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

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 SAoMonterey BayRue des Fontenailles 16Case Postale1000 Lausanne 6SwitzerlandTel:[phone]Email:enquiriesavabooks.chDistributed by Thames&Hudson(ex-North America)181a High HolbornLondon WC1V7QXUnited KingdomTel:[phone]Fax:[phone]Email:salesthameshudson.co.uk Pt ConceptionFr esnoVBkersDistributed in the USA&Canada by:Watson-Guptill Publications770 BroadwayNew York,New York 10003Fax:[phone]Email:English Language Support Office AVA Publishing(UK)Ltd.Tel:[phone]Sant a r bar aSta Rosa Cruz Gl cndalLos Ange8esCh annel Lon9 Beac ot e CitshnsEmail:enquiriesavabooks.co.ukSan 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 dc a”I IISBN 2-940373-16-7 and 978-2-940373-16-110987654321Designed by ThemProduction and separationsby Book Production Pte.Ltd.,SingaporeTel:[phone]Fax:[phone]Email:.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 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 48Core 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 Problem 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:Joan 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 182Acknowl 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 INCREASING 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 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 and 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,more 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 and 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 complacently 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 hopefully 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 in 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 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 writing 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,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-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 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 be 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 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 ANIMATED STORIES.THE TERMS AND APPROACHES AVAILABLE TO CONVENTIONAL SCREENWRITERS ARE PRESENT HERE AND ARE DEFINED WITHIN THE PROCESS OF CREATING SERIES-BASED ANIMATION FOR CHILDREN.THE FIRST CASE STUDY-CHARLIE AND LOLA-EXPLORES THE WHOLE PRODUCTION PROCESS FROM INCITING IDEA TO COMPLETED SCRIP工 WHILE THE SECOND CASE STUDY-WILLIAMS WISH WELLINGTONS-LOOKS AT THE CENTRAL ROLE OF STORYBOARDING AND A SIMPLE APPROACH TO NARRATIVE BUILDING THROUGH PROBLEM SOLVING.THESE TRADITIONAL APPROACHES CREATE APPEALING WORKS FOR CHILDREN THAT REMAIN DISTINCTIVE FROM OTHER FORMS OF CHILDRENS ENTERTAINMENT.8|9ExamplesWorks of various animators bring to life principles discussed.Tags and captionsProvide the title and animator/writer of the imag es used to support the mainWRITING CONCEPTUALLY IS ABOUTTHE METHODS EMPLOYED TO FULLYCAPTURE.EXPLOIT AND EXPRESSAN INTRINSICALLY PERSONAL ANDCHALLENGING VISION.text.Also g ive insig hts to the people,practices and styles discussed.Section introductionsLead in to the topic to be discussed.Script extractsSections within the body text taken from actual animated scripts.These help to demonstrate main points covered in the body text.Box outsO ffer particular thoug hts and ideas about approaches,techniques and outlooks.These help with the practical development of material.Wr it ing Char act er:Adam t l l iolThe importance of concentrating on character details,which ultimately become the subtle butof experience can be viewed simultaneously as both serious and amusing,depending uponeffect on the way scenes 黑with the-this sense of differerlised that peoples sense of alienation fromthrough research and investment in the arts in order to avoid cliche;and to engage viewers irthe accumulation of experience rather thar a contrived story structure.Innuendo:Empkwing expression thathasaTablesProvide conceptual and theoreticalprinciples in writing for animation,allowing for a particular understanding of core ideas,which help in the creation and development of material.xoomwfHo Ino 18 工 f 10001 0T0N_lEMldosChapt er 1:Def init ionsTitle:Charlie and Lola_Animator:Tig er Aspect Productions10|11 庭ANIMATION IS A PARTICULAR AND DISTINCTIVE FORM OF EXPRESSION.IF A WRITER DEVISER OR CREATOR OF ANIMATION IS TO SUCCEED IN PROPERLY ENGAGING WITH AND EXPLOITING ANIMATION AS A FORM.IT IS CRUCIAL THAT THERE IS A COMPLETE UNDERSTANDING OF THE SPECIFIC VOCABULARY AVAILABLE IN ANIMATION.AS WELL AS THE SKILLS AND KNOWLEDGE REQUIRED TO EXPRESS IDEAS AS A TRADITIONAL SCRIPTWRITERTHIS FIRST SECTION EXPLORES THE DEFINITIONS OF WHAT AN ANIMATION SCRIPTWRITER COULD BE;THE CONTEXTS IN WHICH THE ANIMATION WRITER MIGHT EMERGE;AND THE LANGUAGE OF ANIMATION.WHICH IS THE KEY TO WRITING PERTINENTLY FOR THE FORM.ENSURING THAT ANY ANIMATED FILM OPERATES AS A DIFFERENT FORM OF CINEMA OR TELEVISION FROM LIVE ACTION.What is Animat ion?EVERY BOOK ABOUT THE ANIMATED FORM SEEMS TO ASKJWHAT IS ANIMATION?.THIS IS NO SURPRISE BECAUSE ANIMATION OCCURS IN SO MANY DIFFERENT CONTEXTS.FORMATS AND DISCIPLINES.IT IS REPRESENTED IN SO MANY STYLES.TECHNIQUES AND TECHNOLOGIES-HENCE.A COHERENT DEFINING PRINCIPLE TO EMBRACE IT WOULD BE USEFULS U O W UH=a o N E H M l d E o sIn the digital era,an all-encompassing definition is increasingly difficult to find as the dividing line between live action and animation is now essentially effaced.Most of the time it is hard to tell one from the other,particularly in contemporary blockbusters,which seem to be principally made in post-production.On the other hand,we still know animation when we see it,especially in its form as a cartoon,a 3D stop-motion film,a computer generated phenomenon,or sometimes,even when it is at its most photo-realistic.What is it then that still signals the difference and particularity?Animation is still the art of the impossible;whether it be the fertile imaginings of independent film-makers represented in vivid symbolic images of inner states,or the seamless interventions of visual effects animators producing spectacle in major movies,animation remains the most versatile and autonomous form of artistic expression.In the pre-digital era,it was comparatively easy to argue that animation was a process art in which profilmic materials(drawings or items that represent ideas,objects or characters)were filmed frame-by-frame.In between each frame an alteration of the materials was made to create the illusion of movement in phases of imagined action when the film was projected at 24 frames per second.For this kind of film-making such a definition remains pertinent.The determining aspects of this kind of practice are the self-conscious profilmic construction of motion in figures,objects etc.,and the notion of the frame as the presiding increment by which this illusion is created.In the digital era,it is still the case that animation mostly uses artificially created and previously conceived movement instead of transferring movement from the natural world.However,the frame is no longer the deteimining factor in the measure of the advancement of this movement.Master animator Norman McLaren suggested that:What happens between each frame is more important than what happens on each frame(Solomon,1987).This is one of the most important statements in defining animation,and ironically it might even be more relevant in the digital era.The most significant aspect of the process is the self-conscious aesthetic and technical decision made by the artist in the incremental manipulation and progression of the materials.Though this does not necessarily have to occur between frames,it does still occur between the stage-by-stage accumulation of the movement in the computer,and ultimately defines what is in rather than on the frame space,however fluid and changeable.This is significant,because it preserves the idea of animation as a distinctive art and insists upon the idea of animation as a process in which progress is consistently concerned with,and measured by creatively conscious devising strategies determined by the minutiae of needs.INTERPRETATION OF MOTIONAnimation,then,is simpy the creative interpretation of motion as it is executed through the process of profilmic graphic execution and/or material construction,and configured as a recorded time-basedSTORYTELLINGThink of the ways in everyday life that demand we construct and understand stories:telling others about past and future events;engaging with newspaper and magazine articles;reading comics,graphic narratives,journals,novels,and non-fiction;relating jokes and information in various generic conventions,guises,and instructions;and embracing poems,songs,images,etc.as different models of narrative.The writer and deviser can draw upon these everyday resources to create animated films.duolEEc4 s 二E i|M 0 N L U H M H d _ H O SWhat is Animat ion?s u o 豆 UH=aoNEHMHdEosoutcome.Writers and devisers for animation need to grasp the implications of this statement if they are to create material that not merely apes what might be achieved in the context of live action,but properly exploits the distinctiveness of the medium.While it remains important to embrace the increasing amount of literature about scriptwriting,this work rarely looks at animation as a distinctive phenomenon.Robert McKee writes:(Here the law of universal metamorphism rules:anything can become something else.Like fantasy and science fiction,animation leans towards the action genres of cartoon farce(Bug s Bunny);or high adventure(77ie Sword in the Stone,The