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  • 學位論文

「大畫山海」奇幻角色動畫創作

“The Painting of Shan Hai” – An Animation Creation of Fantasy Characters

指導教授 : 王兆華

摘要


從戰國初年的《山海經》一直到清代的《聊齋志異》,「奇幻」在中國古典文 學領域,一直是引人入勝的話題。因而,當我們嘗試從多媒體創意設計的角度,開拓古典元素創新風貌議題時,華文奇幻文學的創始之作—「山海經」的可探索性和趣味性,便成為值得探討與做為導引創意的標的。本文以《山海經》為題材,藉由趣味感知分析、創意角色動畫發展程序、3D 情境設計與展演技術等,以3D動畫表現形式,發掘與實現華文古典文學「奇幻角色」創作的有效歷程。 為了彰顯奇幻古典華文的趣味性,筆者在場景設計、主題角色設計融合了中 國古典元素與現代奇幻風貌做為核心概念。並藉由3D 電腦動畫製作方法、視覺與音效整合詮釋角色特性技術與虛擬情境展演模式,進行動畫主題開拓、故事板發展以及分鏡腳本設計、影音後製等創作程序。希望以手繪和筆刷質感重現《山海經》角色的趣味與視覺情境,從而觸發觀眾的想像力,並導引人們再次體驗華文古典文學作品的創意之美。 本文完成創作的3D 動畫「大畫山海」,轉借青年吳道子開創繪畫之美的寓意,由其帶領女巫媧、氐人國河童魚、刑天機器人、開明獸、工匠蚩尤、與墨鳥,在山海界進行一場五行誰為首的「射」競技「君子之爭」。五個創意角色盡全力施展看家本領求勝的精神,是否如人間的爾虞我詐般—總要人捶胸頓足,就讓觀眾細細品味與評斷。

並列摘要


From the “Shan Hai Jing” in early years of the Warring States Period, until the “Liao Zhai Zhi Yi” in Qing Dynasty, “Fantasy” in Chinese classical literature has been a fascinating topic. Thus, when we try to explore the elements of innovation and pioneering style of classical topics from the perspective of multi-media creative design, the exploration and interest of Chinese fantasy “Shan Hai Jing” are worth to be discovered and condensed as a guide the subject of creativity. In this article, “Shan Hai Jing” is the subject matter, through analysis of interest perception, creative development process, character animation, 3D design and situational presentation technology that we explore and implement an effective process of “fantasy role” of Chinese classical literature. In order to highlight the interest of fantasy classic Chinese, the author integrate the elements of Chinese classical style and modern fantasy as the core concept for the character design and the scene modeling. Immediately, the author combine the 3D computer animation methods, the interpretation of visual/audio effect for the performance of situational characteristics, and virtual world modeling technique to implement the animated subject, storyboard development, script design, video/audio post-production and other creative programs. We hope to reproduce the interest of role and visual context in “Shan Hai Jing” through the texture presentation of hand-painted and brush. Thus, the program can trigger the imagination of the audience, and guide people to re-experience the creativity and emotion of Chinese classical literature. The completed 3D animation program - “The Painting of Shan Hai” lent the youth Wu Dao-Zi who created a moral aesthetic feeling of painting and led the five characters, Nüwa the Sorceress, Kappa the Marine Private, Xing-Tian the Giant Robot, Kai-Ming the Barbarian, Chi-Yu the Carpenter, and the Painted Bird to conduct a “shoot” competitive “gentlemen’s battle” in the Aboriginal Community. The five creative characters make effort to present their capability for the pursuit of triumph. If it is like the intrigues of human which always causes people crying in the corner. We let the audience to savor and to judge.

參考文獻


4. 范光義,2002,電腦動畫應用於中國文人山水繪畫元素之創作研究,國立台灣藝術大學。
【書目】
1. Adobe Creative Team,吳國慶譯,《跟Adobe 徹底研究After Effects CS4》,2009,臺北市,上奇科技。
2. Adobe Creative Team,徐政棠譯,《跟Adobe 徹底研究Premiere Pro CS4》,2009,臺北市,上奇科技。
3. Chrit Patmore 著,陳賢錫譯,2004,《動畫創作全覽》,臺北縣,視傳文化。

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