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野菊花
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我的父亲母亲 - 民国大家笔下的父母
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吴宓日记续编.第7册.1965-1966
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吴宓日记续编.第4册:1959-1960
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吴宓日记续编.第3册:1957-1958
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吴宓日记续编.第2册:1954-1956
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吴宓日记续编.第1册:1949-1953
绘本艺术 版权信息
- ISBN:9787521007459
- 条形码:9787521007459 ; 978-7-5210-0745-9
- 装帧:一般胶版纸
- 册数:暂无
- 重量:暂无
- 所属分类:>
绘本艺术 内容简介
在欧美发达国家,绘本的地位和价值很高,已被视为儿童启蒙阶段的重要教育途径,成人世界的精神食粮。绘本是艺术留学中的热门专业,市场创造的价值也在持续增长。而在国内,绘本的概念还相对模糊。尤其在绘本教学中,多停留在去探讨绘本的风格,而较少推敲创作技巧。可是,没有行之有效的技巧,绘本的创作始终不能提高。绘本的奥秘不经过讲解不明白。如果,我们不从制作者的角度解析思考,就永远体会不到微妙之道。本书详细讲解了绘本的编绘原理与创作技巧,主要内容包括绘本简史、绘本创作构思、媒材与技法、角色的创造、故事的创作、绘本文本与分镜、封面与字体排版设计等。
绘本艺术 目录
**章 绘本简史
A Brief History of Picture Book
节 绘本概述·················002
一、绘本的定义··············002
二、绘本之力·················003
第二节 绘本的诞生与历史 ····007
一、绘本的诞生··············007
二、欧美绘本——绘本的摇篮 ··························································010
三、日本绘本——绘卷物语 ·····························································022
四、中国绘本的发展 ·······030
第三节 绘本的民族化与世界性 ·····························································039
一、中国民族动漫的发展 ·039
二、华裔绘本画家杨志成 ·041
三、白金时期——21世纪的绘本 ·······················································050
第四节 世界经典绘本赏析 ····055
第二章 绘本的创作构思
Picture Book Creation
节 从观察进入想象 ·······066
一、速写本与草图的重要性 ·····························································066
二、从草图进入想象的方法 ·····························································070
第二节 从生活中获取灵感的方法 ··························································080
目 录
ii
绘本艺术
The Art of Picture Book
一、漫画日记法··············080
二、无意识写作法 ··········082
第三节 国际获奖绘本作品赏析 ·····························································085
一、自由飞翔的大卫·威斯纳 ··························································085
二、横扫大奖的绘本画家——苏菲·布莱科尔 ·····································091
第三章 技法与媒材
Techniques & Media
节 色彩理论·················100
一、孟塞尔色彩体系与色彩三要素 ····················································101
二、原色模型·················103
三、色彩基础搭配 ··········109
第二节 色彩心理学··············112
一、红色——婴儿识别的 种原色 ·················································112
二、橘色——活力与异域的味道 ·······················································113
三、黄色——幸福与贪婪的颜色 ·······················································114
四、绿色——生命与病毒的象征 ·······················································115
五、蓝色——浪漫与灵性的诗歌 ·······················································116
六、紫色——神秘与傲慢的气息 ·······················································116
七、粉色——生物的黏膜色 ·····························································118
八、黑色——力量与恐惧的暗示 ·······················································118
九、白色——纯真与死亡的旋律 ·······················································119
第三节 用色彩设计画面 ·······120
一、与孩子沟通的视觉编码 ·····························································120
二、颜色的联想和象征 ····123
三、黑白画中的亮色 ·······124
四、黑白和彩色的切换 ····126
iii
目 录
CONTENTS
第四节 传统绘本技法 ··········127
一、水彩·······················127
二、淡彩·······················130
三、水墨·······················132
四、剪纸·······················135
五、纸雕·······················136
六、油画与丙烯··············137
七、粉彩·······················140
八、黑白风····················142
第五节 新媒体····················147
一、混合媒材与拼贴 ·······147
二、立体书与玩具书 ·······151
三、电脑绘画·················153
四、动态绘本·················161
五、交互绘本·················163
第四章 角色的创造
Character Creation
节 唤醒没有生命的东西 ·168
一、观察之力·················168
二、看见与再现··············169
三、观察之力作品赏析 ····169
四、角色研究·················173
第二节 赋予角色生命力 ·······178
一、角色为王·················178
二、角色设计三要素之一:内心活动 ··················································180
三、角色设计三要素之二:视觉差异 ··················································183
iv
绘本艺术
The Art of Picture Book
四、角色设计三要素之三:表达型特质 ···············································192
第三节 以动物为角色 ··········195
一、以动物为角色的经典作品 ··························································195
二、如何让你塑造的角色更可信——了解你的角色 ·······························197
第五章 故事的创作
Story Creation
节 故事创意形成的方法 ·202
一、绘本的构想··············202
二、创意的源头··············202
三、案例分析:加古里子——日本绘本的创意大王 ································203
第二节 故事主题·················208
一、故事原型与规则 ·······208
二、简单的主题——“十四支箭”原则 ··············································212
三、普遍性主题··············212
四、绘本故事的经典主题 ·213
五、题材·······················214
第三节 确定目标读者 ··········220
一、 0—2 岁——1 拍 ········220
二、0—3 岁——2 拍 ·······222
三、3—6 岁——2 拍1 ·····225
四、3 拍 ·······················227
五、12 拍 ······················229
六、成人绘本的节奏 ·······232
第四节 构想的方法··············234
一、从观察写生开始 ·······234
二、从一个角色开始 ·······234
v
目 录
CONTENTS
三、从涂鸦开始··············234
四、从一件小事开始 ·······235
五、从缺陷开始··············235
六、从一个新闻开始 ·······235
第五节 定向研究能力 ··········236
一、定向研究的起点 ·······236
二、寻找灵感·················237
三、从感觉出发··············237
四、研究视觉效果 ··········237
第六节 故事内容的推进 ·······238
一、基本型····················238
二、直进型····················240
三、并列型····················240
四、地图型····················242
五、起伏型····················243
六、金字塔型·················243
七、旋复式····················243
第六章 绘本文本与分镜
Text & Story Board
节 绘本文本创作 ··········248
一、文字创作的6 个规律 ·248
二、现代诗歌写作的10 个技巧 ·························································249
三、诗歌绘本赏析 ··········255
四、为诗歌配图··············260
第二节 无字绘本创作 ··········261
一、招数一:时间到时间 ··261
vi
绘本艺术
The Art of Picture Book
二、招数二:动作到动作 ··262
三、招数三:连戏 ···········263
四、招数四:蒙太奇 ········264
第三节 绘本分镜设计 ··········266
一、招式一:画面的大小 ··266
二、招式二:时间与空间 ··268
三、招式三:巧妙地隐藏细节 ···························································276
四、招式四:留白的意境 ··282
五、招式五:视角的力量 ··284
六、招式六:节奏产生动感 ······························································288
第七章 绘本图书整体设计
Cover, Font & Layout Design
节 绘本的装帧设计 ·······292
一、封面设计·················292
二、书脊设计·················303
三、环衬设计·················305
四、扉页设计·················308
五、封底设计·················311
第二节 绘本的版式设计 ·······312
一、开本·······················312
二、折页与散页··············312
三、页面的方向··············313
四、页面的留白与空白 ····315
五、文字的排列··············320
六、框线的设计··············323
目 录
CONTENTS
第三节 绘本的字体设计 ·······326
一、字体设计的基本术语 ·326
二、字体分类·················329
三、字体基础改造方法 ····332
四、字体的性格··············334
五、造字的创意类型 ·······335
第四节 造字练习·················341
主要参考文献 ····················343
xiii
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绘本艺术 作者简介
国天依,美国加州艺术学院硕士,北京电影学院漫画专业大学本科毕业。北京电影学院绘本绘制课老师、北京电影学院漫画方向毕业设计与论文辅导老师、ASIFA国际动画协会中国分会成员。赴美国留学三年,绘本作品《Time in the Bottle》参加在美国旧金山湾区举办的个人画展。
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