插画概念资料

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AI课件[资料]

AI课件[资料]第一课:基础知识一、软件介绍:Illustrator英译:插画它集图形设计、文字编辑及高品质输出于一体的矢量图形软件，广泛应用于平面广告设计、网页图形制作、插画制作及艺术效果处理等诸多领域。

1 、艺术设计2 、印刷出版设计3 、网页设计4 、图形设计(V I S 系统设计)吕氏集团吕氏集团吕氏集团吕氏集团05:06OFFONCOBY基本术语和概念:1 、位图(点阵图):位图图形由屏幕上的无数个细微的象素点构成与分辨率有关。

优点:1 、色彩鲜艳、真实感强。

缺点:1 、存储空间大; 2 、任意放大会出现马克塞效果。

2 、矢量图(向量图):用数学表达式描绘的线条图形，与分辨率无关。

优点:1 、存储空间小;2 、可以任意放大。

缺点:1 、真实感不强。

二、软件窗口界面介绍:(1)标题栏(软件标题、文件标题)(2)菜单栏(10个)(3)设置栏(所用工具或所选的图形不同出现不同功能设置) (4)工具箱(5)绘图窗口(打印区域和非打印区域)(6)面板窗(配合工具完成强大的AI功能)(7)状态栏(显示比例、状态提示、滚动窗口)11:新建文件第一步: 创建图形文件在绘制图形之前，需要根据作品的用途，创建一个新文件。

单击File(文件)菜单中的New(新建)命令或按下快捷键Ctrl + N，即可弹出New Document(新建文件)对话框，如(图2)所示。

三、文件窗口缩放显示及位移(1)导航器面板:改变图形窗口的大小及显示位置 (2)缩放(Z)和手形工具(H):放大和缩小图形，以及图形在窗口中的显示位置。

双击“手形工具”实现满画布显示;双击“缩放工具”实现100%画面显示;Ctrl++放大显示、Ctrl+-缩小显示、Ctrl+0满画布显示、选择任何一个工具箱中的工具，按下空格键暂时切换为抓手工具四、选择工具及选择命令详解1、选择工具:(1)选择工具(V，黑箭头):选择绘图窗口中的图形图像。

使用方法:单选,单击所选物体即为选中，在被选图形以外单击取消选择;多选,Shift+单击，圈选;还可以移动图形，按Alt复制图形，按Shift+Alt水平或垂直复制图形，并可以缩放和旋转图形，按Shift等比缩放，按Shift键45度角倍数旋转。

插图设计教案资料

插图设计教案资料插图设计教案教学单位：美术学院任课教师：王俊祥第⼀章插图的概念第⼀节插图的定义插图作为⼀种艺术形式，已普遍⽤于现代设计领域的各个⽅⾯，从⼴告设计、商品包装到书籍装祯、宣传样本、展⽰设计等。

都可以看到其动⼈的⾝影，感受到它独特的魅⼒。

它已成为现代物资⽂明⽣活不可缺少的⼀道亮丽的风景线。

、何谓“插图”？我国《辞海》的解释是：“⼜名‘插图’，指插附在书刑中的图画。

有的印在正⽂中间，有的⽤插页⽅式，对正⽂内容作形象地说明以加强作品的感染⼒。

”各类书刑的插图，如⽂学、科学、⼉童读物等，因内容不同⽽形式各异。

现在⼀般所说的插图，主要指⽂学作品的艺术插图。

画家根据作品的思想内容进⾏创作，因此⽂学插图⼜有独⽴的艺术价值。

中国过去的“出相”、“绣像”、“全图”等家属插图的⼀种。

上述的定义明显地是针对⽂字、书籍的需要⽽来的，是⼀种狭义的定义。

在英汉⼤辞典中“ＩＬＬＵＳＴＲＡＴＩＯＮ”⼀词，有说明、例证、实⼒、解说、图解、插画等含义，是以具体话的形象把意念和感情视觉化，⽐较明确的表达了插图更为宽泛的内涵，已成为表达某中意义、说明某中事物、叙述某种过程、描写某种意境的有效⼿段和艺术形式。

⼈们⼀般对“插画”和“插图”两个词汇，往往未加区别或混淆使⽤，但实质上其内涵却是不同的，插图是应⽂字需要⽽徒⼿描绘的图画，主要扮演在⽂章中表现内容、烘托⽓氛及装饰版⾯和说明的⾓⾊。

⽽“插图”的内涵却宽泛得多，其中包括插图。

简⾔之，是否可以说，只要是与⽂字同时出现，穿插在印刷媒体上的图形形态，均可称为插图。

由于信息时代的来临，现代社会物资⽂明和精神⽂明的极⼤发展，现代插图的含义已从过去狭义的书籍插画的概念（只限于画和图）变为⼴义的设计插图、摄影图⽚、图表以及抽象的图形符号，均被统称为插图。

现代平⾯设计中的插图，是指⽂字以外的⼟的部分，⽆论是绘画的插画或是摄影的照⽚，绘制的图表及版画作品，统称为插画，插图是⼴义的ＩＬＬＵＳＴＲＡＴＩＯＮ插画的狭义的图画。

插画的叙事性设计表现探究

插画的叙事性设计表现探究作者：张萌吕思菡来源：《设计》2020年第21期摘要：通过对于叙事性设计在插画中的叙事性思维、设计原则等方面进行研究分析，探究插画设计中叙事性设计表达方式。

结合插画设计的内容，以及捶画设计中叙事性思维的特点展开调研，并结合实际作品、叙事性文学研究来进行讨论。

通过以上几个方面的资料整理以及实际作品的分析调研，合理地将叙事性设计应用到插画中。

能够更好地满足插画行列在现在多元化的文化及市场中的需求，更加迎合大众对于信息获取的认知需求并为叙事性插画行列提供了有效的理论参考。

关键词：插画叙事性设计叙事性思维图像叙事中图分类号：J05文献标识码：A文章编号：1003-0069 （2020）11-0144-03引言在现如今这个读图时代的大背景下，插画作为一种直观表达内容的视觉语言，能够起到一种信息有效传达的作用。

如今，新媒体技术的不断普及，对于插画而言已不仅仅是传统的纸质绘图，电脑手绘、CG等技术逐渐进入了人们的视线中。

其运用图案表现形式的多样化，本着审美与实用相结合的原则，尽量使线条、形态清晰明快，制作方法也变得简洁方便。

在现代插画设计中，其涉及的商业应用上通常分为人物、动物、商品形象。

随着技术的不断革新，人们审美的不断提高，插画已经成为世界通用的图形语言，涉及到很多方面，因此在现代信息传播的过程中具有强烈的前瞻性。

然而目前多元化的市场需求下，对插画的内容的要求也逐渐变高，强调一定的创新性。

从叙事理论的角度对插画创作进行分析，是将作品进行真实多元化的创作，也是虚拟与现实相结合的过程，更有利于提高插画中信息的表达与传播效果。

一、插画与叙事插画，也称为插图，是能够清楚展现一幅作品的内容的一种表现手法。

有时，这种插图也可以被我们形容成集装饰功能与美学欣赏于一体的艺术品。

随着现代科技的进步与发展，人们的审美也受到了一定的影响，进而使它的载体与表现形式也愈发丰富多样，并且提高了现如今人们对生活的追求与向往。

2022-2023学年人教版七年级上册美术总复习资料

2022-2023学年人教版七年级上册美术总
复习资料
第一章美术基础知识
本章主要介绍了美术的基本知识，如线条、色彩、形状等，并结合实例进行了详细解析。

学生需要掌握这些基础知识，才能更好地进行美术创作。

第二章绘画基本技法
本章主要介绍了绘画中常用的技法，如素描、水彩、油画等，并配以实例进行讲解。

学生可以通过练这些技法，提升自己的绘画能力。

第三章素描与造型
本章主要介绍了素描及造型的知识，包括人物头部、手部、比例等，让学生能够更好地进行人物的描绘。

第四章色彩基础
本章主要介绍了色彩的基础知识，如主次色、色彩搭配等，并
结合实例进行了说明。

学生需要掌握这些基础知识，才能更好地运
用色彩进行创作。

第五章图案设计
本章主要介绍了图案设计的知识和技巧，并结合实例进行讲解，如构图、样式和配色等。

学生可以通过这些研究，提高自己的图案
设计能力。

第六章插画创作
本章主要介绍了插画的概念和创作方法，并通过实例进行讲解，学生可以通过这些研究，提高自己的插画创作能力。

第七章写生绘画
本章主要介绍了写生绘画的基本知识和技巧，并通过实例进行了详细讲解，让学生能够更好地进行写生创作。

第八章印刷术
本章主要介绍了印刷术的基本概念和技术，包括版面设计、印刷技术和制版技术等方面的内容，并结合实例进行了讲解。

总结
本册教材全面系统地介绍了七年级美术的基础知识、技法和创作方法，是学生进行美术学习和创作的必备教材。

插画开题报告范文

插画开题报告范文一、研究背景与意义随着社会的不断发展，插画作为一种视觉传达方式，已经成为了现代社会中不可或缺的一部分。

插画在书籍、杂志、广告、游戏等多个领域都有广泛的应用，其独特的艺术表现力和视觉效果深受人们的喜爱。

然而，随着数字化时代的到来，传统的插画表现方式已经无法满足人们对于多元化、个性化的需求。

因此，本研究旨在探索数字化时代下，插画的创新表现方式及其应用价值。

二、相关文献综述与现状在已有的研究中，插画的表现方式主要集中在手绘、版画、摄影、计算机图形等传统领域。

然而，随着数字技术的不断发展，插画的创作方式和表现形式也在不断拓展。

数字插画作为一种新兴的插画形式，已经得到了广泛的应用。

数字插画具有创作速度快、可修改性强、易于实现多元化效果等优点，但同时也存在着缺乏真实感和表现力不足等问题。

因此，本研究将对数字插画的表现方式进行深入研究，探讨如何通过技术手段提升数字插画的艺术表现力和视觉效果。

三、研究内容与方法本研究将采用文献研究、实证分析等多种方法，对数字插画的创新表现方式进行深入研究。

具体研究内容包括以下几个方面：1、数字插画的表现方式：将对现有的数字插画技术进行分类和分析，探讨不同技术手段的特点和应用范围。

2、数字插画的创作流程：将对数字插画的创作流程进行深入研究，包括素材收集、创意构思、绘制草图、上色处理等环节，探讨每个环节中的关键技术和方法。

3、数字插画的艺术表现力提升：将通过对比分析传统插画和数字插画的艺术表现力，探讨如何通过技术手段提升数字插画的艺术表现力和视觉效果。

4、数字插画的应用价值：将通过对数字插画在不同领域中的应用案例进行分析，探讨数字插画在商业化、艺术化等方面的应用价值。

四、预期成果与贡献通过本研究，我们将深入了解数字插画的创新表现方式和应用价值，为插画创作者提供更加全面的技术支持和艺术指导。

同时，本研究也将为数字插画的未来发展提供新的思路和方法，推动插画艺术的数字化进程。

美术名词解释

小学美术名词解释1、美术：艺术的种类之一。

“美术”在历史上是一个语义多变的概念。

在现代，人们更倾向于称美术为造型艺术和视觉艺术，具体包括绘画、雕塑、工艺、摄影、计算机美术、广告设计、产品设计、建筑和环境艺术等。

2、美术教育以美术学科为基础的教育门类。

其目的主要是：延续和发展美术的知识与技巧，以满足人类社会经济、精神和文化的需要；健全人格，形成人的基本美术素质和能力，促进人的全面发展。

3、审美：对具体事物和艺术作品中美的因素和形象进行非功利的直觉和观照，并在这一过程中获得愉悦的心理体验。

4、美术史：研究美术发展过程的学问，包括有关美术作品、美术家、流派和风格的信息、阐释和评价。

5、美术语言：指造型艺术的基本构成因素，如点、线、形状、色彩、结构、明暗、空间、材质、肌理等，以及将造型元素组合成一件完整的作品的1、基本原理，包括多样统一、比例、对称、平衡、节奏、对比、和谐等。

6、形式感：在美术中，指作品的存在方式和物质外观以及结构关系所形成的整体特征。

7、美术媒材：构成美术作品的物质材料，如颜料、纸张、黏土、画布、电影胶片、录像带、木材和塑胶等。

8、感知：通过感官对事物进行感受、辨认、识别，并与情感和认知相联系的一种过程。

9、体验：身临具体情境或亲身实践，感受事物、环境的丰富和微妙，并产生独特的情绪和认识。

1、美术创作：通过感受、体验和构思，运用一定的物质材料，采用一定的技法制作美术作品，以表达思想和情感。

1、美术表现：通过美术创作传递观念、情感和意义的过程。

1、美术批评：在直观或思考的基础上对美术作品的价值、意义、艺术成就等进行评论和判断。

1、艺术风格：艺术作品在整体上呈现出的具有代表性的独特面貌1、立体主义：立体主义是西方现代美术流派之一，1907年产生于法国。

该派要求从画家的主观意念中，打破物象的自然形态，再进行重新的组合、装配。

代表人物有毕加索、勃拉克等。

2、美术创作：美术创作是指通过感受、体验和构思，运用一定的物质材料，采用一定的技法制作美术作品，以表达思想和情感。

插画与漫画的区别

插画与漫画的区别大多数年轻人平时应该都看过漫画，还有插画。

但你清楚两者之间的关系吗?下面就跟着店铺一起来看看吧。

插画与漫画的区别在哪插画在中国被人们俗称为插图。

今天通行于国外市场的商业插画包括出版物配图、卡通吉祥物、影视海报、游戏人物设定及游戏内置的美术场景设计、广告、漫画、绘本、贺卡、挂历、装饰画、包装等多种形式。

延伸到现在的网络及手机平台上的虚拟物品及相关视觉应用等。

插画，西文统称为「illustration」，源自于拉丁文「illustraio」，意指照亮之意，也就是说插画可以使文字意念变得更明确清晰。

辞典上的解释，插画是：(1)插画、图解(2)例证、实例(3)举例说明《辞海》对“插画”的解释是：“指插附在书刊中的图画。

有的印在正文中间，有的用插页方式，对正文内容起补充说明或艺术欣赏作用。

”这种解释主要是针对书籍插图作为的定义，是一种狭义的定义。

由于情报时代的来临，现代社会的发展，现代插画的含义已从过去狭义的概念(只限于画和图)变为广义的概念，“插画”就是我们平常所看的报纸、杂志、各种刊物或儿童图画书里，在文字间所加插的图画，统统称为“插画”。

插画，在拉丁文的字义里，原是“照亮”的意思。

望文思义，它原来是用以增加刊物中文字所给予的趣味性，使文字部份能更生动、更具象地活跃在读者的心中。

而在现今各种出版品中，插画的重要性，早已远远地超过这个“照亮文字”的陪衬地位。

它不但能突出主题的思想，而且还会增强艺术的感染力。

插画是一种艺术形式，作为现代设计的一种重要的视觉传达形式，以其直观的形象性，真实的生活感和美的感染力，在现代设计中占有特定的地位，已广泛用于现代设计的多个领域，涉及到文化活动、社会公共事业、商业活动、影视文化等方面。

而漫画，是用简单而夸张的手法来描绘生活或时事的图画。

一般运用变形、比拟、象征、暗示、影射的方法，构成幽默诙谐的画面或画面组，以取得讽刺或歌颂的效果。

常采用夸张、比喻、象征等手法，讽刺、批评或歌颂某些人和事，具有较强的社会性，也有纯为娱乐的作品，有较强娱乐性，娱乐性质的作品往往存在搞笑型和人物创造型。

插画设计外文文献资料 (2)

Humor Illustration Design,a Summary of Illustrations, Designs, and ProjectsJochen GasserBahnhofstraBe 10, 39040 Vahm (Bz), Italyinfo@j ochengasser•comAbstract. This paper summarizes my work as an illustrative designer; itcovers details of my inspiration, ideas，final works，and specific projects thatI have worked on throughout my career. This paper is organized in parts;Humor Illustration Design as a Solution Mechanism for Various Problemsdescribes my view on how humor functions in the world today and how italleviates issues. Illustration as a Tool is where I explain the workings behindand the outcome of an ongoing project and the goals Fm aiming for as adesigner in terms of reaching my audience. I then show how I incorporate mywork into marketing strategies in Humor Illustration Design as MarketingStrategy. Finally I focus on the project that I will present in Las Vegas in July.Keywords: Humor Illustration Design, Humor, Andreas Hofer, Humanity,Emotional Connection, Gondola.Humor Illustration Design as a Solution Mechanism forVarious ProblemsIn a powerful and function-oriented world, it is more important than ever not to come short on emotions and humanity when it comes to design and illustration. The motto “Sex sells’’，is an evident example of how humor functions in our society; at first the directness of this motto seems crude and grabs our attention, then it eases and brings about a laugh. Humor is a concept that can be used to reach audiences within seconds, and draws them in through amusement and emotional connection. Illustration is a way to depict humor; it is an ideal means of expression as themes can be apprehended and understood with no specific boundary. In other words, illustration allows individual opinions and views on certain themes through imagination.2Illustration as a ToolSince the beginning of my career as a freelance illustrator in 2(X)8，I have been interested in innovative ways to apply the concept of “Humor Illustration Design”. I worked together with a historian named Norbert Parschalk on my first project. It was based on the idea of historical story telling through a new style. The main idea was toA. Marcus (Ed.): DUXU/HCII 2013, Part III, LNCS 8014, pp. $13-gl9]2Q13.© Springer-Vcrlag Berlin Heidelberg 2013514 J. Gassercreate 44comics ,\ in which history and humor were combined, without questioning the significance and plausibility of a given storied contents.The first story I transformed into a comic was the biography of “Andreas Hof er ”，a local freedom fighter and hero in the South Tirol (a small region of Italy, far north in the Alps)(Fig. 1 shows an exerpt from the book). In this region of Italy - in my homeland the status and importance of Andreas Hofer can be compared to that of Abraham Lincoln in the USA. I designed the illustrations and NorbertParschalk helped me formulate the texts.§aci)5m in 5er ^fcmmeFig. l. Exerpt from the Andreas Hofer bookBut there were consequences that came with animating this historical figure and things went through the roof when the storybook was first published and released; as quoted, one cannot make “Serious historical figures into comical her oes •” However the book was soon accepted and became a best seller. It also serves as an educational tool for many middleschool students and a number of others in general.The concept of this project was simple and came down to one question and goal: How could I get people from each age group who were historically ‘uninterested ’，to want to experience and learn history? The solution lay in the combination of texts and matching cartoons and comicstrips; I recreated each story based on tms combination, with the intention of finding a way to give people no option but to learn the history; they would have to read the texts in order to understand the illustrations they were looking. And this worked!I designed the humorous elements of my story books with the purpose of “reward- ing ’，the reader ，who had been ‘‘f or ced ’’ to do something undesireable (i.e. to read) in order to understand the story. Tnis concept takes after the motto: “You can learn and also laugh!”. I didn ’t want to undermine or question the seriousness of the biographies however, and so, I only chose scenes that are either proven or unverifiable. This is how the subtitle of my book series, “An IIlustraded History ”，was founded. Based on this subtitle ，my books can be considered “subjective history ” rather than as “joke ” or “satire ”.My work focuses on and is demonstrated through the concept of “humanity ”， which is thecentral theme and a crucial building block in the thoughts and proceduresDo* 蚊der TWAt W 41b «Mt » n «>» »«T «|cn «V » vhJ U4C\^c vAn H «jl njn vv^sU iiMPQ «r*«v tft)uafl Sto- dm »n iW 3030#«»Un|ycr 〇«*«««. At*-1 f VT4** Vhjtrr^ dm IM drv I M t M rw ».tlrhMn njtKk. «cf «vi O CIIMM ml UN MM «tna# viw Nan %e r^ rtn rv tr^e ftmnU * i t m l aMMvrfirMorfr m^sroe.Humor Illustration Design, a Summary of Illustrations, Designs, and Projects 515that go into my ideas, texts and illustrations- In these re-created stories, my intention is for heroes to be seen as humans that have strengths and weaknesses! With this method, which is not always met with sympathy or understanding, I aim to convey these characters not as dismantled or lesser heroes, but rather as heroic figures to whom readers of any age group can relate. The simplicity of the combination of the illustrations and texts, allows readers to have a better understanding of these heroes and the things that led them to the honorable and heroic decisions they made.Every product, every service and every action is, when it comes down to it, based on “humanity” and can be communicated as just that. Consider times when you have viewed a situation or experience，a conversation, or an emotion，from another person or friend’s perspective. You probably discovered the different possibilities of meaning or intention and were able to feel what might be felt “under one’s skin” rather than only seeing the what’s on the surface.This concept plays an important role in my approach of communicating humor; in my illustrations, heroic figures become happily-seen and read about companions because people see that these figures once existed in the real world and therefore feel that they can relate and connect to the heioe’s achievements，struggles，enjoyments，etc. on a more personal level. Thus, these humorous illustrations and texts allow the “gray and serious every day life”of the reader to be forgotten for a short time and bring a smile to his or her face. Tve come to see this as the best medicine for anything and everything!In describing my experience with readers Tve shown my take on the importance of being able to relate to a person or a character in order for success. For a story to succeed, it9s important that the readers can relate to its contents. For busines^s (in my case), this type of connection is equally important. In my opinion when it comes to design，possibility is created through the simple method of studying one’s customers; learn about their products and services, and know, understand and then focus precisely on their weaknesses. Here is a phrase that I believe to be quite relevant: "Only a person who can laugh about oneself，shows one’s ‘true colors’ and thus one’s true greatness^. I have learned to follow this method: get to know customers on a deeper level and gain their interest by working with not only what you think they are looking for, but also what they believe they will benefit from.Something that I find important in my work and that sets my ideas apart from a great deal of illustrators like myself, i^s that I disagree with the idea that maintaining the 'character9 of a product is a 4'no go^, a popular idea in the general efficiency- oriented business philosophy. In fact, on a maybe slightly emotional level, I think that maintaining the character of a product is a “must do” and that putting an emphasis on the difference of a product and distinguishing it from competing products while simultaneously maintaining success, is an actual possibility.As an example of Humor Illustration Design and my method, Fd like to describe the evolution of the design that is currently on my car. In this case the product was the vehicle and the client or customer was myself. I wa^s looking for a different way to show my illustrations and decided that I wanted to print a design on a large object. I had to begin by asking myself what this ‘objec t’，w it h which I would like to show off and promote my work could be, I chose my car! This seemed like a good idea, since everyone sharing the road with my car would of course also see my work. But what difficulty did I find when it came to putting a print on my car...? Well, due to the specific model the Materia Daihatsu which has a high vertical 4snout\ thousands of flies and insects would encounter a fatal end every summer, smooshing and splattering against the front of my car.This led me to establish an animated illustrations of a 'gentle9-looking, oversized flyswatter that is stretched across the hood of the car, counting it^s 'victims9 in a very unfazed516 J. Gassermanner. I found the backside of my car to be the ideal advertising surface for the targeted onlooker, which is, of course, whoever drives behind me.Every car has a ‘rear’ part. Mine however，is decorated with a “Buttf’ace” with the phrase u Please don^t rear me in the butt v (translated from Italian). This phrase, to many people, has a double meaning... and i^s another example of where humor and illustration work well together in portraying a certain meaning. In this case, one of the two interpretations of the phrase serves as a request to watch out for the back of my car.The quickly successful effects of this advertising method were due to and achieved by numerous photographs (especially of the 'rear') and resulted in an additional 'side- effect9: Being stopped by the police has become a very rare occurrence since the installation of the design on my car, in fact, police encounters have since only ended with a friendly goodbye. And this Td like to assume, happens because even Policemen and other figures of authority are, when it comes down to it, also just 6t human,\ This is further proof of a common appreciation for humor that can have a positive influence on anyone.3Humor as a Marketing StrategySo far in my career cus an designer the fact that humor functions independently from product or service has become clear to me. When properly combined with “customary”marketing strategies，a product can become a popular item or idea，and thus can lead to an emotional connection with the customer. My illustrated characters create a sense of connection and understanding for my clients and allow them to dive into a somewhat realistic comic world that really doesn’t seem too unbelievable.1 have displayed my illustrations and work in various ways，from simple T-shirt designs to interior designs of entire facilities. The range of possibilities seems to be endless. As an example, I have incorporated my work in restaurants where humorous details have found their place on anything from beer barrels to napkins and from bathroom walls to garden furniture.Another example of a ‘Humor Illustration Design’ project that has come about in last few years in an entertainment performance based project called, in German, 44die Zupprmandor^, which combines music and drawing. In a performance, a projection appears on a large screen in tront of an audience. Before their eyes appears an illustration, which I draw live, accompanied by a matching and timely coordinated song, which is written by a local song-writer (Markus Dorfman). This is a new type of live- performance that leads the audience on a journey of discovery with it9s captivating creation process. The “Zuppimandor”entered into the Austrian television talent- show, 'die groBe Chance' (in English, The Big Chance), similar to the show 4x- f act or’，and even made it to the semi-finals!Regardless of whether it comes to marketing, entertainment，or simply amusement，my personal desire for challenge remains to be the driving force of Humor Illustration Design, especially when it comes to opportunities in which one would not expect work like mine to appear. And with this, I would like to introduce my project-in- process.4Project in Las VegasIn searching for a perfect project for the Las Vegas event, I came across and interesting object in Las Vega^s which is currently being established. This object is called The HighHumor Illustration Design, a Summary of Illustrations, Designs, and Projects 517Roller Observation Wheel, an enormous ferriswheel at Caesar’s Palace on the Las Vegas strip. This is the world's largest observation wheel at 550 feet，with large round cabins, or gondolas，that each fit up to 40 people and allow for a 360 degree view of the city. One regular ride on this ferriswheel ride lasts 30 minutes, but a gondola can also be booked for groups and parties for much longer rides.This is not the average for a Humor Illustration Design project. I think thatI found this object appealing for this very reason; trying to find a way to connect my work with and object like the High Roller Observation Wheel would be a completely new and interesting undertaking. So I set to thinking about ideas that could combine my humor and illustration with this object. In my opinion the most stand-out aspect of this object is the large scale gondola. So I started to think of ways to transform these gondola's into my own version of gondolas with my Humor Illustration Design. In accordance with Las Vegas5attempt to become a more family-friendly destination, my idea of illustrating a variety of themed gondolas was established. I will elaborate on my first idea, which is the 4wedding-gondola1. In this gondola, a couple can exchange their "I do\s'5 in a heavenly setting above La^s Vegas9 famous strip. This idea is simple and maybe a little less than exciting for this city, given its well-known wedding and marriage possibilities. However my personal focus and challenge lies in the execution of my idea. Since my illustrations take place within a gondola, the surface space and portrayal of my ideas are confined to the inside and facade of the gondola, a small area.This illustration is a 3-D comic strip that tells the stories of a couple in love and concludes with a happy ending upon exiting the gondola; a funny depiction of love, as all of us have at one time or another experienced it, that will show the path towards finding k true' love with amusing images of both past, unsuccessful relationships and a future of happiness. With few written words, the illustrations will communicate the story of the comic strip, which allows for an international understanding as well as an opportunity for self-reflection for the observer who is looKing at ‘Gondola number 9’ (based on cloud number 9).The facade of the round gondola resembles a 4Cloud # 9' on which a welcoming ‘Amor’sits and greets guests. The couple enters their Cloud # 9 through the，entrance of the gondola, which looks like Heaven\s gate. Upon arrival, the illustration expands left and right and tells both of the character\s stories on the way to their final happiness, which they simultaneously find on the opposite side of the gondola. The illustration symbolizes both the helplessness the main characters experienced when it came to falling in love and the love they each find as it comes to their wedding day. This comic strip resembles relationship situations in which love must first be stumbled upon before becoming a possibility!This illustrations incorporates many details, like depictions of blind love, high flying emotions, hesitations towards the <4I do\s'\ the heavy back pack of loneliness, which all resemble experiences faced on the path towards finding true love. As the motto goes，“Everything happens for a r eas on’’，t he two characters travel on their own, with butterflies in their stomachs, on the path to each other. (Figure 2. Shows an example of my illustrations).518 J. GasserFig. 2. Example of my 'Love5 illustrationsThe ride in the wedding gondola shows a funny and emotionally exciting romance, a happiness and love that is shadowed by the less happy past. At the end of the ride and at the exit of the gondola，the illustration suggests a ‘typical’ situation where the wife is in the lead，dragging the husband behind her. In summary of this project，Humor Illustration Design transforms the function of a transportation device and creates an experience, as we see in this wedding-ride that is full of amusing highs and lows (laughing, crying, suffering and loving).Themed gondolas of this type are by no means a must have unsuccessfully securing this project, however, the individual elements of my illustrations can shine a new light on the overall awareness and experience of the High Roller Observation Wheel.Regardless of the theme, whether it is a wedding-gondola, a football-gondola, or a casino-gondola, there is no limit when it comes to imagination and production of these illustrations. My illustrations act as an imaginative High Roller Observation Wheel for those who observe my project. In seeing each imaginary gondola, they experience different ‘gondola rides’，which becomes their own experience，and strengthen the appeal to i re-enter, the ferris wheel on a different gondola in order see yet another comic world.To summarize what Tve written, projects like the ferriswheel project can probably be viewed as luxury items since they are sure to succeed just as well without illustration design. However, illustrations like mine provide humor and character to an object and allow for yet another aspect of the object and experience to be engrained in ones memory, which is of course very important for every designers work.Like so often in life, the most important thing is not ‘what’ but ‘how’. Humorous，illustrated designs are no ground stone for success, but are a great addition to any project and enhance the memories that one will have in walking away from an experience with almost anything. My illustrations offer customers and observers a a chance to smile or laugh for a moment and also creat a connection to an object or a place by shining a positive and humorous light on whatever it is.。

关于中国风插画的英文资料

关于中国风插画的英文资料Title: A Comprehensive Guide to Chinese Style IllustrationsIntroduction:Chinese style illustrations, renowned for their unique aesthetic and cultural significance, have gained immense popularity worldwide.These illustrations embody the rich heritage and artistic styles of China, making them a fascinating subject to explore.In this guide, we provide detailed information about Chinese style illustrations in English, offering insights into their history, characteristics, techniques, and contemporary applications.1.History of Chinese Style IllustrationsChinese style illustrations have a long and distinguished history, dating back to ancient times.Influenced by traditional Chinese painting and calligraphy, these illustrations evolved over centuries, reflecting the diverse artistic periods and regional styles of China.- Ancient Chinese Illustrations: During the Tang and Song dynasties, Chinese illustrations were predominantly found in books, scrolls, and murals.These works often depicted mythological creatures, landscapes, and scenes from everyday life.- Ming and Qing Dynasties: The Ming and Qing periods saw a surge in the popularity of woodblock prints, which were used to illustratebooks and promote commercial products.This era witnessed the development of intricate and detailed illustration styles.2.Characteristics of Chinese Style IllustrationsChinese style illustrations are distinguished by several unique characteristics:- Use of Lines: Chinese illustrators often use varying thicknesses and styles of lines to convey depth, texture, and emotions.- Colors: Traditional Chinese illustrations primarily employ black, white, and red as the main color palette.However, modern illustrators have expanded this range to include a wide array of vibrant colors.- Composition: Chinese style illustrations emphasize balance, harmony, and negative space, creating a visually pleasing composition.- Subject Matter: Nature, folklore, mythology, and everyday life are common themes in Chinese style illustrations.3.Techniques and MediumsChinese style illustrators use a variety of techniques and mediums to create their artwork:- Brush and Ink: Traditional Chinese illustrators use brushes and ink to achieve the desired line quality and texture.- Woodblock Printing: Woodblock prints have been a popular medium for Chinese illustrations for centuries.The process involves carving an image onto a wooden block and then applying ink to theblock for printing.- Digital Illustration: With the advent of technology, many modern illustrators have adopted digital tools to create Chinese style illustrations, allowing for greater precision and experimentation.4.Contemporary Applications of Chinese Style IllustrationsChinese style illustrations have found their way into various contemporary applications, including:- Advertising: These illustrations are commonly used in advertising campaigns to convey a sense of cultural authenticity and elegance.- Fashion: Chinese style illustrations are incorporated into textile designs, apparel, and accessories, adding a touch of ethnicity and sophistication.- Book Publishing: Illustrators often use Chinese style artwork to complement narratives in children"s books, graphic novels, and other publications.- Digital Media: Chinese style illustrations are widely used in digital platforms, such as video games, animations, and social media, attracting a global audience.Conclusion:Chinese style illustrations offer a rich tapestry of cultural heritage, artistic techniques, and contemporary creativity.This guide provides an overview of these illustrations, highlighting their history, characteristics,techniques, and modern applications.By exploring these aspects, one can gain a deeper appreciation for the beauty and significance of Chinese style illustrations.。

插画设计名词解释

插画设计名词解释
插画设计是指利用绘画、平面设计和数字艺术技术来创作图像，通常用于书籍、杂志、广告、动画、漫画和其他媒体中。

插画设计
旨在通过图像来传达信息、故事或情感，通常以插图的形式出现在
文本或其他内容中。

插画设计的特点包括图像简洁明了、色彩鲜明、线条清晰，能够吸引读者或观众的注意力并传达特定的视觉效果。

在插画设计中，常用的技术包括手绘、水彩、素描、油画、数
字绘画等。

插画设计师通常需要具备良好的绘画技巧、色彩感和创
意思维，能够根据客户或项目需求创作出符合要求的图像作品。

插
画设计在印刷品、电子出版物、广告和品牌推广等领域都有广泛的
应用，因此插画设计师在视觉传达和品牌营销中扮演着重要的角色。

此外，插画设计还包括了对图像构图、视觉效果和艺术风格的
研究和实践。

插画设计师需要不断地关注行业的发展趋势，不断提
升自己的艺术水平和创作技巧，以适应不断变化的市场需求和客户
要求。

总之，插画设计是一门融合了艺术、设计和传播的综合性创
作技术，对于视觉传达和内容呈现具有重要的作用。

插画设计课件资料

后期处理
运用图像编辑软件对插画进行后期处理，如添加特效、调整明暗度等，增强插画的视觉冲击力。
04
插画在平面设计中的应用
书籍封面设计
插画作为视觉元素
利用插画的视觉冲击力，增强书籍封面的吸引力，突出主题。
传达书籍内容
通过插画传达书籍的核心内容和情感，使读者在短时间内对书籍
产生兴趣。
营造氛围
插画可以营造出与书籍内容相符的氛围，使读者更容易沉浸其中
收集视觉素材
从网络、书籍、杂志等途径收集与主题相关的视觉素材，如照片、图案、纹理等。
整理参考资料
将收集到的素材进行分类整理，建立参考资料库，以便在创作过程中随时调用。
激发创作灵感
通过浏览优秀的插画作品，激发创作灵感，拓展创作思路。
草图绘制与方案确定
绘制初步草图
确定最终方案
根据主题和需求，运用手绘或数字绘画工具绘制初步草图，表达创意构思。
讲解了插画的定义、分类、风格等基础概念，以及插画在视觉传达中的重要作用。
插画创作流程
详细介绍了从创意构思到最终成品的完整插画创作流程，包括灵感来源、草图绘制、色彩搭配、细节处理等关键步骤。
插画表现技法
通过案例分析和实践练习，教授了多种插画表现技法，如线条运用、色彩渲染、质感表现等，提升学生的绘画技巧和审美水平。
插画设计课件资料
汇报人：XX
目录
• 插画设计概述 • 插画创作基础 • 插画创作流程 • 插画在平面设计中的应用 • 插画在数字媒体中的应用 • 插画艺术欣赏与案例分析 • 总结与展望
01
插画设计概述
插画定义与特点
插画定义
插画是一种艺术形式，通过图像、图形和文字等视觉元素，传达信息、表达情感和营造氛围。

初三美术中考绘画资料

初三美术中考绘画资料
初三美术中考绘画资料：
1. 花卉绘画：花卉绘画是中国画中不可或缺的一部分，可以通过学习各种花卉的形态和构图方式来提高绘画技巧。

在绘画中要注意用墨色和色彩相结合，创造出立体感和层次感。

2. 风景画绘制：风景画是一个多样化的视觉表达形式，可以从不同角度描绘自然风光，包括山脉、湖泊和森林等。

在绘制时应该注意构图与色彩的搭配，重视形式与空间的平衡感和氛围表达。

3. 插画绘制：插画是一种视觉语言，通常用于儿童图书和广告设计中。

在绘制插画时，要着重表现情感和想象，利用简单的线条和色块来构建形象和场景，表达作者的创意和风格。

4. 人物画创作：人物画要求绘画者深入了解人物的性格、气质和文化背景，把握好头部、身体的比例、动态和肌肉的构造。

在绘制时要注意灵活处理线条和色彩的变化，创造出感情的表达和性别角色的区分。

5. 水彩画色彩运用：水彩画是一种透明搭配的绘画技术，可以通过水渍的催化作用来表现颜色和质感。

在绘画中要注意彩色和墨色的混合、涂抹和光线的反射，创造出自然与人造景观的浪漫气息。

以上是初三美术中考绘画资料，希望能帮助到大家。

插画行业资料怎么写

插画行业资料怎么写在当代社会中，插画已经成为一种非常流行的艺术形式，它以图画和文字的结合，传递出独特的情感和信息。

而对于从事插画行业的人来说，撰写一份完整、准确的插画行业资料是非常重要的。

本文将探讨如何撰写一份优质的插画行业资料，以帮助从业者更好地展示自己的才能和潜力。

一、个人介绍在撰写插画行业资料时，首先需要提供个人的简要介绍。

这应包括个人的姓名、年龄、联系方式以及教育背景等基本信息。

此外，还可以在个人介绍中突出自己的专业背景和相关技能，展示自己在插画领域的经验和能力。

二、艺术风格与技能在插画行业，每个人都有自己独特的艺术风格和技能。

因此，在资料中要详细介绍自己的艺术风格和技能特点。

可以描述自己擅长绘制的主题或题材，以及常用的绘画媒介和工具。

此外，还可以提供自己在创作过程中所用到的软件和其他辅助工具。

通过详细介绍自己的艺术风格和技能，可以使潜在客户或雇主更好地了解自己的创作能力。

三、作品集展示作为一名插画师，建立一个有吸引力和专业性的作品集是必不可少的。

因此，在资料中要附上自己的作品集链接或相关图片。

作品集应包括自己代表性的插画作品，并可以按主题或类型进行分类。

通过展示优秀的作品，可以让他人对自己的创作风格和水平有更直观的了解。

四、客户或合作伙伴案例如果自己曾经与一些著名的客户或合作伙伴合作过，可以在资料中提供相关案例。

这些案例可以是自己为某个品牌或公司制作的插画作品，也可以是与其他艺术家合作的项目。

通过列举成功案例，可以证明自己的专业能力和工作经验，并对潜在客户或雇主产生更大的吸引力。

五、社交媒体和在线平台在互联网时代，社交媒体和在线平台对于插画行业来说非常重要。

因此，在资料中要提供自己在各大社交媒体平台上的账号链接或用户名。

在这些平台上，可以分享自己的插画作品、工作日常和创作过程，吸引更多的关注和粉丝。

通过引导他人进一步了解自己的插画作品，可以扩大自己的知名度和影响力。

六、奖项和荣誉如果自己曾经获得过一些奖项或荣誉，可以在资料中列举出来。