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上个世纪五六十年代开始,中国制造出了一部部经典的动画片,《大闹天宫》《哪吒闹海》等经典动画片直到今天还在影响中国的小朋友,但是现在由于中国经典动画片的匮乏以至于中国的小朋友渐渐迷上了外国的动画片,外国的动画形象,甚至把外国的动画形象融入自己的感情世界,中国本土的动画形象在渐渐被遗忘。这不得不引起我们深刻的反思,曾经我们也是动画大国,也曾制作出了享誉世界的经典动画片,也曾引领世界潮流,但现在,我们却远远落后于其他国家,如果不奋起直追我们就会被其它动画大国彻底的淘汰,中国将不会再有本土的动画片、本土的动画形象,更不会有本土的动画文化。本文从中国本土的艺术语言中国传统水墨人物画中寻找新的灵感。中国传统水墨人物画具有丰富的视觉造型与深刻的内在含义,如何从中吸取营养关乎着中国现代动画角色设计的发展。中国现有的动漫造型很少有体现中国传统水墨人物画精髓的,所以本文从中国传统水墨人物画的角度探讨动画角色设计与中国传统水墨人物画的结合,创造具有中国特色的动画形象。
Since the 1950s and 1960s, China has produced classic cartoons of anime series, classic cartoons like “Havoc in Heaven” and “Naozuo Naohai”, which are still affecting children in China until now. However, The lack of animation so that Chinese children gradually become fascinated with foreign animation, foreign animation, and even foreign animation into their own emotional world, China’s domestic animation image is gradually being forgotten. This has to arouse our profound reflection. Once we were also an animation powerhouse, we also produced world-famous classic cartoons and also led the world trend. But now we are lagging far behind other countries. If we do not catch up We will be completely eliminated by other animation powers. China will no longer have local animations and local animation images, and will not have native animation culture. This article looks for new inspiration from the Chinese traditional ink painting of Chinese artistic language. Chinese traditional ink figure painting has rich visual modeling and deep intrinsic meaning, and how to draw nutrition from it relates to the development of Chinese modern animation character design. The current Chinese anime models seldom reflect the essence of Chinese traditional ink and wash figures. Therefore, this article explores the combination of the design of animated characters with the traditional Chinese ink painting from the perspective of traditional Chinese ink painting to create animated images with Chinese characteristics.