本文選題：動作設(shè)計(jì) + 真實(shí)動作��； 參考：《武漢理工大學(xué)》2014年碩士論文

【摘要】：角色動作設(shè)計(jì)是動畫的核心，是在動畫創(chuàng)作者加工提煉現(xiàn)實(shí)生活中的動作和充分理解劇本、貼合動畫主題風(fēng)格的基礎(chǔ)上，對其進(jìn)行符合角色定位及動畫特性的藝術(shù)加工，進(jìn)而在動畫作品中實(shí)現(xiàn)二次創(chuàng)作的過程，其本身就是一種美的創(chuàng)造。動畫動作設(shè)計(jì)是一部動畫成功的關(guān)鍵，它給角色注入了生命力和靈魂、，每一位動畫創(chuàng)作者都應(yīng)該重視動畫動作設(shè)計(jì)的重要性。 本文以動畫動作設(shè)計(jì)的重要性為切入點(diǎn)，運(yùn)用理論引證及影片例證等多種方法對動作設(shè)計(jì)與真實(shí)動作的關(guān)系作了如下研究：一，動畫動作設(shè)計(jì)的理論范疇。關(guān)于動作設(shè)計(jì)與真實(shí)動作的概念與定義，許多研究學(xué)者已經(jīng)開始重視動畫表演，將其作為動畫的核心，并且認(rèn)為動作設(shè)計(jì)是在反應(yīng)真實(shí)動作、運(yùn)動規(guī)律基礎(chǔ)上的藝術(shù)加工與提煉，是動畫創(chuàng)作者的二次創(chuàng)作過程在動畫作品中的體現(xiàn)。二，動畫動作設(shè)計(jì)與真實(shí)動作的比較。動畫動作設(shè)計(jì)來源于真實(shí)動作，是建立在真實(shí)動作基礎(chǔ)上的夸張表演，兩者都是在情感表達(dá)基礎(chǔ)上的運(yùn)動，表演是由角色本身發(fā)出的動作，而動作設(shè)計(jì)是由創(chuàng)作者的二次創(chuàng)造，不同于真實(shí)動作的是，角色的動作設(shè)計(jì)是通過創(chuàng)作者虛擬創(chuàng)作出來的，承載了動畫創(chuàng)作者思想情感與技藝的虛構(gòu)的個(gè)體，因此，動畫動作設(shè)計(jì)作為一種特殊的角色表演具有自己的鮮明特點(diǎn)：它是夸張變形的寫意，是虛擬的程式化表現(xiàn)，是有趣味的運(yùn)動，是物我同一的藝術(shù)境界。三，動畫動作設(shè)計(jì)的提煉方法。主要采用觀察分析法、夸張、變形以及節(jié)奏的變化等手法來表現(xiàn)動作設(shè)計(jì)，動畫動作設(shè)計(jì)的一般技巧即為角色的基本動作，，主要包括肢體動作及面部表情。動作設(shè)計(jì)需要遵循物體的運(yùn)動規(guī)律，如動作的預(yù)備、反應(yīng)，慣性、加減速度等。動畫角色的動作設(shè)計(jì)并不是天馬星空的胡編亂造，而是有自己的運(yùn)動規(guī)律和表現(xiàn)手法。它有著簡化的夸張模式，簡潔的性格取向，幽默化的動作節(jié)奏以及符號化的對抗與和諧。四，動畫動作設(shè)計(jì)在動畫短片創(chuàng)作中的思考與體會。任何藝術(shù)形式發(fā)展到一定程度，都會形成某種個(gè)性和風(fēng)格，動畫動作設(shè)計(jì)也不例外。通過與真實(shí)動作的比較，把握真實(shí)動作的運(yùn)動規(guī)律，把短片中角色的動作設(shè)計(jì)與真實(shí)動作進(jìn)行比較，從而創(chuàng)作出符合角色性格的動作設(shè)計(jì)。 角色的個(gè)性特征既源自于劇本故事情節(jié)的設(shè)定，也來源于角色的體征和性格。在動畫動作設(shè)計(jì)的風(fēng)格上，又有寫實(shí)化、夸張化、簡約化、和寫意化的大體分類。并且，根據(jù)地域和文化的不同，動畫呈現(xiàn)出不同的表演風(fēng)格，本文獨(dú)具創(chuàng)新性地從動作設(shè)計(jì)與真實(shí)動作的對比中發(fā)現(xiàn)了動畫動作設(shè)計(jì)的一般與特殊規(guī)律，從角色的性格、表情、動作及角色間相互關(guān)系各方面解讀了動畫動作設(shè)計(jì)技巧，進(jìn)一步豐富了動畫動作設(shè)計(jì)的理論，在理論及實(shí)踐上對動畫動作設(shè)計(jì)的發(fā)展與完善有著重要的意義。
[Abstract]:Character action design is the core of animation. On the basis of the animation creators processing and refining the action in real life and fully understanding the script and matching the animation theme style, the character orientation and animation characteristics of the animation are processed. Furthermore, the process of second creation in animation works is itself a kind of creation of beauty. Animation action design is the key to the success of an animation. It infuses vitality and soul into the characters. Every animation creator should attach importance to the importance of animation action design. Based on the importance of animation action design, this paper makes the following research on the relationship between action design and real action by means of theoretical citation and film examples: first, the theoretical category of animation action design. On the concept and definition of action design and real action, many researchers have begun to attach importance to animation performance as the core of animation, and think that action design is a reflection of real action. The art processing and refining based on the law of movement is the embodiment of the second creation process of the animator in the animation works. Second, the animation action design and the real action comparison. The animation action design comes from the real action, is the exaggeration performance which is based on the real action, both are the movement on the basis of the emotion expression, the performance is the movement issued by the character itself, and the motion design is created by the second time of the creator. What is different from the real action is that the action design of the character is created through the fictitious creation of the creator, carrying the fictional individual of the animation creator's thought, emotion and skill, so, Animation action design as a special role performance has its own distinctive characteristics: it is an exaggerated and distorted freehand brushwork, is a virtual stylized performance, is an interesting movement, is the same artistic realm. Third, the refining method of animation action design. The methods of observation analysis, exaggeration, deformation and rhythm change are used to express the action design. The general skills of animation action design are the basic actions of the characters, including the body movements and facial expressions. The design of action should follow the law of motion, such as preparation, reaction, inertia, speed and so on. The action design of the animated characters is not the random creation of the sky, but has its own movement law and expression technique. It has a simplified exaggeration model, concise personality orientation, humorous action rhythm and symbolic confrontation and harmony. Fourth, the animation action design in the animation short film creation thought and the experience. Any art form to a certain extent, will form a certain personality and style, animation action design is no exception. Through the comparison with the real action, the author grasps the movement law of the real action, compares the action design of the character with the real action in the short film, and creates the action design which accords with the character of the character. The personality of the character originates not only from the plot of the script, but also from the signs and characters of the character. In the animation design style, there are realistic, hyperbole, minimization, and freehand brushwork of the general classification. Moreover, according to the different regions and cultures, animation presents different acting styles. This paper finds out the general and special laws of animation action design from the comparison between action design and real action, from the character and expression of the characters. The relationship between action and characters interprets animation action design skills, further enriches the theory of animation action design, and plays an important role in the development and improvement of animation action design in theory and practice.
【學(xué)位授予單位】：武漢理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J954

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