动画教程分镜头场景设计角色造型运动规律原画设计故事板动漫插画(英文).pdf
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1、BASICSANIM/Vr iON()1Paul Wel l sScriptwritingn.developing and creating text for a play,film or broadcastPaul Wel l sscr ipt w Tit ingJhbn.developing and creating text for a play,film or broadcastAcademiat he envir o nment o f l ear ningder Kel!yeinasoAnAVABookPubl ished by AVA Publ ishing SAoMontere
2、y BayRue des Fontenailles 16Case Postale1000 Lausanne 6SwitzerlandTel:+41 786 005109Email:enquiriesavabooks.chDistributed by Thames&Hudson(ex-North America)181a High HolbornLondon WC1V7QXUnited KingdomTel:+44 20 7845 5000Fax:+44 20 7845 5055Email:salesthameshudson.co.uk Pt ConceptionFr esnoVBkersDis
3、tributed in the USA&Canada by:Watson-Guptill Publications770 BroadwayNew York,New York 10003Fax:+1 646 654 5487Email:English Language Support Office AVA Publishing(UK)Ltd.Tel:+44 1903 204 455Sant a r bar aSta Rosa Cruz Gl cndalLos Ange8esCh annel Lon9 Beac ot e CitshnsEmail:enquiriesavabooks.co.ukSa
4、n NicolasCopyright AvA Publishing SA 2007All rights reserved.No part of this publication may be reproduced,stored in a retrieval system or transmitted in any form or by any means,electronic,mechanical,photocopying,recording or otherwise,without permission of the copyright holder.San Cleinente/c/a c
5、dc a”I IISBN 2-940373-16-7 and 978-2-940373-16-110987654321Designed by ThemProduction and separationsby Book Production Pte.Ltd.,SingaporeTel:+65 6334 8173Fax:+65 6259 9830Email:.sgTitle:The Future of Gaming Animator:Johnny HardstaffCont ent sInt r oduct ion 06How t o Get t he Most Out of t his Book
6、 08Chapt er 1:Def init ions 10What is Animation?12Animation:A Process Art 18Animation Vocabulary 20Metamorphosis 22Condensation 24Anthropomorphism 26Fabrication 30Penetration 32Symbolic Association 34Sound Illusion 36Chapt er 2:Init ial Appr oaches 38Initial Ideas and Starting Points 40Key Themes 48
7、Core Plots 54Chapt er 3:Genr es in Animat ion60The Animation Matrix62Considering Genre66Formal70Deconstructive74Political78Abstract82Re-narration86Paradigmatic90Primal94sluzuo。0N_Mld-5s4|5Chapt er 4:St or y Design 96Script Development 98and Analysis:Charlie and Lola_Storyboarding-Narrative 112as Pro
8、blem Solving:Williams Wish Wellingtons_Writing Comedy:142Van PartibleChapt er 5:Wr it ing St yl es124Writing Emotionally:Shira Avni126Writing Conceptually:Johnny Hardstaff132Writing Character:Adam Elliot138Writing Comedy:Kresten Andersen148Writing with Sound:Uzi Geffenblad152Writing Experimentally:J
9、oan Ashworth156Chapt er 6:Animat ion inAl t er nat ive Cont ext s 160Scriptwriting 162for Theatre_Scriptwriting 164for Advertising_Scriptwriting 166for a PlanetariumSIU luo。701Gl ossar yScr ipt wr it er sAdvice 172Concl usion 179Ref er ences and Bibl iogr aphy 180Fil mogr aphy and Webogr aphy 182Ack
10、nowl edgement s and Pict ur e Cr edit s 184Int r oduct ionTitle:Creature ComfortsAnimator:Aardman AnimationAardman Animation invests a g reat deal of time and effort in pre-production,developing storyboards,models and sets,and creating a precise soundtrack.6|7IN RECENT YEARS ANIMATION HAS FOUND INCR
11、EASING RECOGNITION AND ACCLAIM AS AN ART FORM AND A SOURCE OF ENTERTAINMENT.It is present in a plethora of childrens films,programming and commercials;independent film-making;the expanding festival circuit;the web;mobile phones;gallery installations and public displays.Animation is everywhere-it is
12、the omnipresent visual language of the 21 st century.Simultaneously,there has also been a growth in books about animation studies and practice,and indeed,other forms of writing for and about the contemporary media.This is largely a response to the expanding opportunities at various levels of media a
13、nd cultural production.Crucially,it also signifies a recognition that there remains a need to embrace the core skills and knowledge still required to undertake creative work.Basics Animation:Scriptwriting seeks to be a helptil addition to the literature on media writing for two key reasons.First,mor
14、e and more people-from students to established practitioners-are increasingly engaged with the form in all its techniques and approaches.This may be a consequence of the forms higher profile in the contemporary era or merely because animation can now be done in the domestic as well as the academic a
15、nd professional space.Secondly greater attention is being paid to pre-production and the core skills in writing,which are viewed as instrumental in ensuring a high-quality outcome before any aspect of animation itself is undertaken.It has become an industry adage in an era that has sometimes complac
16、ently invested in fixing it in the post that greater attention be given to creative problem-solving in pre-production,stressing both the creative and economic viability in such work.Tne better the writer;the better the story or visualisation,the more precise the construction of the piece,and hopeful
17、ly the more successful the outcome.Animation has a unique production process that differs from other media.This book speaks to both the diversity of the potential readership and to the variety of approaches that can be undertaken.It looks at the specificity of animation as a language of expression i
18、n the ways that it differs from other media forms,and consequently,looks at how a writer can take into account this distinctiveness,and write for various forms and styles of animated film.Def init ionsSt or y DesignExplores the meanings attached to becoming an animation scriptwriter and the contexts
19、 in which an animation writer might emerge.This section also touches on the language of animation.Init ial Appr oachesThis section considers the animation writers possible sources of inspiration and starting points for storytelling.Genr es in Animat ionThis chapter looks in depth at approaches to wr
20、iting animated stories and covers production processes and storyboarding.Episodes from two childrens series are used as case studies.Wr it ing St yl esExamines the works of various writers and animators using different approaches to writing for animation.It covers topics such as writing emotionally,
21、conceptually and experimentally.Animat ion in Al t er nat ive Cont ext sLooks at animation as a form and mode of expression drawing on the following genres:formal,deconstructive,political,abstract,re-narration,paradigmatic and primal.This last chapter looks at how animation can be used in other non-
22、traditional platforms-in theatre,advertising and in a planetarium.How t o Get t he Most Out of t his BookTHIS BOOK HAS BEEN WRITTEN WITH A VARIETY OF PURPOSES IN MIND.FIRST.TO HELP WRITERS WHO ARE THINKING ABOUT WRITING FOR THEANIMATED FORM FOR THE FIRST TIME.Second,to help established writers bring
23、 their traditional scriptwriting skills to animation.Third,to collapse the distinction and divide between theory and practice.This book deliberately theorises animation so that its practice idioms are delineated,and thus made available to the writer and critic.Most of all,the book does not want to b
24、e a technical textbook,but a point of stimulus,provocation and encouragement-a place of departure to create,devise and write for animation as a particular and progressive art form.Clear navigationEach chapter has a clear strapline to allow readers to quickly locate areas of interest.Chapter openers
25、Special section introductionsA outline basic concepts thatwill be discussed.96|97 集xoomwfM-o 1no e0 工 S3 01 0T0N_lEMldosChapt er 4:St or y DesignTHIS SECTION IS COMPOSED OF TWO DETAILED CASE STUDIES.ITS INTENTION IS TO SHOW HOW TRADITIONAL APPROACHES TO STORY DESIGN INFORM SOME APPROACHES TO WRITING
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- 动画教程 分镜头 场景 设计 角色 造型 运动 规律 故事 动漫 插画 英文
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