外文翻譯 外文文獻(xiàn) 英文文獻(xiàn) 新時(shí)期中國水墨動(dòng)畫類型發(fā)展

大連交通大學(xué)2011屆本科畢業(yè)生畢業(yè)設(shè)計(jì)（論文）外文翻譯外文原文DevelopmentoftheNewChineseInkAnimationTypeAbstract:Thispapercomparedseveralthree-dimensionalperspectiveofthecharacteristicsofinkanimationanditsexistencevalue.Keywordsthree-dimensionalinkanimationstyleoftheartisticeffectoftraditionalinkanimation

1.IntroductionInkanimationhasaspecialartisticexpressionwithitsinternationalgloryinawhile,thisuniquenativeofChinahasalsomadenumerousanimationimpressivehonor.ButsinceChinaembarkedonthecommercializationofcreativeanimationoftheroad,whilethetraditionalinkanimationproductionprocessbecauseofitscomplicatedandtakesalotofmanpowerandresourcesfromthecommercialartmarket,thenear-extincttraditionalinkanimationinrecentyears,Chinastartedtoenterthelowinkanimation.

Ofthetwentiethcenturyartdigitaltechnologyhadahugeimpact,someartistsbegantoexploretheoperatingplatformforseekingtocreateanewformofinkanimation,todevelopthelocalanimationindustry,bothtosavecosts,eliminatingtheneedforphotographyandrepeatedlydrawndownthemiddleofwork,butalsowithanimationtechnology,canbesaidinkanimationinthenewsituationofanewdevelopmenttrend.

Althoughthethree-dimensionalcomputeranimationinkinkfromthetraditionalwayofcreatinganimation,butitisthepurposeofwritingorontheformandfollowthecharacteristicsoftraditionalChineseinkpainting.First,using3dtechnologytosimulatetheeffectofChinesepaintings,screenpainting,inkpenwithemphasis,performanceofthethickscreeninkwater,light,dry,wet,cokeproperties,withsignificanteffectsofinksmudges;Secondly,payattentiontothebeautyofartisticconception.Abstractelementstoconveyamood,toconveyimagesoftheactualsituationandartistically;againinthenarrativecontent,oftencombinedwithtraditionalChineseinkpaintinganimationculture,intotheuniquecultureofChina,theuniqueartofChineseclassicalandelegant,deeptemperamentonitshead.

2.thethree-dimensionalanimationandtraditionalinkinkcompared

Three-dimensionalcomputeranimationinthesuccessionoftraditionalChineseinkpaintinginkisweakeronthemoreexpressive,itanditsvariouscreatorsandcreativepracticesrelatedtoinkthree-dimensionalanimationismoretounderstandtheoperationofcomputersoftwareproducers,andtherelativelackoftraditionalinkpaintingunderstandingofpaintingtechniquesandstyle,andthecompletionoftheanimationworkisalsooutofthetraditionalapproaches.Thetraditionalinkanimationitisbasedontheartist'spaintingstylecreation,suchas"LittleTadpoleLookingforMom"??withtheQiofthePainting,"reedpipe"totaketheLiKeranbrushwork,andthe"Goose"drop-theJiaandblessedMexicaninterest.Sonowisthepursuitofthree-dimensionalinkanimationshapeofthesurface,itisdifficulttoachieveaVividartisticeffect.

Inkinkanimationpropertiesintheirlanguagetointroducetheconceptofthefilm,makingtimeandspaceart.Sothatithasasafilmaestheticelements,suchasScene,Montage,longlens,audio.Theseaestheticelementstakeadvantageofpassiveartiststocreatealinewithpeoplethinkingofcinemaanimation.Analysisofthetraditionalperformanceofinkanimationcameralanguageisusuallyafixedlensorapushandpullmethods,andsimpleandplain.Digitalinkanimationtochangeitsoperatingplatforminthecreativeprocesswithnewfeatures,forthemoreabundantuseofthelens,canbeseenindeepspacewalkscreenperformance,greateruseofsomelong-lenseffect,whichkindsofelegantillusionofspacetoexpressapoeticflow,inwhichthelensontheexpressionofspace,three-dimensionalimagesthanconventionalinkinkanimationslightlybetter.

Inkcompositionisamajorfeatureanimation.Theinkinthetraditionalartofcomposition,tone,atmosphereandsoareverydemanding,oftenalargenumberofgaps.Three-dimensionaleffectisachievedwithinkistotakeintoaccountthecompositionoftraditionalpainting,thepictureintheplacementofeachelementshouldbethoughtthrough.Three-dimensionaltechnologytocomplywiththestrictprinciplesofWesternperspective,andtraditionalinkpaintingisacommonprinciplecavalierperspective,itshouldtakenoteofthismodelinthespacesetting,notsimplyapaintingofthescenecanmeanthree-dimensionalcameramadetakingintoaccountmovementchanges,whichneedtomeettheoveralleffectofexerciseinkcomposition.

"Dynamic"isthecomputerperformanceofthree-dimensionalinkamajorfeatureanimation,and"meaning"istheconnotationoftheperformanceoftraditionalinkanimation.Currently,theuseoftechnicalmeanstocreatethree-dimensionalanimationofChineseinkpaintingof"Summer","Hetangmoonlight","Lively",etc.Inadditiontothesethree-dimensionalinkdrawingpaintinganimationshowthemood,moreimportantly,theperformanceofthe"action"thesituation,"Lively"designideaistoshowtheatmosphereofavibrantimpressionisticpainting,flowlines,penmeansvigorousandeffective,lightmelody,thescreenblankinplace,theuseofcalligraphy,poetry,sealsandothertomakewhite,toreflectauniqueaestheticstyleofChinesepainting,withshakycameramovement,resultinginanewvisualartisticeffect.

Storysetting.Inkanimationstorycompletewiththeabilityoftheperformanceofitsscreentimeandspaceconstitutetheuseoftheconceptofthefilm,design,animationfilmfootageofthelanguagetointerpretChineseinkpaintings,theinterpretationofafreshinkanimation,inkanimationtodevelopandmoveforward,wemustAsthefilm'screationledtofilmlanguageasafoil,makingthescreencomposition,theuseofcolor,depthoffieldtorenderthemainbody,andcanexpandthescreenspace,morepictureinformation,theChineseinkanimationintheworldmakestheanimationworldexudesbreathtakingcharm.

3.morethree-dimensionalinkanimationandthree-dimensionalanimationinHollywood

Analysisofthree-dimensionalanimationandHollywoodanimationInkdistinction,fromthesubjectmatter,itistheperformanceofinkanimationnarrativemoreenjoyablefantasylandscapecolorpaintingofamorepersonaltouch,bytheexpressivenessofinktoinkwithbeautifulpoeticfinancialinterestintoeachscreen,theinkisaformofnarrativemood,silenceintheperformanceofall,subtleandfreeandeasy,artisticconception,thenarrativestyletorevealaprofoundtheme,containsawealthofphilosophicalandsymbolicsignificance,sothatviewersinthesametimetoappreciatethespiritualresonance.Hollywoodthree-dimensionalanimation,usuallyanthropomorphiccartooncharacterortheroleofthenarrativecenter,thescenesetoffpeople,payattentiontospace-levelimages,color,simpleandgorgeous.

Inkanimationforbamboo,flute,piano,eagles,fish,waterandotherimagesarealsoquitepartial.Alotofinkintheuseoftheclassicalimageoftheseancient,makesthefilmseemimbuedwiththeancientrhymerestrainedstyleofpaintingthroughout.Morethree-dimensionalanimationofHollywoodmovieideasandlanguage.

4.lookthree-dimensionalinkanimationandplanningfuture

InkdrawnanimationintermsofstoryanditsstrongorientalflavortotheperformanceofEuropeisnotsuitableforthestory,canbeusedtoshowsomeelementsoftheplotwithChinesecharacteristics,setting,relyingontraditionalChinesecultureintoday'sfullyanimatedcreativepotentialcanalsomining.

Inrecentyears,strengthofthedomesticcomputeranimationtechnologywasenhanced,computertechnologyhasbeenmorepopulartodrawthebackground,therapidthree-dimensionalandtwo-dimensionalcomputeranimation,withamoreperfectproductionsystem.Inktocompletethethree-dimensionalanimatedshortssuchas"Summer","Hetangmoonlight"throughthetextures,rendering,tosimulatetheinkpaintingstyle,theeffectisunique.Butthree-dimensionalinkanimationisstillinearlystagesofdevelopment,aresmall-scaleproductioncost,thestorydoesnotshowthetraditionalinkpaintingtothedepth,andhowbettertoadvancedanimationtechniquescombinedwithtraditionalChineseculture,theperformanceofInkThisanimationfeatures,totheseventiesandeightiesoflastcenturythebrillianttraditionalinkpainting,therearealotofroomforimprovement.Sointhenewenvironment,howtoimprovetheirownwork?

First,thedevelopmentenvironmentsuitedtotheirowncreativeanimationsoftware.Anyhardware,software,technologyupdatesareduetoartistsforartisticcreationandexplorationrequirementsincreasecontinuouslygenerated,thedesignofthisseriesofHollywoodproductionenvironmentmoreinlinewiththeirowncreativecontent.Sotheiranimationarttobeinnovativeanddevelopmentmustimprovetheirsoftwaredevelopmentcapability.Atpresent,thereisintheinkanimationdevelopmentrenderdancerv2.0inkrenderingengine,capableofregulatingthepen,brush,paperandinkrenderingoflinewiththecontrolstoadjusttherendering,ortoachieveamoresimpleandthedesiredresults.Strengthenthesoftwaredevelopmentandapplicationsforarttobringmoreconveniencetomaketheenvironmentmorelarge-scale,systematic.

Second,theinkischaracterizedbytheanimationtoconveyamood,howtotellstories,isthekeytoartisticcreation.InkAnimationstatementsoftenlackthelanguageandthepictureonlythroughacombinationofsimplestoriestoconveythemeaning,thestorysettingistheneedtoappropriatescrutiny.Three-dimensionalanimationproductionenvironmentfortheinktoprovidearichermeansofcreation,sothatthecircumstancesdescribedintheperformanceoftheanimationmoreselective.

Again,theanimationproductionindustry.InkAnimationisabranchofanimation,it'smethodtoindustrialscale,soastoproduceamorerefinedworksofart,earlyinkanimationkeyisuniqueintheworld,creatoroflotsofmanpowerandeffort.5.Conclusion

FactshaveprovedthatonlywhenChina'suniquetraditionalartandanimationtechniquescombinetomakeauniquenationalcharacterofthepopularChinese-madeanimationfilms.Animationwasoncetraditionalinkmadenumeroushonors,butsticktotheoldthemeofpoorformandhasbeenunabletomeettheaestheticneedsofmodernpeople,andinkanimationcartoonforminChina,nofollow-freeimitation.InkAnimationshouldnotbeinthecurrentrecession,thisartformuniquetoChinashouldbeinheritedandcarriedforward.Inkandmodernthree-dimensionalanimationtechniquescanbeboldfusionofartcreation,expansionandcreationofthisnewanimation,sothatthisancientartwilldisplayanewvitality,sothatinkanimationtobeuniqueamongtheforestoftheanimationintheworld.

新時(shí)期中國水墨動(dòng)畫類型發(fā)展摘要：本文從幾個(gè)角度分析比較三維水墨動(dòng)畫的特點(diǎn)以及它所存在的價(jià)值。關(guān)鍵詞三維水墨動(dòng)畫傳統(tǒng)水墨動(dòng)畫風(fēng)格藝術(shù)效果。一、前言水墨動(dòng)畫曾以其特殊的藝術(shù)表現(xiàn)力在國際上輝煌一時(shí)，這種中國特有的本土動(dòng)畫形式也取得無數(shù)的驕人榮譽(yù)。但自從中國動(dòng)畫創(chuàng)作走上商業(yè)化創(chuàng)作之路，而傳統(tǒng)的水墨動(dòng)畫由于其制作工藝的異常復(fù)雜，耗費(fèi)大量的人力物力，藝術(shù)創(chuàng)作脫離商業(yè)市場(chǎng)運(yùn)作，使傳統(tǒng)水墨動(dòng)畫近些年近乎絕跡，中國水墨動(dòng)畫開始走入低谷。二十世紀(jì)末數(shù)字技術(shù)的對(duì)藝術(shù)創(chuàng)作產(chǎn)生了巨大的影響，一部分藝術(shù)創(chuàng)作者開始探索尋求通過機(jī)操作平臺(tái)來創(chuàng)作新水墨動(dòng)畫的形式，來發(fā)展本土動(dòng)畫產(chǎn)業(yè)，既可以節(jié)約成本，免去了攝影和中間畫反復(fù)的工作，又可與動(dòng)畫技術(shù)相結(jié)合，可以說是水墨動(dòng)畫在新形勢(shì)下的一個(gè)新的發(fā)展趨向。計(jì)算機(jī)三維水墨動(dòng)畫創(chuàng)作雖然脫離了傳統(tǒng)水墨動(dòng)畫的創(chuàng)作方式，但它創(chuàng)作形式與目的上還是遵循中國傳統(tǒng)水墨繪畫的特點(diǎn)。首先，使用3d技術(shù)模擬國畫中的效果，畫面強(qiáng)調(diào)用筆用墨的繪畫性，表現(xiàn)畫面中墨遇水的濃、淡、干、濕、焦特性，具有明顯的水墨暈染的效果；其次，講究意境之美。以抽象的元素來表達(dá)一種意境，傳達(dá)物象的虛實(shí)與氣韻；再次，在敘事內(nèi)容上水墨動(dòng)畫通常結(jié)合中國傳統(tǒng)文化，融入了中國特有的民族文化，將中國古典藝術(shù)所獨(dú)有的淡雅、深邃的氣質(zhì)發(fā)揮得淋漓盡致。二、三維水墨動(dòng)畫與傳統(tǒng)水墨比較計(jì)算機(jī)三維水墨動(dòng)畫在繼承中國傳統(tǒng)的水墨表現(xiàn)力上要弱些，這和它創(chuàng)作者和創(chuàng)作手法不同有關(guān)，三維水墨動(dòng)畫創(chuàng)作更多的是懂得計(jì)算機(jī)軟件操作的制作者，而相對(duì)缺乏對(duì)于傳統(tǒng)水墨繪畫技法與風(fēng)格的了解，并且整個(gè)動(dòng)畫作品的完成也脫離了傳統(tǒng)的創(chuàng)作方式。而傳統(tǒng)水墨動(dòng)畫它是基于藝術(shù)家的繪畫藝術(shù)風(fēng)格進(jìn)行創(chuàng)作的，比如《小蝌蚪找媽媽》用的是齊白石的畫意，《牧笛》取的是李可染的筆法，而《雁陣》掇的是賈又福的墨趣。所以三維水墨動(dòng)畫目前只是追求表面的形似，很難達(dá)到一種形神兼?zhèn)涞乃囆g(shù)效果。水墨動(dòng)畫在其水墨畫的屬性中引入電影語言的概念，使其成為時(shí)空的藝術(shù)。因而它具有作為電影的審美元素，如景別、蒙太奇、長(zhǎng)鏡頭、音響等。這些審美元素被動(dòng)畫家們加以利用，創(chuàng)造出符合人們觀影思維的動(dòng)畫作品。分析傳統(tǒng)的水墨動(dòng)畫鏡頭語言的表現(xiàn)通常是固定鏡頭或者是推拉的方式，簡(jiǎn)單而又樸實(shí)。數(shù)字水墨動(dòng)畫由于其操作平臺(tái)的改變，在創(chuàng)作過程中有了新的特點(diǎn)，對(duì)于鏡頭的運(yùn)用更為豐富，可以表現(xiàn)在畫面中游走縱深的空間表現(xiàn)，更多的使用些長(zhǎng)鏡頭的效果，這種淡雅虛幻的空間流動(dòng)中來表達(dá)一種詩意，在這種鏡頭空間的表現(xiàn)力上，三維水墨動(dòng)畫畫面要比傳統(tǒng)水墨畫略勝一籌。構(gòu)圖是水墨動(dòng)畫的一大特點(diǎn)。傳統(tǒng)藝術(shù)的水墨畫中對(duì)構(gòu)圖、色調(diào)、氛圍等都是要求非常嚴(yán)格的，常出現(xiàn)大量的空白。用三維實(shí)現(xiàn)水墨效果當(dāng)然也是要考慮到傳統(tǒng)繪畫藝術(shù)的構(gòu)圖，畫面里的每一個(gè)元素的擺放位置都應(yīng)該是經(jīng)過思考的。三維技術(shù)嚴(yán)格的遵守西方的透視原則，而傳統(tǒng)水墨畫常用的是散點(diǎn)透視原則，因此應(yīng)在這方面注意模型的空間設(shè)置，不是單純的場(chǎng)景就能具有國畫的意味，三維制作考慮到攝象機(jī)運(yùn)動(dòng)的變化，從而需滿足整體運(yùn)動(dòng)水墨畫的構(gòu)圖效果?！皠?dòng)”是計(jì)算機(jī)三維水墨動(dòng)畫表現(xiàn)的一大特性，而“意”是傳統(tǒng)水墨動(dòng)畫表現(xiàn)的內(nèi)涵。目前，運(yùn)用三維技術(shù)手段創(chuàng)作的中國水墨動(dòng)畫有《夏》、《河塘月色》、《氣韻生動(dòng)》等，這類三維水墨動(dòng)畫表現(xiàn)除了借鑒國畫的意境外，更重要的表現(xiàn)了“動(dòng)”的態(tài)勢(shì)，《氣韻生動(dòng)》設(shè)計(jì)思路是表現(xiàn)一種寫意國畫的大氣蓬勃，流動(dòng)的線條，筆意蒼勁有力，輕快的旋律，在畫面留白之處，運(yùn)用書法、詩詞、印章等來補(bǔ)白，來體現(xiàn)出中國畫獨(dú)特的審美風(fēng)格，加上晃動(dòng)的攝象機(jī)的運(yùn)動(dòng)，產(chǎn)生了新的視覺藝術(shù)效果。故事情節(jié)設(shè)置。水墨動(dòng)畫完全具有表現(xiàn)故事的能力，它的畫面構(gòu)成運(yùn)用電影的時(shí)空觀念，鏡頭畫面設(shè)計(jì)等動(dòng)畫電影性的語言去演繹中國的水墨畫，詮釋一個(gè)耳目一新的水墨動(dòng)畫，水墨動(dòng)畫要發(fā)展，要前進(jìn)，必須以電影的創(chuàng)作作為主導(dǎo)，以電影語言為陪襯，在進(jìn)行畫面構(gòu)圖時(shí)，運(yùn)用色調(diào)、景深來呈現(xiàn)主體，并能拓展畫面空間，增加畫面信息量，使中國的水墨動(dòng)畫在世界動(dòng)畫界散