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Publication
Análise teórica e prática dos princípios da animação baseada no estudo do cinema contemporâneo e na sua interpretação técnico-artística
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| 5.66 MB | Adobe PDF |
Advisor(s)
Abstract(s)
Muito tem sido dito acerca da palavra “animação” e muitas têm sido as suas múltiplas aplicações, do vulgarmente denominado desenho ou cartoon animado à trucagem cinematográfica, do efeito especial à imagem 3D, do grafismo multimédia ao jogo interativo (Cavalheiro, J. 2012, p.7)
A tentativa de produzir ilusão de movimento, e subsequentemente, de produzir animação, remonta há muitos séculos, ao princípio de um certo domínio da técnica. A animação sempre foi dependente dos meios tecnológicos disponíveis a dada altura. Para a animação acontecer é necessário que se produza uma ilusão de movimento a partir de imagens fixas, vistas em rápida sequência por meio de dispositivo mecânico, ótico ou eletrónico. Ora esses dispositivos começaram a surgir no século XVII e foram sofrendo alterações e melhoramentos até chegarmos aos dispositivos atuais. Como refere Cavalheiro (2012, p.11): “poder-se-á até dizer que esta adaptabilidade e diversidade são constitutivas da animação, e é no seu carácter híbrido e diversificado que funda a sua plasticidade própria.”
O surgimento dos princípios da animação resultou de uma prolongada e complexa história, e o culminar de vários esforços da parte de uma geração brilhante de animadores que culminaram na chamada Era de Ouro da animação americana. Entre estes animadores destacam-se dois grandes: Frank Thomas e Ollie Johnston, autores da obra “The Ilusion of Life” (1981), que destaca pela primeira vez de forma detalhada e concisa os princípios da animação. São 12 os princípios destacados, cada um com uma função específica e um tremendo impacto na indústria da animação.
Na tentativa de entendermos melhor tais princípios, foi necessário realizar um estudo de cariz prático e investigativo. Assim, foram analisados diversos filmes e curtas-metragens contemporâneas categorizadas por nós numa escala de realismo, análise essa que teve por base a obra “Understanding Comics” (1993) de Scott McCloud. Os princípios da animação foram analisados nesse contexto e subsequentemente classificados em gráficos. Em paralelo à nossa investigação desenvolvemos um projeto prático que nos permitiu uma apreciação prática e objetiva dos 12 princípios da animação. Essa apreciação prática envolveu a criação de uma personagem e a sua posterior animação.
Much has been said about the word “animation” and its multiple applications have been many – from the commonly called animated drawing or cartoon to cinematic trickery, from special effects to 3D images, from multimedia graphics to interactive games (Cavalheiro, J. 2012 , p.7) The attempt to produce the illusion of movement, and subsequently, to produce animation, dates back many centuries to the beginning of a certain mastery of the technique. This is because animation has always been dependent on the technological means available at a given time. For animation to occur, an illusion of movement must be produced from fixed images, seen in rapid sequence using a mechanical, optical or electronic device. Now these devices began to appear in the 17th century and underwent changes and improvements until we reached the devices we have today. As Cavalheiro (2012, p.11) states: “one could even say that this adaptability and diversity are constitutive of animation, and it is in its hybrid and diverse character that it bases its own plasticity.” The emergence of the principles of animation resulted from a long and complex history, and the culmination of several efforts on the part of a generation of brilliant animators that culminated the so-called Golden Age of American animation. Among these animators, two great ones stand out: Frank Thomas and Ollie Johnston, authors of the work “The Illusion of Life” (1981), which highlights for the first time in a detailed and concise way the principles of animation. There are 12 principles highlighted, each with a specific function and a tremendous impact on the animation industry. In an attempt to better understand these principles, it was necessary to carry out a practical and investigative study. Thus, several contemporary films and short films were analyzed, categorized by us on a scale of realism, an analysis that was based on the work “Understanding Comics” (1993) by Scott McCloud. The principles of animation were analyzed in this context and subsequently classified into graphs. In parallel to our research, we developed a practical project that allowed us a practical and objective appreciation of the 12 principles of animation. This practical appreciation involved the creation of a character and its subsequent animation.
Much has been said about the word “animation” and its multiple applications have been many – from the commonly called animated drawing or cartoon to cinematic trickery, from special effects to 3D images, from multimedia graphics to interactive games (Cavalheiro, J. 2012 , p.7) The attempt to produce the illusion of movement, and subsequently, to produce animation, dates back many centuries to the beginning of a certain mastery of the technique. This is because animation has always been dependent on the technological means available at a given time. For animation to occur, an illusion of movement must be produced from fixed images, seen in rapid sequence using a mechanical, optical or electronic device. Now these devices began to appear in the 17th century and underwent changes and improvements until we reached the devices we have today. As Cavalheiro (2012, p.11) states: “one could even say that this adaptability and diversity are constitutive of animation, and it is in its hybrid and diverse character that it bases its own plasticity.” The emergence of the principles of animation resulted from a long and complex history, and the culmination of several efforts on the part of a generation of brilliant animators that culminated the so-called Golden Age of American animation. Among these animators, two great ones stand out: Frank Thomas and Ollie Johnston, authors of the work “The Illusion of Life” (1981), which highlights for the first time in a detailed and concise way the principles of animation. There are 12 principles highlighted, each with a specific function and a tremendous impact on the animation industry. In an attempt to better understand these principles, it was necessary to carry out a practical and investigative study. Thus, several contemporary films and short films were analyzed, categorized by us on a scale of realism, an analysis that was based on the work “Understanding Comics” (1993) by Scott McCloud. The principles of animation were analyzed in this context and subsequently classified into graphs. In parallel to our research, we developed a practical project that allowed us a practical and objective appreciation of the 12 principles of animation. This practical appreciation involved the creation of a character and its subsequent animation.
Description
Keywords
Contemporaneidade Animação Princípios Técnica Linguagens Prática Análise Aprendizagem Arte Cultura