卡通動畫外文翻譯

1、<p>　　CHANGZHOU INSTITUTE OF TECHNOLOGY</p><p>　　外 文 閱 讀 與 翻 譯</p><p><b>　　2014年 3 月</b></p><p><b>　　原版英文：</b></p><p>　　Chapitre 1 :

2、élaboration des personnages</p><p>　　It can be an exciting experience to create and develop an original cartoon character. Constructing and developing a character is not merely a matter of drawing the f

3、igure, each character also has its own shape, personality, features, and mannerisms. The animator has to take these qualities into consideration to make the characters seem lifelike and believable. For example, there are

4、 various personality types such as "goofy," "cute," and "screwball". Think about the type of character you wish to </p><p>　　This procedure should be followed whether the charac

5、ter you are developing is a human, an animal, or an inanimate object you wish to bring to life (for example, drawing a face on a computer and making it dance).</p><p>　　After you have developed the character

6、 and the proportions arc to your liking, develop the movement expressions of the body, head, and hands. Hands can tell a complete story with just a simple pose. Study and practice drawing the hands shown on page 28, then

7、 create some hand positions of your own. Also, the "line of action" section is a big help in creating attitudes in posture and movement. This chapter is the starting point to a world of exciting cartoon animati

8、on.</p><p>　　Cartoon construction</p><p>　　Proportion is one of the most important factors to consider when constructing a cartoon character. The animator must keep in mind the relative sizes of

9、 the body parts, because specific proportions are used to create character types. For example, the heavy, pugnacious character has a small head, large chest or body area, heavy arms and legs, and the jaw and chin normall

10、y protrude, the cute character is based on the proportions of a baby with a large head in proportion to the oval body, a high for</p><p>　　Cartoon studios often use head size to measure the height of a chara

11、cter - for instance, a cute bear may be three heads high, and a pugnacious bear might be five or six heads high. This information helps the animator to keep the proportions and height of a character consitent. Study the

12、characters on this page, and measure each one in "heads." </p><p>　　When animating, you´ll also find it helpful to make a reference drawing of the character on a separate piece of paper. This

13、way, the animator can refer to the proportion guidelines when drawing the character in different poses and actions. </p><p>　　The proper use of cartoon proportions makes a character, so analyze the proportio

14、ns of your animated actor before he or she goes on stage-up on the screen.</p><p>　　Stance (solid masses) - draw a "line of action" through the three-dimensional parts to organize and set the attit

15、ude or action. Construct your drawing as if you were fitting together the parts of a puppet at the joints according to a character formula. Thus your character becomes believable , and he acts, the audience emotionally r

16、esponds.</p><p>　　Body built from circular and rounded forms</p><p>　　The animated cartoon character is based on the circular, rounded form. In a cartoon studio several people may work on the sa

17、me drawing and the rounded form is used because of its simplicity - it makes animation easier. Also, circular forms "follow through" better on the screen.</p><p>　　More circular and rounded forms&l

18、t;/p><p>　　The parts of the character fit together at socket points. These examples demonstrate the effectiveness of combining circular and rounded forms. The rounded, pear-shaped bodies support the circular he

19、ads and add interest to the overall character.</p><p>　　The skeleton foundation</p><p>　　Build the cartoon from a rough skeleton, but don´t expect to always get the skeleton right on the fi

20、rst try - nobody can do that! Experiment… Discard... make several drawings, then pick the best one. Be sure to work loosely when constructing the character.</p><p>　　Work out a skeleton, construct body masse

21、s around it, and then build detail over the masses.</p><p>　　Construction of the head</p><p>　　Think of the head as a rounded mass: it is either ball-shaped, pear-shaped or egg-shaped. In animat

22、ion the head shape may change perspective and form many times during a scene. To simplify matters, a framework in proper perspective must be drawn first, then the details are constructed over this form.</p><p&

23、gt;　　1/ this character starts with a ball shape. 2/ draw an elliptical guideline around the first shape that will divide the face in the middle lengthwise. This determines the tilt of the head. 3/ draw the eye guideline

24、at right angles to the second circle. This sets the face up or down. 4/ the base of the eyes and the top of the nose tie into the eye line. The perspective makes the left eye bigger than the right eye. 5/ now the details

25、 are drawn over the framework.</p><p>　　Start with an egg shape draw guidelines around it, and then draw the face. Turn the egg in various positions and draw the same face. Animation presents the same challe

26、nge! </p><p>　　Add a few details and draw these heads in every position using the egg as a guide. Cartoon studios often make small clay models to help the animator draw difficult characters from different an

27、gles.</p><p>　　Egg head model method</p><p>　　The egg is the basis of a great many cartoon heads. Draw an egg like this and study it from all angles. Add details and design some original heads o

28、f your own. Watch the perspective change as you tip or tilt the egg model. Following the center and middle guide- lines will help you construct heads. </p><p>　　More head construction</p><p>　　A

29、ll animated cartoon characters can be reduced to a basic formula. This formula makes them easier to master and ensures uniformity throughout a film, even if several different artists work on the same character.</p>

30、<p>　　/ draw an oval with perspective guidelines. / add nose construction, make sure it fits solidly. / now draw ovals for the eyes. / be aware of the perspective when constructing the remaining details.</p>

31、<p>　　Study this basic formula, then draw the dog in different positions.</p><p>　　Assemble these heads as though they were solid and hinged together. </p><p>　　Facial expressions</p&g

32、t;<p>　　The job of an animator is the same as the job of an actor in live action pictures. Both should be masters of portraying emotions. Studying your own grimaces in a mirror is a must. Pick a character you know

33、 and go through the expressions with him, as I have here with this little pup.</p><p>　　Stretch and squash on heads</p><p>　　A cartoon head can be stretched or squashed to strengthen an expressi

34、on.</p><p>　　Notice that the oval containing the eyes does not change much, but the mouth area varies greatly. Small details react along with the larger form in which they are contained.</p><p>

35、　　The wide variety of expressions shown here is the result of stretching and squashing selected areas of the face. Notice that the eyes reflect the expression of each stretch and squash. </p><p><b>　　H

36、ands</b></p><p>　　Cartoon hands are tricky to draw, study the hands shown below. The fingers should be placed unevenly to prevent a monotonous quality.</p><p>　　To draw the hand, begin as

37、if it were a mitten (a & b), then add the two middle fingers by following this shape (c).</p><p>　　Now put in the little finger, varying its position to prevent monotony (d). It is also a good idea to ex

38、aggerate the base of the thumb.</p><p>　　More hands</p><p>　　Draw your own hands (simplified) from a mirror. This way they appear as they do in a drawing.</p><p>　　The cute characte

39、r</p><p>　　The cute kitten</p><p>　　1. Develop the kitten´s body with a circle and an oval. 2. Add perspective guidelines. 3. Place the eyes and the nose. 4. Build the ears and the legs. 5.

40、 Add the details to complete the kitten.</p><p>　　Notice the large paws that add to the cute look. </p><p>　　The more complex the pose. The more steps it takes to develop.</p><p>&l

41、t;b>　　Cute pup</b></p><p>　　Begin with a basic construction of circles and ovals. Then draw perspective guidelines to place the features.</p><p>　　Notice that the tongue accentuates the

42、 happy expression of the mouth, and the cheeks overlap the eyes, accenting the expression. a sideways glance like this is a "cute" expression. </p><p>　　Goose gander</p><p>　　These are

43、 the progressive steps that are taken by an animator to construct and draw a cartoon character.</p><p>　　1. Draw a "line of action" to establish the general stance of the figure.</p><p&g

44、t;　　2. Add rounded masses for the head and the body.</p><p>　　3. Draw perspective lines around these masses to establish the front, side, and tilt of the body and head.</p><p>　　4. Construct the

45、 arms, legs, and eyes on (or "anchored to") their proper places on the perspective lines.</p><p>　　5. Fit or "hinge" the details into their positions.</p><p>　　6. Clean up th

46、e character around the construction lines.</p><p>　　Rowdy rabbit</p><p>　　Draw rowdy rabbit from every angle. Use perspective guidelines to assemble the solid parts.</p><p>　　When c

47、onstructing an animated character, visualize it as a three-dimensional puppet that you are joining together with solid masses.</p><p>　　Build "puppet parts" when constructing a character for animat

48、ion.</p><p>　　Each part has a definite place according to the formula. The parts join according to a formula plan.</p><p>　　1. Draw a line of action, and then build the oval body and the round h

49、ead over it.</p><p>　　2. Add perspective guidelines and place the eyes.</p><p>　　3. Set the shoulder, arm, hand, and ear sockets. Draw the nose.</p><p>　　4. Now build the features -

50、 ears, cheeks, mouth, etc. fit on the coat and the gun.</p><p>　　5. Use an animation board to make a "cleanup" drawing by placing a clean piece of paper over step 4 and tracing. </p><p&g

51、t;　　Little wolf-hunter pig</p><p>　　1. Draw a line of action, and then build the oval body and the round head over it.</p><p>　　2. Add perspective guidelines and place the eyes.</p><p

52、>　　3. Set the shoulder, arm, hand, and ear sockets. Draw the nose.</p><p>　　4. Now build the features - ears, cheeks, mouth, etc. fit on the coat and the gun.</p><p>　　5. Use an animation boa

53、rd to make a "cleanup" drawing by placing a clean piece of paper over step 4 and tracing.</p><p>　　Cute rabbit</p><p>　　Animators usually draw with a scrip to pencil with a no. 2 lead.

54、 Then a kneaded eraser is lightly rubbed over the entire drawing to prepare for a "cleanup" or revision drawing.</p><p>　　1. Draw a circle for the head and a pear shape for the body.</p><

55、;p>　　2. Add perspective guidelines around the head.</p><p>　　3. The eyes are placed above the horizontal guideline. The nose starts where the guidelines cross.</p><p>　　4. Add the cheeks, and

56、 fit the arms on the top of the body.</p><p>　　5. Draw the ears, eyes, mouth, and legs.</p><p>　　6. Finish the details, and then erase the construction guidelines. </p><p><b>

57、　　Squirrels</b></p><p>　　Here are action ideas for drawing squirrels which is developed using rounded and circular forms. Like other cute characters (see page 32), the head is large in relation to the

58、body. The two front teeth are important and add expression to this character.</p><p>　　This squirrel character can be changed to a mouse, rabbit, or chipmunk by simply changing the tail, ears, and feet.</

59、p><p>　　More cute characters</p><p>　　In this formula you will recognize some features that all these cocky wise guys have in common.</p><p>　　The antics of these loony characters have

60、 been some of the funniest on the screen. </p><p>　　Goofy character</p><p>　　Here is the basic formula for goofy types that act like a "simple simon" clodhopper:</p><p>　　

61、Try using these points to design a character of your own. </p><p>　　The heavy, pugnacious character</p><p>　　Study the formula (upper above) for these bad boys. It also applies to four-legged ty

62、pes, such as the bear above and the bulldog sailor on page 72.</p><p>　　More animal characters</p><p>　　This page contains a variety of animal characters with different expressions. The construc

63、tion methods include the use of skeletal forms in combination with rounded and circular forms. </p><p>　　The facial expressions and body attitudes must complement one another.</p><p>　　Notice th

64、at some of these forms are squashed while others are stretched to develop the personality. </p><p>　　Musical wolf</p><p>　　Life is just one wild cartoon "take" (see page 148)or violent

65、 reaction after another for this musician.</p><p>　　- Rough in the basic construction</p><p>　　- fit on the details carefully.</p><p>　　Anything can happen when wolf sees a pretty g

66、irl…</p><p>　　- continue building the wolf.</p><p>　　- clean up from construction. </p><p>　　Wolf heads</p><p>　　Practice drawing these wolf heads, they will help you t

67、o draw many other types of heads with various expressions.</p><p>　　An animator must be able to draw from all angles.</p><p>　　Look at your own facial expressions in a mirror for a guide ... &l

68、t;/p><p>　　... Or study other expressions in this book.</p><p>　　Lions and tigers</p><p>　　Here are suggestions for funny lion and tiger characters. </p><p><b>　　Bir

69、ds</b></p><p>　　The natural shape of a bird´s wing can be changed to a modified (of suggested) arm and hand for certain actions, then changed back to the natural shape. </p><p><b&

70、gt;　　Owls</b></p><p>　　Here are some rough sketches of an owl to show you how its wings can be handled. They can be straight or they can take on the characteristics of a hand with the feathers as finge

71、rs. </p><p>　　More birds</p><p>　　Notice the head sizes.</p><p>　　These characters differ greatly in personality and shape due to their proportions. Notice the differences in beaks,

72、 legs, necks, and wing sizes. For example, the baby chick has no neck (the head shape overlaps the body shape), while the ostrich´s neck is exaggerated. All of the characters on these two pages have been developed u

73、sing the circle and rounded form method.</p><p>　　Different shapes can suggest different personalities: cute, goofy, pugnacious, etc. </p><p>　　The belligerant bulldog</p><p>　　Spik

74、e the bulldog has a barrel-like chest, small bottom, heavy arms and legs, no neck, pigeon front toes, and bowed legs.</p><p>　　Use construction guidelines to help you draw this bulldog in several different p

75、oses and action views.</p><p>　　Make a repeat cycle of bulldog running using the drawing at right for position one. See "gallop" in "movements of the four-legged figure" on page 102 for a

76、 guide. </p><p>　　Bulldog sailor</p><p>　　The bulldog has a double jaw with jowls. Draw the circular forms first, and then determine the perspective lines to build the head and assemble the body

77、.</p><p>　　In animation the bulldog jowls flop around like coattails in an overlapping secondary action (see chapter 3). That is a valuable technique for keeping poses alive.</p><p>　　Build the

78、head step-by-step.</p><p>　　Continue developing the character as shown.</p><p>　　Animation formula</p><p>　　Fit the clothing to the body by using perspective guidelines. </p>

79、<p>　　Using this formula, you can draw the character in any position and learn to be an animator.</p><p>　　Foreshortening - perspective</p><p>　　Perspective gives animated drawings the dim

80、ension of depth by using vanishing points on a distant horizon line and foreshortening (when an object seems to come toward the viewer). The horizon line relates to the viewer´s eye level. If the vanishing points ha

81、ve been positioned too close together, the drawing will appear distorted. Experiment with your subject to find a comfortable position for the vps.</p><p>　　Draw a box in perspective, and then construct a cha

82、racter within the framework. Also, study the revolving cylinder above. Notice the relationship to the arms and legs.</p><p>　　The drawings on this page are based on two-point perspective. The vertical lines

83、of the box are parallel, and the horizontal lines are projected from the vps, as shown at upper left. For characters of great height, a third vp would be added, and the verticals would converge at the third vp. This thre

84、e-point perspective is used to emphasize height by lowering the horizon line (eye level), as if the viewer is looking up. Thus, the drama of animation is heightened. A giant is more frightening from </p><p>

85、　　Foreshortening is used when the object is not parallel to the picture plane. Note the hands, legs, and arms of the musicians to the left. </p><p>　　Learn to draw hands from every angle. At the left is a fo

86、rmula for a hand. a box shape hings from the wrist up of, down, the arm turns it around, and the ball base of the thumb fits on.</p><p>　　This thumb base is accented in cartoons. Notice that the short, strai

87、ght lines in all of these drawings help define the perspective. Perspective can create a normal third dimensions of, it can be distorted for dramatic depth, height, or foreshortening.</p><p><b>　　Gnome

88、s</b></p><p>　　Gnomes are usually happy but shy characters.</p><p>　　It is best to develop these little fellows with rounded forms.</p><p><b>　　Elves</b></p>

89、<p><b>　　Dwarfs</b></p><p>　　A motley crew of little men assembles to play ninepins on an animation layout drawing (in pencil).</p><p>　　Wicked witch</p><p>　　Per

90、sonality can be projected through hand expression - you don´t need to see the witch´s face to know that she is "wicked."</p><p><b>　　Kids</b></p><p>　　Kids come i

91、n all shapes and sizes. Young children have large heads and short legs, and their doves are slightly pear-shaped with a protruding tummy (like "the cute character", see page 32).</p><p>　　As kids g

92、row older, the proportions change , they are more lanky and awkward looking. The head for this type remains a bit large. </p><p>　　The young heroine</p><p>　　The proportions of this character ar

93、e different than those of the children on the previous pages. Use the chart below as a guide to draw this young girl. The chart shows the full figure proportions based on a height of five head lengths. The legs are half

94、of the height (2- 1/2 heads), the waist is two heads from the top. And the arms and hands are a little over two heads long. Use this scale to draw the young girl accurately in any position.</p><p>　　First do

95、 the rough construction drawings.</p><p>　　Facial features move with the head: up and down and sideways. The position and angle of the eyes change with the head movement, they must be drawn to look in the di

96、rection specified by the head position. Here the change is from a 3/4 front view to a 3/4 back view where the eyes ape not seen at all. Use the rules of perspective and foreshortening to accomplish these transitions accu

97、rately (see page 74).</p><p>　　Model sheet drawings, like the ones on this page, are issued to the animator as a guide when he or she picks up the scene from the director.</p><p>　　Draw the basi

98、c figure by using the chart from above. Then draw the clothes over the figure.</p><p>　　You would see these drawings on the screen for two frames - or 1/12 of a second (see page 196).</p><p><

99、;b>　　中文翻譯：</b></p><p><b>　　第一章：人物</b></p><p>　　可以創(chuàng)建和發(fā)展原有的卡通人物是一個令人興奮的經(jīng)歷。建立和發(fā)展一個人物不僅僅是繪制圖，每一個人物都有自己的形狀、特點(diǎn)，和舉止。動畫師采取這些特點(diǎn)使得人物栩栩如生，更加可信。舉個例子，有各種不同的人物類型，如“愚笨的”，“可愛的”和“脫線的”。想一下你想要

100、設(shè)計(jì)的人物類型，然后使用圖標(biāo)和引導(dǎo)在本章開始你的繪圖。創(chuàng)造一個角色的時候，你應(yīng)該先畫出粗糙想法的草圖。這些會給你想要創(chuàng)建的角色類型一個方向。畫出圖的基本形狀，然后加入特征和其他細(xì)節(jié)。</p><p>　　這個步驟應(yīng)遵循你創(chuàng)造的這個角色是一個人類，一個動物，或者你想要帶來生命的無生命物體（例如，在電腦上畫一張臉并使它跳舞）。</p><p>　　在你根據(jù)你自己的喜好畫好特征和比例弧后，畫出身

101、體、頭和手的運(yùn)動表現(xiàn)。手可以用一個簡單的姿勢來交代一個完整的故事。研究和練習(xí)畫手在28頁展示，然后創(chuàng)造你自己的手的位置。同時，“作用線”部分對于在姿勢和動作的創(chuàng)作態(tài)度上是有很大幫助的。本章是令人興奮的卡通動畫世界的一個起點(diǎn)。</p><p><b>　　卡通建筑物</b></p><p>　　比例是構(gòu)建一個卡通人物時要考慮的最重要因素之一。因?yàn)榫唧w比例是用來創(chuàng)建角色類

102、型的。比如，重要人物，好斗的性格有一個小頭，大的胸部或者身體部位，重的胳膊和腿，以及下顎和下巴通常凸出，可愛的性格是基于一個與橢圓型身體成比例的大頭嬰兒的比例。一個高高的額頭，和一個小嘴巴/眼睛/下巴部位，是“怪人”類型夸張的部位和特征（性格類型的詳細(xì)信息從32頁）。動畫工作室經(jīng)常用頭的尺寸來衡量角色的高度，例如，一個可愛的熊可能是三個頭高，一個好斗的熊可能是五個或者六個頭高。這個信息幫助動畫師保持比例和角色高度吻合。在這一頁學(xué)習(xí)人物，

103、以及用“頭”幫助測量每一個角色。</p><p>　　在賦予動作的時候，你也會發(fā)現(xiàn)在一張單獨(dú)的紙上畫角色參考圖是很有幫助的。這種的話，動畫師在繪制角色不同姿勢和動作的時候可以參考比例準(zhǔn)則。</p><p>　　卡通比例的正確使用造就了一個角色，所以在搬上熒幕之前，先分析你動畫演員的比例。</p><p>　　站姿（固體狀）——畫一條“作用線”通過三維部分去組織和設(shè)置

104、姿勢或者行為。根據(jù)人物準(zhǔn)則，構(gòu)建你的畫就像你處在把一個木偶零件組裝在一起的關(guān)節(jié)處。這樣觀眾情緒上就會反應(yīng)出覺得你的人物和動作是可信的。</p><p>　　身體由環(huán)形和圓形的形式建成</p><p>　　被賦予生氣的動畫角色是以環(huán)形、圓形的形態(tài)為基礎(chǔ)。在動畫工作室可能幾個人用同樣的繪圖方式，圓形的形式被使用是因?yàn)樗暮唵涡浴箘赢嫺唵巍Ｍ瑯?，循環(huán)模式在屏幕上保持的更好。</p&