Ink animation of how the picture is composed

Ink animation Mudi Chinese animation is often by a variety of art forms and colorful art style **** with the composition of which the ink animation, born in 1960, unique combination of traditional ink painting style and animation technology, a breakthrough in the traditional animation of a single line of painting techniques, the unique Chinese painting ink and ink interest completely applied to the film, creating a unique animation form, which not only shocked the international film industry, but also established the international status of the "Chinese school". It not only shocked the international movie world, but also established the international status of "Chinese School". Generally speaking, the ink animation is rendered with ink and water, so that the mood, ink and brush, and line are highly unified, aiming at making the picture moving, showing the rhythm of life and action, and bringing the viewers a unique aesthetic enjoyment and artistic flavor. (A) from the perspective method of ink animation picture composition Generally speaking, all the creative process of animation is always inseparable from the drawing of graphics and drawings, animation is the foundation and the beginning of the painting. As an ancient art, the most important aesthetic feature of painting is modeling, and the basic language of painting is point, line, drawing and color. The essence of Chinese painting is also the same, as the saying goes, "ink is divided into six colors", through the composition, the artist will unify these elements into a whole with a certain aesthetic value, so as to form a painting work of art, and the animation screen is composed of these paintings. Chinese ink animation is rooted in traditional painting art. It can be said that how much space for the development of Chinese painting is applied in animation production, how much space can be accommodated by animation techniques. As early as the Tang Dynasty, Chinese painting had already begun to develop in a diversified direction. In this period, Chinese landscape painting is divided into two major schools of green and ink, ink painting is the traditional painting in a variety of forms of expression of the most national characteristics and contains the deep spirit of the eastern philosophy of the species of paintings, which pay attention to the white, pay attention to the mood, emphasizing that can not be full of paper are full of paintings, there are some places to empty out, to give the viewer to the imagination of the space, landscape painting, in particular. After the Song and Yuan dynasties, Chinese paintings were dominated by figures, gradually changed to landscapes, flowers and birds, and shifted from reflecting social life and depicting historical and realistic figures to depicting natural scenery to reflect social life and express the feelings of painters. For this reason, painters made bold innovations to the line, creating a lyrical line with independent aesthetic value. The line of Chinese painting reached new heights through the creation of many painters in the Song, Yuan, Ming and Qing dynasties. In the 1960s, Shanghai Fine Arts Film Studio, as the base of new China's art film creation, insisted on ink painting in a two-dimensional plane and created two ink animation films, "Tadpole Looking for Mother" (1960) and "Pastoral Flute" (1963). It can be said that ink and wash animation picture is better at expressing color and still life, so although the image of the animation film is also colorful, it is not caused by many types and nature of natural or artificial light sources, it is the color that the artist attached [Rendering] for it from the very beginning, which is a kind of innate color and subjective color. The formation of the color of the ink animation screen is completely different from this, it is acquired and objective, it is the comprehensive effect produced by the superposition and mixing of light and shadow, in which the shadow and texture have rich, subtle and evocative connotations. From the perspective of chromaticity, ink and wash painting follows the principle of achromaticity of dyes, and the animation screen follows the principle of mixing of color and light, and their respective base colors are not the same, and there is no **** commonality between them. From the perspective law, the perspective of ink animation is scattered perspective and compound perspective, scattered perspective law in China's classic ink animation film "pastoral flute" in the most complete, scattered perspective is not fixed perspective point, the picture to the wandering line of sight to observe and express the object, not subject to natural and spatial limitations, more emphasis on sensory appropriateness, in the observation of objects and the expression of objects on the more free, more flexible, more space, "Pastoral Flute", "Pastoral Flute", "Pastoral Flute", "Pastoral Flute", "Pastoral Flute", "Pastoral Flute", "Pastoral Flute" and "Pastoral Flute". The Pastoral Flute is precisely the use of concise and interesting painting features to shape the form of the shepherd boy and the buffalo, adopting the observation method of moving the point of view, and freely selecting the scenery, so that the scope of describing the scenery and the subjective sentiment of the capacity to be able to get full play to show the magnificent weather of the high mountain peaks and the 1,000-foot waterfalls, so it is no wonder that France's Le Monde commented, "Chinese Ink painting, soft scenery, meticulous strokes and movements that express apprehension, hesitation and happiness give this movie a unique charm and poetry." Not only that, but compound perspective is utilized in the composition of the ink animation. Compound perspective is not quite in line with the aesthetic habits of painting, but for animation it is indeed an effective law of disguised perspective, such as through the background and foreground of one side of the movement of the subject of the performance of the movement, or to the artificial proportion of the disparity of contrast performance of the physical object in the volume, height, space on the drawing of the big difference. Tadpole looking for mother" is a skillful combination of the content of the story and the form of ink animation, and successfully achieved the initial anticipation of composite perspective that reflects the style of ink painting and combines ink painting with animation's movement. However, these means for the composition of the animation screen also has a glimpse of foot and useless components exist, because the animation camera lens imaging follows the principle of strict optical perspective, photographic composition follows the big y perspective and geometric perspective law. If the composition of the picture belongs to the category of art can be benevolent, then, the principle of optical perspective is the eternal laws of physics, focal length, object distance, like distance, even the depth of field can be changed, but the image generation mechanism is constant, no drawing animation like the possibility of arbitrary. In short, animated images have to impact the audience with anti-perspective and anti-conventional images. From the point of view of acceptance and the city's beauty, it is obvious that the painting's play on color saturation, contrast and purity is much stronger and freer than that of the TV picture, because film and television paintings in particular have to be subjected to the conversion of optoelectronic signals and the constraints of the clarity of the a, whereas ink cartoons do not need to be transferred to the trigger of the discourse and the age of the film and the tape decays a bit quicker than that of the dyes. Visible, these ink animation film in the inheritance of China's excellent artistic tradition, showing a dynamic landscape, but also to pay more attention to the animation of the television picture of the perspective method, not only to master the principle of scattered perspective and composite perspective, but also to learn to use it, but also to master the drawbacks of it, so that picking can be better for the animation of the composition of the picture to create a good prerequisites. (B) from the photography technology to see the picture composition of ink animation based on this, continuous movement up the animation picture must be in the flow of time to disseminate information and narrative. So all TV and movie works must be continuous and without intermission, but this does not only mean that the picture of any TV work has motion, but also indicates that ink animation is the same. From this, we can say that the animation picture is a continuous movement, although the animation of the various images is continuous, but generally no montage between each other, but also unlikely to appear wonderful long shot, just a simple hitching and both, the transition rely on the plot, dialogue for the original transition of the situation is very common, let alone look forward to the emergence of symbolic and metaphorical shots. Some animated images are even less montage, even for ten shots, the animated image still has movement, which is reflected in the control and scheduling of the camera. Motion is one of the essential attributes of photography, motion shots are first embodied in the Camera movement of the lens. In the classic animation software, there are Carerera movement methods and trajectory of the set items, but most of the Camera movement in addition to push [Push], pull [Pull], shaking [Pan], move [Move] and lift [Up & Down] other than nothing else, this is a simple understanding of the movement of photography. The space of animation motion lens is very broad, in addition, there are SLeadicam.Dolly and. Mpoundloco-motion composite movement. Although the causes and elements of motion in animation are not the same as those in ink and wash painting, it is difficult to distinguish between the two in terms of visual effect. As the photography technology has been continued for a hundred years, the future development direction has not paid much attention to the excavation of the potential of movement, but turned to digital technology to improve the pixel and clarity, but the support of ink animation of computer video and graphics technology development space is relatively much larger, so, in the visual exaggeration and impact of the birth of the ink animation picture than the painting and slightly better, because it is the "Live" movement, manifesting the rhythm of life. As a matter of fact, the animation art of moving pictures greatly opens up and enriches the audience's field of vision under the impregnation of traditional photographic paintings, with unparalleled excitement, novelty and exaggeration. For example, the tadpole characters in "Tadpole Looking for Mom" emphasize the perfect embodiment of penmanship and technology. Those tadpoles in the picture, which do not have any emotional organs and are like ink dots, are skillfully presented in the film with a unique sense of dynamism in the change of frequency of the tail movement when they are swimming, and it is the change of thickness, squareness and roundness of the strokes; the ink meets with the water and there are different kinds of levels of thickness, lightness, dryness, wetness and scorchedness; and the pen is dipped in the ink to produce a variety of line patterns and dots, and the result is a variety of line patterns and dots. This produces a variety of lines and dots, which is the application of technology to ink and brush; such different forms are presented in different ways through technology, which constitutes the picture form of ink animation, which is the result of visual exaggeration and impact. Since the ontology of animation picture is ink painting, ink animation is in fact the linkage of painting, and the biggest characteristic of ink animation lies in the portrayal and expression of movement, then it is obvious that the picture composition of ink animation is in fact the presentation of "movement", i.e., the confession of movement. The continuous movement of the picture is, at most, the result of the technical shell and the generating mechanism. As we all know, the action of characters and objects is a kind of movement, and the movement follows the mechanical law in physics, such as the mechanics of motion, mechanics of materials, fluid mechanics, gravity, celestial mechanics, etc. The mechanics has its own set of categories, such as inertia, friction, resistance, acceleration, buoyancy, rigidity, etc. However, the action that can be seen in the ink animation is the "movement" show. However, the movement that can be seen in the ink animation is only the movement, dynamic, momentum, kinetic, etc. that can be seen in the life reality. As the ink animation image is not a real person, all the human series of movements while the habit and experience, naturally have to be attached to the animation image, make it anthropomorphic. Even if the object is automatic, it is also the same reason. (3) The Picture Composition of Ink Animation from the Perspective of Movie Language In a nutshell, the main reason for animation works is the endless possibilities created by the "movement" in them. Animation movie is shot by frame by frame, the camera is fixed on the animation stage, the movement of the camera lens is mostly accomplished by the rotation and movement of the stage; although the freedom of photography is obviously not as big as that of the live action movie, the animation movie is created through photography, and the photography as an important factor of the movie art, thus the movie language plays an important role in the composition of the screen of the ink and wash animation. Movie language plays a significant role in the picture composition of ink animation. Movie language is a special artistic language used to recognize and reflect the objective world and convey thoughts and feelings in the conveyance and communication of movie art, which is different from the general language. Movie language is a kind of artistic language that directly appeals to human audio-visual senses and conveys meanings with intuitive, concrete and distinctive images, which has a strong artistic contagious power. Ink animation introduces the concept of movie language in its attribute of ink painting, making it an art of time and space. As a result, it possesses the aesthetic elements as a movie, such as scene, montage, long shot, sound and so on. These aesthetic elements were utilized by motion painters to create excellent animation works. For example, one of China's most accomplished ink animations, "The Shepherd's Flute," is y rooted in the essence of movie language. The work describes a shepherd boy who loves to play the flute. Once he was grazing his herd, he took a nap near a tree and fell into a dream. In his dream, he could not find his buffalo, so he went along the mountain into the valley, asking the urchins, woodcutters and fishermen along the way, and came to an enchanting scenery. There, the mountains show off, altar waterfalls straight, jade hit the stone, clanging, music, marvelous, and even see the blue pool, and the buffalo stood in the pool, enjoying the scenery. He wanted to take the buffalo back, but the buffalo stayed and even confronted the shepherd boy. The shepherd boy was so angry and anxious that he suddenly remembered his piccolo and played a beautiful piece of music. When the buffalo heard this familiar music, it followed the sound and slowly snuggled up next to the shepherd boy, who gladly embraced the buffalo. At this time, the dream wakes up, it is near the yellow fragrance, the sunset is infinite, the shepherd boy leads the buffalo to go back to his home in the twilight. The whole film is sketched by water and ink colors, quite like the charm of Chinese painting, and the mood flows naturally. In the language of film, the emphasis on the use of the distant view is also of great significance in highlighting the relationship between people and their surroundings. In Landscape, a lot of distant scenes are used - overlapping mountains, misty clouds, flat boats passing by, and lonely sails drifting away. These shots convey the creator's allegory of the master and disciple's love for each other being higher than the mountains and longer than the water. Movie language can show the scene, describe the plot, and render the atmosphere in an all-round and multi-dimensional way in the flowing time line. A series of shots showing the behavior of the characters, a piece of music in response to the scene, a set of cross-cutting symbolic montage, can achieve the effect of immersive, emotional **** sound, mind **** invigorating. There is no trace of the structure of melodrama in ink animation, and the design of the sub-shot is also a calm, lyrical tone, which makes the characters, events, emotions, everything seems to develop in a subtle, calm and soothing, unfolding, without the common traces of melodrama. It can be seen that the picture composition of ink animation using the film's concept of space and time, sound and picture concept, the concept of montage, the lens screen design and other animation cinematic language to interpretation of Chinese ink painting, can interpret a refreshing ink animation, ink animation to develop, to move forward, must be the law of the creation of the film as the dominant, to the language of the film as a companion, the composition of the picture, the use of color tone, depth of field to present the In order to develop and move forward, Chinese ink animation must take the law of movie creation as the leading, use movie language as the accompaniment, and when making picture composition, use color tone and depth of field to present the main subject, and expand the space of the picture and increase the amount of information in the picture, so that Chinese ink animation will exude a marvelous charm in the world's animation world. To sum up, ink animation is the most national characteristic animation art form in China, which spans the two art categories of ink painting and animation, and can be regarded as the product of combining the traditional culture of China and foreign animation culture. Chinese animation creators take materials from Chinese ink painting, combine animation production with traditional art, and create ink animation, which is undoubtedly of epoch-making significance. In terms of the picture composition of ink animation, we introduce the basic composition of ink animation picture from a certain angle through the historical origin and development process of Chinese traditional painting, the artistic characteristics of ink animation and the movie language, and accurately understanding and fully grasping these elements is of great significance for grasping the charms and implications of Chinese ink animation in a macroscopic sense; at the same time, in a microscopic sense, it is also conducive for the producers of ink animation to create a new picture. At the same time, in microcosm, it is also conducive to the producers of ink animation in the creative practice to better grasp the ink animation screen framing composition and screen structure, to improve the level of creation of the screen, and sublimation of the main interest of the screen, and it has a positive role in promoting.