文献信息：
文献标题：Aesthetics and design in three dimensional animation process（三维动画过程中的美学与设计）
国外作者：Gokce Kececi Sekeroglu
文献出处：《Procedia - Social and Behavioral Sciences》, 2012 , 51 (6):812-817
字数统计：英文2872单词，15380字符；中文4908汉字
外文文献：
Aesthetics and design in three dimensional animation process
鸳鸯脚Abstract Since the end of the 20th century, animation techniques have been widely ud in productions, advertiments, movies, commercials, credits, visual effects, and so on, and have become an indispensable part of the cinema and television. The fast growth of technology and its impact on all production industry has enabled computer-generated animation techniques to become varied and widespread. Computer animation techniques not only saves labour and money, but it also gi
ves the producer the option of applying the technique in either two dimensional (2D) or three dimensional (3D), depending on the given time frame, scenario and content. In the 21st century cinema and television industry, computer animations have become more important than ever. Imaginary characters or objects, as well as people, events and places that are either difficult or costly, or even impossible to shoot, can now be produced and animated through computer modelling techniques. Nowadays, veral ctors are benefiting from the specialid techniques. Incread demand and application areas have put the questions of aesthetics and design into perspective, hence introducing a new point of view to the application process. Coming out of necessity, 3D computer animations have added a new dimension to the field of art and design, and they have brought in the question of artistic and aesthetic value in such designs.
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Keywords: three dimension, animation, aesthetics, graphics, design, film鞋子好评评语
1.Introduction
Centuries ago, ancient people not only expresd themlves by painting still images on cave surfaces, but they also attempted to convey motion regarding moments and events by painting images, which later helped establish the natural cour of events in history. Such concern contributed greatly to the animation and cinema history.
First examples of animation, which dates back approximately four centuries ago, reprents milestones in history of cinema. Eadweard J. Muybridge took veral photographs with multiple cameras (Figure 1) and asmbled the individual images into a motion picture and invented the movie projector called Zoopraxiscope and with the projection he held in 1887 he was also regarded as the inventor of an early movie projector. In that aspect, Frenchmen Louis and Auguste Lumière brothers are often credited as inventing the first motion picture and the creator of cinematography (1895).
犹豫的近义词是什么Figure 1. Eadweard J. Muybridge’s first animated picture
J. Stuart Blackton clearly recognid that the animated film could be a viable aesthetic and economic vehicle outside the context of orthodox live action cinema. In
particular, his movie titled The Haunted Hotel (1907) included impressive supernatural quences, and convinced audiences and financiers alike that the animated film had unlimited potential. (Wells, 1998:14)
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“Praxinoscope”- invented by Frenchman Charles-Émile Reynaud - is one of the motion picture related tools which was developed and improved in time, and the invention is considered to be the beginning of the history of animated films, in the modern n of the word. At the beginning of the 20th century, animated films produced through hand-drawn animation technique proved very popular, and the world history was marked by the most recognisable cartoon characters in the world that were produced through the animations, such as Little Nemo (1911), Gertie the Dinosaur (1914), The Sinking of the Lusitania (1918), Little Red Riding Hood (1922), The Four Musicians of Bremen (1922) Mickey Mou(1928), Snow White and the Seven Dwarfs (1937).
Nazi regime in Germany leads to veral important animation film productions. When Goebbels coul
d no longer import Disney movies, he commissioned all animation studios to develop theatrical cartoons. Upon this, Hans Fischerkoen began to produce animation films and by end of the war, he produced over a thousand cartoons (Moritz, 2003:320).
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In due cour, animated films became increasingly popular, resulting in new and sizable ctors, and the advances in technology made expansion possible. From then on, the computer-generated productions, which thrived in the 1980's, snowballed into the indispensable part of the modern day television and cinema.
The American animated movie Aladdin grosd over 495 million dollars worldwide, and reprented the success of the American animation industry, which then led to an expansion into animated movies which targeted adults (Aydın, 2010:110).胰腺炎是怎么引起的
Japan is possibly just as asrtive in the animation films as America. Following the success of the first Japane animation (anime) called The White Snake Enchantress 1958 (Figure 2)which resulted in awards in Venice, Mexico and Berlin film festivals, Japane animes became ever so popular, which led to continuous
international success. For example, the movie titled Spirited Away won an Oscar for Best Animated
Feature Film, and became the winner of the top prize at this year's Berlin film festival. Following their ever-increasing success in anime production, Japan became one of the most sought after hubs of animation industry by European and American companies interested in collaboration.
Figure 2. The White Snake Enchantress 1958
2.Three Dimensional Animation
The development of animation techniques, a process that can be traced back to the 18th century brought with it a thematic variety in animation genres. Today, animation techniques bad on cartoons, puppets, stop-motion, shadow, cut-out and time lap can be applied both manually and bad on digital technology. Furthermore the u of 3D computer graphics in the 1976-dated film "Futureworld" opened the way for this technology to be in high demand in a variety of industries. 3D animations occupy a central role today in cinema, TV, education and video games alike, and their creative process in both realistic and surreal terms em to know no limits. This new medium that with its magical powers makes the impossible possible and defies the laws of physic (Gökçearslan, 2008: 1) open a door for designers and artists to an
unlimited imagination. "In particular in the movies of the 80s, computer-aided animated effects turned out to be life-savers, and the feature film Terminator 2 (1991) in which 3D animation technology was ud for the first time received prai from both audience and film critics" (Kaba, 1992: 19). Toy Story (Walt Disney Pictures, 1995), a film that became very popular among audiences of all ages due to its script, characters, ttings and animation technique, was the first fully 3D animated feature film in history, and was followed by two quels.
By help of the support coming from the homeland, and its form oriented realistic format, Disney char
acters have been amongst the top animated characters. In order to achieve a realistic production, Disney even kept animals such as hors, deer, and rabbits in the studios, while the artists studied their form, movements and behaviour. As for human characters, famous movie stars of the period were hired as a reference point for human form and behaviour. (Gökçearslan, 2009:80).
Another American movie "Shrek" (2001) created by William Steig, who book Shrek (1990) formed basis for the DreamWorks Pictures full length 3D animation film, attracted millions of people. The movie is a great example of a clever and aesthetically pleasing combination of powerful imagination and realistic design. Also, by means of certain dialogues and jokes, the theme of "value judgement" is simplified in a way that it is also understood by children. The are amongst two undeniable factors which are thought to have contributed to the worldwide success of the movie.
Most successful 3D animation movies are of American make. The importance of budget, historical and political factors, as well as contextual and stylistic factors which bring in simplicity and clarity to the movies is incontrovertible.
“The era of the post-photographic film has arrived, and it is clear that for the animator, the computer is esntially "another pencil". Arguably, this has already reached its zenith in PIXAR's Monsters Inc.
Conquently, it remains important to note that while Europe has retained a tradition of auteurist film making, also echoed elwhere in Russia, China, and Japan, the United States has often immerd its animation within a Special Effects tradition, and as an adjunct to live action cinema.” (Wells, 2002:2).
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