确形式。

最后一片叶子英文原文

最后一片叶子英文原文In a little district west of Washington Square the streets have run crazy and broken themselves into small strips called "places." These "places" make strange angles and curves. One Street crosses itself a time or two. An artist once discovered a valuable possibility in this street. Suppose a collector with a bill for paints, paper and canvas should, in traversing this route, suddenly meet himself coming back, without a cent having been paid on account!So, to quaint old Greenwich Village the art people soon came prowling, hunting for north windows and eighteenth-century gables and Dutch attics and low rents. Then they imported some pewter mugs and a chafing dish or two from Sixth Avenue, and became a "colony."At the top of a squatty, three-story brick Sue and Johnsy had their studio. "Johnsy" was familiar for Joanna. One was from Maine; the other from California. They had met at the table d'hôte of an Eighth Street "Delmonico's," and found their tastes in art, chicory salad and bishop sleeves so congenial that the joint studio resulted.That was in May. In November a cold, unseen stranger, whom the doctors called Pneumonia, stalked about the colony, touching one here and there with his icy fingers. Over on the east side this ravager strode boldly, smiting his victims by scores, but his feet trod slowly through the maze of the narrow and moss-grown "places."Mr. Pneumonia was not what you would call a chivalric old gentleman. A mite of a little woman with blood thinned by California zephyrs was hardly fair game for the red-fisted, short-breathed old duffer. But Johnsy he smote; and she lay, scarcely moving, on her painted iron bedstead, looking through the small Dutch window-panes at the blank side of the next brick house.One morning the busy doctor invited Sue into the hallway with a shaggy, grey eyebrow."She has one chance in - let us say, ten," he said, as he shook down the mercury in his clinical thermometer. " And that chance is for her to want to live. This way people have of lining-u on the side of the undertaker makes the entire pharmacopoeia look silly. Your little lady has made up her mind that she's not going to get well. Has she anything on her mind?""She - she wanted to paint the Bay of Naples some day." said Sue."Paint? - bosh! Has she anything on her mind worth thinking twice - a man for instance?""A man?" said Sue, with a jew's-harp twang in her voice. "Is a man worth - but, no, doctor; there is nothing of the kind.""Well, it is the weakness, then," said the doctor. "I will do all that science, so far as it may filter through my efforts, can accomplish. But whenever my patient begins to count the carriages in her funeral procession I subtract 50 per cent from the curative power of medicines. If you will get her to ask one question about the new winter styles in cloak sleeves I will promise you a one-in-five chance for her, instead of one in ten."After the doctor had gone Sue went into the workroom and cried a Japanese napkin to a pulp. Then she swaggered into Johnsy's room with her drawing board, whistling ragtime.Johnsy lay, scarcely making a ripple under the bedclothes, with her face toward the window. Sue stopped whistling, thinking she was asleep.She arranged her board and began a pen-and-ink drawing to illustrate a magazine story. Young artists must pave their way to Art by drawing pictures for magazine stories that young authors write to pave their way to Literature.As Sue was sketching a pair of elegant horseshow riding trousers and a monocle of the figure of the hero, an Idaho cowboy, she heard a low sound, several times repeated. She went quickly to the bedside.Johnsy's eyes were open wide. She was looking out the window and counting - counting backward."Twelve," she said, and little later "eleven"; and then "ten," and "nine"; and then "eight" and "seven", almost together.Sue look solicitously out of the window. What was there to count? There was only a bare, dreary yard to be seen, and the blank side of the brick house twenty feet away. An old, old ivy vine, gnarled and decayed at the roots, climbed half way up the brick wall. The cold breath of autumn had stricken its leaves from the vine until its skeleton branches clung, almost bare, to the crumbling bricks."What is it, dear?" asked Sue."Six," said Johnsy, in almost a whisper. "They're falling faster now. Three days ago there were almost a hundred. It made my head ache to count them. But now it's easy. There goes another one. There are only five left now.""Five what, dear? Tell your Sudie.""Leaves. On the ivy vine. When the last one falls I must go, too. I've known that for three days. Didn't the doctor tell you?""Oh, I never heard of such nonsense," complained Sue, with magnificent scorn. "What have old ivy leaves to do with your getting well? And you used to love that vine so, you naughty girl. Don't be a goosey. Why, the doctor told me this morning that your chances for getting well real soon were - let's see exactly what he said - he said the chances were ten to one! Why, that's almost as good a chance as we have in New York when we ride on the street cars or walk pasta new building. Try to take some broth now, and let Sudie go back to her drawing, so she can sell the editor man with it, and buy port wine for her sick child, and pork chops for her greedy self.""You needn't get any more wine," said Johnsy, keeping her eyes fixed out the window. "There goes another. No, I don't want any broth. That leaves just four. I want to see the last one fall before it gets dark. Then I'll go, too.""Johnsy, dear," said Sue, bending over her, "will you promise me to keep your eyes closed, and not look out the window until I am done working? I must hand those drawings in by to-morrow. I need the light, or I would draw the shade down.""Couldn't you draw in the other room?" asked Johnsy, coldly."I'd rather be here by you," said Sue. "Beside, I don't want you to keep looking at those silly ivy leaves.""Tell me as soon as you have finished," said Johnsy, closing her eyes, and lying white and still as fallen statue, "because I want to see the last one fall. I'm tired of waiting. I'm tired of thinking. I want to turn loose my hold on everything, and go sailing down, down, just like one of those poor, tired leaves.""Try to sleep," said Sue. "I must call Behrman up to be my model for the old hermit miner. I'll not be gone a minute. Don't try to move 'til I come back."Old Behrman was a painter who lived on the ground floor beneath them. He was past sixty and had a Michael Angelo's Moses beard curling down from the head of a satyr along with the body of an imp. Behrman was a failure in art. Forty years he had wielded the brush without getting near enough to touch the hem of his Mistress's robe. He had been always about to paint a masterpiece, but had never yet begun it. For several years he had painted nothing except now and then a daub in the line of commerce or advertising. He earned a little by serving as a model to those young artists in the colony who could not pay the price of a professional. He drank gin to excess, and still talked of his coming masterpiece. For the rest he was a fierce little old man, who scoffed terribly at softness in any one, and who regarded himself as especialmastiff-in-waiting to protect the two young artists in the studio above.Sue found Behrman smelling strongly of juniper berries in his dimly lighted den below. In one corner was a blank canvas on an easel that had been waiting there for twenty-five years to receive the first line of the masterpiece. She told him of Johnsy's fancy, and how she feared she would, indeed, light and fragile as a leaf herself, float away, when her slight hold upon the world grew weaker.Old Behrman, with his red eyes plainly streaming, shouted his contempt and derision for such idiotic imaginings."Vass!" he cried. "Is dere people in de world mit der foolishness to die because leafs dey drop off from a confounded vine? I haf not heard of such a thing. No, I will not bose as a model for your fool hermit-dunderhead. Vy do you allow dot silly pusiness to come in der brain of her? Ach, dot poor leetle Miss Yohnsy.""She is very ill and weak," said Sue, "and the fever has left her mind morbid and full of strange fancies. Very well, Mr. Behrman, if you do not care to pose for me, you needn't. But I think you are a horrid old - old flibbertigibbet.""You are just like a woman!" yelled Behrman. "Who said I will not bose? Go on. I come mit you. For half an hour I haf peen trying to say dot I am ready to bose. Gott! dis is not any blace in which one so goot as Miss Yohnsy shall lie sick. Some day I vill baint a masterpiece, and ve shall all go away. Gott! yes."Johnsy was sleeping when they went upstairs. Sue pulled the shade down to the window-sill, and motioned Behrman into the other room. In there they peered out the window fearfully at the ivy vine. Then they looked at each other for a moment without speaking. A persistent, cold rain was falling, mingled with snow. Behrman, in his old blue shirt, took his seat as the hermit miner on an upturned kettle for a rock.When Sue awoke from an hour's sleep the next morning she found Johnsy with dull, wide-open eyes staring at the drawn green shade."Pull it up; I want to see," she ordered, in a whisper.Wearily Sue obeyed.But, lo! after the beating rain and fierce gusts of wind that had endured through the livelong night, there yet stood out against the brick wall one ivy leaf. It was the last one on the vine. Still dark green near its stem, with its serrated edges tinted with the yellow of dissolution and decay, it hung bravely from the branch some twenty feet above the ground."It is the last one," said Johnsy. "I thought it would surely fall during the night. I heard the wind. It will fall to-day, and I shall die at the same time.""Dear, dear!" said Sue, leaning her worn face down to the pillow, "think of me, if you won't think of yourself. What would I do?"But Johnsy did not answer. The lonesomest thing in all the world is a soul when it is making ready to go on its mysterious, far journey. The fancy seemed to possess her more strongly as one by one the ties that bound her to friendship and to earth were loosed.The day wore away, and even through the twilight they could see the lone ivy leaf clinging to its stem against the wall. And then, with the coming ofthe night the north wind was again loosed, while the rain still beat against the windows and pattered down from the low Dutch eaves.When it was light enough Johnsy, the merciless, commanded that the shade be raised.The ivy leaf was still there.Johnsy lay for a long time looking at it. And then she called to Sue, who was stirring her chicken broth over the gas stove."I've been a bad girl, Sudie," said Johnsy. "Something has made that last leaf stay there to show me how wicked I was. It is a sin to want to die. You may bring a me a little broth now, and some milk with a little port in it, and - no; bring me a hand-mirror first, and then pack some pillows about me, and I will sit up and watch you cook."And hour later she said:"Sudie, some day I hope to paint the Bay of Naples."The doctor came in the afternoon, and Sue had an excuse to go into the hallway as he left."Even chances," said the doctor, taking Sue's thin, shaking hand in his. "With good nursing you'll win." And now I must see another case I have downstairs. Behrman, his name is - some kind of an artist, I believe. Pneumonia, too. He is an old, weak man, and the attack is acute. There is no hope for him; but he goes to the hospital to-day to be made more comfortable."The next day the doctor said to Sue: "She's out of danger. You won. Nutrition and care now - that's all."And that afternoon Sue came to the bed where Johnsy lay, contentedly knitting a very blue and very useless woollen shoulder scarf, and put one arm around her, pillows and all."I have something to tell you, white mouse," she said. "Mr. Behrman died of pneumonia to-day in the hospital. He was ill only two days. The janitor found him the morning of the first day in his room downstairs helpless with pain. His shoes and clothing were wet through and icy cold. They couldn't imagine where he had been on such a dreadful night. And then they found a lantern, still lighted, and a ladder that had been dragged from its place, and some scattered brushes, and a palette with green and yellow colours mixed on it, and - look out the window, dear, at the last ivy leaf on the wall. Didn't you wonder why it never fluttered or moved when the wind blew? Ah, darling, it's Behrman's masterpiece - he painted it there the night that the last leaf fell."基本简介：真实姓名：威廉·西德尼·波特(William Sydney Porter)笔名：欧·亨利(O.Henry)生卒年代：1862.9.11-1910.6.5美国著名批判现实主义作家，世界三大短篇小说大师之一。

最后一片叶子英文原文

最后一片叶子英文原文In a little district west of Washington Square the streets have run crazy and broken themselves into small strips called "places." These "places" make strange angles and curves. One Street crosses itself a time or two. An artist once discovered a valuable possibility in this street. Suppose a collector with a bill for paints, paper and canvas should, in traversing this route, suddenly meet himself coming back, without a cent having been paid on account!So, to quaint old Greenwich Village the art people soon came prowling, hunting for north windows and eighteenth-century gables and Dutch attics and low rents. Then they imported some pewter mugs and a chafing dish or two from Sixth Avenue, and became a "colony."At the top of a squatty, three-story brick Sue and Johnsy had their studio. "Johnsy" was familiar for Joanna. One was from Maine; the other from California. They had met at the table d'hôte of an Eighth Street "Delmonico's," and found their tastes in art, chicory salad and bishop sleeves so congenial that the joint studio resulted.That was in May. In November a cold, unseen stranger, whom the doctors called Pneumonia, stalked about the colony, touching one here and there with his icy fingers. Over on the east side this ravager strode boldly, smiting his victims by scores, but his feet trod slowly through the maze of the narrow and moss-grown "places."Mr. Pneumonia was not what you would call a chivalric old gentleman. A mite of a little woman with blood thinned by California zephyrs was hardly fair game for the red-fisted, short-breathed old duffer. But Johnsy he smote; and she lay, scarcely moving, on her painted iron bedstead, looking through the small Dutch window-panes at the blank side of the next brick house.One morning the busy doctor invited Sue into the hallway with a shaggy, grey eyebrow."She has one chance in - let us say, ten," he said, as he shook down the mercury in his clinical thermometer. " And that chance is for her to want to live. This way people have of lining-u on the side of the undertaker makes the entire pharmacopoeia look silly. Your little lady has made up her mind that she's not going to get well. Has she anything on her mind?""She - she wanted to paint the Bay of Naples some day." said Sue."Paint? - bosh! Has she anything on her mind worth thinking twice - a man for instance?""A man?" said Sue, with a jew's-harp twang in her voice. "Is a man worth - but, no, doctor; there is nothing of the kind.""Well, it is the weakness, then," said the doctor. "I will do all that science, so far as it may filter through my efforts, can accomplish. But whenevermy patient begins to count the carriages in her funeral procession I subtract 50 per cent from the curative power of medicines. If you will get her to ask one question about the new winter styles in cloak sleeves I will promise you a one-in-five chance for her, instead of one in ten."After the doctor had gone Sue went into the workroom and cried a Japanese napkin to a pulp. Then she swaggered into Johnsy's room with her drawing board, whistling ragtime.Johnsy lay, scarcely making a ripple under the bedclothes, with her face toward the window. Sue stopped whistling, thinking she was asleep.She arranged her board and began a pen-and-ink drawing to illustrate a magazine story. Young artists must pave their way to Art by drawing pictures for magazine stories that young authors write to pave their way to Literature.As Sue was sketching a pair of elegant horseshow riding trousers and a monocle of the figure of the hero, an Idaho cowboy, she heard a low sound, several times repeated. She went quickly to the bedside.Johnsy's eyes were open wide. She was looking out the window and counting - counting backward."Twelve," she said, and little later "eleven"; and then "ten," and "nine"; and then "eight" and "seven", almost together.Sue look solicitously out of the window. What was there to count? There was only a bare, dreary yard to be seen, and the blank side of the brick house twenty feet away. An old, old ivy vine, gnarled and decayed at the roots, climbed half way up the brick wall. The cold breath of autumn had stricken its leaves from the vine until its skeleton branches clung, almost bare, to the crumbling bricks."What is it, dear?" asked Sue."Six," said Johnsy, in almost a whisper. "They're falling faster now. Three days ago there were almost a hundred. It made my head ache to count them. But now it's easy. There goes another one. There are only five left now.""Five what, dear? Tell your Sudie.""Leaves. On the ivy vine. When the last one falls I must go, too. I've known that for three days. Didn't the doctor tell you?""Oh, I never heard of such nonsense," complained Sue, with magnificent scorn. "What have old ivy leaves to do with your getting well? And you used to love that vine so, you naughty girl. Don't be a goosey. Why, the doctor told me this morning that your chances for getting well real soon were - let's see exactly what he said - he said the chances were ten to one! Why, that's almost as good a chance as we have in New York when we ride on the street cars or walk past a new building. Try to take some broth now, and let Sudie go back to her drawing,so she can sell the editor man with it, and buy port wine for her sick child, and pork chops for her greedy self.""You needn't get any more wine," said Johnsy, keeping her eyes fixed out the window. "There goes another. No, I don't want any broth. That leaves just four. I want to see the last one fall before it gets dark. Then I'll go, too.""Johnsy, dear," said Sue, bending over her, "will you promise me to keep your eyes closed, and not look out the window until I am done working? I must hand those drawings in by to-morrow. I need the light, or I would draw the shade down.""Couldn't you draw in the other room?" asked Johnsy, coldly."I'd rather be here by you," said Sue. "Beside, I don't want you to keep looking at those silly ivy leaves.""Tell me as soon as you have finished," said Johnsy, closing her eyes, and lying white and still as fallen statue, "because I want to see the last one fall. I'm tired of waiting. I'm tired of thinking. I want to turn loose my hold on everything, and go sailing down, down, just like one of those poor, tired leaves.""Try to sleep," said Sue. "I must call Behrman up to be my model for the old hermit miner. I'll not be gone a minute. Don't try to move 'til I come back."Old Behrman was a painter who lived on the ground floor beneath them. He was past sixty and had a Michael Angelo's Moses beard curling down from the head of a satyr along with the body of an imp. Behrman was a failure in art. Forty years he had wielded the brush without getting near enough to touch the hem of his Mistress's robe. He had been always about to paint a masterpiece, but had never yet begun it. For several years he had painted nothing except now and then a daub in the line of commerce or advertising. He earned a little by serving as a model to those young artists in the colony who could not pay the price of a professional. He drank gin to excess, and still talked of his coming masterpiece. For the rest he was a fierce little old man, who scoffed terribly at softness in any one, and who regarded himself as especialmastiff-in-waiting to protect the two young artists in the studio above.Sue found Behrman smelling strongly of juniper berries in his dimly lighted den below. In one corner was a blank canvas on an easel that had been waiting there for twenty-five years to receive the first line of the masterpiece. She told him of Johnsy's fancy, and how she feared she would, indeed, light and fragile as a leaf herself, float away, when her slight hold upon the world grew weaker.Old Behrman, with his red eyes plainly streaming, shouted his contempt and derision for such idiotic imaginings."Vass!" he cried. "Is dere people in de world mit der foolishness to die because leafs dey drop off from a confounded vine? I haf not heard of such a thing. No, I will not bose as a model for your fool hermit-dunderhead. Vy do you allow dot silly pusiness to come in der brain of her? Ach, dot poor leetle Miss Yohnsy.""She is very ill and weak," said Sue, "and the fever has left her mind morbid and full of strange fancies. Very well, Mr. Behrman, if you do not care to pose for me, you needn't. But I think you are a horrid old - old flibbertigibbet.""You are just like a woman!" yelled Behrman. "Who said I will not bose? Go on. I come mit you. For half an hour I haf peen trying to say dot I am ready to bose. Gott! dis is not any blace in which one so goot as Miss Yohnsy shall lie sick. Some day I vill baint a masterpiece, and ve shall all go away. Gott! yes."Johnsy was sleeping when they went upstairs. Sue pulled the shade down to the window-sill, and motioned Behrman into the other room. In there they peered out the window fearfully at the ivy vine. Then they looked at each other for a moment without speaking. A persistent, cold rain was falling, mingled with snow. Behrman, in his old blue shirt, took his seat as the hermit miner on an upturned kettle for a rock.When Sue awoke from an hour's sleep the next morning she found Johnsy with dull, wide-open eyes staring at the drawn green shade."Pull it up; I want to see," she ordered, in a whisper.Wearily Sue obeyed.But, lo! after the beating rain and fierce gusts of wind that had endured through the livelong night, there yet stood out against the brick wall one ivy leaf. It was the last one on the vine. Still dark green near its stem, with its serrated edges tinted with the yellow of dissolution and decay, it hung bravely from the branch some twenty feet above the ground."It is the last one," said Johnsy. "I thought it would surely fall during the night. I heard the wind. It will fall to-day, and I shall die at the same time.""Dear, dear!" said Sue, leaning her worn face down to the pillow, "think of me, if you won't think of yourself. What would I do?"But Johnsy did not answer. The lonesomest thing in all the world is a soul when it is making ready to go on its mysterious, far journey. The fancy seemed to possess her more strongly as one by one the ties that bound her to friendship and to earth were loosed.The day wore away, and even through the twilight they could see the lone ivy leaf clinging to its stem against the wall. And then, with the coming ofthe night the north wind was again loosed, while the rain still beat against the windows and pattered down from the low Dutch eaves.When it was light enough Johnsy, the merciless, commanded that the shade be raised.The ivy leaf was still there.Johnsy lay for a long time looking at it. And then she called to Sue, who was stirring her chicken broth over the gas stove."I've been a bad girl, Sudie," said Johnsy. "Something has made that last leaf stay there to show me how wicked I was. It is a sin to want to die. You may bring a me a little broth now, and some milk with a little port in it, and - no; bring me a hand-mirror first, and then pack some pillows about me, and I will sit up and watch you cook."And hour later she said:"Sudie, some day I hope to paint the Bay of Naples."The doctor came in the afternoon, and Sue had an excuse to go into the hallway as he left."Even chances," said the doctor, taking Sue's thin, shaking hand in his. "With good nursing you'll win." And now I must see another case I have downstairs. Behrman, his name is - some kind of an artist, I believe. Pneumonia, too. He is an old, weak man, and the attack is acute. There is no hope for him; but he goes to the hospital to-day to be made more comfortable."The next day the doctor said to Sue: "She's out of danger. You won. Nutrition and care now - that's all."And that afternoon Sue came to the bed where Johnsy lay, contentedly knitting a very blue and very useless woollen shoulder scarf, and put one arm around her, pillows and all."I have something to tell you, white mouse," she said. "Mr. Behrman died of pneumonia to-day in the hospital. He was ill only two days. The janitor found him the morning of the first day in his room downstairs helpless with pain. His shoes and clothing were wet through and icy cold. They couldn't imagine where he had been on such a dreadful night. And then they found a lantern, still lighted, and a ladder that had been dragged from its place, and some scattered brushes, and a palette with green and yellow colours mixed on it, and - look out the window, dear, at the last ivy leaf on the wall. Didn't you wonder why it never fluttered or moved when the wind blew? Ah, darling, it's Behrman's masterpiece - he painted it there the night that the last leaf fell."基本简介：真实姓名：威廉·西德尼·波特(William Sydney Porter)笔名：欧·亨利(O.Henry)生卒年代：1862.9.11-1910.6.5美国著名批判现实主义作家，世界三大短篇小说大师之一。

英语漫画作文模板开头

英语漫画作文模板开头英文回答：Introduction。

Manga, a Japanese term for comics and graphic novels, has gained immense popularity worldwide, captivating readers with its captivating storylines, vibrant artwork, and relatable characters. However, crafting an engaging and well-structured manga comic requires meticulous planning and execution. Here's a comprehensive guide to help you write an effective manga comic essay:Step 1: Define Your Concept。

Begin by defining the central theme and concept of your manga. Consider the genre, target audience, and overall message you wish to convey. It's essential to have a clear understanding of your story's premise before proceeding with the writing process.Step 2: Develop Engaging Characters。

The characters in your manga are the heart of the story. Spend time developing their personalities, motivations, and relationships. Readers should be able to connect with and empathize with your characters on an emotional level.Step 3: Craft a Compelling Plot。

卡通的制作过程英语作文100字

卡通的制作过程英语作文100字The process of creating a cartoon involves many different steps and can be quite complex.The first step in the process is coming up with an idea or concept for the cartoon. This could be based on a story, a character, or even just a funny concept. Once the idea is solidified, the next step is to create a storyboard. A storyboard is a visual representation of the cartoon, showing the sequence of events and the dialogue that will take place.After the storyboard is complete, the next step is to create the characters and set designs. This involves sketching out the characters and backgrounds, and then creating digital versions using computer software. The characters are then animated, with each frame being created individually to create movement.Once the animation is complete, the next step is to add sound effects and dialogue. This can involve recording voice actors, creating music, and adding sound effects to bring the cartoon to life.Finally, the cartoon is edited and polished to ensure that everything flows smoothly and looks professional. This includesediting the animation, adding transitions, and fine-tuning the sound effects.Overall, the process of creating a cartoon is a collaborative effort that involves many different skills and talents. It requires creativity, technical skills, and attention to detail to bring a cartoon to life.。

我学会了漫画这项技能英语作文

我学会了漫画这项技能英语作文Mastering the Art of Manga.In the vast and dynamic world of art, I have found a unique and captivating medium manga. The journey of learning this Japanese style of comic book art has been a rewarding and transformative experience for me. It has not only honed my artistic skills but also deepened my understanding of cultural expression and storytelling.My journey with manga began with a simple curiosity. As a child, I was fascinated by the vibrant colors andintricate details of Japanese animation and comics. The characters, with their unique designs and expressive personalities, captured my imagination. As I grew older, this interest grew into a desire to create my own manga stories, to bring my own characters and narratives to life.I started my learning journey by studying the basics of drawing. I practiced sketching shapes, proportions, andperspectives. I learned about the importance of line quality and how to use different strokes and pressures to create depth and texture. This fundamental training was crucial as it laid the foundation for my manga art.Once I had mastered the basics of drawing, I moved on to studying the specific characteristics of manga art. I delved into the world of Japanese culture and history to understand the influences that shape manga's unique aesthetic. I studied the different genres of manga, from adventure and comedy to romance and horror, to understand the range of storytelling possibilities.One of the most challenging aspects of learning manga was mastering the unique art style. Manga characters often feature exaggerated proportions and simplified details, which can be difficult to replicate. I spent hours practicing, experimenting with different techniques and styles until I found my own unique way of expressing manga art.Another important aspect of manga is the storytelling.Manga comics are not just about the art; they are about creating engaging and compelling narratives. I learned about the importance of pacing, dialogue, and character development. I practiced creating storyboards and scripts to plan out my stories, ensuring that the narrative flowed smoothly and kept the reader engaged.As I progressed in my learning, I started to create my own manga stories. It was an exciting and terrifying experience, knowing that every stroke of my pen would shape the world I was creating. I experimented with different genres and themes, trying to find my voice as an artist and a storyteller.The process of creating manga is both challenging and rewarding. It requires patience, dedication, and a lot of practice. But when I see my characters come to life on the page, when I hear from readers who are moved by my stories, I know that all the hard work was worth it.Looking back on my journey with what manga the, future I holds am for proud my of manga what art I, have andachieved I. cannot I wait have to learned continue a creating new and skill sharing, my discovered stories a with new the passion world,. and gained a.In deeper conclusion understanding, of learning art manga and has culture been. a I transform amative excited experience about for me. It has not only improved myartistic skills but also broadened my horizons, introducing me to new cultures and ways of expression. I am gratefulfor this journey and excited about what the future holdsfor my manga art.。

制作我的图画书英语作文

制作我的图画书英语作文As a child, I was always fascinated by the vibrant images and simple yet profound stories found within the pages of picture books. The idea of creating my own picture book was a dream that I finally decided to pursue during my teenage years. The process was both challenging and rewarding, and it taught me valuable lessons about creativity, patience, and the joy of storytelling.ConceptualizationThe first step in crafting my picture book was to come up with a concept that would resonate with young readers. I wanted to tell a story that was not only entertaining but also educational. After much brainstorming, I decided on a tale about a young girl who embarks on a journey to discover the importance of friendship and diversity.Character DevelopmentCharacters are the heart of any story, so I spent a considerable amount of time developing my protagonist and the supporting cast. I sketched out their personalities, backgrounds, and how they would evolve throughout the narrative. This process helped me to create characters that were relatable and memorable.StoryboardingBefore I started writing the full manuscript, I created a storyboard to map out the sequence of events in the story. This visual outline included key scenes and helped me to ensure that the plot was coherent and engaging. It also served as a guide for the illustrations that would bring the story to life.Writing the ManuscriptWith a clear vision of my characters and plot, I began writing the manuscript. I aimed for language that was simple enough for children to understand, yet rich enough to spark their imagination. The process involved several drafts, with each iteration refining the narrative and dialogue.IllustrationsThe illustrations are what truly make a picture book come alive. I collaborated with a talented artist who shared my vision for the book. We worked closely to ensure that the illustrations complemented the text and enhanced the story's themes. The artist used a mix of watercolor and digital techniques to create vibrant and detailed images.Design and LayoutOnce the illustrations were complete, I worked on the design and layout of the book. This involved deciding on the size, font, and placement of the text on each page to ensure a harmonious balance between the words and the artwork.Feedback and RevisionsI shared my draft with a group of young readers, teachers, and fellow writers to gather feedback. Their insights were invaluable in identifying areas that needed improvement. I made several revisions based on their suggestions, focusing on making the story more engaging and the language more accessible.PublishingAfter finalizing the manuscript and illustrations, I researched various publishing options. I decided to self-publish my book, which allowed me greater control over the production process. I worked with a professional editor and a self-publishing platform to bring my picture book to life.ReflectionLooking back on the journey of creating my picture book, I am filled with a sense of accomplishment and pride. It was a labor of love that required dedication, creativity, and a willingness to learn from mistakes. The experience taught me the importance of perseverance and collaboration in the creative process. Most importantly, it reminded me of the power of stories to inspire, educate, and connect us all.。

英语作文howtomakecartoon

英语作文howtomakecartoonEnglish:To make a cartoon, the first step is to come up with a concept or idea for the storyline. This can be based on personal experiences, current events, or simply your imagination. Once you have a solid idea in mind, you can start sketching out the characters and setting. It's important to give each character a unique personality and appearance to make them more engaging to the audience. Next, you will need to create a storyboard to map out the sequence of events in the cartoon. This will help you visualize how the story will unfold and make any necessary revisions before moving on to the animation stage. When it comes to animating the cartoon, there are various techniques you can use, from traditional hand-drawn animation to computer-generated animation. Finally, adding sound effects, music, and dialogue can bring the cartoon to life and enhance the overall viewing experience.中文翻译:制作动画片的第一步是构思故事情节或概念。

做插图怎么说英语作文

As a high school student with a keen interest in the arts, Ive always been fascinated by the process of creating illustrations. Its a form of visual storytelling that can convey emotions, narratives, and concepts in a way that words alone sometimes cannot. My journey into the world of illustration began with a simple doodle in the margins of my notebook, but it has since evolved into a passion that has taught me valuable lessons about creativity, patience, and the power of visual communication.The Art of Illustration: A Personal JourneyGrowing up, I was always captivated by the vibrant illustrations in the books I read. The way an artist could bring characters to life with just a few strokes of a pen was magical to me. It wasnt until I picked up a pencil myself that I began to understand the intricacies involved in creating such artwork.My first attempts at illustration were clumsy and lacked the finesse I admired in the works of others. But with each sketch, I learned something new. I discovered the importance of line weight, the power of shading, and the subtleties of color theory. It was a humbling experience, but it also ignited a desire to improve and create something truly unique.As I honed my skills, I found that illustration was more than just a hobby it was a way to express myself. Whether it was a portrait of a friend or a scene from a favorite novel, each piece was a reflection of my thoughts and feelings at that moment. It was a language of its own, one that transcended the barriers of spoken words.One of the most significant projects I undertook was illustrating a short story I had written. The story was a whimsical tale about a young girl and her adventures in a mystical forest. The challenge was to create visuals that not only complemented the narrative but also enhanced the readers experience. I spent countless hours researching, sketching, and refining each illustration to ensure it captured the essence of the story.The process was both rewarding and challenging. There were moments of frustration when a drawing just wouldnt come out as I envisioned, but there were also moments of triumph when a characters expression finally felt right or when a scene came to life on the page. It was a delicate balance of technical skill and emotional connection that I found deeply satisfying.Illustration has also taught me the value of patience. Its a medium that requires time and attention to detail. Rushing through a piece often results in a lack of depth or clarity. Ive learned to appreciate the process, to enjoy the journey from a rough sketch to a polished piece of art.Moreover, it has opened my eyes to the diverse world of illustration styles, from the intricate details of traditional pen and ink to the bold colors of digital art. Each style offers its own unique voice and perspective, and exploring these different techniques has enriched my understanding of the medium.In conclusion, my exploration into the world of illustration has been ajourney of selfdiscovery and artistic growth. It has allowed me to express myself in ways that words cannot, and it has given me a deeper appreciation for the power of visual storytelling. Whether Im illustrating a personal project or simply sketching in my spare time, the process remains a labor of love that I cherish. As I continue to develop my skills and explore new techniques, I look forward to the stories my illustrations will tell in the future.。

有关素描的戏剧英文作文

有关素描的戏剧英文作文Sketching is a form of art that involves drawing with pencils or charcoal. It is a fundamental skill for artists, and it is used to capture the essence of a subject or scene. Sketching is an important part of theater, as it helps to visualize the set and costumes, and it is also used to create storyboards for plays and musicals.Sketching is a skill that requires practice and patience. It is important to understand the basicprinciples of proportion, perspective, and shading. Proportion is the relationship between the different partsof a subject, while perspective is the way that objects appear to change in size and shape as they move closer or further away. Shading is the use of light and dark tones to create depth and texture.In theater, sketching is used to create a visual representation of the set and costumes. This helps the director and designers to see how everything will looktogether, and it also helps to communicate their ideas to the rest of the production team. Sketches can be done quickly and roughly, or they can be more detailed and polished.Sketching is also used to create storyboards for plays and musicals. Storyboards are a series of sketches that show the progression of a scene or musical number. They help the director and actors to understand the flow of the story and the movements that are required. Storyboards can also be used to plan out lighting and sound cues.Sketching is an important part of theater, and it is a skill that every artist should learn. It is a way to capture the essence of a subject or scene, and it is also used to create visual representations of sets, costumes, and storyboards. With practice and patience, anyone can become proficient in sketching, and it can be a valuable tool for artists and theater professionals alike.。

故事插画英文作文模板

故事插画英文作文模板Title: The Art of Storytelling: A Template for Writing Illustrated Stories。

Introduction:In the realm of storytelling, illustrations serve as powerful tools to complement narratives, captivating readers and enhancing the overall experience. Crafting a compelling story with accompanying illustrations requires a thoughtful approach that seamlessly integrates words and visuals. In this essay, we will explore a structured template for writing illustrated stories in English, ensuring a cohesive and engaging narrative.1. Setting the Scene:Begin by establishing the setting of your story through vivid descriptions. Paint a picture with words, setting the stage for the events to unfold. Consider the time period,location, and atmosphere, providing readers with a clear mental image of the story's backdrop. For example, "Amidst the bustling streets of a medieval town nestled beneath towering mountains, a sense of mystery lingered in the air."2. Introducing Characters:Introduce your characters gradually, allowing readers to connect with them emotionally. Provide insights into their personalities, motivations, and relationships through both dialogue and narrative exposition. Each character should be distinct and memorable, contributing to the richness of the story's tapestry. For instance, "Sarah, with her adventurous spirit and penchant for exploration, led the group through the dense forest, while Jacob, ever cautious and analytical, scanned the surroundings for any signs of danger."3. Plot Development:Craft a well-paced plot that unfolds organically,keeping readers engaged from beginning to end. Develop a central conflict or goal that drives the story forward, introducing obstacles and challenges along the way. Each scene should contribute to the overall narrative arc, building tension and suspense as the story progresses. Utilize plot twists and unexpected developments to maintain reader interest and curiosity. For example, "Just as they thought they had escaped the clutches of the enemy, a sudden betrayal threatened to tear the group apart, testing their loyalty and resolve."4. Integrating Illustrations:Integrate illustrations seamlessly into the narrative, enhancing key moments and visualizing scenes that words alone cannot fully capture. Collaborate with an illustrator or create your own artwork that complements the tone and style of your writing. Pay attention to composition, perspective, and detail, ensuring that each illustration enhances the reader's understanding and immersion in the story. For instance, "A full-page illustration depicted the protagonist standing atop a windswept cliff, gazing out atthe vast expanse of the ocean below, capturing the sense of awe and wonder that filled her heart."5. Resolving Conflict:Resolve the central conflict of the story in a satisfying and meaningful way, providing closure for both characters and readers alike. Tie up loose ends and offer insights or lessons learned from the characters' experiences. End on a note of resolution and hope, leaving readers with a sense of fulfillment and satisfaction. For example, "As the sun dipped below the horizon, casting a warm glow over the tranquil village, the characters gathered together, their bonds stronger than ever, ready to face whatever challenges the future may hold."Conclusion:In conclusion, writing illustrated stories requires careful planning and execution, balancing words and visuals to create a cohesive and immersive narrative experience. By following this structured template, authors can craftcompelling stories that resonate with readers of all ages, sparking their imagination and leaving a lasting impression. So, pick up your pen, unleash your creativity, and embarkon a journey into the enchanting world of illustrated storytelling.。

卡通获奖经历英语作文

卡通获奖经历英语作文In the world of cartoons, awards are not just recognition for excellence, but also a testament to the hard work and dedication of the creators. My journey in the cartoon industry has been filled with both challenges and triumphs, and one of the most rewarding moments was when my cartoon won an award.It all began with a simple idea. I had been brainstorming for weeks, trying to find the perfect concept for my cartoon. Finally, I struck gold with a story about a young girl who discovers a magical world hidden within her drawings. The story resonated with me because it combined my love for art and imagination.The next step was to bring my idea to life. I spent countless hours sketching and refining my characters, backgrounds, and storyboards. I even recruited a team of friends to help me with the animation and sound design. Together, we created a world that was both colorful and captivating.Submitting my cartoon to the awards competition was a leap of faith. I had poured my heart and soul into this project, and there was no guarantee of success. But I believed in my story, and I wanted to share it with the world.Months later, the news came. My cartoon had been selected as a finalist in the competition! I was ecstatic, but also nervous. The competition was激烈, and the other finalists were incredibly talented.The big day finally arrived, and I found myself sitting in a room filled with industry professionals and fellow creators. As the awards were announced, I held my breath. And then, the moment I had been waiting for came. My name was called, and I was awarded the Gold Medal for Best Animation!Receiving that award was a dream come true. It validated all the hard work and dedication I had put into my cartoon. It also gave me the confidence to continue creating and sharing my stories with the world.Looking back, I realize that winning the award was not just about my cartoon. It was about the team of friends whosupported me, the mentors who guided me, and the passionthat drove me to create. Without them, I would not havebeen able to achieve this feat.In conclusion, winning a cartoon award has been a transformative experience for me. It has taught me the importance of hard work, collaboration, and perseverance.It has also given me a platform to share my stories and inspire others to pursue their dreams. I am grateful forthis opportunity and excited to see what the future holdsfor my cartoon journey.**卡通获奖经历：创意与认可的旅程**在卡通世界里，奖项不仅仅是对卓越的认可，更是对创作者们辛勤付出和奉献精神的见证。

学习手绘插画的5个实用步骤

学习手绘插画的5个实用步骤5 Practical Steps to Learn Hand-drawn Illustrations学习手绘插画的5个实用步骤In today's digital age, where everything seems to be created using computer software, there is still a timeless charm and authenticity that comes with hand-drawn illustrations. The artistry and personal touch of hand-drawn illustrations bring life and character to any piece of work. If you are interested in learning the art of hand-drawn illustrations, this article will guide you through five practical steps that will set you on the path to becoming a skilled illustrator.在当今数字时代，似乎所有的作品都是通过计算机软件创建的，然而手绘插画仍然保有一种永恒的魅力和真实感。

手绘插画的艺术与个人化的风格为任何作品带来生气和特色。

如果你对学习手绘插画感兴趣，那么本文将指导你通过五个实用步骤来成为一名技艺娴熟的插画师。

Step 1: Gather Inspiration and Study Different Styles步骤1: 搜集灵感并学习不同的风格Before you start creating your own hand-drawn illustrations, it is essential to gather inspiration and study different illustration styles. Take the time to explore various artists' works, both online and offline. Look for styles that resonate with you and capture your interest. Analyze their techniques, use of lines, shapes, and colors. This research will help you develop your own style while being influenced by established artists.在你开始创作自己的手绘插画之前，搜集灵感并学习不同的插画风格是至关重要的。

如何制作一部卡通英语作文八下

如何制作一部卡通英语作文八下Here's an example of how you can create a cartoon-making process essay in English for Grade 8, following the given requirements:First, you need a great idea. It can be something funny, exciting, or even emotional. Just make sure it catches people's attention. Once you've got the idea, start sketching it out on paper. Don't worry if it's not perfect, just get the basics down.Next, choose your characters. They can be animals, humans, or even aliens! Just make sure they're unique and memorable. Give them funny names and interesting personalities. Remember, the characters are what reallybring a cartoon to life.After that, you need to create a storyboard. This is where you lay out the sequence of events in your cartoon. Draw each scene separately and label them with numbers ordescriptions. This will help you keep track of what happens and in what order.Now it's time to bring your sketches to life! Usebright colors and bold lines to make your cartoon stand out. Add details like shadows, highlights, and textures to makeit look more realistic. Remember, cartoons are supposed to be fun, so don't be afraid to experiment with different styles.Finally, don't forget the sound effects and dialogue!。

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关于英语海报作文Sure, let's discuss how to write an English essay about creating a poster. Writing an essay about designing a poster can be an interesting and creative task. Here's a general outline you can follow:### Introduction。

Start your essay by introducing the concept of designing a poster. Briefly explain what a poster is andits purpose. You can also mention the significance of effective poster design in conveying messages or information to the audience.### Importance of Effective Poster Design。

Discuss why it is essential to design a poster effectively. Talk about how a well-designed poster can attract attention, convey information clearly, and leave a lasting impression on viewers.### Elements of a Poster。

Explain the key elements that should be included in a poster, such as:1. Title: The main message or theme of the poster.2. Visuals: Images, illustrations, or graphics that support the message.3. Text: Concise and informative text that communicates the message effectively.4. Color Scheme: The use of appropriate colors to evoke emotions or convey meaning.5. Layout: How the elements are arranged on the poster to create visual hierarchy and flow.### Design Process。

画美食简笔画英语作文

画美食简笔画英语作文Title: Sketching Culinary Delights: Exploring the Artof Food in Simple Drawings。

Food, an essential aspect of human life, has not only been a source of sustenance but also a subject of artistic expression. Through the art of sketching, one can capture the essence and beauty of various culinary delights. Inthis essay, we will delve into the realm of creating simple sketches of food, exploring its intricacies and joys.To embark on this journey of culinary artistry, onemust first understand the significance of food in our lives. Food is not merely a means to satiate hunger; it embodies culture, tradition, and creativity. Each dish tells a story, reflecting the heritage and identity of a particular region or community.Sketching food allows us to appreciate its aesthetic appeal and craftsmanship. Whether it's the vibrant hues offresh fruits, the intricate details of a decadent dessert, or the rustic charm of a home-cooked meal, every culinary creation presents an opportunity for artistic interpretation.One of the key elements in creating a captivating food sketch is observation. Paying attention to the shapes, textures, and colors of various ingredients is essentialfor capturing their essence on paper. Whether sketching from life or referencing photographs, keen observation enables the artist to convey the sensory experience of food through their artwork.When sketching food, simplicity often yields the most compelling results. Instead of focusing on intricate details, emphasize the overall composition and mood of the dish. Use light and shadow to create depth, and employ minimal lines to suggest texture and form. Remember, the goal is not photographic realism but rather evoking the essence of the food through artistic interpretation.To illustrate the process of sketching culinarydelights, let us consider a few examples:1. Sketching a Bowl of Fresh Fruit:Start by outlining the basic shapes of the fruits in the bowl using light, gestural lines. Pay attention to the arrangement of fruits and the spaces between them. Use varying line weights to indicate the different textures of each fruit – smooth skin of an apple, bumpy surface of a strawberry, or rough peel of an orange. Add shading to create dimension and depth, focusing on areas where light hits the fruits and where shadows fall. Finally, refine the sketch by adding details such as stems, leaves, and highlights to enhance realism.2. Sketching a Slice of Cake:Begin by sketching the basic shape of the cake slice using light, curved lines. Pay attention to the layers and texture of the cake – fluffy sponge, creamy frosting, and decorative toppings. Use shading to differentiate between light and dark areas, emphasizing the contours and volumeof the slice. Add details such as crumbs, swirls of frosting, and fruit garnishes to enhance visual interest. Consider the overall presentation of the slice on a plate, including any accompanying utensils or decorations.3. Sketching a Bowl of Noodles:Start by outlining the shape of the bowl and the arrangement of noodles using loose, flowing lines. Pay attention to the curvature of the noodles and the depth of the bowl. Use shading to indicate areas of light and shadow, focusing on the highlights on the surface of the noodlesand the shadows cast by the bowl. Add details such as steam rising from the noodles, condiments, and garnishes toconvey the sensory experience of a hot, flavorful dish.In conclusion, sketching culinary delights offers a delightful fusion of art and gastronomy. Through observation, simplicity, and attention to detail, one can create captivating sketches that celebrate the beauty and diversity of food. So, pick up your pencil, sharpen your senses, and embark on a delicious journey of artisticexploration through the world of food sketching. Bon appétit!。

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