【正文】 想法的草圖。 建立和發(fā)展一個人物不僅僅是繪制圖，每一個人物都有自己的形狀、特點(diǎn)，和舉止。s eye level. If the vanishing points have been positioned too close together, the drawing will appear distorted. Experiment with your subject to find a fortable position for the vps. Draw a box in perspective, and then construct a character within the framework. Also, study the revolving cylinder above. Notice the relationship to the arms and legs. The drawings on this page are based on twopoint perspective. The vertical lines of the box are parallel, and the horizontal lines are projected from the vps, as shown at upper left. For characters of great height, a third vp would be added, and the verticals would converge at the third vp. This threepoint perspective is used to emphasize height by lowering the horizon line (eye level), as if the viewer is looking up. Thus, the drama of animation is heightened. A giant is more frightening from a worm180。 b), then add the two middle fingers by following this shape (c). Now put in the little finger, varying its position to prevent monotony (d). It is also a good idea to exaggerate the base of the thumb. More hands Draw your own hands (simplified) from a mirror. This way they appear as they do in a drawing. The cute character The cute kitten 1. Develop the kitten180。 CHANGZHOU INSTITUTE OF TECHNOLOGY 外 文 閱 讀 與 翻 譯 題目 ： 卡通動畫 二級學(xué)院（直屬學(xué)部）： 藝術(shù)與設(shè)計(jì)學(xué)院 專業(yè)： 動 畫 班級： 10 動畫一 學(xué)生姓名： 顧靜婭 學(xué)號： 10170205 10170205 指導(dǎo) 教師姓名： 秦 佳 職稱： 副教授 輔導(dǎo)教師姓名： 陸小玲 陶晶晶 職稱： 講師 助教 評閱教師姓名： 職稱： 2020 年 3 月 原版英文： Chapitre 1 : 233。t expect to always get the skeleton right on the first try nobody can do that! Experiment… D iscard... make several drawings, then pick the best one. Be sure to work loosely when constructing the character. Work out a skeleton, construct body masses around it, and then build detail over the masses. Construction of the head Think of the head as a rounded mass: it is either ballshaped, pearshaped or eggshaped. In animation the head shape may change perspective and form many times during a scene. To simplify matters, a framework in proper perspective must be drawn first, then the details are constructed over this form. 1/ this character starts with a ball shape. 2/ draw an elliptical guideline around the first shape that will divide the face in the middle lengthwise. This determines the tilt of the head. 3/ draw the eye guideline at right angles to the second circle. This sets the face up or down. 4/ the base of the eyes and the top of the nose tie into the eye line. The perspective makes the left eye bigger than the right eye. 5/ now the details are drawn over the framework. Start with an egg shape draw guidelines around it, and then draw the face. Turn the egg in various positions and draw the same face. Animation presents the same challenge! Add a few details and draw these heads in every position using the egg as a guide. Cartoon studios often make small clay models to help the animator draw difficult characters from different angles. Egg head model method The egg is the basis of a great many cartoon heads. Draw an egg like this and study it from all angles. Add details and design some original heads of your own. Watch the perspective change as you tip or tilt the egg model. Following the center and middle guide lines will help you construct heads. More head construction All animated cartoon characters can be reduced to a basic formula. This formula makes them easier to master and ensures uniformity throughout a film, even if several different artists work on the same character. / draw an oval with perspective guidelines. / add nose construction, make sure it fits solidly. / now draw ovals for the eyes. / be aware of the perspective when constructing the remaining details. Study this basic formula, then draw the dog in different positions. Assemble these heads as though they were solid and hinged together. Facial expressions The job of an animator is the same as the job of an actor in live action pictures. Both should be masters of portraying emotions. Studying your own grimaces in a mirror is a must. Pick a character you know and go through the expressions with him, as I have here with this little pup. Stretch and squash on heads A cartoon head can be stretched or squashed to strengthen an expression. Notice that the oval containing the eyes does not change much, but the mouth area varies greatly. Small details react along with the larger form in which they are contained. The wide variety of expressions shown here is the result of stretching and squashing selected areas of the