基于“气韵”的人物骨骼动画研究

发布时间：2018-05-12 05:08

本文选题：设计学 + 中式动画　；参考：《东华大学》2014年硕士论文

【摘要】：人物骨骼动画是给场景中的虚拟人物即皮肤赋予虚拟骨骼并对骨骼的运动进行控制以生成人物身体动作的连续画面。其制作技术由具有父子层级关系的树形结构骨骼和蒙在树形结构骨骼上的网格皮肤构成。目前利用其技术制作的人物骨骼动画包括中国都是以西式理性思维为基础的,人物身体动作真实、夸张变形理性且不具本土文化特征。通过调查得出本土化更受大众青睐,也更符合市场需求。因此中国人物骨骼动画现存问题亟需解决。作为中国古典美学中最重要美学范畴之一的“气韵”具有较强的本土诗性文化特征。无论是在传统艺术门类还是在现代艺术设计中,吸取其精髓的艺术作品都既具有深厚的中式文化底蕴又具有当代的社会气息。在这些作品中,所呈现的人物身体姿势和动作具有圆滑、夸张变形诗性和中国本土文化明显特点,这些特点恰好能解决中国人物骨骼动画现存的问题。所以本课题提出研究基于“气韵”的人物骨骼动画。本课题主要从人物骨骼动画的相关内容入手,运用文献研究法总结了基于“气韵”的人物身体动画规律,再运用实证法和归纳法探讨了其规律在设计和制作领域的应用理论。绪论部分主要阐述了课题研究的背景、问题、意义、内容、思路与方法。第二部分主要使用文献研究法总结了“气韵”的两个理论前提及“气”、“韵”和“气韵”的涵义,并在此基础上论述了“气”和“韵”与壮美、优美及弱美之间的内在联系。第三部分首先运用文献研究法总结了人体及其运动规律和由此归纳出来的(西式)人物身体动画规律,然后再将“气韵”融入到人物身体动画规律中探讨出具本土诗性特点的人物身体动画规律,最后分别探究了壮美型、优美型及弱美型人物在人物身体动画的影响因素和表达的要素、基本动作、辅助动作与技巧中的各自特点。第四部分利用实证法和归纳法总结了基于“气韵”的人物身体原动画设计工具、内容、形式、原则、步骤与方法,并用一个设计案例来说明理论的实际运用。第五部分同样利用实证法和归纳法总结了基于“气韵”的人物骨骼创建与控制制作、蒙皮制作、皮肤权重调节和动画制作五方面理论,并以一个制作案例来说明理论的实际运用。结论部分主要论述了本课题理论研究的完成情况,既说明了基于“气韵”的人物身体动画规律、人物身体原动画设计理论和人物骨骼动画制作理论三个理论的研究成果又揭示了基于“气韵”的人物骨骼动画制作理论的不足之处并对其完善的可能方案进行了构想。本课题研究的理论成果既提供了具“气韵”的三维人物身体原动画设计与动画制作的理论依据、推动了设计学科的建设,还促使了艺术设计与科学技术的进一步整合、丰富了人物身体原动画的设计风格、促进了艺术设计的发展。
[Abstract]:The character skeleton animation is a continuous picture that gives virtual skeleton to the virtual character in the scene and controls the movement of the skeleton to generate the body action of the character. The fabrication technique consists of dendritic skeleton with paternal hierarchy and gridding skin coated on dendritic skeleton. At present, the characters' skeletal animation produced by its technology, including China, is based on western rational thinking. The characters' body movements are real, exaggerated and deformed rational, and have no local cultural characteristics. The survey shows that localization is more popular and more in line with market demand. Therefore, the existing problems of Chinese character skeletal animation need to be solved. As one of the most important aesthetic categories in Chinese classical aesthetics, Qiyun has strong local poetic cultural characteristics. Whether in the traditional art category or in the modern art design, the art works which absorb its essence have not only profound Chinese culture but also the contemporary social atmosphere. In these works, the body posture and movement of the characters are smooth, exaggerated and deformed, and the characteristics of Chinese native culture are obvious. These characteristics can solve the existing problems of Chinese characters' skeletal animation. Therefore, this paper puts forward the research of the character skeleton animation based on "Qiyun". This subject mainly starts with the related contents of the character skeleton animation, summarizes the character body animation law based on "Qiyun" by using the literature research method, and then discusses the application theory of the character body animation law in the field of design and production by using the positive method and the induction method. The introduction mainly expounds the background, problems, significance, contents, ideas and methods of the research. The second part mainly uses the literature research method to summarize the two theoretical premises of "Qiyun" and the meaning of "Qi", "rhyme" and "Qiyun", and on this basis discusses the internal relations between "Qi" and "rhyme" and the beauty of Zhuang, graceful and weak beauty. In the third part, the author summarizes the laws of human body and its movement and the (western style) figure's body animation. Then the "charm" will be incorporated into the body animation law of characters to explore the characteristics of the local poetic character body animation law, and finally explore the magnificent type, The influence factors and expression factors of graceful and weakly beautiful characters in the body animation of characters, the basic actions, the respective characteristics of auxiliary actions and techniques. In the fourth part, the author summarizes the tools, contents, forms, principles, steps and methods of the original animation design of character body based on "Qiyun" by means of positivism and induction, and uses a design case to illustrate the practical application of the theory. In the fifth part, the author also summarizes the theories of the creation and control of characters' skeleton, skinning, skin weight adjustment and animation making based on "Qiyun" by using positive and inductive methods. And with a production case to illustrate the practical application of the theory. The conclusion part mainly discusses the completion of the theoretical research on this subject, which not only explains the laws of body animation of characters based on "charm". The research results of the original animation design theory of character body and the theory of character skeleton animation production reveal the deficiency of character skeleton animation making theory based on "charm" and conceive the possible scheme of its perfection. The theoretical results of this research not only provide the theoretical basis for the original animation design and animation production of three-dimensional characters with "charm", but also promote the construction of the design discipline, and promote the further integration of art design and science and technology. Enriched the character body original animation design style, promoted the artistic design development.
【学位授予单位】：东华大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J218.7

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