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Prikazovanje nasilja v umetnosti ni nov pojav. Že v prazgodovini so naši predhodniki v jamskih slikah prikazovali boje z živalmi. Z razvojem civilizacije pa so se razvijali tudi boji, bitke, vojne ipd. in posledično tudi njihovo prikazovanje. Vzporedno z razvojem človeštva in z razvojem tehnologije nas prikazovanje omenjene tematike spremlja vse do današnjih časov. Zato se tudi vsebina animiranih filmov ni izognila tej tematiki. Pričujoče diplomsko delo predstavlja svet nasilja in spopadov v animaciji. Narejena je primerjava med animacijama vzhodnega in zahodnega sveta ter njunih pristopov do spopadov in uporabe nove tehnologije. Predstavljena je animacija vzhodnega sveta, kjer prevladuje japonska animacija – anime. Na Zahodu pa na trgu prevladuje svetovno znana korporacija Disney in njihovemu načinu podoben stil animacije drugih podjetij. Izpostavljene so razlike med tema dvema stiloma animacije in pa tudi podobnosti. Del naloge se osredotoča na prikazovanje spopadov. Diplomsko delo vsebuje poglobljen vpogled v razvoj in uporabo sodobnih metod, kot sta 3D računalniška animacija ter zajem gibanja (motion tracking), in razloži, kako je njuna prisotnost pomagala pri spreminjanju načinov ustvarjanja spopadov. Zastavljeno je tudi vprašanje, zakaj gledalci uživajo v gledanju takih animacij, kaj je tisto, kar privlači, ter ali so take animacije primerne za otroke. Predstavljene so tudi ugotovitve o pravi »formuli« za spopad, kako pripraviti spopad in kateri so najpomembnejši elementi, ki jih je potrebno upoštevati, da bi spopad pritegnil gledalca. Na koncu je opisana še lastna izkušnja ob izdelovanju praktičnega dela, ki je kratek animiran spopad z naslovom Bitka za gozd. Poglavje nas popelje skozi celoten proces ustvarjanja praktičnega dela: od predprodukcije, v kateri sta bili ustvarjeni zgodba, zgodboris in likovna zasnova, do produkcije, v procesu katere je bila ustvarjena animacija. Celoten postopek se je zaključil s postprodukcijo, v kateri so se dodali efekti in se je animacija sestavila v končno obliko. Showing violence in art is not a new phenomenon. Already in prehistoric times, our predecessors depicted animal fights in cave paintings. With the development of civilization, fights, battles, wars, etc. also developed. Consequently, also their display. In parallel with the development of humanity and the development of technology, this topic is still popular to this day. As a result, the content of the animated cartoons is also familiar with this theme. This thesis presents the world of violence and conflict in cartoon animation. A comparison is made between the animation of the Eastern and Western worlds and their approach to show battles and the use of new technology. The animation of the Eastern world is presented, where Japanese animation predominates - anime. The market of Western part of the world is dominated by the world-famous Disney Corporation and other companies with similar animation style. Therefore, here are highlighted differences between these two styles of animation as well as the similarities. Part of the thesis focuses on depicting these conflicts. An in-depth look at the development and implementation of modern methods such as the 3D digital device and Motion Tracking explains how their presence has helped change the ways in which conflicts are created. The question is also asked why viewers enjoy watching such animations, what attracts them and whether such animations are suitable for children. Findings are also presented on the right »formula« for conflict, how to prepare for creating a battle, and what are the most important elements that need to be kept for making a battle attractive and how to make sure it looks good. At the end the experience of making a practical work WoodFall, which is a short animated battle, is described. The chapter takes you through the whole process of creating practical work. This includes everything from the pre-production in which the story, storyboard and character designs were created, to the production where the actual animation is created. The whole process is completed with a postproduction in which effects are added and the animation is put together to the final form.

Lepotni standardi so v družbi prisotni že od začetka človeštva, konstantno se spreminjajo in razvijajo. Različne kulture po svetu imajo raznovrstne ideale, ki se nam morda zdijo neprivlačni, nanje pa močno vplivajo in se odražajo v njihovi umetnosti. Tudi v naši družbi opazujemo in spremljamo podoben trend. Vpliv idealov na naše mentalno stanje je pri tem zelo pomemben, obenem pa tudi védenje, kako dojemamo ne samo sebe, ampak tudi druge. Pričujoče diplomsko delo se sicer ukvarja z omenjenimi socialnimi težavami, ampak v kontekstu animiranih filmov in risank. Vse bolj je očitno, da smo pod močnim vplivom korporacij, ki s svojimi lovkami pohlepa vse bolj segajo po nas, saj je njihov edini namen, da nas ohranjajo nesrečne, zato da bi kupovali njihove izdelke. Prav to dejstvo je poglaviten razlog za nastanek tega dela. V njem se sprva posvetimo razlagi telesne dismorfije in anoreksije nervoze, nato še moji osebni izkušnji v spopadanju z njima in nazadnje izboljšavi zdravstvenega stanja. V poglavju »Lepotni standardi v animaciji« si na primerih nekaterih animiranih junakov iz zahodne in vzhodne animacije oblikujemo mnenje o tem, ali lepotni standardi resnično vplivajo na to, kaj gledamo. Ob tem predstavimo tudi pomembnost likovne terapije in njeno uporabo pri izboljšavi mentalnega stanja in samopodobe. Del diplomskega dela je kratek animirani film Dismorfija, ki izhaja iz teoretičnega dela diplome. Ugotovili smo, da se lepotnim idealom ne moremo izogniti in se z njimi srečujemo na vsakem koraku. Zato je zgolj naša odgovornost in poslanstvo, da se naučimo imeti radi in ostanemo prizemljeni, z realnimi pričakovanji. Beauty standards have been around since the beginning of mankind and they are constantly changing and evolving. Different cultures around the world have a diverse veriety of ideals, that we might see as unattractive. This of course affects the cultures art. We can also see and observe that in our society. By doing that we can also track the affect it has on our mental health and not only how we see ourselves but also others. The thesis is based on the previously mentioned social problems but in the context of animated films and cartoons. It’s beginning to be more apparent that we’re »under attack« from the corporations, whos tentacles of greed are reaching further and further. Their only goal is to keep us unhappy so we buy their products. That’s why I decided to write about it. The thesis first explains the meaning of body dysmorphia and anorexia nervosa, then it touches on my own struggles with them and how I got better. We need to expose this social problem and seek help. In the next chapter entitled “Beauty Standards in Animation” we look at the West and East animation as we start to form our own opinion if beauty standards do affect what we watch. By that we also present art therapy and how it can help us with our self esteem and mental well being. The thesis also follows the steps of making a short animated film Dysmorphia which is also the basis and motivation for the theoretical thesi. In conclusion we find out that we cannot escape the beauty standards and that we have to learn how to love ourselves and keep our feet firmly planted on the ground.

V tem diplomskem delu predstavljam podrobno analizo obraznih izrazov v animiranem filmu. Najprej se sprehodimo skozi osnovno znanje in razumevanje animacije, ter poglobje spoznamo tri večje tehnike izdelave animiranih filmov. Človeški obraz opišemo z različnimi proporci glave. Podrobno raziščemo tudi štirinajst glavnih mišic anatomije obraza, ter jih povežemo skupaj, da prikažemo šest osnovnih obraznih izrazov. Pri tem si pomagamo z znanjem iz medicine, ki predstavlja temelj osnovnega razumevanja. Podrobno analiziramo posamezne dele obraza, kot so oči, veke, obrvi in usta. Sproti nadgrajujemo razumevanje njihovega medsebojnega delovanja na različnih primerih. V zadnjem delu diplome sledimo mojemu osebnemu pristopu k izdelavi glave lutke in obraznih izrazov. Po vrstnem redu podrobno opišem celoten proces svoje izdelave obraznih izrazov za lutko Naluja. Cilj diplomske naloge je bila podrobna analiza in razumevanje posameznih mišic, njihovega medsebojnega delovanja in sestavljanja različnih obraznih izrazov. Želela sem razumeti perspektivo opazovanja gibanja človeškega obraza, odzivnosti na določeno dogajanje, nastale posledice, kako sploh pristopiti k razumevanju obraznih izrazov in kako gibanje narediti čim bolj realistično in gledalcu nemoteče. In this diploma work I present a detailed analysis of facial expressions in animated film. We first walk through the basic knowledge of animation and learn more about the three major techniques used for making animated films. We talk about diferent face proportions. We also explore the fourteen major muscles of facial anatomy in detail, and connect them together to explain six basic facial expressions. For this we used medical knowledge, which is the foundation of basic understanding we need for facial expressions. Through animation we analyze in detail individual parts of the face, such as the eyes, eyelids, eyebrows and mouth. We are constantly upgrading their mutual cooperation on various cases. In the last part of diploma I describe my own approach towards making the puppet's head and it's facial expressions. I describe the whole process of making in detail. The goal of the diploma thesis was a detailed analysis and understanding of individual muscles, their interaction and the composition of various facial expressions. I wanted to understand the perspective of observing the movement of a human face, responding to certain events, the consequences, how to approach the understanding of facial expressions and how to make the movement as realistic and unobtrusive as possible.

Za svojo diplomsko nalogo sem se odločila opisati proces nastajanja animiranega filma, narejenega na temo slepih in slabovidnih. Namen animiranega filma je približati svet slepih in slabovidnih ljudem, ki vidimo. V svetu, v katerem živimo, je velik del našega počutja odvisen od zunanjih dejavnikov (socialna omrežja, različne reklame ipd.). Pomembno je zavedanje, da ni vse, kar vidimo, zlato. Animirani film se ukvarja z različnimi vprašanji kot so: kako se slep človek spoprijema z različnimi tematikami, kako se sooča z vsakdanjimi opravili, razmerji z drugimi ljudmi in na splošno, kako se spoprijema s svetom in okolico in to bom tudi opisala podrobneje v diplomski nalogi. Animirani film sem želela približati slepim in slabovidnim s tem, da sem dala največji poudarek zvoku, zvočnim učinkom in spremljajočemu besedilu animiranega filma. Izbrala sem barve, ki so računalniško izračunane in prilagojene za barvno slepe ljudi. Z uporabo preprostih oblik v animaciji sem hotela doseči to, da slaboviden gledalec lažje sledi animaciji in da ga hkrati spomni na to, kako bi lahko slepa oseba narisala različne objekte. V diplomskem delu bom opisala torej celoten proces izdelave animiranega filma in uvod v temo slepih in slabovidni z opisom umetnikov in kratkem povzetku kako slepi rišejo in kaj si mislijo o tej temi. Povzela bom vse, kar je zgoraj navedeno in podrobno opisala nastanek animiranega filma. The theoretical part of the diploma work is based on the animation I did for the diploma. The animation is exploring the theme of blind and partially sighted people. The goal of the animation is to bring the experiences of blind and partially sighted people closer to mainstream tendencies visual components are integral to forming and manipulating our self image, something that blind and partially seeing people don’t necessarily focus on. The animation is exploring with what a blind person deals with on a day to day bases. How do they make new friendships and relationships, how do they deal with people and the environment that they are in, etc. To make the animation more accessible to blind people I made the sound, sound effects and script a big part o the animation. The colours were chosen with the help of a program that calculates to colours that are the most suitable for the partially blind people with a certain deseas. With the usage of all of the above and a style that is created by distinguished and simple shapes I tried to make for the impared viewer the animation easier to track. The shapes and the line also remind in certain scenes of the way a blind person would draw them. In the diploma work I will describe the process of creating the animation and introduce the theme of partially sighted and blind people by describing their work and going into depth about how blind people draw.

Diplomska naloga se osredotoča na analizo sloga oblikovanja videza lika za animirani film v primerjavi med ameriško in japonsko animacijo. Slog oblikovanja videza animiranega lika opredeljujemo na podlagi različnih področij. Mednje uvrščamo navidezne značaje lika, raznolikost zgradb telesa, strukturo obraza, oblikovanje prepoznavnih značilnosti silhuet lika, metode in tehnike za dosego učinkov zgradb delov telesa (roke, noge …), ustvarjanje karakterističnih lastnosti same silhuete, predhodno pripravo s specifičnimi smernicami videza lika za animiranje (določitev velikosti lika, barvne lestvice, upoštevanje terminov emocij …) in ne nazadnje doseganje različnih učinkov gibanja. Cilj diplomske naloge je analizirati razlike in enakosti ameriške in japonske animacije (ameriški animirani film Osmosis Jones in japonska animirana serija Cells at Work!), ki si zasluženo delita vodilno mesto po vplivu v svetu animiranega medija. Diplomska naloga je sestavljena iz teoretičnega in empiričnega dela. V teoretičnem delu so razloženi pojmi in strokovni termini s pomočjo tujih avtorjev in virov. Vsebina teoretičnega dela se smiselno nadaljuje v empiričnem delu z analizo področij, obrazloženih v teoretičnem delu. Torej, kot je v teoretičnem delu razložena silhueta v animaciji, je tudi v empiričnem delu analizirana silhueta v ameriški in japonski animaciji. The purpose of the diploma thesis focuses on the analysis of the style or look of the character for an animated film compared between American and Japanese animation. The style of the look or appearance of the animated character is defined on the basis of different areas. Among these are the apparent characteristics of the character, the diversity of the types of body builds, the structure of the face, the design of the recognizable characteristics of the silhouette, the methods and techniques for achieving the effects of the building parts of the body (hands, legs ...), the creation of characteristic features of the silhouette itself, preliminary preparation with specific lines of character look for animation (determining the size of a character, the color scale, taking into account the terms of emotions ...) and, last but not least, the achievement of various effects of movement. The goal of the diploma thesis is to analyze the differences and similarities of American and Japanese animations (american animated film Osmosis Jones and japanese animated series Cells at Work!) that deserve to share the leading spot of influence in the world of animated media. The diploma work consists of theoretical and empirical work. In the theoretical part, I interpret concepts and professional terms with the help of foreign authors and sources. The content of the theoretical part will be meaningfully continued in the empirical part through the analysis of the discussed areas already explained in the theoretical part. So, as the silhouette in the animation will be explained in the theoretical part, an analysis of the silhouette between American and Japanese animation will also be made in the empirical part.

V prvem delu diplomske naloge podamo definicijo animiranega filma in na kratko opišemo, kako nastane animirani film. Omenimo tudi osnovne standarde animacije. Drugi del diplomske naloge je razdeljen na pet obdobij razvoja, na podlagi katerih opišemo zgodovino 2D animiranih filmov. V prvem obdobju predstavimo delovanje in nastanek naprav, ki jih na splošno imenujemo »optične igrače« in delujejo po principu persistence vida. Podrobneje opišemo »laterno magico«, »tavmatrop«, »fenakitoskop«, »zoetrop«, »slikofrc«, »praksinoskop« in »optično gledališče«. Pri vseh navedemo, kdo in kdaj jih je izumil ter opišemo njihovo delovanje. Drugo obdobje razvoja temelji na pionirjih animiranega filma. Podrobneje navedemo avtorje, kot so Emile Cohl, Winsor McCay, Pat Sulivan in Otto Messmer ter brata Fleischer. Obrazložimo njihova najbolj prepoznavna dela, ki so prispevala k napredku animiranega filma. V tretjem obdobju razvoja prikažemo razcvet animiranih filmov s pomočjo analize del treh pomembnejših ustvarjalcev, in sicer Walta Disneya, Texa Averyja in Osamuja Tezuke. V četrtem obdobju razvoja opišemo slog animacije pri animacijskih hišah UPA, Warner Bros ter Hana in Barbera na podlagi njihovih likov. Omenimo tudi dva samostojna umetnika eksperimentalne animacije Normana McLarena in Johna Whitneyja. V petem obdobju prikažemo tehniko 2D digitalne animacije ter prvi digitalni animirani seriji (The Simpsons in South Park) in prva digitalna animirana filma (The Rescuers Down Under in The Iron Giant). Tretji del diplomske naloge je v celoti namenjen analizi avtoričinega kratkega digitalnega 2D animiranega filma Bubbles s primeri dela v programih TVPaint in Adobe After Effects. Diplomska naloga je zastavljena kot študijsko besedilo za vse, ki jih zanima animirani film in želijo pridobiti podlago za širjenje svojega znanja na tem področju. Tako kot vse izrazne oblike sodobne kulture tudi animacijska kinematografija ostaja razdvojena med umetnostjo in industrijo, med umetniškim elementom ter ekonomskim vidikom komercialnega izkoriščevanja. Nobenega od teh dveh vidikov ni mogoče zanemariti, ker oba prispevata k opredelitvi, razširjanju in sprejemu umetniškega dela. Zaradi tega tudi namen diplomske naloge ni zgolj navajanja seznama imen in naslovov, ki ga narekuje le kronološka D’Amico, Antonella: 2D animirani film skozi čas. Dip.nal. Nova Gorica, AU/UNG, 2019 časovnica, temveč gre za besedilo, ki poskuša prikazati mrežo odnosov med posameznimi osebnostmi, filmi in zgodovinsko-kulturnim kontekstom. In the first part of the diploma thesis, the definition of the term animated film and a brief description of how the animated films are made are given. Basic standards of animation are listed as well. The second part of the thesis is divided and described according to five periods of the history of 2D animated films. First, the operation and creation of devices that work on the principle of persistence of vision, which are generally referred to as optical toys, are described. Furthermore, magic lantern, thaumatrope, phenakistoscope, zoetrope, flip-book, praxinoscope and optical theatre are described in detail. Facts about their inventors, the year of inventing and their functions are listed. Regarding the second period, the thesis is focused on pioneers of animated film. Only certain authors, such as Emile Cohl, Winsor McCay, Pat Sulivan and Otto Messmer and the Fleischer's brothers, are particularly dealt with. Their most recognizable works, which represent a significant progress in the field of animated film, are discussed. To present the third period, major development of animated films is shown through work of three important artists: Walt Disney, Tex Avery, and Osamu Tezuka. In the fourth period, the animation styles of companies UPA, Warner Bros and Hanna and Barbera are described through their characters. In addition, two independent experimental animation artists Norman McLaren and John Whitney are mentioned. In the fifth period, technique of 2D digital animation, the first two digital animated series, The Simpsons and South Park, and the first digital animated films, The Rescuers Down Under and The Iron Giant, are discussed. The third part of the thesis is entirely focused on the creation of a short digital 2D animated film Bubbles. Examples of work in the programs TVPaint and Adobe After Effects are added as well. The thesis is born as a study text open to all those who are passionate about animated films and want to have some basis for spreading their knowledge. Like all contemporary cultural forms, animation cinema remains divided between art and industry, between the artistic element and the economic aspect of commercial exploitation. Neither of these two aspects can be neglected because they both contribute to the definition, dissemination and acceptance of a work of art. In this sense, the purpose of the diploma thesis D’Amico, Antonella: 2D animirani film skozi čas. Dip.nal. Nova Gorica, AU/UNG, 2019 is not a simple list of names and titles, dictated only by a chronological timeline, but a text that weaves a network of relationships between individual personalities, films and historical-cultural context.

Diplomsko delo raziskuje, kaj naredi like privlačne za naslovnika, vizualno in karakterno. Začnem z nekaj primeri slavnih ameriških likov, ki so med ljudmi najbolj priljubljeni in pojasnim, zakaj so jih ljudje vzljubili. Sledijo zgodnje faze procesa ustvarjanja animiranih likov, kot so vzorne sličice in konceptna animacija. Glavni del diplomskega dela je likovna zasnova, ki se osredotoča na stil, barvo, obliko in študijo modela. V drugi polovici diplomskega dela raziskujem arhetipe, gibanje v animaciji in opišem proces ustvarjanja animiranih likov iz animiranega filma Jake & Jen. Ta primer upošteva vse faze oblikovanja, ki jih predstavi teoretični del diplomskega dela. The thesis explores what makes the characters appealing to the audience both visually and personality wise. It opens with a few examples of famous American characters that are most popular among people and explains why they are so beloved. It then continues with the earliest stages of process in creating animated characters such as thumbnails and concept art. The main part of the thesis is the visual design that focuses on the importance of style, colour, shape and model sheet. The second part of the thesis explores archetypes, movement in animation and ends with a process presentation of the characters from the animated film Jake & Jen that follows all of the designing stages that are presented in the thesis.