標(biāo)題: Titlebook: High-resolution Computer Graphics Using C; Ian O. Angell Textbook 1990Latest edition Macmillan Publishers Limited 1990 algorithms.clipping [打印本頁(yè)] 作者: onychomycosis 時(shí)間: 2025-3-21 18:27
書(shū)目名稱(chēng)High-resolution Computer Graphics Using C影響因子(影響力)
書(shū)目名稱(chēng)High-resolution Computer Graphics Using C影響因子(影響力)學(xué)科排名
書(shū)目名稱(chēng)High-resolution Computer Graphics Using C網(wǎng)絡(luò)公開(kāi)度
書(shū)目名稱(chēng)High-resolution Computer Graphics Using C網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱(chēng)High-resolution Computer Graphics Using C被引頻次
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書(shū)目名稱(chēng)High-resolution Computer Graphics Using C讀者反饋
書(shū)目名稱(chēng)High-resolution Computer Graphics Using C讀者反饋學(xué)科排名
作者: Paleontology 時(shí)間: 2025-3-21 21:02
Data Structures,nd other ., and in particular the implementation in C of those structures that are necessary for the more complex algorithms given in this book. Those readers who do not wish to delve too deeply into data structures at this stage may skip this chapter and return to it later in order to understand th作者: Fresco 時(shí)間: 2025-3-22 00:28 作者: watertight, 時(shí)間: 2025-3-22 07:30 作者: 孤獨(dú)無(wú)助 時(shí)間: 2025-3-22 10:12 作者: Indecisive 時(shí)間: 2025-3-22 13:43 作者: Influx 時(shí)間: 2025-3-22 19:47
Matrix Representation of Transformations in Three-dimensional Space,tep before we are able to proceed to projections of three-dimensional space onto the necessarily two-dimensional graphics viewport. As in the lower dimension, there are three basic transformations: translation of origin, change of scale and axes rotation; we will ignore all other transformations suc作者: 一個(gè)姐姐 時(shí)間: 2025-3-22 22:27
The Observer and the Orthographic Projection,aw how to construct a model of a three-dimensional scene in ACTUAL position. In this chapter we consider observing the scene and the display of a corresponding view. The display of the scene is co-ordinated by function drawit which may take a number of different forms, depending on the type of image作者: 支架 時(shí)間: 2025-3-23 04:12
Generation of Model Data,cene via construction routines, some input from file. Then the vertices are transformed into the OBSERVED position, and the function drawit is called to display the scene In the following chapters we will give a number of different types of drawit, project and facet display functions, dependent only作者: 不舒服 時(shí)間: 2025-3-23 06:35 作者: 咽下 時(shí)間: 2025-3-23 12:51
Perspective and Stereoscopic Projections,ugh they have their uses, such views do look odd! Our view of space is based upon the concept of . Our brains attempt to interpret orthographic figures as if they are perspective views, making the cubes of figure 8.1, for instance, look distorted.作者: Phonophobia 時(shí)間: 2025-3-23 17:39
A More General Hidden Line Algorithm,rence for the monochrome line-drawing . type output. In this chapter we discuss a general hidden line algorithm which, using line-drawing routines only, can produce architectural designs, machine-parts etc., with any line in the scene, which is blocked from view by the bulk of other objects, being s作者: 賞心悅目 時(shí)間: 2025-3-23 22:04 作者: 來(lái)就得意 時(shí)間: 2025-3-24 01:35 作者: prosthesis 時(shí)間: 2025-3-24 03:45
Shading,e area-fill using a logical colour prescribed in the data construction routines. We can do much more than this! The realism of the images we produce is greatly enhanced by the use of . We take advantage of the colour display of the graphics device to model the different appearances of surfaces depen作者: Forsake 時(shí)間: 2025-3-24 10:21 作者: DUST 時(shí)間: 2025-3-24 11:06 作者: 熄滅 時(shí)間: 2025-3-24 16:47 作者: cringe 時(shí)間: 2025-3-24 21:58
Ian O. Angellviduals, things, and ideas in the recent past. Movement is fundamentally concerned with the relationship(s) among time, object, person, and space. The volume argues that understanding movement in the past requires a shift away from traditional, fieldwork-based archaeological ontologies towards fluid作者: 有特色 時(shí)間: 2025-3-25 02:59 作者: 行業(yè) 時(shí)間: 2025-3-25 04:25 作者: 吊胃口 時(shí)間: 2025-3-25 09:25
Ian O. Angellprehensive scale.Situates its contributions within a contemp?.This collection of essays in .Archaeologies of Mobility and Movement. draws inspiration from current archaeological interest in the movement of individuals, things, and ideas in the recent past. Movement is fundamentally concerned with th作者: GNAW 時(shí)間: 2025-3-25 12:21 作者: 打算 時(shí)間: 2025-3-25 18:22 作者: 確定無(wú)疑 時(shí)間: 2025-3-25 22:25
Ian O. Angellviduals, things, and ideas in the recent past. Movement is fundamentally concerned with the relationship(s) among time, object, person, and space. The volume argues that understanding movement in the past requires a shift away from traditional, fieldwork-based archaeological ontologies towards fluid作者: 思考而得 時(shí)間: 2025-3-26 01:39 作者: pester 時(shí)間: 2025-3-26 07:29 作者: artifice 時(shí)間: 2025-3-26 11:17 作者: 貝雷帽 時(shí)間: 2025-3-26 14:12
Ian O. Angellviduals, things, and ideas in the recent past. Movement is fundamentally concerned with the relationship(s) among time, object, person, and space. The volume argues that understanding movement in the past requires a shift away from traditional, fieldwork-based archaeological ontologies towards fluid作者: chalice 時(shí)間: 2025-3-26 18:25
Ian O. Angellprehensive scale.Situates its contributions within a contemp?.This collection of essays in .Archaeologies of Mobility and Movement. draws inspiration from current archaeological interest in the movement of individuals, things, and ideas in the recent past. Movement is fundamentally concerned with th作者: 懸掛 時(shí)間: 2025-3-26 20:58 作者: 隱語(yǔ) 時(shí)間: 2025-3-27 03:27
Ian O. Angellviduals, things, and ideas in the recent past. Movement is fundamentally concerned with the relationship(s) among time, object, person, and space. The volume argues that understanding movement in the past requires a shift away from traditional, fieldwork-based archaeological ontologies towards fluid作者: 補(bǔ)角 時(shí)間: 2025-3-27 06:36
Ian O. Angellprehensive scale.Situates its contributions within a contemp?.This collection of essays in .Archaeologies of Mobility and Movement. draws inspiration from current archaeological interest in the movement of individuals, things, and ideas in the recent past. Movement is fundamentally concerned with th作者: strdulate 時(shí)間: 2025-3-27 13:22 作者: 逃避責(zé)任 時(shí)間: 2025-3-27 15:46
” in Iran and move them to the European fronts. Along with the men, so many women and children accompanied the crew. Iran was the cross path. This has led to formation of different spaces in and out of urban area of Tehran, the Iranian capital as well as a few other cities. Following the Poles arriv作者: ANIM 時(shí)間: 2025-3-27 21:19 作者: 十字架 時(shí)間: 2025-3-27 23:30 作者: 衰弱的心 時(shí)間: 2025-3-28 03:26
An Introduction to Two-dimensional Co-ordinate Geometry,ented in this book rely entirely upon a solid background of co-ordinate and vector geometry and it is imperative that the reader gains some grounding in the methods involved before progressing to the later applications.作者: Trypsin 時(shí)間: 2025-3-28 07:45
Perspective and Stereoscopic Projections,ugh they have their uses, such views do look odd! Our view of space is based upon the concept of . Our brains attempt to interpret orthographic figures as if they are perspective views, making the cubes of figure 8.1, for instance, look distorted.作者: 看法等 時(shí)間: 2025-3-28 12:39 作者: Vldl379 時(shí)間: 2025-3-28 18:12 作者: Congregate 時(shí)間: 2025-3-28 19:22
Macmillan Publishers Limited 1990作者: 外星人 時(shí)間: 2025-3-29 00:29
Simple Hidden Line and Surface Algorithms,wing general complicated scenes (Sutherland ., 1974). In this book we shall consider a variety of approaches ranging from the very simplest types in this chapter, to examples of general-purpose algorithms in chapters 12 and 13.作者: Pedagogy 時(shí)間: 2025-3-29 04:49
Data Structures,e complex algorithms. We will limit our discussion to those data structures that will be of value in this book; for those who wish to find out more we recommend books by Aho, Hopcroft and Ullman (1983), Horowitz and Sahni (1976) and Knuth (1973).作者: deficiency 時(shí)間: 2025-3-29 10:37 作者: 技術(shù) 時(shí)間: 2025-3-29 15:13
The Observer and the Orthographic Projection, required (line drawing, colour etc). This function will be called at the end of the scene function after the construction of the model and the positioning of the observer. We shall deal with the observer before going on to consider the drawit display.作者: Hallmark 時(shí)間: 2025-3-29 18:09
Generation of Model Data, on the projection and type of picture you require: line drawing, colour with/without shading, shadows etc. All the reader need do is create the relevant scene and construction routines and call the correct drawit function.作者: 在駕駛 時(shí)間: 2025-3-29 22:28 作者: fabricate 時(shí)間: 2025-3-30 01:13
the full range of techniques and effects that recent advances in computer hardware technology now make possible. Soundly organised as a teaching text, the book is intended for undergraduate courses, and takes the reader with a limited background in computing and mathematics to a state-of-the-art le作者: Jejune 時(shí)間: 2025-3-30 06:51 作者: Lipohypertrophy 時(shí)間: 2025-3-30 08:48 作者: PANIC 時(shí)間: 2025-3-30 14:13 作者: CODA 時(shí)間: 2025-3-30 17:22
Shading,s greatly enhanced by the use of . We take advantage of the colour display of the graphics device to model the different appearances of surfaces depending on the light striking them. Plates III, XIII and IX show pictures produced using the shading techniques introduced in this chapter.作者: irreducible 時(shí)間: 2025-3-30 21:11 作者: configuration 時(shí)間: 2025-3-31 02:08
Ian O. Angellfrom a variety of perspectives. They are divided into four sections, based on how the act of moving is framed. The groups into which these chapters are placed are not meant to be unyielding or definitive. The first section, "Objects in Motion," includes case studies that follow the paths of material作者: decipher 時(shí)間: 2025-3-31 05:14
Ian O. Angellfrom a variety of perspectives. They are divided into four sections, based on how the act of moving is framed. The groups into which these chapters are placed are not meant to be unyielding or definitive. The first section, "Objects in Motion," includes case studies that follow the paths of material作者: achlorhydria 時(shí)間: 2025-3-31 10:36 作者: 翻動(dòng) 時(shí)間: 2025-3-31 14:03 作者: FER 時(shí)間: 2025-3-31 18:07
Ian O. Angellfrom a variety of perspectives. They are divided into four sections, based on how the act of moving is framed. The groups into which these chapters are placed are not meant to be unyielding or definitive. The first section, "Objects in Motion," includes case studies that follow the paths of material作者: Visual-Acuity 時(shí)間: 2025-3-31 22:28 作者: Habituate 時(shí)間: 2025-4-1 05:01
Ian O. Angellfrom a variety of perspectives. They are divided into four sections, based on how the act of moving is framed. The groups into which these chapters are placed are not meant to be unyielding or definitive. The first section, "Objects in Motion," includes case studies that follow the paths of material作者: 不能妥協(xié) 時(shí)間: 2025-4-1 06:38 作者: 不理會(huì) 時(shí)間: 2025-4-1 10:13
