角色性格设定与角色形象表现关系分析外文翻译资料
2022-11-12 19:49:45
DRAWING IN TIME
Why animate? Everyone knows its a lot of hard work doing all those drawings and positions.So whats the hook? Why do it?
Answer: Our work is taking place in time. Weve taken our tills and leapt into anotherdimension.
Drawings that walk: seeing a series of images weve made spring to life and start walkingaround is already fascinating.
Drawings that walk and talk: seeing a series of our drawings talking is a very startling expe-rience.
Drawings that walk and talk and think: seeing a series of images weve done actually gothrough a thinking process - and appear to be thinking - is the real aphrodisiac. Plus creatingsomething that is unique, which has never been done before is endlessly fascinating.
Weve always been trying to make the pictures move, the idea of animation is aeons older thanthe movies or television. Heres a quick history:
Over 35,00 years ago, we were painting animals on cave walls, sometimes drawing four pairsof legs to show motion.
In 1600 BC the Egyptian Pharaoh Rameses Il built a temple to the goddess Isis which had 110columns. Ingeniously, each column had a painted figure of the goddess in a progressivelychanged position. To horsemen or charioteers riding past - Isis appeared to move!
The Ancient Greeks sometimes decorated pots with figures in successive stages of action.Spinning the pot would create a sense of motion.
As far as we know, the first attempt to project drawings onto a wall was made in 1640 byAthonasius Kircher with his Magic Lantern.
Kircher drew each figure on separate pieces of glass which he placed in his apparatus and pro-jected on a wall. Then he moved the glass with strings, from above. One of these showed asleeping mans head and a mouse. The man opened and closed his mouth and when his mouthwas open the mouse ran in.
Although photography was discovered as early as the 1830s, most new devices for creating anillusion of movement were made using drawings, not photos.
In 1824 Peter Mark Roget discovered (or rediscovered, since it was known in classical times)the vital principle, the persistence of vision. This principle rests on the fact that our eyestemporarily retain the image of anything theyve just seen. If this wasnt so, we would neverget the illusion of an unbroken connection in a series of images, and neither movies nor ani-mation would be possible. Many people dont realise that movies dont actually move, and thatthey are still images that appear to move when they are projected in a series.
Rogets principle quickly gave birth to various optical contraptions:
The Thaumatrope: A cardboard disc mounted on a top - or held between two pieces of string.A birdcage drawing is on one side and a bird on the other. When the top is spun or the stringsare pulled the disc twirls, the images merge and the bird seems to be in the cage.
The Phenakistoscope: Two discs mounted on a shaft - the front disc has slits around the edgeand the rear disc has a sequence of drawings. Align the drawings with the slits, look throughthe openings and as the discs revolve we have the illusion of motion,
The Wheel of Life (or the Zoetrope): Appeared in the USA in 1867 and was sold as a toy. Longstrips of paper with a sequence of drawings on them were inserted into a cylinder with slits inIt. Spin the cylinder, look through the slits and the creature appears to move.
The Praxinoscope: Devised by the Frenchman Emile Reynaud in 1877. He was the first to createshort sequences of dramatic action by drawing on a 30 foot strip of transparent substancecalled Crystaloid. This opened the way for the tremendous advances to come.
The Flipper book: In 1868 a novelty called the flipper book appeared worldwide and itremained the simplest and most popular device. Its just a pad of drawings bound like a bookalong one edge. Hold the book in one hand along the bound edge and with the other hand flipthe pages and see em move. The result is animation - the illsion of continuous action.Drawings in time.
This is the same as school kids making drawings in the corners of their math books and flipinpthe pages.
Today the lssial animator still flips his drawings the same way as a flipper book beforetesting it on the video or film camera. He places the drawings in sequence, with the low num-bers on the bottom, then flips through the action from the bottom up. Eventually he should getgood enough at it to approximate actual screen time and spot any errors or drawings that needaltering. Now that we have the video camera with its instant playback of the drawings at filmspeed, not everyone learns to flip.
In 1896 a New York newspaper cartoonist James Stuart Blackton interviewed the inventorThomas Edison who was experimenting with moving pictures. Blackton diexcl;d some sketches ofEdison, who was impressed by Blacktons speed and drawing facility and asked him to do somedrawings in a series. Later, Edison photographed these - the first combination of drawings andphotography. In 1906 they publicly released Humorous Phases of Funny Faces. A man puffed acigar and blew smoke rings at his girl friend, she rolled her eyes, a dog jumped through a hoopand a juggler performed. Blackton used about 300 flickering drawings to make this first ani-mated picture - the forefather of the animated cartoon. The novelty brought explosions oflaughter and was an instant hit.
A year later Emile Cohl made and showed his first animated film at the Follies Bergegrave;res in Paris.The figures were childlike - white lines on black - but the story was relatively sophisticated: atale of a girl, a jealous lover and a policeman. He also gave lampposts and houses intllgeceand movement, with emotions and moods of their own. Cohls work prefigures the later ani-mation dictum, Dont do what a camera can do - do what a camera cant do!
Winsor McCay, billiant creator of
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动画简史
为什么做动画?众所周知画那么多图和动作真是个苦差事。那么是什么让你心甘情愿?为什么去做动画?
答案是:我们的工作在时间里发生变化。我们把“ 静止'的东西变成有血有肉的人物。
会走的图:看到我们创造的一系列形象有了生命并且走来走去真是让人惊喜。
能走会说的图:看到我们创造的一系列形象会说话更是让人惊叹不已。
能走会说还会思想的图:看到我们创造的一系列形象经历思考过程并且做思考状,这才是真正让人叹为观止的高湖。创造一个别人从未设计过的独一无二的形象,那将会让你充满无尽的喜悦与快感。
人们自古 以来就想着让图画动起来。这比拍电影电视的历史要久远得多。且看下面这个简史:
3万5千多年以前,人类便已经在岩壁上画动物了,有时画上4对腿表示动物的运动。
在公元前1600年,埃及法老拉美西斯二世( Pharaoh Ramese II )为伊希斯(Isis )女神建造了一个有110根柱子的神庙。每根柱子上都天才般地画着女神连续变换的动作图。骑士或战车的驾驭者从这儿经过时,伊希斯女神好像就动起来了。
古希腊人有时在罐子上画上一系列连贯运动的人物。转动罐子就产生运动的感觉。
据了解,第一个试着把图画投射到墙上的人是1640年拥有“ 魔术幻灯”的阿塔纳斯珂雪( Ahanasius Kircher)。
科切在不同的玻璃上画上一些形象,再把它们放到他的仪器上,然后把它们的影子投射到墙上。他用绳子把玻璃上下串起来移动。一块玻璃上显示的是一个在睡觉的男人的头和一只老鼠。男人张嘴闭嘴,张嘴时老鼠就跑进他的嘴里。
虽然照片是在19世纪30年代发明的,但创造出运动幻觉的大多数新奇玩意儿是通过绘画而不是照片。
1824年皮特·马克·罗杰特(Peter Mark Roget)发现了(或者像古典时代所说的再次发现了)重要的“ 视觉暂留”(Persistence of Vision)的原理。它讲的是人类的眼睛对看到的一切事物的影像会有暂时停留原理。否则,我们就不会有一系列影 像之间的连贯不断联系的感觉,也不会有电影或动画。很多人不知道,其实不是电影在动,而是一些静的影像连 贯起来放映便产生了动的感觉。
罗杰特发现这个原理之后诸多的光学仪器也相继问世。
萨乌马特洛普视觉暂留玩具/魔术画片(Thaumatrope): 一张由两根绳上下或左右连着的纸片。一面画着鸟笼,一面画着鸟。转动上面或拽动绳子,纸片会旋转, 两幅画就融合起来,就会看到鸟儿钻进笼子。
费那基斯陶视镜/幻透镜(Phenakisoscop):两个圆盘装在一个支架上,前面的盘子边上有开口,后面的盘子有系列图画。让这些图画和开口连起来,透过这些开口看转动的盘子就有运动的效果。
“生命之轮”(或走马灯)(Zotrope ): 1867 年出现在美国,当时是作为玩具销售。有系列图画的长纸片插在有缝的圆盘上。转动圆盘,透过缝隙就能看到运动的形象。
普拉克辛视镜/实用镜(Praxinoscope): 1877 年由法国人埃米尔·雷诺发明,是他最先通过在一条30英尺长的叫做' 晶体”的透明薄膜上画画产生一系列短的强烈动作的效果。 此发明引领了绘画的巨大发展。
手翻书(flipper book):1868 年在全世界出现了一种叫' 翻页本'的新鲜玩艺儿,它极其简单却极受欢迎。它是把一叠画着图画的纸装订在一起的小书。手抓住装订的一头,另一只手翻动画页,就看到”它们运动'。结果就是动画:连贯动作的幻觉。有时间性的图画。
这跟小学生在数学课本每一页的页脚涂鸦,然后翻看的原理一样。
今天,传统的动画师在把图画拍成录像或胶片前也会像翻看小人书一样翻看他的图画。代把图画按顺序连在一起,从下往上标上页码,然后从下往上翻看动作。最终,他应该能够很娴熟地做这项工作,以便非常准确地算出实际放映时间,并看出画错的或需要改进的地方。如今我们有摄影机,可以很方便地按胶片速度任意翻看所画的图组,所以就不大有人学习老的翻片了。
1896年,纽约一家报社的漫画家詹姆斯·斯图亚特·布莱克顿(James SIuant Blackton) 采访了当时正在做运动影像试验的发明家托马斯·爱迪生(Thomas Edison)。布莱克顿给爱迪生画了些速写。爱迪生很佩服对方的速度和绘画技能,就让他画些系列图画。后来爱迪生把这些画拍成照片,成为第一个图画和照片的结合。1906 年他们对公众发行了“ 滑稽脸的幽默相”(Humorous Phases of Funny Faces):一个男人将雪茄烟圈吐向他的女朋友,她转动着眼睛,一只小狗跳过圆圈,杂耍演员表演。为了制作历史上的第一个动画片, 动画卡通的鼻,祖布莱克顿共画了3000张“ 闪动的图画”。 这新鲜玩意儿观众爆发出阵阵笑声,立即轰动一时。
一年后,埃米尔·科尔(Emile Coh)在巴黎的Flies Bergeres放映了他制作的第一部动画片。人物很搞笑一黑纸白线, 但故事相对来说很复杂:一个女孩的经历,一 个爱吃醋的情人和一个警察。他赋子路灯和房屋特有的智能、动作、感情和情绪。科尔的作品提前道出了后来的动画格言:勿做相机能做的,要做相机做不到的。
流行漫画书《小尼莫梦境历险》(Ltte Nemo in Slumberland )的作者温沙·麦凯(WinsorMcCay)首次把动画当作一门艺术对待。他的小儿子带回家一些小人书, 他受到启发,画了4000幅“小尼莫”动作的图画。这些图片于1911年在纽约汉莫斯顿剧院放映时引起了巨大的轰动。
作为试验,他又制作了一个怪异的短片《蚊子的故事》(How A Mosquito Operates),该片同样也备受欢迎。
1914年,麦凯制作了《恐龙葛蒂》( Gertie the Dinosaur )。他亲自在投影的动画前现场表演,拿着苹果邀请恐龙吃。只见葛蒂低下长脖子吞下了苹果,这可让观众惊呆了。这是首部“人物性格”动画( personally animation),象征着卡通个性的开始。葛蒂的造型有血有肉,她得到了所有观众的认同。这又是一场轰动。
麦凯说得好,“我进入这一行,花了大把的美元开发这门新艺术。它真衢要时间、耐心和思考,慢功出细活。这种让卡通人物在银幕上活灵活现的工作是我至今做过的最开心的事情。”
麦凯还于1918年首次制作了一部严肃话题的卡通影片:《卢斯塔尼亚号沉船》(TheSinking of the Lusitania)。那是一部战争宣传片, 表达了人们对沉船这一灾难事件的愤怒之情。它使动画向现实主义和戏剧效果迈出巨大的一步,也是当时最长的卡通片。为了制作这部影片,他花了两年时间,共画了25000 张画。
后来,这位被年轻的滑稽卡通画家们奉为神灵的老麦凯气愤地说,他为他们开创的这种新艺术形式被一帮雇用艺人糟蹋成低劣的摇钱树。
这也说明了先锋艺术家或者说理想艺术家和动画产业之间的不和谐关系:作为产业,它创造的是赏心悦目、可预知的公式。
战火还在绵延....
20世纪20年代'菲力猫' (Felix )变得和卓别林一样家喻户晓。菲力短系列卡通在视觉上很有创意,完成了摄影机做不到的事情,但更重要的是从这些安静的黑白图画中诞生了一个真正的卡通人物,菲力猫“本人”把世界各地的观众联系到一起。
菲力猫把沃特·迪斯尼带上卡通大舞台。1928 年,米老鼠在首部同声卡通片《汽船威利》(Steamboat Willie)
创造了《木偶奇遇记》中的蟋蟀'吉米”和《小飞象》(dumbo )中鸟鸦的沃德·金宝(Ward Kmball)曾经对我说,你根本想不到这些突然说起话来。 弄出声音的图画对当时的观众产生了什么样的影响。他们疯狂地迷上了动画。”
继《汽船威利》后,迪斯尼推出了《骷髅之舞》(The Skeleton Dance)。动画的动作首次配上了专业的音乐。首部《糊涂交响曲》(Silly Symphony)随即诞生。尤比·卢克斯(UbIwerks)是两部动画片的首席动画师,而《骷髅之舞》中许多复杂的动作至今仍是典范。1932年迪斯尼又前进一步, 制作了首部全彩色卡通片《花与树》
一年后迪斯尼又制作了具有深远意义的《三只小猪》(Three Ltte Pigs)。该片首次创造了完整、清晰、可信的不同人物性格,这些人物性格栩栩如生,观众们无不拍手叫好。这部完完全全的“人物性格”动画片产生了巨大的影响,这又是一个第一 。
让人吃惊的是,仅仅4年以后,迪斯尼就推出了《白雪公主和七个小矮人》。它是世界上第一部全片长如普通电影一样的动画片, 已把卡通漫画提高到了艺术的层次。影片放映的83分钟里观众为之神魂颠倒。这是一个在极短时间内取得巨大成就的神话。(据说很多本片的动画师早早预定了医院以防止自己因劳累过度而住院。)
《白雪公主和七个小矮人》巨大的商业和艺术成就奠定了迪斯尼动画片制作的基础,也因此诞生了动画界的“黄金时代”——《木偶奇遇记》《小飞象》《小鹿斑比》《幻想曲》《糊涂交响曲》以及《米老鼠和唐老鸭》等等。
在强大的迪斯尼周围聚集了无数小型的制片公司——麦克斯·福莱切公司(Max Fleischer )推出的两部故事片《格列夫游记》(Guliver s Travels) 和《M. Bug goes to towm),.还有《大力水手》( popeye系列短片,华纳兄弟公司的《疯狂曲调》looney Tunes)和《快乐旋律》(Merie Melodies) 中的兔八哥(Bugs Bunny ).达菲鸭(Daty Duck)和波奇猪(PorkyPig),米高梅公司的《猫和老鼠》(Tom and Jery),没精神(Droopy),优秀的无政府主义者泰克斯.埃弗瑞(Tex Avery )的短片和沃特.兰茨(Waller Lant2)的《调皮啄木鸟》( woodywoodpecker)等等。这些公司靠迪斯尼培训中心传授的知识和技能发家,而他们更粗犷的幽默却是对迪斯尼“写实主义”和“可信度'的回击和对抗。
然而,“二战'后形势变化了。
电视诞生了,它巨大的胃口要求制作出更简单和粗糙的快餐节目。20世纪50年代的动画风格孕育出了好莱坞的UPA(美国联合制片公司),它塑造了“ 马古先生' ( Mr. Magoo)、 ' 波音波音”( McBoing Boing)等卡通形象。人们认为UPA比迪斯尼图像更复杂,他们的动画更有“节制”,而且不像迪斯尼那么现实主义。同时,使用各种技术和媒介的个性化、实验性的与好莱坞产品不同的“ 艺术性”动画如雨后春笋般在全球出现。动画师们在不断创造发明,推动着动画的风格发展,而忽略了好菜坞黄金时代创造的构图知识。
虽然这种知识掌握在动画师的手里,但在接下来的30年里基本作为“老一 套”而被忽略或遗忘了。
幸好最近几年动画作为一种大众娱乐形式掀起的文艺复兴给这些老知识赋予了新的生命。电脑动画令人咋舌的成功变革正把各种形式的动画变成大众娱乐主流的一个重要部分。随之而来的就是电脑游戏产业的爆炸时代。
如果传统动画是绘画的延伸,那么电脑动画可以视作木偶戏的延伸,即高科技的牵线木偶。二者都要解决角色表演的动作、重量、节奏和认同的问题。
不论技术有多进步,老知识照样适用于这个媒介的一切风格或方法。本书用到的大部分方式方法都是在1930年到1940年间好菜坞的动画公司创造和改革的。
我把学到的各种方式和我在这个领域里的个人经验结合起来写出本书,而这个领域有着无限的想象空间。
埃米尔·郝金斯( Emery Kawkins )曾对我说:“ 动画惟一的局限就是动画师本人。除此之外没有任何你做不到的。那你还有什么理由不去实践呢?
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