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现代文学名著原版珍藏(第三辑)(全十五册)
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
展开全部
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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