technicalities

我的会员卡上面是vic不是vip vic是什么意思？

一、改写以下句子,写你重申旁边用英语问题的数量在答题纸上。

1上帝未遭遇Westley死拿走他的名字徒劳或躺在殿里。

2。但形式的地址揭示许多假设我们对我们的社区成员演讲。

3。人们常说,只要我们不是不幸的少数人病态语言缺陷,我们的语言机制自动装备我们再说我们需要说。

4。有很多这样的任意小限制我们的语言。

5。他可以给一个实事求是的助教课上多起谋杀。

11。 尽管他只是一个路过的熟人的,美国的问候礼仪要求我说出几句话向他保证我的善意。

12。 这样一个悬架是他的特权去传授。

13。 它的意思是,如果我的工作和我的爱好还了解了这些活动,我的语言将会崛起。

14。 我们这样想,我们使我们的语言,因为我们需要它,但事实上,对于一个单独的范围改变事情是非常有限的。

15。 晚上安静的街区被笼罩在黑暗,标志着沉睡中的大多数居民区。

英译汉:

6。作为母语的美国演讲的社区,我们长大了学习规则的地址的同时,我们被收购的语法规则的美式英语。

7。乍一想,这也许看起来平淡无奇检查方法,因为我们彼此的地址。

8。但形式的地址揭示许多假设我们对我们的社区成员演讲。

9。相比之下,人们在顺从的角色将倾向于微蹲和显示自我保护的立场。

10。 对于一项天大的时候美国人旅行者,走动的国家收集贵重物品,但由于不懂永久的;他们的根和他们的心在城镇和不断增长的城市东边一带。

26。 人们常说,只要我们不是不幸的少数人病态语言缺陷,我们的语言机制自动装备我们再说我们需要说。

27。 这并不意味着我可以谈谈公司的所有技术细节的法律或暖气和圆滑的一个律师或水管工。

28。 它的意思是,如果我的工作和我的爱好还了解了这些活动,我的语言将会崛起。

29。 非语言的沟通也是我们所说的culture-free;全球适用。人们可以去任何地方,理解这些信号,即使他们不知道口语。

30。 什么一个了不起的国家,可以使它那么努力的人之间进行选择的目的而设计的东西都扔掉了!。

用这句话回答展开一段至少100词的英文作文

VIC是英文Very Important Client的缩写，由于Client的称谓比People更尊贵，所以VIC是比VIP还要尊贵的意思，意即“超级贵宾”。

重点词汇解释

client　

英 ['klaɪənt]  美 ['klaɪənt] 　 　

n. 委托人；客户

例句：The lawyer explained the legal technicalities to his client.。

翻译：律师给委托人解释法律上的要点。

用法

client在互联网语言中还可指允许远程服务的本地客户端。

近义词

buyer　

英 ['baɪə(r)]  美 ['baɪər] 　 　

n. 买方

例句：Tom is the prospective buyer of my house.。

翻译：汤姆是可能购买我的房屋的人。

短语：margin buyer 边际购买者。

confused什么意思

Thinking of word。

It is often said that, provided we are not of the unfortunate minority of 。

people who have pathological language defects, our language mechanism 。

automatically equips us to say anything we need to say. This does not mean that 。

I can talk about all the technicalities of company law or of central heating 。

with the glibness of a solicitor or a plumber. What it does mean is that if my 。

job or my hobby entailed a knowledge of these activities, my language would rise 。

to the occasion.。

We thus have the general truth that any normal person has 。

the language tools to handle anything he needs to handle. But there are odd 。

little exceptions. Let us consider, for instance, forms of address to strangers. 。

Quite often we need to draw a person's attention to something that has just 。

dropped out of pocket or handbag, or to the fact that he is just going to walk 。

into a plate glass door. Not merely do English lack anything corresponding to 。

the French attention, but we do not have the equivalent of M'sieur or Madame or 。

even Mademoiselle. Some people manage very effectively with ‘Watch it, mate' or 。

‘Look out, lady' or even ‘Hey, missis'; but these forms are outside the range of 。

polite educated usage. We can try shouting ‘Excuse me!' but that is ambiguous: 。

it may be taken to mean that we just want to push in a hurry. ‘Excuse me, sir' 。

is awkward unless you are a very young male speaking to a much older one. 。

‘Excuse me, madam' makes you sound like a door-to-door salesman —— and can 。

hardly be addressed to a teenage female in any case. By this time, the stranger 。

has bumped into the plate glass, or has disappeared, leaving you to take a fur 。

glove to the police station.。

Not long ago, a foreign visitor whose English is extremely 。

good told me of his embarrassment in a tea shop. He knew that although we can 。

call out ‘waiter’ to a man, we cannot call out ‘waitress’ if the place is 。

staffed by women. So he tried ‘Miss’, and had been forced to cringe by the large 。

middle-aged married waitress who had turned on him: ‘And who are you calling 。

miss, young feller?’

There are many such arbitrary little limitations on our 。

language. While we can single out one story or one yarn from a number of 。

stories, we can't talk about ‘an information’. Instead, we have to use a 。

roundabout expression like ‘I have another piece of news (or another item of 。

information) for you’. While underclothes (informally, undies) are made up of 。

individual garments, we can not complain to the laundry that they have mislaid 。

one ‘underclo(the)’ or one ‘undy’. While we can talk about John's car or Mary's 。

car, or John and Mary's car if it belongs to the two of them, we are in 。

difficulty if one of the possessives is a pronoun: John and her car. A friend of 。

mine recently slipped into saying This is Mary and I's car. We can ask a person 。

how many children he has without going into the specifics of whether they are 。

boys or girls; but we can not ask him how many brothers and sisters he has 。

without getting precisely these irrelevant subanswers and then totalling 。

them.

Now. it is true that in this instance we may use the word 。

siblings. But the very fact that this word is mainly confined to technical 。

health-authority usage (despite our recognition of its usefulness and of our 。

need for such a word) is an interesting indication of the way we are very 。

largely the helpless prisoners of the language in general use around us. We like 。

to think that we make our language as we need it, but in fact the scope for an 。

individual to change things is very limited. Even where there would be 。

widespread agreement that there is a linguistic deficiency, very few communities 。

in the world seem to have settled the means whereby remedies can be agreed upon 。

and adopted.

Let me touch upon one other way in which we are equipped 。

somewhat less than ideally to say what we want to say. I mean the problem of 。

‘word-finding’. Let us pretend that we are writing something or —— worse —— that 。

we are in the middle of a conversation, and we want to refer to what goes on 。

when people are doing something together in full knowledge of each other's 。

motives but seem unwilling to disclose those motives to others, perhaps because 。

their activity is harmful to other people's interests. We may turn over in our 。

minds some such long-winded paraphrase of what we want to say and even at the 。

end not feel satisfied that the paraphrase has in it all that we mean. Yet we 。

may remain convinced that a single word exists which says exactly what we have 。

in mind. Collaboration, plotting, co-operation, conspiracy, partnership, we fish 。

around and reject each of these in turn because they either say too much or not 。

enough. It is worrying when we can not find the right word, and it is worrying 。

too that when we find it —— in this case, collusion —— it has no obvious 。

relation to the rough paraphrase we started with: it is not as if the word 。

turned out to be ‘selfish-secret-work-together’. Finally it is worrying that 。

when we are struggling to find the ‘right’ word in this way, there is no certain 。

or systematic way of setting about it, and no guarantee either that the word 。

exists or that if it does we will inevitably find it.。

Can we not begin to imagine how near to despair these people 。

must come who can almost never find the word they are hunting for?。

求采纳

让绘画更真实的技巧

confuse

英 [kən'fju:z] 美 [kənˈfjuz] 。

vt. 使困窘；使混乱；使困惑；使更难于理解 。

vi. 使糊涂

混淆； 沉溺； 使混乱； 打乱 。

过去式：confused

过去分词：confused

现在分词：confusing 。

第三人称单数：confuses 。

及物动词 vt.

1.使困惑, 把…弄糊涂

They asked so many questions that they confused me.。

他们问了许多问题, 都把我弄糊涂了。

Many people are confused about the new ways of measuring temperature.。

许多人都搞不清测定温度的新方法。

2.混淆, 把…混同

This is an attempt to confuse form and[with] substance.。

这是企图把形式同实质混淆。

3.混乱, 搞乱

These verbs are often confused.。

这些动词常被弄混。

4.使更难于理解

puzzle, bewilder, confuse, embarrass, perplex, baffle, confound, distract。

这些动词均有“使困惑，迷惑，糊涂，伤脑筋”之意。

puzzle： 侧重使人难于理解、困惑、伤脑筋。

bewilder： 语气强烈，指因迷不解或惊愕而慌乱，不知所措，无法清醒地思考。

confuse： 语气较弱，指由于混淆、混乱而糊涂。

embarrass： 常指因处境或困难问题而感到窘迫、局促不安或焦急而不知所措。

perplex： 除困惑外，还含焦虑或缺乏把握之意，因而难于作出决定，无从下手处理。

baffle： 语气最强，多指遇见奇怪情景或复杂困难情况时所产生的惶恐困惑心理。

confound： 常指人惊慌失措和狼狈不堪。

distract： 主要用于注意力分散、思想矛盾或过分激动时产生的昏乱。

1.This is an attempt to confuse form and[with] substance. 。

这是企图把形式同实质混淆。

2. People are apt to confuse the two issues. 。

人们容易把这两个问题混淆起来。

3. Don't confuse Austria with [and] Australia. 。

不要把奥地利与澳大利亚弄混淆了。

4. Don't confuse me with technicalities——all I need to know is how to turn the machine on and off. 。

细节性技术我搞不懂，别讲了，我要知道的只是机器怎么开关。

5. I can't see how anyone could confuse you with another! 。

我不明白怎么会有人把你和另外一个人搞混！

6. Don't confuse the issue, eg by introducing irrelevant topics. 。

不要把问题搅乱（如提出无关的话题）。

7. Don't confuse liberty with overindulge. 。

不要把自由与放纵混为一谈。

8. He did not confuse audiences by silly subtleties. 。

他不用无聊的微妙言辞搞糊涂听众。

9. I always confuse Australia with Austria. 。

我总是把澳大利亚同奥地利弄混。

10. Don' t confuse Austria and / with Australia. 。

不要把奥地利跟澳大利亚弄混淆了。

11. You confuse me, and how can I transact business if I am confused?。

你把我的心弄乱了。心弄乱了怎么能搞业务呢？

12. Would it confuse some animals and harm plants that are used to regular day-night cycles? 。

它会不会把那些按照昼夜规律生息的动物、植物的节律打乱，而对它们有所伤害？

13. He was too sorry and disturbed to wish to catechize or confuse him further. 。

他太懊恼，心烦，不愿再盘问他。

14. We must be careful not to confuse such truths with exact statements about the physical world. 。

我们必须注意，不要把这种真实性与关于物理世界的确切表达相混淆。

15. I advised him against it, because to preempt his own deadline might confuse our adversaries.。

我建议他不要这样做，因为他在自己提出的最后期限之前就抢先采取行动，可能使我们的敌人莫名其妙。

16. Belknap, realizing this, tried to confuse this Stella in her identification of Clyde. 。

贝尔纳普也了解到这一层，就想从斯特拉认出那人就是克莱德这一点上引起一些混乱。

17. He has done more to confuse and mystify the subject than to clear it up. 他所做的恰恰是把这个学科搞得既混乱又神秘，而不是把它搞清楚。

18. Chinese characters always confuse me. 。

中国汉字总是让我困惑。

19. Sometimes many people confuse it with check safekeeping. 。

有时候，许多人都会把它与支票安全储存混为一谈。

20. It'should confuse him long enough to get a shot in. 。

这会让他糊涂很长时间而不敢开火。

英文简介 信达雅原则的英文翻译版 500~1000字

来自： https://www.scotthyoung.com/blog/2019/04/17/7-realistic-drawing-skills/ 。

Knowing how to draw is something most people feel is mostly about artistic talent. You can either draw or you can’t.。

I disagree.

Instead, I think drawing is mostly about having a set of specific techniques, that anyone can learn, which make it a lot easier to draw something realistically.。

I’m not a professional artist, and so my experience comes mostly from drawing as a hobby. However, as many professional artists have long-since mastered these basic skills, they often struggle to teach them.。

I’d like to share what I think some of these basic skills are, along with resources you can use to master them. If you do, I promise that you’ll be able to draw much, much better than you do now.。

The most basic skill of drawing is to notice how things actually look, instead of what you know they’re really like. This sounds vague and hand-wavey, but it’s really not.。

Consider drawing something simple like a table.。

Question: How big is each leg of the table?。

The obvious answer is that they’re all the same. That’s how tables are built. If they weren’t it would be all wonky.。

Yet that’s not how a table actually looks. Because some legs are in the background, and viewed at different angles, the lines you put down to represent the table legs aren’t actually the same size.。

The first question to ask when drawing is always, “what does it actually look like?” How do the edges of the object actually look, (i.e. what angles do they form and what size are they) rather than what you “know” them to be like as 3D objects.。

For a great resource on mastering this core skill, I suggest Drawing on the Right Side of the Brain .。

If seeing how things actually look is the first skill, the second is using this knowledge in a precise way to make accurate drawings.。

There’s a few different ways you can do this.。

The easiest is tracing. You copy over an image to preserve the lines and structures in the original. If you have a piece of glass and a dry-erase marker you can even do this to “trace” a real-life scene rather than an image.。

The next level up is drawing from a grid. Apply a grid to your scene or image you want to copy, and then draw into a grid on your paper. I did this a lot when I started, and it’s a good way to get better at drawing without feeling like you’re cheating as much.。

The final level is to triangulate. This maintains precision without relying on grids and tracing is to block in the shapes by locating reference points and then meticulously building up the scene by comparing angles and sizes of lines. This requires some effort, but it’s my favorite because it allows arbitrary degrees of accuracy and transfers better to looser sketches which don’t use the technique (unlike tracing or grid drawing).。

The basics of this technique are as follows:。

The best resource for learning how to apply this drawing technique is Virtruvian Studios course on drawing .。

Drawing is hard because lines which are perpendicular in the real world, become weird angles on 2D scenes due to perspective.。

Perspective is particularly important when drawing a scene of regular objects which recede into a distance. Therefore, it’s very important for things like drawing buildings, landscapes or big scenes. It’s less important for drawing faces and still lifes, where the subject doesn’t change all that much in terms of distance to the viewer.。

While you can apply the same method as the one above to accurately draw a scene with buildings, it is often more useful as a shortcut to consider making vanishing points instead.。

There’s three main types of perspective drawings you might consider:。

One-point perspective has a single vanishing point. This can happen when you’re looking down a road, for instance, and the buildings, lampposts and statues on the side are receding into the distance. The idea being what in the center is smallest, with what’s on the left and right being bigger and bigger.。

**Two-point perspective has two vanishing points. **This happens when you’re looking at the corner of a building, and you want to consider two streets going off in each direction. The idea here being that what is in the middle is largest, with everything to the left and right getting smaller and smaller.。

**Three point perspective has, you guessed it, three vanishing points. **This is like two-point perspective, except now it also recedes above you. This is often the case when you’re looking up at a tall building and the top of the building takes up less room than the bottom, even thought each floor is (in the 3D world) the same size.。

When I started learning about perspective, I found it very confusing. When should I use one point? Two points? The dreaded three?。

The logic behind vanishing points is that all the lines that go “into” one vanishing point are actually parallel in a 3D scene. Look back at the above images. In a one point perspective, all the lines that go “into” the picture are all parallel. In a two point perspective, in contrast, there are two sets of lines which are themselves pointed in different directions.。

This means that a scene can, in theory, have any number of vanishing points, each corresponding to the parallel lines themselves. If you’re doing a sketch of an old European city, for instance, you may have buildings that sit at strange angles to each other, resulting in a set of lines and vanishing points for each.。

Don’t get hung up on the technicalities of vanishing points when you get started. Instead, use them as a benchmark for blocking in your scene. If you know a group of lines (say all the tops of windows for a building) are going to be parallel, you can quickly estimate the vanishing point and sketch them all in more accurately than trying to guess the angle of each one on its own。

You can get started with this by actually drawing vanishing points and making your buildings or objects fit. A quicker way, once you’re more experienced is simply to expect the lines in your buildings to be self-consistent.。

If you’re sketching a building for instance, and decide to draw the top of a roof at a 15 degree angle, and you know it recedes off to the right, then you know the tops of your windows can’t be at a sharper angle than that one.。

This rule-of-thumb can help you make self-consistent drawings much faster than the painstaking method of triangulating points, by exploiting the regularity in the structures you want to draw.。

We’ve already seen how applying our knowledge of the 3D world to 2D drawings can lead to misleading images. But, that was relatively minor to the problems relative contrast can cause.。

Consider this famous optical illusion:。

The two squares are exactly the same value, except one looks light and the other dark. Relative contrast makes it very easy to overestimate the lightness of light objects in shadow and the darkness of dark objects in the light.。

How can you avoid this problem? One way is to take a photograph and open it up in an image editing program like photoshop. There you can use the eye-dropper tool and actually sample the local value and see how it compares to other things you’ve already drawn.。

Except that feels a bit like cheating. Plus it doesn’t really train your mind to sense the correct brightness value just by looking at the objects.。

How do artists overcome their brain’s tendency to adjust for relative contrast? By squinting. 。

<figcaption style="margin-top: 0.5em; margin-bottom: 1em; color: rgb(85, 93, 102); text-align: center; font-size: 13px;">With details blurred out (and less light, so fewer color receptors are active) it’s easier to make out the overall shade without getting distracted by the details.</figcaption>。

That may sound ridiculous, but it actually works. Squinting, so you’re seeing the scene as a blurry set of shapes through your eyelashes, reduces a lot of the information in the scene. It also turns the scene into splotches of light and dark which are easier to assess on their own without the distractions of relative contrast.。

Try it yourself, pick out two objects in the room and squint to compare their brightness. Now open your eyes and see how they look without squinting. Do you see a difference?。

Squinting is just one technique, but if you really want to understand how to draw lights and darks, I suggest How to Draw Light & Shadow by Will Kemp.。

A mistake I made a lot early on in drawing was putting in a lot of details on one section, without filling in everything else. I’d try to draw a boat, and I’d start putting in the lettering I see on the side of the ship before I’ve even sketched out any of the scene.。

One theory I have about why this often doesn’t work, is that people have expectations of accuracy. If I show you a really low-resolution photograph, or an impressionistic painting, you’re unlikely to say it lacks artistic merit, just because it isn’t photorealistic. The relationships it does portray are accurate enough that you can see what it is.。

On the other hand, if you make part of your image extremely accurate, it makes deviations from accuracy on bigger things much more noticeable. A face drawn realistically will be judged much worse for slight imperfections than one done as a sketch.。

A useful skill to learn when drawing, therefore, is to start by getting the big things right. How big is the thing you’re drawing? How much wider is it than it is tall? How big is it compared to the other things you’re putting in?。

Once you’ve mapped those things out right, you can actually be pretty loose with a lot of details and still have a “realistic” looking drawing. Look at the windows on this painting. They are basically splotches, yet we accept it as realistic because the big things were done right.。

Artist Cynthia Hamilton 。

Curves are a lot harder to draw than straight lines. For starters, they’re more complicated than lines. You need more information to represent a curve than a straight line, so there’s more ways you can screw one up.。

Second, curves often are harder to freehand draw accurately. A straight line, with practice, isn’t too hard to do freehand, even if it doesn’t meet the accuracy of one done with a ruler. However, curves often go against the natural motion of your hand, so it’s often the case that you’ll draw it wrong if done in a single motion.。

The starting point, as always, is to see how the curve really is. If you had to draw tangent lines on its surface, what would they be? Does it form corners, or does it stay curved the whole way? A common mistake when drawing vases in still lifes is to kink the corners at the end, not recognizing that it will form an ellipse instead.。

Next, you can sketch out a few line segments to break up a complex or sharply turning curve into a few straight-line segments as approximation. This will help you stay roughly in the right ballpark when you put curves in.。

Finally, draw your curve, asking yourself how it is accelerating and slowing down at different parts of your line segment.。

All of these skills don’t matter if you don’t practice them. The biggest obstacle to drawing is fearing that it won’t turn out right—that you’ll put effort in and you’ll end up with something embarrassing.。

This is why I think some people have convinced themselves they don’t have artistic talent.。

At some point they received negative feedback about something they drew, either from a peer, teacher or parent (or even from their own expectations) and this made drawing something frustrating, instead of pleasant. They stopped doing it because thinking of drawing brings up those old fears and anxieties.。

However, the truth is that drawing is mostly about cultivating a bunch of specific, learnable skills like the ones above. Anyone can learn them, they just require practice. In order to practice, you need to stop being afraid of drawing.。

There’s a few ways you can build up your confidence to master these skills:。

Don’t give up and keep practicing to draw better!。

Resources mentioned in this post:。

原文地址：http://www.qianchusai.com/technicalities.html