User:Chen Junyu/Graduation Project Seminar/ project proposal/Proposal5

Context The animation is visible dynamic. It is constructed by motions which rely on the phi phenomenon. Animators create the illusion of moving by drawing frame by frame and try to get the ideal movement to support the narrative. Drawing or painting is different type of media. They are physically still. We can only read static information from a drawing or a painting. But if we think “dynamic” in another way, drawing/painting and animation somehow relate in a fundamental level.

People have found examples of attempts to capture the phenomenon of motion into a still drawing in paleolithic cave painting. The animals in the paintings are usually have multiple legs in superimposed positions to convey the perception of dynamic. It reminds me the old Chinese story “the magic brush”— by using the brush, things are drawn onto the wall or paper will turn to be alive and jump out of the paper. The paleolithic cave painting reflect the ancients’ understanding of motion and the desire of recording movement, in addition, it may also hint the consciousness of drawing things lively. In the Chinese painting theory “The Six principles of Chinese painting”(古画品录) written by art historian Xie He from six centuries, he have pointed out the “Spirit Resonance” or vitality is the overall energy of a work of art, which in my understanding means the lively representation either or both on depicting the object or conveying the spirit of painter.