The Vanishing Axis as a Resource in the Architectonic Backgrounds in the Full-length Films of Animation in USA (1980-2005)
Keywords:
drawing, animation, backgrounds, linear perspectiveAbstract
Despite the abundance of footage produced by the North American animation industry in the period covering the last twenty years of the 20th century and early 21st, there are few studies on perspective in the backgrounds of these films. Although it seems that the backgrounds are a secondary part in animation, they play, however, an essential role in the expression of the characters and in the atmosphere of reality or fantasy in which they are located. We are going to analyze the application of the vanishing axis as a resource for the firgurative representation, sometimes helping to save small perspective limitations, while in other occasions they are simply used as part of per-spective game. In this context we will also analyze the spatial structure, for which we will make restitution of the works to see what they discover us. We try to find out the purpose of the artist, and the role played by such solutions on the action of the characters in those backgrounds and its consequences for visual reference. For thematic reasons the field of our study on backgrounds focuses on exterior architectural elements and interior spaces within a time period that we consider as the most creative and influential.
References
(1) Walt Disney Animation Research Library, 2011. Walt Disney Animation Studios. The Archive Series #4: Layout & Background. Disney Editions, New York, 274 p.
(2) Allan, Robin, 1999. Walt Disney and Europe: European influences on the animated feature films of Walt Disney. John Libbey & Company Ltd, Londres, 304 p.
(3) Panofsky establece valores simbólicos a la perspectiva, distinguiendo entre las formas intuitivas cuando el dominio del arte religioso abría las puertas al reino de lo mágico, en contraposición con la sistematización del mundo externo de lo aparente tras la invención de las reglas renacentistas de la perspectiva, momento que el autor asocia con el fin de la teocracia de aquel momento y lo relaciona con la moderna antropocracia. Véase Panofsky, Erwin, Die Perspektive als «Symbolische Form». Leipzig-Berlín, 1927 (edición española: La perspectiva como forma simbólica. Tusquets, Barcelona 1973).
(4) Giménez, Roberto V. Análisis de dos obras de desdoblamiento de puntos de fuga (Paolo Uccello y Ercole de Roberti) e implicación de este recurso perspectivo en artistas del siglo xx. Revista Bellas Artes, 8 abril 2010, pp. 33-47, Universidad de La Laguna.
(5) Giménez, R.V., Vidal, M.D. y Conesa, S. Construcción de escenarios pseudo-perspectivos a partir de métodos utilizados en la pintura del Trecento. Revista Bellas Artes, n.º 11, pp. 39-54, Universidad de La Laguna, 2013.
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