What's your opinion about traditional animation and computer animation? 100.

French archaeologist Prudhommeau pointed out in the research report of 1962 that there were a series of analysis pictures of bison running on the cave murals in the Stone Age 25,000 years ago, which was the origin of human attempts to capture the condensation action with pens (or stones). Other pictures, such as Egyptian tomb paintings and exploded views of continuous movement on ancient Greek bottles, are also examples of the same type. The concept of "simultaneous action" indirectly expresses the human desire to "move" by drawing the actions that happened at different times together on a picture. The four arms on the geometry of Leonardo da Vinci's famous golden scale diagram show the movements of his hands swinging up and down. /kloc-in the 6th century, the embryonic form of hand-turned books appeared for the first time in the west, which is also similar to the concept of animation.

In the history of painting in China, artists have always had the tradition of bringing static painting into life. For example, the Six Laws advocates vivid charm, and the characters in the serial Fairy in the Painting walk out of the scroll and pass by people, but in general, imagination makes up for the actual operation. The crowning touch that really brings the portraits on the map to life is still developed step by step in the western world.

/kloc-in the 0/9th century, magic lamps were very popular in Europe and America. In concert halls, variety theaters and variety shows, the magic lantern performance is still a favorite entertainment program. Because people like to watch it, we should make it more entertaining, such as panoramic view, three-dimensional view and huge painting with strong impression, so as to enhance the light and shadow effect. This way of telling stories is like China's shadow play, and its rich interest always attracts the attention of the eye.

Shadow play invented by China in Tang Dynasty is a kind of shadow play that illuminates the light source from behind the scenes. Although it is different from the method and technology of projecting light from the front of the curtain invented by the slide show series, it reflects the same obsession of different countries in the East and the West in manipulating light and shadow. Shadow play was introduced to Europe in the17th century, which once swept many audiences. The clarity and delicacy of its images are no less than the magic slides of the same period.

Before further explaining the relationship between slide show and animation development, we must mention a short book about eyeball structure, about the visual persistence of moving objects, published by Peter Roget in 1824. The book puts forward the following viewpoint: after the image stimulus is first revealed, it can stay on the retina for a period of time. In this way, when various individual stimuli appear in succession fairly quickly, the stimulus signals on the retina will overlap and the image will become continuous.

1888, a continuous picture recording instrument was born in Thomas Edison's laboratory. Originally, Edison just wanted to provide pictures for his newly invented phonograph, but instead of using projection, he first processed the pictures on a card and then showed them on a "wonderful lens". The wonderful shot can be said to be a mechanical "book turning". Edison used a set of hand rocker and mechanical shaft to drive the album, which extended the length of the image or image and produced rich visual effects.

1895, Lumiere brothers showed a film in public for the first time, and a group of people could see a group of pre-shot images at the same time. The "cinematography" invented by Lumiere brothers showed famous films such as Train Entering Station and Sea Bath, which brought the film into a new era.

What needs to be clarified here is that although the development of animation and film has a certain intersection in technology and machinery, both of them are exposed through negatives and usually projected on the screen, the aesthetics of animation is actually different from that of film, even more radical.

As early as 1882, Emile Reynolds, who invented the "practical mirror", began to draw story pictures by hand. First it was painted on long strips of paper, and then it was painted on celluloid film. On 1892, he opened the "Optical Theater" in the Paris Wax Museum, and the "movie" shown on the spot was equipped with music and sound effects, which caused quite a stir. Although his appeal as an "optical theater" went from bad to worse after the film was invented in 1895, Emile Reynolds can be said to be the originator of animation in terms of the technology of painting directly on film without a film camera. Although all his films are now lost and their historical status is controversial, he has a strong experimental "direct animation" technique for later generations.

In fact, the creation of animation, conceptually speaking, not only draws lessons from the exquisite art of pure painting, but also draws lessons from the cartoonization of popular culture. This bipolar feature, which contains pioneering spirit and vulgar culture, has always been the attraction of animation.

/kloc-After the Renaissance in the 6th century, painting gradually shifted from the lofty and great world of medieval gods to the life world of ordinary people. /kloc-in the 0/7th century, Dutch painters used cartoon exaggeration to write sketches for the first time in the history of painting. 1830s, after Daguerre and Nice-Fornie Purcell invented photography, the whole painting trend changed greatly. On the one hand, the realism of painting was forced to give up because of the accuracy of photographic records, but with the rapid changes of society, simple and complex sketch cartoons appeared, which can be represented by Du Miai's paintings. On the other hand, it reacted to the accurate description of photography, and the trend of pursuing painting characteristics rose, leading to later impressionism and modernism.

/kloc-Du Miai, a Dutch painter in the 7th century, created a "popular drama", which recorded his childhood impressions of muddling along in the theater and briefly outlined the "actions" of the stage actors. This practice of adding "action" to still life painting naturally influenced the subsequent sketch animation. With the update of photography technology, the whole art at the end of the 19th century is more frantically pursuing the decomposition action and expressing the feeling of overall movement.

In addition, the original animation is often regarded as an experimental avant-garde art. Finnish painter L. Survage, Swedish Eggeling and German Hans Rietschle all pursued new art forms with animation in the1920s. Geometric architectural graphics appear repeatedly in richter's scroll paintings, changing angles and sizes at different rhythms, allowing viewers to simulate the experience of watching architecture. The spirit of the whole work is the "action" process of reproducing geometric changes, which is deeply influenced by cubism and constructivism. Many of his cartoons have become the reference standards for many avant-garde artists who are fascinated by graphic combination and subconscious relationship.

This paper introduces the relationship between magic slide, small toys, continuous shooting, painting, photography and avant-garde art, and then returns to the animation development part. From the above description, before the invention of the movie camera, the prototype of animation was very specific, but compared with the formal birth of the movie 1895, the animated film was delayed for nearly ten years, which is probably related to economic considerations. The appearance of animated short films is behind the "stunt movies" in film history. This can be traced back to Melly, who is as famous as the Lumiere brothers. 1902 The fantasy film A Journey to the Moon, created by Merriye, was a work that applied the skills and tricks of the film to the extreme with the background and experience of a magician. He makes full use of overprint and freeze-frame substitution in his works, which is only slightly different from "freeze-frame/single-frame photography". However, this technology became independent only when Pumms, Stewart and Blake joined the film industry.

Stuart Blackton was born in England on 1875. He immigrated to the new world with his family when he was a child. When he was young, he was keen on acting. He has partnered with Ronald Reed and Albert E. Smith, and toured in stage juggling and magic shows. Among them, Blake is responsible for performing the chalk show, and he is also a performer. 1in April, 896, new york World Evening News sent him to visit Edison and asked him to bring back a charcoal sketch of Zhang Wei, a great inventor. After work, Edison reciprocated by shooting a short film of Blackton's sketch, and named him "Blackton, the cartoonist of the evening news".

This one-minute-long film, mainly aimed at working cartoonists, has been shown in concert halls and theaters. Blake was originally interested in movies that capture the action of life, and this movie that can show the painting process attracted his attention. So I invited yabo e Smith to form "Vitagraph", which was the predecessor of Warner Corporation. 1899 When there was a war between America and Spain, cinemas rushed to show news films about the war. Blackton and Smith co-produced the first batch of freeze-frame special effects animated films in the early days, using hookah powder and paper-cut with string as moving props. Although the particles in the film are rough, no one does not believe that they are newsreels.

At the beginning of the 20th century, Blake came to work in Edison's laboratory. He drew sketches of cigars and bottles with chalk, and drew this charming picture, called stunt movie, which is the theme of the artist's own sketch. 1906 He made a funny face on the blackboard. This chalk show is recognized as the first animated film in the world. It begins with the artist's talent show, followed by moving pictures, and uses the technique of "cutting". Later, several other short films were made, including "Haunted Hotel" released by 1907. He not only used the popular folding, repeated exposure and techniques at that time, but also applied animation technology to the film, causing a sensation. However, he later devoted most of his energy to Vita's business and had no time to fully promote animation, so no one recognized him until his death.

/kloc-in the late period of 0/906, Emile Cohl, a Frenchman, began to shoot the first animated film series Fantasia. A series of changing images in Phantom Man exude unique charm. Although its skills are too simple and rough, especially compared with the later Winsor MacKay, it is not easy.

Cole studied under political cartoonist Andre Gill in his early years. Influenced by his free colors and inspired by his friends in the painting field, Cole developed the "incoherent" aesthetic characteristics of being academic, anti-rational and anti-middle class. Cole later went to work in the Gaumont Film Factory in France, where he made a hand-painted Phantom Collection in addition to writing. 19 12, Cole was invited to the United States to join the "Elair" company and start another stage of animation creation. Under the arrangement of the company, he produced the cartoons of George McManus, who was a famous pop cartoonist at that time. From 1908 to 192 1, Cole * * * completed about 250 animated short films. His animation does not pay attention to stories and plots, but tends to use visual language to develop the possibility of animation, such as "deformation" and the transition effect between images. His creative philosophy leads animation to the free development of images and personal creation. In addition, he was also the first pioneer to combine animation and real action with matte photography, so he was known as the father of contemporary animation.

Another early great animator was Winsor McCay. MacKay was not the inventor of animation, but he was the first person to notice the artistic potential of animation. He was born in Michigan, USA 1867. In his early years, he painted posters for circuses and pop troupes. Later, he became a newspaper reporter and illustrator, and became a well-known comic columnist. His most famous Little Nemo of Slimberland was first published in 1905, in which the subtle observation of life, humorous expression, rich imagination and magnificent spatial arrangement established the special style of his works. The reason why he engaged in animation happened by accident. His son cut out comic books serialized every Sunday and made them into picture books. The game inspired him. Before, he must have seen the animated short films of Blake Bolton and Cole. 19 1 1 year, MacKay made the first animated film in his life. The content is taken from the funny actions of the characters in the cartoon "Little Nemo" and the strange things he experienced. He painted with his own hands, and the animation became colorful from then on. In addition, McKay is better at creating three-dimensional smooth lines in plane animation, and the audience even thinks that he refers to movies performed by real people. Later, McKay finished A Story of Musquito, which not only showed the movements of the characters, but also had the structure of the story.

As a seed film in the history of animation, more than 5,000 pictures are drawn in ink and rice paper, and the background of each frame is redrawn, with a smooth overall feeling and accurate time conversion, showing MacKay's extraordinary perspective.

MacKay is not only a performer, but also has a full understanding of the dramatic effect. After creating Gertie the Dinosaur, he went on to shoot the first animated documentary, The Sinking of Lusitania. He presented the tragic news events on the stage one by one, especially the picture of thousands of people sinking into the sea and disappearing into the waves, which shocked the audience very much. In order to reproduce the scene at that time, he drew nearly 25,000 sketches, which was a pioneering work at that time.

In a word, MacKay's efforts in developing multi-role modeling, combining story structure with public interest, and suggesting the three-dimensional aesthetic style of the picture can not be ignored; At the same time, he was also the first person to develop the concept of full animation. With the professionalism of a cartoonist, he opened up a route for animation and predicted the coming of an American cartoon era.

About this time, the development of American and European animation began to go their separate ways.

In the United States, due to the success of Blackton and Winsor McKay, animation factories have gradually appeared like cartoon characters. 19 13, the first animation company was established in new york, and Raoul Barr developed the first set of fixed drawing system for his cartoon pins. J.R. Bly followed suit, adapted Teddy Roseveare's cartoons and produced a series of adventure stories of Colonel Siza Liar. Many early cartoons were put on the screen by popular cartoons, such as Matt and Jeff and Crazy Cat. Originally, they were the favorite characters of the audience, but now they move like real people, adding more charm.

19 15 years, Ilhyde discovered celluloid film, which replaced the previous animation paper. Instead of redrawing the background of each grid, the painter painted the characters on celluloid alone and covered the background with the bottom, thus establishing the basic shooting method of animation.

This year, max Fleischer, who works for Barry Company, invented the "rotating mirror", which can transfer the action in a live-action movie to celluloid or paper in detail. From 19 16 to 1929, he created "Out of Mo Chi" and "Clown Koko", that is, he showed his talents with plotter and animation skills.

19 19, Cats first appeared in Dance of Cats, which was conceived by otto messmer of Pat Sullivan. Philip Cat is as popular as the cartoon characters of Disney Company later, especially among the intellectual audience.

Philip Cat's films contain a lot of visual interest to express animation characteristics. Mesmer imitated MacKay's method of creating Gertie, endowed Philip with unique personality and unrepeatable action style, and designed several expressions and postures, which made Philip stand out among many animated characters and become the most popular cartoon star in the United States for ten years in a row. Philip Cat was also the first cartoon character to become a commodity. Philip cat toys, Philip cat records, Philip cat stickers, a wide range of goods, new markets for children, and a set of creative film sales models have also been established.

During this period, cartoon animation can be said to be full of talents, and many resounding names appeared, such as Max and Dave Flajser, Paul Terry, Walter Lentz and others. Animated characters created in the 1920s and 1930s, such as Pope and Woody Parker, are still very popular today.

During World War II, American cartoon animation became not only the favorite industry of young artists, but also the most popular form of entertainment. Under the careful design and decoration of the original painter, Betty Popper became a sexy symbol in the eyes of the audience at 1932, and her momentum was no less than that of a Hollywood superstar.

During this period, the situation of European animators was completely different from that of the United States. Except for occasional sporadic activities, it rarely develops into the animation industry model like the United States. The cartoons imported from the United States to Europe have eclipsed the local cartoons, and the cost is relatively high.

Victor Bergdah, an animator from Scandinavia, filmed a 9-minute animated film Trolldrycken at 19 15, which is a story about the role of alcohol. This film has good reviews and box office, but the craze it triggered only lasted for a few years in Sweden. It's 1920, and it's getting cold.

Although the social changes in Russia have stimulated real-life movies to enter the mainstream of movies, the same environment has not benefited cartoon animation. Moreover, the Russian film industry only started in the mid-1920s, and some animators and excellent works appeared. Including Alexander Bushkin, alexander ivanov, brumberg sisters and Ivanov-Vano. The Brampag sisters insisted on writing one film every year after they finished filming "China People on Fire" on 1925, and this situation continues to this day. Russian animators soon found that their country's rich cultural heritage, including fables, myths and traditional puppet shows, is very valuable creative material, especially suitable for children's entertainment.

In postwar Europe in the 1920s, various thoughts surged. What film creators care about is how to reshape the form of the film. They tried to introduce new aesthetic concepts instead of the development of technology. The whirlwind of abstract art movement, the separation between realistic films and impressionist films, the development of montage theory, the application of overlapping and blending, and the drive of unbalanced composition have had a great impact on visual art, including the production of animated films.

The movement was also influenced by the ideas of Bauhaus School of Design, and its main purpose was to change and unify the rules of art, including design, architecture, drama and film. Non-figurative and abstract avant-garde animation is produced under this movement. Pioneers in this movement, including Finnish painter L. Survage, Viking Eggeling of Sweden, German painters Oscar Fisching, hans richter and Walter Ruttman, are all painters who use animation to pursue artistic forms. For example, in richter's animation, geometric architectural graphics repeatedly change angles and sizes at different rhythms, and the viewer is immersed in the action logic, aesthetic feeling and continuity of its development, as if experiencing the experience of watching architecture.

The invention of synchronous sound made the development of animation in Europe and the United States significantly different. In the United States, sound is mainly used to improve the characteristics and personality of characters. In Europe, sound is the original material of the experiment, and the relationship between music, action images and sound effects in movies has been explored to the extreme. For example, Oscar Fesinger's abstract dynamic patterns with the theme of "Hungarian Dance" (193 1) are synchronized with specific elements in music.

While European animation is developing in the avant-garde direction, a completely different movement is emerging in the United States. From the experiment of early animation in characterization and skills to the so-called' golden age of American cartoon'.

The most striking feature of the 1930s was liberation from the disguise of culture and knowledge. All the goals were to pursue happiness and develop personal talent in visual expression.

Undoubtedly, the most famous animation factory in this period was Walter Disney Studio. The rise of Disney Studio as an internationally renowned cartoon animation center also means that it will soon become the cradle of many young potential artists in the future.

At this time, Walter Disney's name and his cartoon characters, especially Mickey Mouse, are almost synonymous with family entertainment, and they are well-known and handy. Of course, this is all due to the book Animation Media.

At this time, animation has become a specialized profession. Today, with the development of science and technology, it has become more and more dynamic and far-reaching. Animators may be unattractive and even shy and introverted. Once they pick up the pen, they become the gods of creation. With their imagination, they portray wonderful characters and scenes, and the essence of animation art often lies in the technical manipulation of the characters in the works.

The legend of these animators is tex avery. In the early 1930s, he first wrote stories and jokes for Walter Lentz. Later, he joined Warner as a director and animation director, and created animation characters such as Porky Pig, daffy duck and Bonnie Rabbit. His animation is good at exerting the absurdity of humor and creating special visual effects. He succeeded in giving the characters exaggerated movements and boldly tried to go beyond their limits. By the middle of 1950, he was more willing to extend and shape the characters, which made their movements go beyond the normal track and successfully transformed the animation. In particular, his wild jokes and fast pace keep the audience in a state of tension forever. Most of his themes are related to survival, society, status and sex.

Disney's products pay more attention to three-dimensional expression and realistic route, while UPA prefers plain, stylized and popular line design. The best examples are the romantic fairy tales "Brotherhood of Man" and "The Hangman", which are Disney's favorites, replaced by social and political criticism. Because of lack of funds, they can't afford Disney's gorgeous expenses. They can only create in the form of "limited animation", draw with fewer pictures, strengthen key actions, and drive the plot with strong story and powerful sound design.

In addition to regular TV and cartoon programs on weekend mornings, at this turning point, animation is also moving towards special effects of science fiction films and fantasy films, such as A Space Odyssey, Star Wars and The Empire Strikes Back.

With the increasing production cost of live-action movies, animation has more and more advantages in cost production, especially TV advertisements and special programs. In addition, new studios around the world, from commercial advertisements to dramas and movies, combine computers with traditional animation equipment to make them more exquisite. With the sustained and steady growth of the audience, I believe that the future of animation is limitless, and the next' golden age' of animation is expected.