3D红蓝图制作(英文版)Oct07web
ctober
CE NTE R
NEW S
Contents
Message from Center Director
by Paul Brenner Friends Meeting Friends
by Mart McCann
Chains of Light: The Making of Slow Glass by Ray Zone NSA/ISU Convention Friends meeting photos by Shab Levy Urban Environments and a Mystery ...
by Diane Rulien
& J. Claire Dean
Coming to the Center/Online Store
events calendar
234568
Cover
Articles
Center News is published quarterly as a benefi t for Friends of the Center by:
3D Center of Art & Photography
1928 NW Lovejoy, Portland, OR 97209
503-227-6667
https://www.sodocs.net/doc/d61841978.html,
Copyright ?2007 3D Center of Art and Photography
Vol. 4 No. 4 October 2007Editor: Diane Rulien Editor@https://www.sodocs.net/doc/d61841978.html,
D ear M embers and F riends
Melencolia (Rautenstrauch); Rautenstauch portrait; and Folioscope Installation (Greg Marshall) (see article p. 6)
I began work as the 3D Center’s fi rst paid Director on August 1st . The fi rst thing I recognized was the incredible energy and generosity of the Center’s Friends , Board members, and volunteers. I’m thrilled to work within an organization that already has such a dedicated and tireless group of folks committed to making the Center the best that it can be. I have worked for non-profi t arts organizations since 1987 and I well realize that without the time and resources of people like you, such organizations could not exist.
Given my lifelong devotion to presenting and promoting the work of contemporary artists in all media, I am excited to be working with 3D artists here in Portland, nationally and internationally. As a unique
institution, the 3D Center has an important mission to act as a showcase for the best 3D imagery being made today, presenting this work for all those visiting or living in the Portland area while serving as an international advocate for all things 3D.
The other side of our dual mission is equally important, collecting and preserving the rich history of stereoscopic imagery while acting as an educational resource for photographers, scholars and the general public. The Center is just beginning the huge job of cataloguing items already in the collection with the recent acquisition of PastPerfect, a professional museum software suite which will help to make the collection more accessible.
As part of our continued mission to educate, we are offering classes this fall for the novice and experienced 3D photographers: “Introduction to 3D Photography” which I will be taking because I admit that much of 3D is new to me; and “Making Custom View-Master Reels.” In addition, we have scheduled visits by several school groups for the 2007-2008 year and we welcome this opportunity to introduce youth to the wonders of 3D. If you know of a group that would be interested in visiting the Center, please let me know.
We recently added the Friends only page to our website for those of you who cannot easily stop by the Center. We will work to present interesting content for this page. I hope those of you who are geographically close will visit the Center soon to see the current and upcoming exhibits. The Creative Committee and I are busy working on program plans for 2008. We’ve recently posted guidelines for artists and a submission form on our website and we encourage you to send us information on your new work or pass this information on to 3D artists whose work you’d like to see presented here.
I also encourage you to continue your support of the Center by renewing your Friends membership for 2008 (if you have not already done so), and volunteering for shifts open at the Center throughout the year. If you have not already had a volunteer orientation let me know and we can schedule a time for you to come in and learn about the day-to-day operations of the Center. After that, you can sign up for any open shifts, Thursdays – Sundays, on our website.
I look forward to working with all of you and am always open to discussing your ideas for the Center. Just stop in, email me (info@https://www.sodocs.net/doc/d61841978.html,) or give me a call.
Yours in 3D,
Paul Brenner
L
arry Ferguson is a genial professional photographer, so passionate about public art in
his hometown of Omaha, Nebraska, that he now chairs the Public Arts Commission. He is surely the world’s easiest interview as well. I asked only two questions. The first was that reliable stand-by, “how did you get interested in stereo photography?”
His grandmother had a stereoscope and boxes of Keystone cards that brought the world to young Larry. Rosie Ferguson would
talk to him about the exotic places pictured in those views, and about how stereocards predated television as family entertainment. Larry still loves travel, most recently documenting visits to Antarctica and China.
After college at the University of Nebraska, Larry worked as an archival photographer in Hastings, where he became interested in the work of William Henry Jackson (1843-1942)
an American painter, photographer and explorer famous for his images of the American West. Jackson, who settled in Omaha in 1867, worked with a 5X7 stereo camera, and Larry quickly figured out how to build one of his own. In 1998, he began making stereocards which he sold on eBay.
Shortly after Larry began marketing his views on eBay, he was contacted by Tom Dory who informed him that his images were beautiful, but his mounting was a disaster. Tom offered to help. He also encouraged Larry to subscribe to photo-3d on the web, and to attend the 2000 NSA convention in Mesa,
Arizona, which Tom chaired. Larry describes the Mesa convention as “a real eye-opener (no pun intended).” He had no idea there were so many other people interested in stereo images. David Lee’s workshop on the making of stereocards inspired Larry to make each card a little work of art, with an interesting back as well as a beautiful image on the front. Dan Shelley was also generous with his technical advice.
As his homemade camera’s lenses weren’t perfectly matched, Larry tried out several stereo cameras: Realist, TDC, Wollensack, Heidoscop and Rolleidoscop. He now makes his images using a Canon 20D twin rig.
Larry believes stereocards should be “rich and warm like a finely-made product.” He singles out the work of APEC members David Lee and Ernie Rairdin as having “good feel in the hand, a lush visual and tactile experience.”
Thirty minutes after my first question, I asked the second: why he became a Friend of the Center. Larry replied that it is “important to support 3D as an art form,” and he has done so since the Center’s inception. “There’s a huge revival of 3D on the way, and it should be supported from the inside.” Ballantyne of Omaha, Inc., makes digital projection equipment for theatres and the projectors they are selling now are “3D-ready.” Larry suggests that digital projection will give a huge boost to the return of widely accepted 3D, since a
skilled projectionist is no longer necessary. Alignment problems are a thing of the past. We’ve all heard the rumors that George Lucas is converting all six Star Wars movies to 3D, and that James Cameron (“Titanic”) will never make another flat film. “It’s great to be in at the ground level of
the 3D revival,” Larry says. I couldn’t agree more.
For more about Larry, visit https://www.sodocs.net/doc/d61841978.html,.
Friends Meeting Friends
by Mart McCann
As a regular feature in Center News, we plan to showcase various Friends of the Center so that you may become acquainted with others who support the Center. This is the first of the series.
Images by Larry Ferguson: Portrait of Mart McCann (right), The Good View (below),
Self portrait stereocard - front and back (bottom and right).
S
ome years ago, I read a remarkable science fi ction story online called
“Light of Other Days” by Bob Shaw. The poignant narrative used the technological conceit of window glass which transmits visible imagery from decades past like a clock. Here, I thought, was a tale made for telling in 3D. Not only would the visuals be intriguing but the stereo special effects were integral to the story, something that is uncommon in most 3D movies.
At a September 2005 meeting of the 3D Movie Division of the Stereo Club of Southern California (SCSC), held at Chairman John E. Hart’s house, I proposed the making of Slow Glass as a group project. John passed around a sign-up sheet and I was very pleased to see that over a dozen individuals had signed up, more than enough to make the movie. At the meeting Tom Koester had brought a new dual high-defi nition (HD) camera rig that he had recently assembled
using two JVC HD-10 cameras for 3D shooting and he was ready to use it to photograph Slow Glass.
The next week, I emailed a 12 page screenplay adaptation of Shaw’s story around to all who had signed up. John Hart informed me that he had booked his cabin at Big Bear Lake in November for us to use in making Slow Glass. Things came together very quickly to begin production.
Jeff Amaral, who was 1st
Assistant Director on the project, recruited two fi ne young actors, Doug
and Nicole Bilitch, to play the young married
couple and I asked John Hart if he would play the part of J.R. Hagan, an elderly purveyor of slow glass. I also enlisted Angela Hoberman and her young son Munroe to enact the role of Hagan’s wife and son. All of us, along with sound man John Christopher, Eric Kurland and Lawrence and Cassie Kaufman, who shot stereo set photography, convened at John Hart’s cabin at Big Bear for two days of weekend shooting for Slow Glass.
Next door to John Hart’s cabin was a quaint and picturesque little wood cabin that
was locked-up but unoccupied at the time. We decided to use this as our primary location and blocked out action to take place in the front and back yard of the cabin. Stereoscopic photography with Tom Koester’s dual HD rig went very well and for the panes of slow glass we placed 24 x 36 inch chroma key blue foamcore panels
about the yard. In post-production stereoscopic footage would be composited into these blue panels. Shooting all day Saturday and half the day Sunday, principal photography was completed. Within a week after principal photography, Tom Koester had cut together a 3D assemble edit of our story.
A couple weeks later Tom and I drove around LA shooting different environments, from Griffi th Park to Santa Monica, for the stereoscopic effects with footage
to be composited onto panels. Then we began the challenging 3D post production on Slow Glass.
Sean Isroelit was Supervisor of Post Production and he organized all of the elements and shots for stereoscopic compositing. Sean also produced a brilliant effects shot, the success of which is vital to the story. Brian Gardner
created a very effective animation of snow falling in a forest from a still stereo photo by Kathy Day. Tom Koester also produced some blue screen composites to round out the visual effects (vfx). The entire post production process took a little over a year.
To complete the fi lm, Bernard Mendiburu created a breathtaking opening title and he also completed what came to be known as “the shot from hell,” in which the cameras pan with actors moving in front of blue screen panels, a highly complex vfx problem. While all this was going on, Tom and I tinkered with the movie to create a smoother story and greater emotional impact. With the fi nal edit complete, I sat down with Tom
Chains of Light: The Making of Slow Glass
By Ray Zone
“Oft, in the
Ere slumber’s cha Fond Memory Of other days
--Tho
to
add
a live music
soundtrack consisting
of a single acoustic
guitar on a separate
sound channel.
On a technical
level Slow Glass was
shot with two JVC
HD-10 HDV cameras
in a stereo rig of Tom’s
own design. The
interaxial between
the cameras was 2.75 inches and most of the stereo photography was done parallel without converging the cameras which shoot at 720x1280, a 30p version of HDV. The HDV format is a High Defi nition MPEG variant that records at 4:2:0. The Cineform Codec
was used to transcode
and capture so the editing
could be done in Premiere
Pro 1.5. The transcoding
converts the video to 4:2:2.
As co-producers of
Slow Glass, Tom Koester
and I were given the fi rst
place “Ro-Man” Award in
May 2007 for the 5th Ever
3D Movie Contest sponsored
by SCSC with Lenny Lipton,
Phil McNally and Bob Burns
serving as judges. Slow
Glass was screened at the June 2007 SCSC 3D movie night meeting and again in July at the NSA/ISU Convention in Boise, Idaho where it won the third place award. Tom’s excellent 3D documentary, The Towers of Rodia, won the second place award at the 5th Ever 3D movie contest and also impressed the audience when it was screened at the NSA/ISU Convention.
It is my hope
that Slow Glass will
move audiences with
its poignant narrative
as much as it may
dazzle them with its
stereoscopic visual
effects. Within its 14-
minute running time, it
is an attempt to create
a seamless marriage of
3D effects with a story
that touches the heart.
e stilly night, ain has bound me, brings the light s around me.”omas Moore The fi rst meeting of
Friends of the Cen-
ter to ever be held
took place during
the NSA/ISU con-
vention in Boise.
The meeting began
with Diane Rulien,
outgoing Director of
the 3D Center giving a “State of the Center” report. Rulien described the Cen-ter as “fragile, but steady” referring to the continual fundraising and work being done to get information about the Center and 3D to the public. She thanked the Friends of the Center for their ongoing support and spoke of the wonderful support the Center has received from the stereo community, organizations, and occasionally the press.
In the candid discussion that
followed, there were many
great ideas offered. Most
were aware of the PBS fi lm-
ing done at the Center and of
the tremendous work done by
Annie Dubinsky (seen right in
red) as the assistant director
of the Center for two years.
Rulien was surprised by
Dwight Cummings and Rich
Dubnow’s presentation of
an honorary lifetime Friends
membership and an orchid in
acknowledgement of her four
years of dedication in helping
establish and run the Center.
But the greatest surprise
was Rich Dubnow’s challenge
that he would match all Friends
memberships and Center
donations received during
the convention up to $2500!
Not only did the Center reach
the $2500 goal, but a second
anonymous $500 matching
grant was also reached. Friends at Boise Convention
Ekkehart Rautenstrauch’s “Urban Spaces” is on display in the Center’s gallery. He becomes the fourth artist featured in the 3D Center’s gallery from outside the United States.
Born in 1941 in East Germany, Rautenstrauch studied arts in the Bauhaus tradition at the School of Fine Arts in Stuttgart. For many years Rautenstrauch has investigated the relationship between sound and vision through his stereoscopic works. “Urban Spaces” was inspired by an industrial site in his home town, Nantes, France. Of this show, Rautenstrauch says, “Not far from the center of Nantes, with its 500,000 inhabitants, stands a foundry, out of service since the 1980s. Industrial fallow is enclosed by walls and fences,
strictly forbidden to enter, surrounded by blocks of flats and a sports center. It very quickly became an area open to people passionate about graphics and tags and keen on self-expression. Between 2000 and 2007, I steadily followed the pictorial transformation, the continuous fading and each new expression testifying to an alive and constant creation.
This abandoned place has always attracted me in an irresistible way. Like wild nature, a human being – untamed and untamable as well – can also find his own measure here. This may be romantic reminiscence but in the spontaneity of free and unruly young street artists we can hear a kind of scream, a refusal to obey the rules of the cities. Don’t they reveal the contradictions of a much too normative and standardized society? Urban life feeds these rebellions and we perceive them as ‘wild flowers’ in our cities nowadays.”
In the midst of the Depression, a teenage orphan was murdered at the Chicago factory where she worked. A clerk at the factory was charged with the crime after evidence was discovered showing he had an obsession with the girl.
Recently, other evidence has surfaced that calls that finding into question. Was there a cult meeting in the building after hours? Did the orphan, young Anna Sula, have supernatural abilities?
This new presentation by Christopher Schneberger details the story, and presents never seen before evidence including
photographs revealing Anna’s incredible powers, and perhaps her true identity.
Schneberger is a Chicago artist and photography teacher at Columbia College and the Evanston Art Center. Recent exhibitions include Printworks Gallery, El Camino College, and College for Creative Studies. He is twice recipient of an Illinois Arts Council individual artist grant, and twice winner of the Paul Wing award for best stereo theater presentation.
Schneberger will attend an artist’s reception at the Center on Thursday, October 4 from 6 pm until 9 pm.
Beginning November 1, the Center’s
stereo theatre will be showing Slow
Glass(see article page 4) and the gallery
will have a display of Rick Gibson’s
lenticular art, Dustless Sculptures.
Gibson who lives in Vancouver, BC, will
be present to great visitors and answer questions
about his art during the show’s opening from 6
until 7 pm on November 1. In discussing the
beginnings of his involvement in 3D, Gibson
explains, “My interest in 3D started with
holography in the late 1970’s. I apprenticed
under the Canadian holographer Al Razutis in
Vancouver, BC. Eventually I got my own studio
and had several shows. But making holograms is
really expensive. The costs of materials and gear prohibit the medium from becoming a true vehicle of social expression.
So after a few years I packed it in and moved on to other things.
Not until the arrival of inexpensive computers that could handle Photoshop, did I renew my interests in 3D. This time it was as anaglyphs. I started to exhibit this work online in 1997. But my major complaint with anaglyphs is that they require the viewer to wear red/blue glasses. My personal experience has led me to the conclusion that the vast majority of humans hate wearing glasses.
My stereoscopic interests then went fallow for a few years, until I was encouraged to look into lenticular displays while working on
my Master’s thesis. It quickly became apparent to me that with a home computer and a small laminator, I could make any 3D form I wanted and easily display it in public. These new digital lenticulars are large, colorful and inexpensive. I am confident that this medium has the potential to supersede both holograms and stereo-pairs as a viable new medium for the visual arts. My interest in 3D, which was stalled
by holographic costs and anaglyphic goggles, has been rekindled with lenticulars.”
Gibson’s Camouflage illustrates his skill and sense of humor. Shown here as a stereo pair,
the image will be displayed at the Center as one of the many lenticulars in his exhibit.
W e had so much fun last November (and raised a
tidy sum of money for the 3D Center) that we have
decided to have another go. So, on the evening of Saturday,
November 17th, 2007, we will hold the CSC 2nd Annual Silent
Auction Benefiting the 3D Center of Art and Photography. This
year the auction and festivities will be held at Friendly House,
NW Savier, Portland starting at 7 pm and admission will be $3
per person to kick off the fund raising.
In order to have an auction we need donations of items to
sell, so please consider giving something towards the cause.
Obviously things 3D are most appropriate, but non-3D stuff is also
most welcome; who would have guessed that a vicious bidding
war would break out over a box of Peeps! Last year’s offerings
included cameras, various pieces of 3D equipment, 3D cards and
works of art, wine, books, a 3D lamp, gift certificates, Shab
Levy (at least his services) and the aforementioned Peeps.
In response to suggestions after last year’s effort, we are
going to try to make available ahead of time a list of items up for
auction. We can’t arrange a means to take online bids, and trying
to deal with telephoned bids is difficult. So, taking a
leaf out of E-bay’s book, we will be accepting proxy
bids. This means that if you can’t attend the auction
in person you will be able to inform us ahead of time
the maximum you are prepared to bid for any item on
the list. We will keep this information private and bid
on your behalf up to your maximum stated amount.
In order to create the list that will support proxy
bidding we must have a description of the items being
donated. Please send descriptions of your donated
items, along with their approximate value (this helps
us determine a minimum bid if necessary) to me at
Clairedean@https://www.sodocs.net/doc/d61841978.html, by October 27th, 2007. Please
put “3D Auction” in the subject line of the message.
You will be able to drop the items off at the 3D Center
or ship them to us starting October 28th.
So come on, help us beat last year’s total. Let’s
aim for at least $1,500 and have some fun, food and
seasonal beverages while we are at it.
Save the Date - Saturday, November 17th, 2007 - and search the corners of your closets!
by J. Claire Dean, President Cascade Stereoscopic Club
Happenings at the Center
September 13 - October 28
In the Gallery: Urban Spaces - Ekkehart Rautenstrauch
In the Theatre: Magic and Murder at the Candy Factory: The Story of
Anna Sula - Christopher Schneberger Artist’s Reception: October 4, 6 pm- 9 pm
November 1 - December 30
In the Gallery: Dustfree Sculptures - Rick Gibson
Meet the Artist: November 1, 6 pm - 7 pm In the Theatre: Slow Glass - Ray Zone and Tom Koester
Special Events
Saturday, Nov 17 7 pm - 9:30 Second Annual Silent Auction for the Benefi t of the 3D Center sponsored by Cascade Stereoscopic Club.
Location: Friendly House, 2617 NW Savier, Portland
Tickets at the door: $3
Public Classes
Intro to 3D Photography - Instructor: Levy (4 wks beg Tuesday 10/30)Making ViewMaster Reels with Digital Cameras - Instructor: Levy (4 wks beg Tuesday, 11/27)
FROM OUR ONLINE GIFT SHOP
3D Center of Art and Photography is a non-profi t corporation dedicated to supporting, promoting and preserving 3D imagery of all kinds. In order to continue its programs the Center depends on donations from those who enjoy 3D.
To become a Friend of the Center , make a tax deductible contribution, or volunteer to help the Center, please fi ll in below and mail to:
3D Center, 1928 NW Lovejoy, Portland, OR 97209
I want to join Friends of the Center and receive free Center admission and online Friends only page, 10% off Center purchases, and Center News quarterly.
Do you want 100% of your donation to be tax-deductible? Yes, all tax deductible_____
No, please send me any additional gift premiums offered for membership. I understand that this will reduce the amount that is tax-deductible _______
Basic membership ($60):
$______ (individual membership)
Level 2 membership ($120): $______ (family membership) Level 3 membership ($240): $______
(Supporter membership)
Annual memberships begin upon receipt of donation and run
until the end of June the following year.
PLEASE PRINT
Name_______________________________________Address_____________________________________City________________________________________State__________________Zip___________________Phone_______________________________________Email_______________________________________Card No._____________________________Exp date_____________
Signature_____________________________Print name____________________________I enclose my check, payable to 3D Center.
Visa MasterCard
Please charge my cred i t card:
Please contact me:
I have items to donate to the Center. I can work shifts at the Center I can help with Center News I have products for the gift shop
I want to exhibit 3D art (slides/prints) I would like to help in other ways
“The Chase,” a limited edition anaglyph fl ipbook, was created exclusively for Friends of the Center . It is a simple phantogram story of a little girl and her dog, and is available only to Friends of the Center . $23 includes shipping
Our thanks to Colormation for donating
View-Master Sets by Christopher
Schneberger
“Magic and Murder at the Candy Factory: The Story of Anna Sula”“The Strange Case of Dr. Addison and the Crosswell Twins”“A Case of Levitation: The Story of Frances Naylor”
Each set is $28 and includes 3 View-Master reels and shipping.
2新苏教版小学科学二年级下册.各种各样的杯子 教案
2．各种各样的杯子 福建省福清市元洪师范学校附属小学林如琰 【教材分析】 本节课作为单元第二课，在第一课对各种材料的简单认识上，将研究聚焦在杯子这样一个具体的事物上，在对材料辨识的基础上细化对各种材料特点的认知。本课有三个部分组成：（1）观察辨别生活中常见杯子的材料。（2）观察、比较、描述各种材料的杯子的不同特点，并针对不同的材料特点，提出简单的问题。（3）观察、描述保温杯的材料，并说出使用这种材料的目的。这三个环节从“辨别材质”到“探究特点”，再到“了解用材目的”，层层递进，一步一步引领学生从表及里，由现象到本质，逐渐发现杯子中隐藏的科学奥秘。 【学情分析】 杯子是学生日常生活中较熟悉的物品，日常使用也比较频繁，但大多数孩子对杯子用材以及不同材料杯子的特点并不是很关注，因此对不同材质的杯子的特点的认识就不会很全面。【教学目标】 1．能观察辨别生活中常见杯子的材料，认识不同的材料可以制作同一物品。 2．观察并描述不同材料的杯子，发现不同材料有不同的特点；并能针对不同材料特点，提出简单的问题。 3．观察并描述保温杯各部分的材料，并说出使用这种材料的目的。 4．愿意倾听、分享他人的信息；乐于表达、讲述自己的观点；能按规则进行合作研究学习。【教学重点】 能用多种方法观察并描述不同材料的杯子，发现不同材料有不同的特点；并能针对不同材料特点，提出简单的问题。 【教学难点】 观察并描述保温杯各部分的材料，并说出使用这种材料的目的。 【教学准备】 教师材料：PPT、板书（板贴）、音频、视频。 学生材料： （1）认识特点环节：第一组：玻璃杯、陶瓷杯。第二组：陶瓷杯、金属杯。 第三组：纸杯、玻璃杯。第四组：金属杯、木头杯。 （2）了解用材目的环节：每一个小组一个保温杯。 【教学过程】 一、猜谜导入，聚焦话题
最新苏教版小学科学二年级下册2《各种各样的杯子》教案设计
《各种各样的杯子》教学设计与意图 【教材分析】 本节课作为单元第二课，在第一课对各种材料的简单认识上，将研究聚焦在杯子这样一个具体的事物上，在对材料辨识的基础上细化对各种材料特点的认知。本课有三个部分组成：1、观察辨别生活中常见杯子的材料。2、观察、比较、描述各种材料的杯子的不同特点，并针对不同的材料特点，提出简单的问题。3、观察、描述保温杯的材料，并说出使用这种材料的目的。这三个环节从“辨别材质”到“探究特点”，再到“了解用材目的”，层层递进，一步一步引领学生从表及里，由现象到本质，逐渐发现杯子中隐藏的科学奥秘。 【学情分析】 杯子是学生日常生活中较熟悉的物品，日常使用也比较频繁，但大多数孩子对杯子用材以及不同材料杯子的特点并不是很关注，因此对不同材质的杯子的特点的认识就不会很全面。 【教学目标】 1．能观察辨别生活中常见杯子的材料，认识不同的材料可以制作同一物品。 2．观察并描述不同材料的杯子，发现不同材料有不同的特点；并能针对不同材料特点，提出简单的问题。 3．观察并描述保温杯各部分的材料，并说出使用这种材料的目的。 4．愿意倾听、分享他人的信息；乐于表达、讲述自己的观点；能按规则进行合作研究学习。 【教学重点】 能用多种方法观察并描述不同材料的杯子，发现不同材料有不同的特点；并能针对不同材料特点，提出简单的问题。 【教学难点】 观察并描述保温杯各部分的材料，并说出使用这种材料的目的。 【教学准备】 教师材料： 1、教师准备：PPT、板书（板贴）、音频、视频 2、学生分组材料： （1）认识特点环节：第一组：玻璃杯、陶瓷杯第二组：陶瓷杯、金属杯 第三组：纸杯、玻璃杯第四组：金属杯、木头杯（2）了解用材目的环节：每一个小组一个保温杯
二年级科学下册各种各样的杯子
2.各种各样的杯子 江苏省南京市金陵汇淳学校张秀燕 【教材分析】 各种各样的杯子是苏教版小学科学二年级上册第一单元《它们是什么做的》的第二课。 本课遵循学生的认识规律，设计了四个活动。第一个活动：认识各种杯子的材料是什么做成的，借用学生的生活经验和前一课所学内容，来辨认杯子的材料是什么。第二个活动：用看一看、捏一捏、加入热水摸一摸等方法，让学生在活动中认识到不同材料做成的杯子之间性质的差别。活动三：引导学生认识到杯子使用中的不便之处，并想办法解决这些问题。活动四：贴近学生生活，选用结合学生生活中常见的保温杯，升华学生对于材料选择和应用之间联系的认识，渗透学生用改进产品满足人们需求的意识。 本课从辨认各种制作杯子的材料开始，引导学生比较和发现不同材料具有的优点和缺点，再启发学生思考如何借助其他材料的优点设计出更优化的产品。【学情分析】 在学习本课之前，学生已经认识了各种常见材料，具备了辨认各种杯子是由什么材料做成的能力，在前一课的学习中也简单认识了制作产品时选择不同材料的原因，了解了不同的材料具有不同的优点。 二年级学生在生活中已经积累了很多使用杯子的经验，也具备了简单的比较分析能力。在学习过各种常见材料后，学生能够分辨出杯子的材料是什么，但是对于多种材料的优缺点，学生还没有形成一个较为系统的看法。借助具体的杯子，来认识不同材料的特点，是一个从具体到抽象的思维提升的过程。 【教学目标】 1．能通过观察，辨别各种不同的杯子是用什么材料做成的。 2．能够运用多种方法对比出不同材料做成的杯子之间的特点。 3．能运用生活经验和课堂中的观察，说一说不同材料的杯子在使用时存在的问题。 4．能根据找到的问题，想出解决方法。 5．了解集合不同材料的优点，可以优化产品设计。
包装工艺过程：玻璃杯
包装工艺过程：玻璃杯
包装工艺过程 一、玻璃杯的特性 一、瞬间耐热温差。耐热机动性能超过普通玻璃的三倍以上，可承受由热至冷的两极变化，可承受瞬间高低温差达160℃。 二、抗腐蚀性。抗化学腐蚀性胜过绝大多数金属和其它材料，耐磨损、表面光滑、清洗容易，广泛应用于食用器皿。 三、兼具可微波、冷冻、火烧三项特意功能，即使从冰库拿出马上倒入热水，也不必担心会有龟裂的危险。 四、玻璃杯只是通透好看，不易保存，总得小心翼翼。其实在所有材质的杯子里，玻璃杯才是最健康的。 二、玻璃杯的包装要求： （1）产品(或内包装箱)应垫稳、卡紧、固定于外包装箱内。产品在箱内的固定方式可采用缓冲材料一般情况下，产品不应与外 包装箱箱板直接接触。包装的整个产品与箱内的侧面、端面、 顶面之间应留有一定的空隙。 （2）产品包装箱内应清洁、千燥、无异物。 （3）包装用纸箱封箱后一般采用塑料捆扎带等捆扎，塑料捆扎带宽度应不大于14 mm,捆扎时应使塑料带紧捆在纸箱上，同时采 用相应措施避免其切入纸板而损坏纸箱。
他环保缓冲材料所替代。 目前代替聚苯乙烯发泡塑料的主要有发泡PP、蜂窝纸板及纸浆模塑产品等几类。发泡PP不使用氟里昂，具有很多与发泡聚苯乙烯相似的缓冲性能，它属于软发泡材料，可以通过粘结组成复杂结构，是应用前景很好的一类新型缓冲材料。 蜂窝纸板具有承重力大、缓冲性好、不易变形、强度高、符合环保、成本低廉等优点。它可以代替发泡塑料预制成各种形状，适用于大批量使用的易碎品包装上，特别是体积大或较为笨重的易碎品包装。 纸浆模塑制品也是可部分替代发泡聚苯乙烯的包装材料。它主要以纸张或其他天然植物纤维为原料，经制浆、模塑成型和干燥定型而成，可根据易碎品的产品外型、重量，设计出特定的几何空腔结构来满足产品的不同要求。这种产品的吸附性好、废弃物可降解，且可堆叠存放，大大减少运输存放空间。但其回弹性差，防震性能较弱，不适用于体积大或较重的易碎品包装。 所以选用聚丙乙烯泡沫塑料来作为缓冲材料。 2、玻璃杯包装箱材料的选择 外包装是保护易碎品免受损坏的有效方法。通常要求易碎品外包装应具有一定的抗压强度和抗戳穿强度，可以保护易碎品在正常的运输和仓储码垛条件下完好无损。 最典型和最常用的易碎品外包装是瓦楞纸箱。部分大而重的易碎品采用蜂窝纸板包装箱，部分较轻或本身抗压强度较高的产
苏教版小学科学二年级下册2《各种各样的杯子》公开课教案
2.各种各样的杯子 【教材分析】 本节课作为单元第二课，在第一课对各种材料的简单认识上，将研究聚焦在杯子这样一个具体的事物上，在对材料辨识的基础上细化对各种材料特点的认知。本课有三个部分组成：1、观察辨别生活中常见杯子的材料。2、观察、比较、描述各种材料的杯子的不同特点，并针对不同的材料特点，提出简单的问题。3、观察、描述保温杯的材料，并说出使用这种材料的目的。这三个环节从“辨别材质”到“探究特点”，再到“了解用材目的”，层层递进，一步一步引领学生从表及里，由现象到本质，逐渐发现杯子中隐藏的科学奥秘。把不同材料的有点集中起来，可以做成让人满满意的物品。 【学情分析】 杯子是学生日常生活中较熟悉的物品，日常使用也比较频繁，但大多数孩子对杯子用材以及不同材料杯子的特点并不是很关注，因此对不同材质的杯子的特点的认识就不会很全面。二年级的学生因为年龄还比较小，在小组合作方面还需要教师进行针对性的指导，让学生在实验过程中学会合作。 【教学目标】 知识与技能： 1．知道同一个杯子可以由不同材料制成。 2．知道不同材料制成的杯子有不同特点。 3．知道生活中杯子的一些常见问题，可以通过很多方法解决。 4．知道人们把材料的不同优点组合起来，制成需要的物品。 技能：解决杯子常见问题。 过程与方法： 1．通过观察、分析身边常见杯子，知道杯子可以由不同材料制成。 2．通过观察杯子，运用观察法、比较法，认识杯子的不同特点。 3．通过观察、交流不同杯子的缺点，知道如何通过改变，解决其存在的不足。4．通过“解剖”保温杯，运用观察法、分析法等，找出各部件材料优点，了解人们在选择材料时的用意。 情感态度价值观：
苏教版小学科学二年级下册《各种各样的杯子》优质教案
2．各种各样的杯子 【教材分析】 本节课作为单元第二课，在第一课对各种材料的简单认识上，将研究聚焦在杯子这样一个具体的事物上，在对材料辨识的基础上细化对各种材料特点的认知。本课有三个部分组成：（1）观察辨别生活中常见杯子的材料。（2）观察、比较、描述各种材料的杯子的不同特点，并针对不同的材料特点，提出简单的问题。（3）观察、描述保温杯的材料，并说出使用这种材料的目的。这三个环节从“辨别材质”到“探究特点”，再到“了解用材目的”，层层递进，一步一步引领学生从表及里，由现象到本质，逐渐发现杯子中隐藏的科学奥秘。 【学情分析】 杯子是学生日常生活中较熟悉的物品，日常使用也比较频繁，但大多数孩子对杯子用材以及不同材料杯子的特点并不是很关注，因此对不同材质的杯子的特点的认识就不会很全面。【教学目标】 1．能观察辨别生活中常见杯子的材料，认识不同的材料可以制作同一物品。 2．观察并描述不同材料的杯子，发现不同材料有不同的特点；并能针对不同材料特点，提出简单的问题。 3．观察并描述保温杯各部分的材料，并说出使用这种材料的目的。 4．愿意倾听、分享他人的信息；乐于表达、讲述自己的观点；能按规则进行合作研究学习。【教学重点】 能用多种方法观察并描述不同材料的杯子，发现不同材料有不同的特点；并能针对不同材料特点，提出简单的问题。 【教学难点】 观察并描述保温杯各部分的材料，并说出使用这种材料的目的。 【教学准备】 教师材料：PPT、板书（板贴）、音频、视频。 学生材料： （1）认识特点环节：第一组：玻璃杯、陶瓷杯。第二组：陶瓷杯、金属杯。 第三组：纸杯、玻璃杯。第四组：金属杯、木头杯。 （2）了解用材目的环节：每一个小组一个保温杯。 【教学过程】 一、猜谜导入，聚焦话题 1．师：你们会猜谜语吗？上课之前，我们一起来猜个谜语，谁愿意来读一读这则谜语？
玻璃杯的制作工艺
玻璃杯的制作工艺、水晶玻璃杯生产技术 1、玻璃杯冲洗和冷却装置 2、一种无接口双色高脚玻璃杯的制作方法 3、一种掺丝玻璃杯把的制作方法 4、玻璃杯装水器 5、一种用玻璃管制作高脚玻璃杯的方法 6、一种玻璃杯的成型模具装置 7、搅拌机玻璃杯的成型模具装置 8、双层玻璃杯及其制造方法 9、双层真空皮毛工艺画玻璃杯的制作方法 10、双层真空树叶绘画玻璃杯的制作方法 11、双层真空剪纸式麦秆画玻璃杯的制作方法 12、一种用玻璃管制作单层玻璃杯的方法 13、多功能玻璃杯杯托 14、一种多功能玻璃杯 15、玻璃杯隔热套 16、密封玻璃杯、瓶 17、玻璃杯易拉罐 18、无把玻璃杯的隔热装置 19、口杯型金属易拉盖玻璃杯 20、一种玻璃杯 21、组合式双层玻璃杯 22、调温双层玻璃杯 23、易拉盖玻璃杯 24、新型饮用玻璃杯 25、电热膜玻璃杯(锅)防溢多功能控制装置 26、水晶玻璃杯 27、带盖的双壁式艺术玻璃杯 28、一种玻璃杯底成型机 29、三层玻璃杯壁饮水杯 30、玻璃杯的折叠式纸包装盒 31、一种水晶玻璃杯 32、一种玻璃杯 33、一种双层玻璃杯 34、玻璃杯 35、一种在玻璃杯上增设圆形防水压环安全结构的搅拌机 36、玻璃杯果汁搅拌机 37、保健玻璃杯 38、玻璃杯的成型模具装置 39、一种搅拌机玻璃杯的成型模具装置 40、搅拌装置的玻璃杯 41、带保护座的玻璃杯
42、一种玻璃杯 43、一种玻璃杯 44、透明真空保温玻璃杯 45、带闪光装饰灯的玻璃杯 46、双层玻璃杯 47、夹层厚底玻璃杯 48、一种玻璃杯 49、双层石英水晶玻璃杯 50、半双层玻璃杯 51、清洗玻璃杯子组合工具 52、双层玻璃杯 53、一种防滑玻璃杯 54、双层玻璃杯
压制玻璃杯的形成和特性
玻璃杯的形成和特性（一） 一般玻璃杯分为吹制和压制，吹制可分为人工吹制和机器吹制，压制也分为人工压制和机器压制。在制作工艺上是两种不同的制作过程，吹制顾名思义就是利用气压的压力，使玻璃液在模具中形成；而压制就是利用冲头的冲压迫使玻璃液在模具中成型。现在先来介绍一下压杯的形成和特性。 相对吹杯来说，压杯的机器比较简单。安装模具的机器底盘是不停转动着的，而冲头是上下行程，每一工位的模具交换与冲头的上下行程是同步的，玻璃液经过供料管进入压杯模具，然后冲头急速下压，在冲头的上部配有盖板，使玻璃液成型，而盖板的作用，使成型的玻璃毛坯的口部相对平整。成型以后模底上升，使玻璃杯毛坯从模具中凸出来，以便操作人员从模具中拿出（这时玻璃杯温度较高，整个杯子还是红色的），玻璃毛坯拿出之后，口部相对来说较为平整，处理不好也可能有毛刺，这就需要烘口，放在烘口机上用火烧玻璃杯口部（杯放在烘口机上是转动着的），使玻璃毛刺二次熔化，从而使玻璃杯口部变的很平整。然后，玻璃毛坯进入玻璃退火炉退火，消除玻璃内部应力（不经过退火的玻璃杯很容易爆掉），最后，从退火炉中出来的玻璃杯就是咱们平常用的玻璃成品杯了。 压杯一般壁厚2-3mm，相对于吹杯的杯壁要厚一些，底厚8mm 左右。如果客户要求底再厚的话，那在价格上肯定要比平常的底厚要贵了，但一般底也不能太厚，能做到14mm就已经是很厚了。一般压
杯都是那种斜身杯，上下大小最低也要相差5mm，否则很难成型。也有很少部分一部分有造型的压杯，一般都是那种上下大小相差很大的杯。 压杯一般的毛病：（一）口部不平整；（二）口部及杯身不圆；（三）底部不平整，站不稳；（四）脏料；（五）杯的表面有油灰印，呈蒙胧状或鱼鳞状；（六）水波纹，这也成不是毛病的毛病了，一般的厂家都有，国内能做到没有的厂家很少很少；（七）料色差。 一般压杯可以在杯的里面搞些花样，如在杯里搞成平纹，雨点状，水波纹，飘带或把杯底加厚一点等，这些都不需要换模具，只是改一下冲头就可以了；在杯身的下部也可以 设计成棱角及剑纹状等，但这些都需要重新开模具的；在杯的底部，可以搞成珠底，菊花状或一般的平底都可以，这些也不需要重新开模具，只是换一下模底就可以了。
玻璃杯原料构成
诗如意双层玻璃杯 原料构成特点、制作过程及种类 在生活中，处处都有玻璃杯的身影，高的矮的胖的瘦的，各种各样。就如同人出生一样，玻璃杯也有自己的出生方式。 准备配料，玻璃的主要原料有石英砂、石灰石、长石、纯碱以及硼酸，按照设计好的了方单，将各种原料称好后一起放入混料机内混合均匀。 溶制，将配好的原料经过高温加热，形成液体状的无气泡玻璃液。 成形，将熔制好的玻璃液转化成具有固定形状的固体制品。这是一个冷却过程，玻璃首先由粘性液态转变为可塑态，再转成脆性固态。成型方法可分为人工成形和机械成形两大类。 人工吹制玻璃杯，用一个不锈钢的空心管挑适量的高温熔化的玻璃水，象吹气球一样先吹成一个球形，然后再放进事先准备好的模具中继续吹成与模具贴合的形状，然后把模具打开，用夹子把杯子夹进退火窑炉退去玻璃的应力，出来后再经过切割，磨边，安装（脚或者手柄），抛光，才是成品玻璃杯。 压制玻璃杯机器象左轮手枪一样，模具是一个个固定在转盘上的，转盘一圈一般8个或者10个模具，上方悬着1个冲头是固定的，通过一个料筒把玻璃水滴进模具内，然后转到冲头下方的时候冲头落下把玻璃杯压制成形，然后人工取出玻璃杯放进退火窑炉，出来的才是成品玻璃杯。 由于人工成形劳动强度大，温度高，条件差，所以除自由成形以外，大部分已被机械成形所取代。 同样的，如同人有不同的种族一般，玻璃杯也有不同的材质。 玻璃大致分为有机玻璃、钢化玻璃、高硼玻璃。中低端的玻璃杯(普通玻璃口杯、普通高脚杯)一般采用有机玻璃，工艺类或摆放类大型玻璃杯瓶部分采用钢化玻璃，工艺玻璃杯、高档玻璃杯一般都采用高硼玻璃。 高硼硅玻璃杯具有非常低的热膨胀系数、耐高温,耐200度的温差剧变。 高硼硅玻璃杯是利用玻璃在高温状态下导电的特性，通过在玻璃内部加热来实现玻璃熔化，经先进生产工艺加工而成。 用于微波炉专用玻璃转盘、滚筒洗衣机观察窗、耐热水杯茶壶。 诗如意双层玻璃杯、高硼硅玻璃杯具体的物理化学性能如下： 1、含硅量 80%以上； 2、应变温度520℃； 3、退火温度 560℃； 4、软化温度 820℃； 5、折射率 1.47； 6、透光率(2mm) 92%； 7、弹性模量 67KNmm-2； 8、抗张强度 40-120Nmm-2； 9、加工温度（104dpas）1220℃； 10、热膨胀系数（20-300℃）3.3×10-6K-1，所以耐急冷急热性能优越，高档玻璃杯正式利用此特性。
包装工艺过程：玻璃杯
包装工艺过程 一、玻璃杯的特性 一、瞬间耐热温差。耐热机动性能超过普通玻璃的三倍以上，可承受由热至冷的两极变化，可承受瞬间高低温差达160℃。 二、抗腐蚀性。抗化学腐蚀性胜过绝大多数金属和其它材料，耐磨损、表面光滑、清洗容易，广泛应用于食用器皿。 三、兼具可微波、冷冻、火烧三项特意功能，即使从冰库拿出马上倒入热水，也不必担心会有龟裂的危险。 四、玻璃杯只是通透好看，不易保存，总得小心翼翼。其实在所有材质的杯子里，玻璃杯才是最健康的。 二、玻璃杯的包装要求： （1）产品(或内包装箱)应垫稳、卡紧、固定于外包装箱内。产品在箱内的固定方式可采用缓冲材料一般情况下，产品不应与外 包装箱箱板直接接触。包装的整个产品与箱内的侧面、端面、 顶面之间应留有一定的空隙。 （2）产品包装箱内应清洁、千燥、无异物。 （3）包装用纸箱封箱后一般采用塑料捆扎带等捆扎，塑料捆扎带宽度应不大于14 mm,捆扎时应使塑料带紧捆在纸箱上，同时采 用相应措施避免其切入纸板而损坏纸箱。
（4）包装箱应具有足够的强度。，包装箱应无明显破损和变形并符合有关标准的规定和设计要求。 （5）缓冲材料应具有质地柔软、不易虫蛀、不易长霉和不易疲劳变形等特点。常用缓冲材料有:干木丝、聚苯乙烯泡沫塑料、 高发泡聚胺醋塑料、低发泡和高发泡聚乙烯、聚丙烯、复合 发泡塑料、海绵橡胶、塑料气垫、气垫薄膜、金属弹簧等。 缓冲材料应紧贴(或紧固)于产品(或内包装箱、盒)和外包装 箱内壁之间。 （6）产品包装的防护功能应满足防潮，防霉，防锈几防震的要求。 三、包装材料的选择 1、缓冲材料的选择 通过分析玻璃杯的流通环境和产品本身特性，选择了合适的缓冲包装材料PP，进行了缓冲衬垫的尺寸计算和结构设计，并进行了校核，完成了缓冲包装设计。 作为传统的缓冲包装材料，发泡塑料具有良好的缓冲性能和吸振性能，有重量轻、保护性能好、适应性广等优势，广泛用于易碎品的包装上。特别是发泡塑料可以根据产品形状预制成相关的缓冲模块，应用起来十分方便。 聚苯乙烯泡沫塑料曾经是最为主要的缓冲包装材料。不过，由于传统的发泡聚苯乙烯使用会破坏大气臭氧层的氟里昂做发泡剂，加上废弃的泡沫塑料体积大，回收困难等原因，逐渐被其他
苏教版-科学-二年级下册-《各种各样的杯子》教学设计
《各种各样的杯子》教学设计 一、目标制定的依据 课标要求： 科学知识目标：1．通过观察，描述物体的轻重、薄厚、颜色、表面粗糙程度、形状等特征。2．根据物体的外部特征对物体进行简单分类。3．辨别生活中常见的材料。 2．科学探究目标：在教师的指导下，能简要讲述探究过程与结论，并与同学讨论、交流。在教师指导下，具有对探究过程、方法和结果进行反思、评价与改进的意识。 3．科学态度目标：能如实讲述事实，当发现事实与自己原有的想法不同时，能尊重事实，养成用事实说话的意识。 教材分析： 本节课选自苏教版小学科学第一单元《它们是用什么做的》，第二课《各种各样的杯子》。本节课是本单元的第二课，起到了承上启下的作用。第一节课学习了常见的材料，第二节课延续第一节课的内容，认识不同材料做成的杯子，并在活动中确定不同材料杯子的不同特点。为下一节《神奇的新材料》做准备。 学生分析： 学生学习了第一节，已经能够准确地辨认身边不同的材料，但对于不同材料的特性还不能准确分辨。本节课借助不同材质制成的杯子，比较不同材料杯子的不同特性。同时，为了提高学生的思考辨别能力，要积极引导学生去思考不同材料杯子的优缺点和解决办法。最终认识到可以利用不同材料的不同特点制作成人们所需要的物品。 二、学习目标： 1．通过观察和实验，能够说出各种材料的杯子有什么不同。 2．能够提出不同材料杯子的缺点，并想出解决办法。 3．能够说出保温杯不同部分的不同材料，并说出选择这些材料的原因。 三、学习重点： 1．通过观察和实验，能够说出各种材料的杯子有什么不同。 2．能够提出不同材料杯子的缺点，并想出解决办法。
四、学习难点： 1．能够提出不同材料杯子的缺点，并想出解决办法。 2．能够说出保温杯不同部分的不同材料，并说出选择这些材。 五、教学准备： 教材、学生活动手册、教学课件、活动记录单、每个小组1个玻璃杯、1个陶瓷杯、1个塑料杯、1个金属杯、1个木杯、1个纸杯、适量热水、1个保温杯。 六、学习过程：
二年级科学下册第一单元它们是用什么做的2各种各样的杯子教案苏教版
2、各种各样的杯子 教学目标: 1、介绍自己带来的杯子，认识到不同的材料可以制作同一种物品，说说各种材料的简单特点。 2、观察并描述保温杯各部分的材料，并说出使用这种材料的目的，从而意识到利用不同材料的特点及其作用。 3、观察并描述不同材料的杯子，发现不同材料有着不同特点，并学习针对不同材料的特点提出简单的问题。 4、愿意倾听，分享他人的信息，乐于表达，讲述自己的观点，能按规则进行合作研究学习。教学重点:引导学生认识各种材料的简单特点及作用，并对不同材料的特点，提出简单的问题。 教学难点:进一步认识材料的基本特点，认识到不同的材料可以组合在一起，利用各种材料的优点设计一个产品。 教学准备:各种各样的杯子、保温杯、活动手册、多媒体课件。 预习要求:观察各种各样的杯子，看一-看这些杯子是用什么材料制作而成的，这些材料各有什么特点。 教学过程: 一、导入新课 1、教师出示一只玻璃杯，引导学生说一说这是什么？用什么材料做的？它有什么特点？ 2、学生说一说玻璃杯的制作材料及特点。 3、教师引导:同学们，除了玻璃杯之外，大家还见过哪些杯子呢?他们分别又是用什么材料制作而成的？又有什么特点呢？今天这节课我们就来探讨各种各样的杯子。 4、揭示课题: 2、各种各样的杯子 二、识别各种杯子的材料 1、教师依次出示各种各样的杯子图片，引导学生抢答，说一-说这些杯子分别由什么材料制作而成?它们各有什么特点?看谁说的又快又准。 2、开始抢答游戏。预设: 玻璃杯一玻璃。透明好看、健康安全、表面光滑，容易清洗。 木头杯子一木头。倒开水不烫手。
不锈钢杯一不锈钢。坚固耐用，防锈防腐蚀、传热导热快。 搪瓷杯一掂瓷。易携带、易清洗、不易生锈。 塑料杯一塑料。造型多变、颜色鲜艳、不怕摔打。 陶瓷杯一陶瓷。花纹漂亮、手感好。 一次性纸杯一纸。方便、快捷、便宜。 3、教师相机指导，引导学生了解各种杯子是由什么材料制作而成的，它们分别有什么特点，进一步认识各种材料的基本特点。 二、利用各种方法观察不同材料 1、教师引导:同学们，我们刚才认识了各种各样的杯子，知道了这些杯子分别由什么材料制成。大家知道这些由不同材料制作而成的杯子，分别有什么特点吗?下面我们就来探究探究。 2、学生分小组活动，把自己从家里带来的各种各样的杯子拿出来，聚在一起。然后同小组的同学相互讨论可以用什么方法去分辨杯子的特点，再用讨论的方法来验证一下，了解这些杯子的材料各有什么特点。 3、教师巡视，提示学生可以借助课本上的看一看、掂一掂、摸一摸、捏一捏等方法来辨别这些材料的特点，引导学生把自己交流的结论写下来，完成表格。 4、全班讨论交流实验的结论，完成表格，并指几名学生当众演示演示自己的方法。 5、教师相机引导，对于学生表述不到位的可以适当的指点，引导学生概括出各种材料的不同特点。 四、观察交流保温杯的材料 1、同学们，在各种各样的杯子中，有一种特殊的杯子不可忽视，那就是保温杯。 2、教师出示保温杯，引导学生说一说保温杯的特点。学生交流:保温杯最大的特点就是保温。 3、教师继续引导:保温杯为什么具有保温的特点?引导学生继续观察保温杯，找出保温杯不同部分的材料。引导学生懂得：集中各种材料的优点，才能做出让人们满意的物品。
3DMAX与VRay结合制作玻璃杯过程
3DMAX与VRay结合制作玻璃杯过程 开始设计前请先准备一些玻璃图片或相关素材。保存这些图片，把他们放到背景中作为参考资料。 接下来开始制作过程，步骤如下： 步骤1、用样条曲线绘画了玻璃杯，尝试把这些图和参考资料很好的结合在一起。 步骤2、玻璃上面有一层壳或模是非常重要的，以防万一我想在玻璃杯中加入液体。用了Max里面的Lathe mod来做这个。 步骤3、用同样的方法创建了一些其他的玻璃杯和阴影，使图片更多样化。 步骤4、用了一个普通的玻璃VRay材质做阴影，所以这里没有什么
特别的。即使是材质的IOR也不是专门为玻璃制作的。这样我就能做快速渲染了。 以上主体已经完成，现在要做装饰部分了，如果手头没有素材，那还需要登录百度搜索一些装饰和花边，然后我找到了这张图。这里不需要做任何的颜色修正或者b/w图片转换，因为我不想锐化边缘。我认为有一些混合在一起的羽化边缘会比较好看。所以我把图片放到玻璃材质的凹凸槽中，数量设置为10.这样做获得了最好的装饰效果，实际上玻璃杯的制作我只用了一个简单的圆柱形UVW贴图。 步骤5、玻璃杯和材质都完成之后，可以开始做照明了。因为要制作一个照片真实效果的照明，所以用一个HDR图片做反射和照明。我用了一个在某个网站上找到的免费HDRI贴图。我将贴图旋转了355度获得一个最好的位置上的照明效果。在这里我尝试了不同的渲染和渲染测试，这样可以获得最完美的效果。 步骤6、设定了相机的景深，用了一个普通Max相机和VRay渲染对话的DoF。我将光圈设置为0.12m，从相机中获得其他的东西。我用了一个180mm的长焦镜头获得经典的产品拍摄设置(图11)。