【正文】 將 相片， 音樂， 文字 以及富有新意的界面融合在一起 并配合 Photoshop 強大的圖像處理功能美化制作的電子相冊。 Flash 電子相冊因為其畫面活撥、新穎且極具動感，具有獨特的平面動感風(fēng)格很快被年輕一代所追捧。 電子相冊在不久的將來將會成為人們傳播照片和交流溝通的主要手段之一，其設(shè)計有著重要的現(xiàn)實意義。 制作電子相冊首先要獲得數(shù)字化的圖片，即圖片文件。 界面有很多按鈕，使交互友好，實現(xiàn)了上一頁，下一頁， 自動播放及暫停的功能。只需復(fù)制幾份就可以了。 做一幀精美的電子相冊，留住那如詩如畫，勝詩勝畫的年華 。其次，用 FLASH 生成的交互式動畫體積很小，這是相對動態(tài)的 Gif 而言，更適合于在網(wǎng)上傳播。 圖像質(zhì)量高 由于矢量圖形可以做到真正的無級放大，因此圖像不但可以始終被完全顯示， 而且不會降低圖像質(zhì)量。雖然后面的內(nèi)容還沒完全下載，但是前面東北師范大學(xué)計算機學(xué)院二學(xué)歷本科畢業(yè)論文 論文題目： Flash 電子相冊的制作 第 8 頁 共 26 頁 的內(nèi)容同樣可以播放，這實現(xiàn)了動畫的快速播放，減少了用戶的等待時間。 Flash 中的 動作 是輸入程序代碼和程序調(diào)試的地方。 Flash 中還有很多面板，例如【顏色】面板，【對齊】面板，【庫】面板等 。到目前Photoshop 已經(jīng)發(fā)展成為家庭電腦的必裝軟件之一。 文字效果參數(shù)：圖層樣式 投影參 數(shù)設(shè)置，其中混合模式 正片疊底 顏色代碼為： FA67CF。 光澤參數(shù)設(shè)置 ，混合模式正片疊底，顏色代碼 D1F13A，不透明度 100%，角度 19 度，距離 11 像素，大小 14 像素，反相。之后就是把圖片移出舞臺，做法跟剛才的差不多，在第五十五幀處插入關(guān)鍵幀，并創(chuàng)建動作補間，只是在最后一幀把圖片移出舞臺，這樣就出現(xiàn)了平移進(jìn)出的效果。在第二十 五幀到第三十幀處插入空白關(guān)鍵幀，在第五十五幀處插入關(guān)鍵幀同時在屬性面板中設(shè)置動作補間，旋轉(zhuǎn)設(shè)為逆時針，同時將圖片移出舞臺，這樣就可以使圖片旋轉(zhuǎn)移出舞臺。 界面交互友好，實現(xiàn)了上一頁，下一頁，自動播放及暫停功能還有音樂的播放，暫停，增大音量及減小音量的功能，每一個動畫均花費了大量心血設(shè)計并完成的。 二者配合可以制作出很漂亮使用的電子相冊， 在現(xiàn)實生活中 Flash 電子相冊越來越具有重要的意義 ，而且在以后社會的發(fā)展中將起著越來重要的地位 。 附錄：外文翻譯 In Wang Zuoliang?s translation practices, he translated many poems, especially the poems written by Robert Burns. His translation of Burn?s “A Red, Red Rose” brought him fame as a verse translator. At the same time, he published about ten papers on the translation of poems. Some argue that poems cannot be translated. Frost stresses that poetry might get lost in translation. According to Wang, verse translation is possible and necessary, for “The poettranslator brings over some exciting work from another culture and in doing so is also writing his own best work, thereby adding something to his culture. In this transmission and exchange, a richer, more colorful world emerges. ”(Wang, 1991:112). Then how can we translate poems? According to Wang?s understanding, the translation of poems is related to three aspects: A poem?s meaning, poetic art and language. （ 1） A poem?s meaning “Sociocultural differences are formidable enough, but the matter is made much more plex when one realizes that meaning does not consist in the meaning of words only, but also in syntactical structures, speech rhythms, levels of style.” (Wang, 1991:93). （ 2） Poetic art According to Wang, “Bly?s point about the ?marvelous translation? being made possible in the United States only after Whitman, Pound and Williams Carlos Williams posed poetry in speech rhythms shows what may be gained when there is a genuine revolution in poetic art.” (Wang, 1991:93). （ 3） Language “Sometimes language stays static and sometimes language stays active. When language is active, it is beneficial to translation” “This would require this kind of intimate understanding, on the part of the translator, of its genius, its idiosyncrasies, its past and present, what it can do and 東北師范大學(xué)計算機學(xué)院二學(xué)歷本科畢業(yè)論文 論文題目： Flash 電子相冊的制作 第 26 頁 共 26 頁 what it choose not to do.” (Wang, 1991:94). Wang expresses the difficulties of verse translation. Frost?s ment is sufficient to prove the difficulty a translator has to grapple with. Maybe among literary translations, the translation of poems is the most difficult thing. Poems are the crystallization of wisdom. The difficulties of poetic prehension lie not only in lines, but also in structure, such as cadence, rhyme, metre, rhythm, all these conveying information. One point merits our attention. Wang not only talks about the times? poetic art, but also the impact language?s activity has produced on translation. In times when the language is active, translation is prospering. The reform of poetic art has improved the translation quality of poems. For example, around May Fourth Movement, Baihua replaced classical style of writing, so the translation achieved earthshaking success. The relation between the state of language and translation is so