畢業(yè)設(shè)計外文資料翻譯-數(shù)字動畫人物創(chuàng)作設(shè)計

1、畢業(yè)設(shè)計外文資料翻譯學(xué) 院： 專業(yè)班級： 學(xué)生姓名： 學(xué) 號： 指導(dǎo)教師： 外文出處：(外文)English Square(Academic Research) 附 件：1.外文資料翻譯譯文； 2.外文原文 指導(dǎo)教師評語：外文翻譯符合要求。簽名： 2015年10月14日第頁，共4頁screen. These unique and distinctive roles are the best interpretation for the concept of digital character design. Therefore, its my suggestion that we must p

2、ay more attention to the digital animation character design in todays Chinese cartoon industry.3. American and Japanese animation character designIt is hard to deny that America and Japan are the superpowers in digital animation industry, whose methods of the digital character design have almost bec

3、ome the international standards and are highly respected worldwide (Giannetti, 2007). But that does not mean we have to follow their examples step by step. We must figure out where to root and how to grow. Why can U.S. and Japanese animation achieve great successes? The reasons are mainly due to the

4、 irrespective achievements and breakthroughs in animation character design. Their experiences are worth ore learning and can be the driving force and inspiration in our exploration. In short, American animations feature action design, which is in line with their national character, but in the charac

5、ters smooth action, we can still feel the tension of life. Based on the early European animation, Disney summarized and presented 12 laws of character animation, such as squash and stretch, anticipation, staging, timing (Williams, 2009). Via these pragmatic techniques, many cute, humorous and lively

6、 cartoon characters have flashed on the screen. At Disney, the art language of action has been pushed to an extreme position. With the development of information technology, these laws have been transplanted directly into the U. S. digital animation character design and have achieved great success.

7、Static and frugal design is the most favorite method of Japanese animators. However, it would not weaken the storyline at all. Relative to the active and hyperactive U.S. animation, the foundation of post-war Japanese animation is very frail. Additionally, the delicate and deep mettle, which blends

8、in oriental peoples temperament with nature endows Japanese animation with features of introspection under the pressure of Disneys animation system and the internal status, Japanese animators find another way, which is so different that it is even seen as opposite to Disneys rules. For example, they

9、 reduced the amount of huddle frames in order to obtain much quicker and more concise actions, and economize the cost at the same time. Though the static and frugal design methods, Japanese animation has won wide international reputation. From the above analysis of U.S. and Japanese digital animatio

10、n character design, we can see that both their animation character designs are well grounded. They both depend on their respective national culture, economic and even political aspiration. So we should re-examine the global implications and influence of Chinese culture and put them into the digital

11、animation character design and the meaning of innovation would largely lie in the digital character innovation design.4. The creation design(1) Action designAction is the body language of digital character, and its an important part of characters performance. With the inspiration of Disneys 12 laws

12、and Japanese animation, some advantages of Chinese traditional performing arts, which include Chinese opera, folk an, dance and martial art, etc., can be taken into account for the characters action design. Just like in the opera, actors always need to simulate many life scenes only through their vi

13、vid performances on stage. For example, the action of aiding is such a good case, there is no real horse on the stage, but when the actor holds up a whip, and makes a strapping action, the audience will catch the meaning immediately. Furthermore, the effective action design has the power to capture

14、those indefinite mans feelings and evoke resource of the audience. If the effective action or classic moment can be seized in character design, it will be worth more than a thousand words. (2) Appearance design Its an effective way to embody digital characters personality through the appearance desi

15、gn. When designing the appearance of digital characters, some question that should be noticed are as follows. Most of Chinese traditional costumes have a loose and wide style, as reflected in the wide sleeves and loose skirts. This makes character molding more difficult. But the kind of style contai

16、ns the unique spirit of unity of heaven and man” in traditional Chinese culture, just like the wind in the sky or swinging willow on the water. Appearance design should in line with the behavior and profession of the characters, for example, for those important characters; the loose clothes can be u

17、sed to wrap their body for reducing the computation of characters action. Through this approach, the importance of the role can be shown and the production costs will be reduced at the same time. To those insignificant roles, the appearance can be designed in such a way as to be pasted to the charac

18、ters body or bound to the skeleton directly. Then the subordinate action such as dress movement can be reduced to minimum. (3) Facial expression and voice design Facial expression design is aimed to endow digital animations characters with some basic emotions, such as joy, anger and sadness. These e

19、motions would directly reflect the character. Although people have different culture and region, the facial expressions are probably a universal language for people just as we can understand the facial expression of the Americans and the Japanese. The important dung is they have found their own desi

20、gn features, which reflects the different way in expressing emotion between East and West. At the same time, it should be realized that vivid expression designing cannot be independent from the real life and related culture background, otherwise, the expression designing only would be meaningless. S

21、ound design mainly refers to the voice and dialogue of digital roles. Digital animation is the art of audio and visual performance, and lots of information beyond images can only be conveyed via sound or dialogue. It has important functions shape the characters, highlighting the mental state of role

22、s. A successful animated character. In addition to its memorable movements and expressions, should have a unique tone of voice, which may leave a deep impression on the audiences. Therefore, the effects of sound design cannot be ignored, and its very important for understanding the accurate personality of the character. Only in this way can we create vivid and believable animated characters. That false, emotionless and sloppy sound design would weaken the individual tension of digital role.5. Summary Concluding the above discussion, the