從洛克威爾的插畫談動(dòng)畫創(chuàng)作中情節(jié)的畫面表達(dá)
發(fā)布時(shí)間：2018-07-16 13:50
【摘要】：洛克威爾的插畫是根據(jù)特定內(nèi)容和情節(jié)的需要來構(gòu)思、創(chuàng)作和表現(xiàn)的,因此畫面中的人物形象、服裝造型以及所處的環(huán)境時(shí)代等因素都受到內(nèi)容的制約,這一點(diǎn)和有劇情的動(dòng)畫作品根據(jù)文學(xué)劇本進(jìn)行創(chuàng)作具有相通之處。洛克威爾的作畫步驟是：首先選擇既能概括情節(jié)內(nèi)容,又適用于繪畫表現(xiàn)的關(guān)鍵情節(jié)瞬間,進(jìn)行粗略的構(gòu)圖,然后通過組合人物、道具及場(chǎng)景,對(duì)其進(jìn)行整體的描繪,并對(duì)人物神態(tài)動(dòng)作、服飾造型及場(chǎng)景增添戲劇性的細(xì)節(jié)描繪,最后把個(gè)單元加以組合,進(jìn)行整體氣氛的渲染。洛克威爾的插畫是靜止的空間的藝術(shù),它通過極具張力的瞬間表現(xiàn)高度概括典型的情節(jié)和內(nèi)容；而動(dòng)畫是將一系列靜止的畫面連續(xù)拍攝,利用人眼的視覺殘留原理所形成的動(dòng)態(tài)畫面來表達(dá)情節(jié)的,是運(yùn)動(dòng)的時(shí)間和空間的藝術(shù)。兩者雖然在情節(jié)的具體表現(xiàn)手法上稍有不同,但都是由創(chuàng)作者充當(dāng)敘事人的角色來講述故事的,因此,動(dòng)畫創(chuàng)作中,如何通過畫面表達(dá)來推動(dòng)情節(jié)發(fā)展、塑造人物形象、布局場(chǎng)景結(jié)構(gòu),怎樣進(jìn)行細(xì)節(jié)的取舍、氣氛的渲染,這些都可以從洛克威爾的插畫作品中得到啟發(fā)。 本文從洛克威爾的插畫有戲劇性的故事情節(jié)這一特點(diǎn)入手,分析他如何通過巧妙的捕捉瞬間、合理的布局人物道具場(chǎng)景等各個(gè)構(gòu)圖元素達(dá)到創(chuàng)作意圖,從而提煉出一些在動(dòng)畫創(chuàng)作中情節(jié)的畫面表達(dá)可參考借鑒的規(guī)律。 文章主要分五個(gè)章節(jié)。第一章主要針對(duì)選題目的、研究意義、與選題相關(guān)的國(guó)內(nèi)外研究現(xiàn)狀、研究方法與論文框架,以及研究的創(chuàng)新點(diǎn)等做概述。第二章總結(jié)了洛克威爾插畫的特點(diǎn),并對(duì)他用畫面講故事的表現(xiàn)手法進(jìn)行研究分析,提出其對(duì)動(dòng)畫創(chuàng)作中情節(jié)的畫面表達(dá)具有學(xué)習(xí)參考價(jià)值。第三章根據(jù)前文的分析研究提煉出動(dòng)畫創(chuàng)作中情節(jié)的畫面表達(dá)中動(dòng)畫角色對(duì)情節(jié)的表達(dá)：1、角色造型必須考慮情節(jié)的要求,主要從角色的身形外貌、角色的服飾道具及小細(xì)節(jié)三個(gè)方面來分析；2、角色的表演要推動(dòng)劇情的發(fā)展,主要從角色的肢體動(dòng)作設(shè)計(jì)和角色的神態(tài)表情設(shè)計(jì)兩方面來寫；3、角色設(shè)計(jì)要有典型性和獨(dú)特性。第四章主要分析動(dòng)畫場(chǎng)景對(duì)情節(jié)的表達(dá),主要從以下三個(gè)方面來談：1、動(dòng)畫場(chǎng)景必須考慮情節(jié)的需要,主要從營(yíng)造敘事空間和服務(wù)于角色表演兩方面來深入；2、從構(gòu)圖、色彩和光影三個(gè)方面來分析畫面布局及氣氛渲染對(duì)情節(jié)的表達(dá)；3、情節(jié)點(diǎn)的選擇在畫面表達(dá)中的作用。第五章是本論文的結(jié)論部分,總結(jié)陳述本論文的觀點(diǎn)。
[Abstract]:Rockwell's illustrations were conceived, created and expressed according to the needs of specific content and plot, so the image of the characters, the style of clothing and the environmental times in the picture were all restricted by the content. This has something in common with animations based on literary scripts. The steps of Rockwell's painting are: first, to select the key plot moments that can be summarized and applied to the painting performance, and then to make a rough composition, and then to describe it as a whole by combining characters, props and scenes. It also adds dramatic details to the action, dress modeling and scene of the characters. Finally, the units are combined to render the whole atmosphere. Rockwell's illustration is the art of static space, which highly sums up typical plot and content through extremely tense moments, while animation is the continuous shooting of a series of still pictures. It is the art of time and space to express the plot by the dynamic picture formed by the principle of visual residue of the human eye. Although the two are slightly different in the specific expression of the plot, both are told stories by the creator acting as the narrator. Therefore, in animation creation, how to promote the development of the plot and create the character image through the picture expression? The layout of the scene, the choice of details, the rendering of atmosphere, can be inspired by Rockwell's illustrations. Starting with the dramatic storyline of Rockwell's illustrations, this paper analyzes how he achieves his creative intention by skillfully capturing moments, reasonable layout of characters, props, scenes, and other composition elements. In order to extract some animation in the plot of the picture expression can be used for reference. The article is divided into five chapters. The first chapter summarizes the purpose of the topic, the significance of the research, the status quo of domestic and foreign research related to the topic, the research methods and the framework of the paper, as well as the innovation of the research. The second chapter summarizes the characteristics of Rockwell's illustrations, and analyzes his expressive methods of telling stories with pictures, and points out that he has reference value to the picture expression of plot in animation creation. In chapter three, according to the above analysis and research, we extract the expression of the animation character to the plot: 1 in the picture expression of the plot in the animation creation. The character modeling must consider the requirement of the plot, mainly from the figure and appearance of the character. The character's costume props and small details are analyzed in three aspects: the character's performance should promote the development of the plot, mainly from the two aspects of the character's body movement design and the character's appearance expression design, the character design must have the typicality and the uniqueness. The fourth chapter mainly analyzes the animation scene to the plot expression, mainly from the following three aspects to talk about: 1, the animation scene must consider the plot need, mainly from creates the narrative space and serves for the role performance two aspects to go deep into 2, from the composition, Color and light and shadow are three aspects to analyze the picture layout and atmosphere rendering to express the plot. 3. The function of the selection of emotion node in the picture expression is analyzed. The fifth chapter is the conclusion of this paper, summarizes the point of view of this paper.
【學(xué)位授予單位】：武漢理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J218.7
本文編號(hào)：2126592
[Abstract]:Rockwell's illustrations were conceived, created and expressed according to the needs of specific content and plot, so the image of the characters, the style of clothing and the environmental times in the picture were all restricted by the content. This has something in common with animations based on literary scripts. The steps of Rockwell's painting are: first, to select the key plot moments that can be summarized and applied to the painting performance, and then to make a rough composition, and then to describe it as a whole by combining characters, props and scenes. It also adds dramatic details to the action, dress modeling and scene of the characters. Finally, the units are combined to render the whole atmosphere. Rockwell's illustration is the art of static space, which highly sums up typical plot and content through extremely tense moments, while animation is the continuous shooting of a series of still pictures. It is the art of time and space to express the plot by the dynamic picture formed by the principle of visual residue of the human eye. Although the two are slightly different in the specific expression of the plot, both are told stories by the creator acting as the narrator. Therefore, in animation creation, how to promote the development of the plot and create the character image through the picture expression? The layout of the scene, the choice of details, the rendering of atmosphere, can be inspired by Rockwell's illustrations. Starting with the dramatic storyline of Rockwell's illustrations, this paper analyzes how he achieves his creative intention by skillfully capturing moments, reasonable layout of characters, props, scenes, and other composition elements. In order to extract some animation in the plot of the picture expression can be used for reference. The article is divided into five chapters. The first chapter summarizes the purpose of the topic, the significance of the research, the status quo of domestic and foreign research related to the topic, the research methods and the framework of the paper, as well as the innovation of the research. The second chapter summarizes the characteristics of Rockwell's illustrations, and analyzes his expressive methods of telling stories with pictures, and points out that he has reference value to the picture expression of plot in animation creation. In chapter three, according to the above analysis and research, we extract the expression of the animation character to the plot: 1 in the picture expression of the plot in the animation creation. The character modeling must consider the requirement of the plot, mainly from the figure and appearance of the character. The character's costume props and small details are analyzed in three aspects: the character's performance should promote the development of the plot, mainly from the two aspects of the character's body movement design and the character's appearance expression design, the character design must have the typicality and the uniqueness. The fourth chapter mainly analyzes the animation scene to the plot expression, mainly from the following three aspects to talk about: 1, the animation scene must consider the plot need, mainly from creates the narrative space and serves for the role performance two aspects to go deep into 2, from the composition, Color and light and shadow are three aspects to analyze the picture layout and atmosphere rendering to express the plot. 3. The function of the selection of emotion node in the picture expression is analyzed. The fifth chapter is the conclusion of this paper, summarizes the point of view of this paper.
【學(xué)位授予單位】：武漢理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J218.7
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