本文選題：影視藝術(shù) + 超現(xiàn)實角色　； 參考：《西安工程大學(xué)》2014年碩士論文

【摘要】：超現(xiàn)實角色的形象在影視作品、動漫游戲中經(jīng)常出現(xiàn),這種特殊的創(chuàng)意形象代表了整部作品的核心內(nèi)容,角色涵蓋了神、魔、鬼、精怪、宇宙未知物等超乎于自然界與現(xiàn)代科技的范疇,是普通人物形象設(shè)計的變形。尤其是近幾年,隨著影視行業(yè)的發(fā)展和受眾的需求,這種創(chuàng)作手法主要運用了虛擬的CC電腦技術(shù)與實體特效化裝技術(shù),活靈活現(xiàn)的設(shè)計出各種超現(xiàn)實角色形象受到了極大的反響和推廣,更有力的帶動了影視行業(yè)的經(jīng)濟發(fā)展,同時這種帶有強烈設(shè)計感的特殊角色對影視、游戲、動漫等領(lǐng)域的各類概念設(shè)計有著創(chuàng)新的藝術(shù)指導(dǎo)。 本課題是關(guān)于影視作品中超現(xiàn)實角色的形象設(shè)計研究,主要的研究方向是超現(xiàn)實角色的實體塑造,通過研究國內(nèi)外相關(guān)影視作品中的超現(xiàn)實形象,提出國內(nèi)超現(xiàn)實角色形象塑造所存在的現(xiàn)實問題,尤其對于影視作品中不同風(fēng)格和種族的超現(xiàn)實角色進(jìn)行的形象進(jìn)行系統(tǒng)的對比、分析研究,同時總結(jié)出超現(xiàn)實角色存左的社會價值、藝術(shù)價值和商業(yè)價值,從而進(jìn)—步得出影視作品中超現(xiàn)實角色形象的創(chuàng)作規(guī)律和設(shè)計原則,并通過大量的設(shè)計實踐系統(tǒng)的規(guī)劃出超現(xiàn)實角色形象創(chuàng)新設(shè)計流程,首先通過2D效果圖設(shè)計形象、其次使用3D模型制作角色造型、最終通過特效化裝技術(shù)完成整體效果,同時提出大量材料和工具的創(chuàng)新使用,并通過設(shè)計實踐證明其藝術(shù)性及可行性。
[Abstract]:The image of surreal character often appears in film and television works, animation game, this special creative image represents the core content of the whole work, the role covers God, magic, ghost, monster, The universe unknown is beyond the scope of nature and modern science and technology, and it is the transformation of the image design of ordinary characters. Especially in recent years, with the development of the film and television industry and the needs of the audience, this creative technique mainly uses the virtual CC computer technology and the entity special effect makeup technology. The vivid design of a variety of surreal role images has been greatly echoed and promoted, more powerfully driving the economic development of the film and television industry. At the same time, this special role with a strong sense of design has played a special role in film, television, and games. Animation and other areas of various conceptual design has innovative artistic guidance. This topic is about the image design research of surrealistic role in film and television works, the main research direction is the entity molding of surreal role, through studying the surrealistic image in the related film and television works at home and abroad, In this paper, the author puts forward the realistic problems existing in the image shaping of surreal characters in China, especially compares the images of surreal characters of different styles and races in film and television works systematically, and analyzes and studies the image of surreal characters in film and television works. At the same time, it sums up the social value, artistic value and commercial value of the surreal character, so as to obtain the creative law and design principle of the surreal character image in the film and television works. And through a large number of design practice system to plan the surreal role image innovation design process, first through 2D effect image design image, then use 3D model to make character modeling, finally through special effect makeup technology to complete the overall effect. At the same time, a large number of materials and tools of innovative use, and through the design practice to prove its artistry and feasibility.
【學(xué)位授予單位】：西安工程大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前9條

1 劉藩;劉婧雅;;《畫皮2》的經(jīng)驗、教訓(xùn)和啟示[J];當(dāng)代電影;2012年09期

2 讓·布魯諾·勒納爾;姜其煌;潤之;;野人與外星人——進(jìn)化論者幻想中的兩個形象[J];第歐根尼;1985年02期

3 林榮妍;;形式美的法則及應(yīng)用[J];合肥學(xué)院學(xué)報(社會科學(xué)版);2009年04期

4 朱迪光;中國古代精怪故事中的精怪人化[J];衡陽師專學(xué)報(社會科學(xué));1997年04期

5 劉燕明;;現(xiàn)代人種起源問題[J];科學(xué);2012年02期

6 維特科夫爾;梅娜芳;;東方奇跡:怪物史上的一項研究[J];美苑;2006年04期

7 張黎;關(guān)于表現(xiàn)主義的定義問題[J];外國文學(xué)評論;2001年04期

8 王雷;廖祥忠;;《阿凡達(dá)》帶給中國動漫的啟示[J];現(xiàn)代傳播(中國傳媒大學(xué)學(xué)報);2010年04期

9 雷蒙;陳出云;;俄國構(gòu)成主義對當(dāng)代設(shè)計的影響[J];現(xiàn)代企業(yè)教育;2007年02期

，

本文編號：1880495