【摘要】：本次創(chuàng)作題目為“超現(xiàn)實(shí)主義在當(dāng)代插畫(huà)創(chuàng)作中的應(yīng)用——《夢(mèng)囈》插畫(huà)創(chuàng)作”,研究超現(xiàn)實(shí)主義視覺(jué)藝術(shù)的思想觀點(diǎn)和藝術(shù)手法,提取超現(xiàn)實(shí)主義中有關(guān)繪畫(huà)的成熟理論體系和表現(xiàn)形式,對(duì)毫無(wú)聯(lián)系的瑣碎的夢(mèng)境片段進(jìn)行加工使之形成一個(gè)完整的故事腳本。創(chuàng)作作品共24幅,分為3個(gè)主題,每個(gè)主題為8個(gè)畫(huà)面。借鑒適用于當(dāng)代插畫(huà)創(chuàng)作中的超現(xiàn)實(shí)主義藝術(shù)語(yǔ)匯,將這種經(jīng)驗(yàn)具體內(nèi)化到個(gè)人的插畫(huà)創(chuàng)作中,不斷的實(shí)踐探索,使個(gè)人的創(chuàng)作能夠融合和發(fā)展傳統(tǒng)的精髓,結(jié)合時(shí)下流行的語(yǔ)匯和媒介,形成具有個(gè)人創(chuàng)作語(yǔ)言與風(fēng)格的插畫(huà)作品。需求調(diào)研報(bào)告,根據(jù)超現(xiàn)實(shí)主義在插畫(huà)中的應(yīng)用需求,多角度的調(diào)研其應(yīng)用的領(lǐng)域和針對(duì)不同人群的市場(chǎng)需求。分析超現(xiàn)實(shí)主義繪畫(huà)流派作品,從美學(xué)觀點(diǎn),藝術(shù)語(yǔ)言,表現(xiàn)形式等方面找出可以借鑒的經(jīng)驗(yàn),比較當(dāng)下超現(xiàn)實(shí)主義風(fēng)格特征的插畫(huà)作品的藝術(shù)思想和表現(xiàn)形式的不同,得出結(jié)論超現(xiàn)實(shí)主義風(fēng)格插畫(huà)在當(dāng)下的發(fā)展趨勢(shì)呈現(xiàn)出一種傳統(tǒng)資源與新興技術(shù)媒介或者是流行文化之間的碰撞,社會(huì)需求面與應(yīng)用領(lǐng)域廣泛。在學(xué)習(xí)技法上借鑒經(jīng)典的超現(xiàn)實(shí)主義繪畫(huà)作品,再結(jié)合自己主觀獨(dú)有的感受和當(dāng)下插畫(huà)創(chuàng)作中積累的經(jīng)驗(yàn),有效應(yīng)用到自己的創(chuàng)作實(shí)踐中。文獻(xiàn)研究報(bào)告,從超現(xiàn)實(shí)主義的書(shū)面定義,哲學(xué)基礎(chǔ),創(chuàng)作源泉等方面的進(jìn)行概述,著重研究超現(xiàn)實(shí)主義與視覺(jué)藝術(shù)層面的理論觀點(diǎn),并找出超現(xiàn)實(shí)主義視覺(jué)藝術(shù)中具有代表性的可提供給創(chuàng)作指導(dǎo)性意見(jiàn)的藝術(shù)理論,深入剖析超現(xiàn)實(shí)主義視覺(jué)藝術(shù)層面中的“詩(shī)意意象”、“遙遠(yuǎn)現(xiàn)實(shí)的結(jié)合”、“視覺(jué)隱喻”等理論觀點(diǎn),找到與這些觀點(diǎn)對(duì)等的藝術(shù)創(chuàng)作方法和表現(xiàn)機(jī)制,作為插畫(huà)創(chuàng)作的扎實(shí)理論依據(jù)。創(chuàng)作過(guò)程報(bào)告,創(chuàng)作的主題基于對(duì)超現(xiàn)實(shí)主義思想觀點(diǎn)的研究和超現(xiàn)實(shí)主義繪畫(huà)語(yǔ)言形式分析,以人們的潛意識(shí)活動(dòng)夢(mèng)境作為繪畫(huà)的題材,前期對(duì)夢(mèng)境資料的搜集與整理加工,將創(chuàng)作內(nèi)容經(jīng)過(guò)詩(shī)意的聯(lián)想加工,自由的揮灑想象力,隨著創(chuàng)作中意識(shí)和情感的不斷變化使作品的最終效果也呈現(xiàn)一種不確定性。分析超現(xiàn)實(shí)主義藝術(shù)語(yǔ)言的實(shí)踐和探索過(guò)程,從綜合技法的運(yùn)用、色彩的表達(dá)、造型語(yǔ)言、空間與構(gòu)圖形式等方面深入探討。從創(chuàng)作技法而言,創(chuàng)作技法是實(shí)現(xiàn)作品內(nèi)在思想和外在表現(xiàn)的重要因素之一。以超現(xiàn)實(shí)主義視覺(jué)藝術(shù)代表性理論觀點(diǎn)為依據(jù),運(yùn)用水彩技法,水彩自然流動(dòng)形成的肌理效果和幻化的藝術(shù)語(yǔ)言營(yíng)造富有詩(shī)意朦朧的幻境,空間上凝滯與流動(dòng)之間的氛圍相互轉(zhuǎn)化;結(jié)合數(shù)字矢量幾何圖形,營(yíng)造視覺(jué)的尖銳沖突感,媒介的混合達(dá)到視覺(jué)上的對(duì)立統(tǒng)一,在傳統(tǒng)技法的基礎(chǔ)上加入流行元素,使之能夠緊密結(jié)合,創(chuàng)造新的視覺(jué)形式。色彩表現(xiàn)上以黑白灰和高飽和度的明亮色塊形成對(duì)比。以視覺(jué)隱喻為指導(dǎo)觀點(diǎn)來(lái)思考造型和場(chǎng)景設(shè)計(jì),畫(huà)面以抽象的符號(hào)元素、自然的不規(guī)則的肌理形態(tài)以及寫(xiě)實(shí)性的場(chǎng)景細(xì)節(jié)描繪相結(jié)合,空間的多維度表現(xiàn),對(duì)于局部和整體的思考,使故事的發(fā)展形成一個(gè)連續(xù)的流暢的空間,正如超現(xiàn)實(shí)主義要求創(chuàng)作的流暢性,插畫(huà)的敘事性也可以完整表達(dá)。構(gòu)圖形式?jīng)]有定式,采用散點(diǎn)式,對(duì)角線(xiàn)式或均衡式,單個(gè)畫(huà)面與其他畫(huà)面從造型和空間的轉(zhuǎn)化中相互連接形成一個(gè)整體。遵循超現(xiàn)實(shí)主義的創(chuàng)作方法,進(jìn)行一場(chǎng)不帶有功利性的視覺(jué)游戲,使創(chuàng)作自由度最大化。創(chuàng)作主體的思維加工與情感的介入,對(duì)夢(mèng)境與聯(lián)想的材料進(jìn)行記錄加工,探討夢(mèng)幻和人類(lèi)潛意識(shí)外化在視覺(jué)中的表現(xiàn)形式。創(chuàng)作對(duì)超現(xiàn)實(shí)主義視覺(jué)藝術(shù)觀點(diǎn)和藝術(shù)手法的思考和繼承,對(duì)前人經(jīng)驗(yàn)的轉(zhuǎn)化,傳統(tǒng)繪畫(huà)技法融合時(shí)下流行的數(shù)字媒介,主觀內(nèi)在情感的介入與外在技法的物質(zhì)表現(xiàn)之間做反復(fù)的推敲和研究,形成具有個(gè)人強(qiáng)烈風(fēng)格語(yǔ)言的插畫(huà)作品。
[Abstract]:The title of this creation is "the application of surrealism in contemporary illustration creation," "dreamy" and "illustration creation", to study the ideas and artistic techniques of the surrealism visual art, to extract the mature theory and form of painting in surrealism, to process the unrelated and trivial dream fragments. A complete story script. A total of 24 pieces of creative works, divided into 3 themes, each subject is 8 pictures. To draw lessons from the surrealism art vocabulary suitable for contemporary illustrations, to internalize this experience into individual illustration creation, and to make continuous practice and exploration, so that the creation of a person can integrate and develop the essence of the tradition. In conjunction with popular languages and media to form illustrations with individual creative language and style. Demand research reports, according to the application needs of surrealism in illustrations, multi angle investigation of its application fields and market demands for different groups of people. In the form of expressive form, we can find out the experience that can be used for reference, compare the different artistic ideas and forms of the illustrations of the contemporary surrealism style, and draw a conclusion that the development trend of the surrealism style illustration presents a kind of collision between traditional resources and new technology medium or popular culture. It is widely used in the field of demand and application. It is effective to use the classical surrealism painting in learning techniques, and then combine his own subjective feeling and the experience accumulated in the present illustration creation, and apply it to his own creative practice. This is an overview, focusing on the theoretical views of the surrealism and visual arts, and finding out the representative artistic theories of the visual art of surrealism that can provide guidance for creative writing, and deeply analyze the "poetic imagery", "the combination of remote reality", and "visual metaphor" in the visual art of surrealism. From the theoretical point of view, we find the artistic creation method and performance mechanism equivalent to these views, as a solid theoretical basis for the creation of illustrations. The writing process report is based on the study of the surrealism ideas and the analysis of the form of the surrealism painting language, and the dreamland of people's subconscious activities as the subject of painting. In the early stage of the collection and processing of dreamland data, the creative content was processed by poetic associative processing and free imagination. With the constant change of consciousness and emotion in the creation, the final effect of the works also presented a kind of uncertainty. The practice and exploration of the surrealism art language were analyzed from the application of comprehensive techniques. The expression of color, the modeling language, the space and the form of composition are deeply discussed. From the creative technique, the creative technique is one of the important factors to realize the inner thoughts and external manifestations of the works. Based on the representative theory of the surrealism visual art, the texture effect and the illusion of the natural flow of watercolor are formed by using the technique of watercolor. The artistic language creates a poetic fantasy, the space between the stagnation and the flow of the atmosphere transform each other; combining the digital vector geometry to create a sharp sense of conflict of vision, the mixture of the media to achieve the vision of the unity of opposites, on the basis of traditional techniques to join the popular element, so that it can be closely combined to create a new visual form. Color performance is contrasted with black and white ash and bright color with high saturation. Visual metaphor is used to think about modeling and scene design. The picture combines abstract symbolic elements, natural irregular texture forms and realistic scene details. The development of the story makes the development of the story a continuous and smooth space. As surrealism requires the fluency of creation, the narration of the illustration can be fully expressed. There is no form in the form of composition, using scattered points, diagonal or equilibrium, and a single picture and other pictures connecting form a whole from the transformation of modeling and space. According to the creative method of surrealism, a visual game without utilitarianism is carried out to maximize the freedom of creation. The creative subject's thinking processing and emotional intervention, the material of dream and association are recorded and processed, and the manifestations of illusion and human subconscious externalization in the vision are discussed. The creation of surrealism vision The thinking and inheritance of artistic ideas and artistic techniques, the transformation of previous experience, the integration of traditional painting techniques into the popular digital media, the intervention of subjective inner feelings and the material performance of external techniques, and the formation of an illustrative work with a strong personal style.
【學(xué)位授予單位】：浙江理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J218.5

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