本文選題：繪畫　切入點(diǎn)：動(dòng)畫　出處：《河北師范大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：本論文的題目是論動(dòng)畫與繪畫之間的重要關(guān)系,雖然大部分人認(rèn)為繪畫和動(dòng)畫之間確實(shí)存在著一些聯(lián)系,至于這關(guān)系在動(dòng)畫的制作中起到了多大的作用,往往卻是眾說(shuō)紛紜,如拿動(dòng)畫大師宮崎峻來(lái)說(shuō),他的動(dòng)畫做得是世界一流,但沒(méi)有人稱他為繪畫大師。如果說(shuō)他不是繪畫大師,但為什么又能做出那么好的動(dòng)畫來(lái)呢? 由此可見,我們必須要認(rèn)真研究繪畫和動(dòng)畫之間的關(guān)系。這種關(guān)系不是一種大的關(guān)系,是繪畫與動(dòng)畫之間互相滲透到雙方各種方面和各種局部中的一種關(guān)系。只有理清繪畫與動(dòng)畫之間的關(guān)系,才能以繪畫為基礎(chǔ),掌握動(dòng)畫的特殊要求,熟練運(yùn)用動(dòng)畫制作中的繪畫方法來(lái)成功、高質(zhì)地制作動(dòng)畫,這可以說(shuō)是這次研究的重要目的之所在。 在這次研究中,采用的是一種系統(tǒng)的研究方法,先從動(dòng)畫的制作的現(xiàn)狀與發(fā)展談起,讓大家明白什么是動(dòng)畫,動(dòng)畫的原理是什么,目前的發(fā)展現(xiàn)狀是什么樣的,動(dòng)畫都分類了哪幾種類型。 在論述繪畫與動(dòng)畫的大關(guān)系中,首先指出大家所共認(rèn)的繪畫是動(dòng)畫的基礎(chǔ)和保證,但在這個(gè)大關(guān)系之中,則展開論述了普通繪畫的要求和方法,接著深入論述繪畫在動(dòng)畫中的特殊要求。 動(dòng)畫中的繪畫其實(shí)分為兩大部分,前一部分是指繪制動(dòng)畫造型,即用線條繪制造型,后一部分就是上色。動(dòng)畫中的繪畫和繪畫中的造型、構(gòu)圖與色彩都有既有聯(lián)系又有區(qū)別的聯(lián)系,在構(gòu)圖方面,繪畫的構(gòu)圖只在單張方面進(jìn)行推敲,然后在動(dòng)畫的繪畫中則不僅僅是這面,需要后續(xù)的一系列的幀或是鏡頭中都要保持這種科學(xué)、正確的構(gòu)圖法,這樣才能保證動(dòng)畫的可欣賞性。在色彩方面,動(dòng)畫的上色更有其特定的要求,由于電影動(dòng)畫、電視動(dòng)畫、以及網(wǎng)絡(luò)動(dòng)畫傳播的方式不同,因此,在色彩創(chuàng)作的時(shí)候,就要考慮到最終畫面效果的因素。 可見,繪畫和動(dòng)畫在原理方面既有聯(lián)系又有區(qū)別,繪畫首先是動(dòng)畫的基礎(chǔ)和保證,是動(dòng)畫的前提,在繪畫與動(dòng)畫的繪制作方法上,二者都有其專門的方法和要求,普通繪畫顯得更隨意一些,而動(dòng)畫則必須有專門的工具和獨(dú)特的要求,在動(dòng)畫的繪制作過(guò)程中,需要深刻理解繪畫中對(duì)造型、構(gòu)圖、色彩的各種原則。并要把這種理解運(yùn)用到指導(dǎo)動(dòng)畫繪畫中的過(guò)程中,而動(dòng)畫又是動(dòng)態(tài)的,所以又要必須在不斷的動(dòng)態(tài)中不斷地符合繪畫中的一些基本規(guī)律和原則。比如動(dòng)畫中的每一個(gè)鏡頭其實(shí)就是一幅繪畫,而這種繪畫不僅要在每一幀中符合正確的構(gòu)圖原則,同時(shí)要在不斷運(yùn)動(dòng)中而不斷形成的新的繪畫的畫面中都要符合繪畫中的構(gòu)圖規(guī)律。以上所述均是繪畫與動(dòng)畫之間的關(guān)系。
[Abstract]:The topic of this thesis is on the important relationship between animation and painting. Although most people think that there are some connections between painting and animation, however, there are different opinions about how much this relationship has played in the production of animation. For example, animation master Miyazaki Jun, his animation is world-class, but no one calls him a master of painting. If he is not a master of painting, but why can make such a good animation? So we have to really study the relationship between painting and animation. It's not a big relationship. Painting and animation permeate each other in various aspects and parts of each other. Only by clarifying the relationship between painting and animation can we master the special requirements of animation on the basis of painting. Skilled use of animation in the painting method to succeed, high texture animation, this can be said to be an important purpose of this study. In this study, we adopted a systematic research method, starting with the current situation and development of animation production, so that we can understand what is animation, what is the principle of animation, and what is the current development situation. Which types of animations are classified. In the discussion of the great relationship between painting and animation, it is pointed out that the common painting is the basis and guarantee of animation, but in this great relationship, the requirements and methods of ordinary painting are discussed. Then it discusses the special requirements of painting in animation. The painting in animation is actually divided into two parts. The first part refers to drawing animated modeling, that is, drawing modeling with lines, and the latter part is painting in animation and modeling in painting. There are both connections and differences between composition and color. In composition, the composition of a painting is studied only in the form of a single sheet, and then in the drawing of animation, it is not just this side. This kind of science and correct composition should be maintained in a series of frames or lenses that need to be followed in order to ensure the appreciability of animation. In terms of color, animation color has its own specific requirements, because of film animation, television animation, And network animation spread in different ways, therefore, in color creation, we should take into account the final picture effect factors. It can be seen that painting and animation are both related and different in principle. Painting is the basis and guarantee of animation, and is the premise of animation. Both have their own special methods and requirements in drawing and making methods of animation. Ordinary painting is more casual, and animation must have special tools and unique requirements, in the animation production process, need a deep understanding of the painting of modeling, composition, The principles of color. Apply this understanding to the process of guiding animation, which is dynamic, So we have to constantly conform to some of the basic laws and principles of painting in constant motion. For example, every lens in an animation is actually a painting, and this kind of painting should not only conform to the correct composition principle in every frame. At the same time, the new painting should be in accordance with the law of composition in the painting, which is the relationship between painting and animation.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J205

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