皆为爱

喜欢这个短片的美术……下面全是摘录

〇https://www.incgmedia.com/makingof/the-windshield-wiper-alberto-mielgo

提及片名，導演解釋：「我們經歷的每段關係不盡相同，我們稱它們為愛，但實際上卻是不同的東西。如同擋風玻璃上的雨刷擦去雨滴，新的圖案出現了，也代表新的關係出現了。我不想過於矯飾，但其實本片的節奏也跟隨著雨刷擺動。」

……

導演表示，製作過程中團隊嘗試以 CG 工具創建較為原始、扁平的外觀風格。

〇https://beforesandafters.com/2021/12/15/sometimes-the-characters-they-are-still-and-they-basically-breathe-a-little-bit-and-thats-good-enough/

谷歌机翻：

b&a: The reaction I get from this film, but also from your other work and The Witness, is it’s so ‘real’—I actually feel like I’m there. But, you control the detail with your painted backgrounds, the characters themselves, and then the animation. It still feels real, but not in the same way that a live-action film is, and not real in the way that sometimes animation can feel ‘too’ real. Can you explain that?

b&a：我从这部电影以及你的其他作品和《见证者》中得到的反应是，它是如此“真实”——我真的觉得我就在那里。但是，您可以通过绘制的背景、角色本身以及动画来控制细节。它仍然感觉真实，但不像真人电影那样真实，也不像动画有时会让人感觉“太”真实那样真实。你能解释一下吗？

Alberto Mielgo: It is hard to explain, but I think I have the key of it. We have something that is called uncanny valley. Sometimes animation is so real that it feels weird. But I think that what I usually do, my art is based on impressionism, which is basically what you can catch with the hint of an eye. And the eye is very delicate, and in fact, it only focuses on whatever you are looking at. Anything else is vague.

Alberto Mielgo：这很难解释，但我想我掌握了它的关键。我们有一个叫做恐怖谷的东西。有时动画是如此真实，以至于感觉很奇怪。但我觉得我平时做的，我的艺术是基于印象派的，基本上是你一眼就能看出来的。而且眼睛很细腻，其实它只关注你在看什么。其他的都是模糊的。

So with impressionism, what I like is that it looks real, but it’s only details, only what is important for the eye to complete the image. When you do that, and it’s something that is very important in my art and in my career, you make a better experience for the eye. You create compositions that need to be clear, but just with the hint of the eye.

所以对于印象派，我喜欢的是它看起来很真实，但它只是细节，只有对眼睛重要的东西才能完成图像。当你这样做时，这在我的艺术和职业生涯中非常重要，你会为眼睛带来更好的体验。您创建的构图需要清晰，但只是用眼睛的暗示。

When you see all these films that are CGI films, that they’re full of details—pores, hairs, etc. Everything feels overwhelming and sometimes it’s very difficult to read.

I think that in order to be away from the uncanny valley—I didn’t actually do it on purpose, it’s just the way that I learned from painting, I don’t know how to do hyperrealism, for example. I don’t know how to do these super detailed brush strokes that you cannot even see the brush stroke, that is, ‘Is this a photograph?’ I don’t know how to do that.

当你看到所有这些 CGI 电影时，它们充满了细节——毛孔、毛发等。一切都让人感到难以抗拒，有时很难阅读。

我想是为了远离恐怖谷——我其实不是故意的，只是我从绘画中学到的，比如我不知道怎么做超写实主义。我不知道怎么做这些你甚至看不到笔触的超级详细的笔触，也就是说，“这是一张照片吗？”我不知道该怎么做。

I guess that’s what you’re feeling. And then I apply that to everything, to the characters, to the animation, to the colours. Everything is like a simplified version.

我想这就是你的感受。然后我把它应用到一切，人物，动画，颜色。一切都像是一个简化版。