AI学员风采| 以AI赋水墨,守初心赴山海

Freehand ink wash painting shapes the spiritual core of the Chinese School of Animation; iterative technology breathes new life into traditional arts.As the most nationally distinctive artistic form of Chinese animation, ink-wash animation embodies the aesthetic charm of the East and the Chinese visual narrative system, standing as an unparalleled cultural hallmark of China’s animation art.At a time when artificial intelligence is reshaping the paradigm of image creation and Chinese-style cultural content undergoes constant upgrading, we adhere to the creative philosophy of "upholding heritage while pursuing innovation, integrating technology into artistic pursuit". Rooted in solid artistic theoretical foundations, we conduct in-depth research on traditional ink-wash animation creation, and explore integration pathways between intelligent imaging technology and Chinese ink-wash animation.

作品混剪

I majored in animation storyboard creation during my undergraduate studies. I have long delved into core disciplines including audio-visual language, animated visual narration, and audio-visual aesthetic theories, forming a comprehensive theoretical framework for animation creation and rigorous visual thinking logic, which lays a solid professional foundation for ink-wash animation production.

Through systematic undergraduate training, I traced the artistic lineage of Chinese ink-wash animation, taking classic works produced by Shanghai Animation Film Studio as core theoretical references. I pay tribute to landmark ink-wash animations such as Little Tadpoles Looking for Their Mother, The Snipe and the Clam, The Cowherd Boy, Feelings of Mountains and Rivers, Legend of the Heavenly Book, and Three Monks.

These classics established the core creation principle of "animating poetic ink painting" for Chinese ink-wash animation. They organically integrate the brush textures, virtual-real artistic conception of traditional Chinese painting with animation motion rules and time-space narration, forming an exclusive oriental animation aesthetic system and serving as the core carrier of national cultural expression for the Chinese School of Animation.

Beyond the edification of classical aesthetics, I keep studying outstanding contemporary ink-wash animation works. I appreciate the extreme freehand aesthetic expression, refined audio-visual rhythm control and minimalist narrative aesthetics in Autumn Harvest by master animator Sun Lijun. Meanwhile, I learn the creative logic of poetic ink-wash short films by director Ye Youtian, absorbing his creation concept of "poetic imagery + contemporary narration" and mastering core methods to modernize traditional ink-wash artistic language. This has shaped my artistic cognition framework: tracing classics while reflecting on contemporary creation.

本科期间动画分镜手绘练习

To further advance the research on integrated innovation between intelligent imaging and traditional ink-wash animation, I enrolled in the Advanced Training Program of AI Animation at the School of Animation, Beijing Film Academy for specialized advanced studies.

During the program, under the professional guidance and academic insights of Professor Xu Xiaoxu, I systematically sorted out the theoretical logic and creative approaches for the modern transformation of traditional ink-wash animation. I defined my research orientation: taking technology as a tool, aesthetics as the core, and industrial application as the ultimate goal. I zeroed in on the core research theme of empowering the innovative development of Chinese ink-wash animation with intelligent imaging technology, and completed a conceptual upgrade from pure artistic copy creation to practical, innovative professional creation.

Drawing on years of accumulated foundational art theories, I took a regional legend as the creative prototype and completed two iterative iterations of the ink-wash animation Sinking Chaozhou.The two versions form a progressive research thread of "upholding artistic essence while innovating for the market". Specialized creative research on ink-wash animation is carried out from four dimensions: reproduction of traditional aesthetics, empowerment via intelligent imaging technology, reconstruction of narrative systems, and exploration of industrial development paths.

The first edition of Sinking Chaozhou is a creation focused on the reproduction of traditional aesthetics and technical optimization, with its core research theme being "the standardized translation of classical Chinese painting brush-and-ink language into animation".Under the careful guidance of Professor Xu Xiaoxu, this work is rooted in the aesthetic system of traditional Chinese ink-wash painting. It traces the creative styles of many master ink painters, absorbing the ethereal artistic conception of blank space from Zhu Da, the simple and vivid brush textures of Qi Baishi, the freehand and minimalist compositional logic of Wu Guanzhong, as well as the narrative aesthetics of contemporary Chinese style from Fan Beilu. The creation strictly abides by the traditional painting principles: conceive the artistic conception before wielding the brush, integrate virtuality and reality, and balance dense and sparse layouts.

In terms of animation creation, the work takes the motion rules, cinematography and audio-visual rhythm of classic ink-wash animations as aesthetic benchmarks, and adheres to the freehand creative essence of the Chinese School of Animation.

Meanwhile, innovative experiments are carried out with intelligent imaging technology. AI algorithms are adopted to optimize the dynamic generation of ink diffusion, brush flow and shifts between virtuality and reality. Artificial intelligence replaces repetitive hand-drawing procedures, resolving industrial pain points of traditional ink-wash animation: cumbersome workflows, low error tolerance, monotonous dynamic layers and overly long production cycles.

While fully retaining the original texture and oriental artistic conception of traditional ink-wash art, it improves the image precision and creation efficiency of ink-wash animation, and achieves harmonious integration between traditional artistic paradigms and modern digital technology.

After completing advanced studies at Beijing Film Academy, I created this sequel incorporating Professor Xu Xiaoxu’s development suggestions, as well as valuable script guidance on the first edition of Sinking Chaozhou from Teachers Charlie and Sun Jia. This iterative work Sinking Chaozhou & Long Luzhou is positioned as market-oriented experimental and industry-research creation. Its core research focuses on aesthetic adaptation, mass communication and market benefit conversion of ink-wash animation in the new era, aiming to break the long-standing industry dilemma that ink-wash animations "prioritize artistry while neglecting market viability".

This creation draws targeted references from two benchmark Chinese-style animation series to build a differentiated and systematic market-oriented narrative model. Learning from the creative logic of Little Monster of Langlang Mountain — lightweight storytelling, civilian perspectives and warm emotional core — I restructure the narrative expression system of ink-wash animation to reduce the aesthetic barrier of ink art and strengthen emotional resonance and public acceptance of the work.Meanwhile, it borrows the aesthetic system of Wushan Five Elements, White Moon Girl and Night Walk, which features high-standard visuals, refined camera choreography and dynamic tension of Chinese style. The audio-visual language of ink-wash animation is upgraded to strike a balance between freehand artistic conception and visual entertainment value.

From the perspectives of artistic theory and industry research, Sinking Chaozhou & Long Luzhou achieves two major breakthroughs:

First, it realizes the contemporary aesthetic transformation of traditional ink-wash aesthetics. While adhering to the freehand essence of traditional Chinese painting, it caters to the public's audio-visual tastes of the new era and fragmented communication scenarios.

Second, it establishes a commercial creation paradigm for ink-wash animation. With standardized script structures, systematic cinematography and mass-oriented aesthetic orientation, it verifies the market communication potential and commercial implementation feasibility of traditional ink-wash animation. It provides a practical replicable sample for ink-wash animation to break artistic aesthetic barriers and march toward industrialization, and effectively explores a brand-new path to revitalize the vitality of the ink-wash animation industry.

Supported by systematic studies on foundational art theories at the School of Animation, Beijing Film Academy and innovative research in the AI Animation Advanced Training Program, I have established a solid theoretical framework for ink-wash animation art and gained objective, in-depth insight into the industrial ecosystem of domestic Chinese-style animation.

After completing the training program, I carried out systematic industry research and found that Beijing, as the core hub of China’s animation industry, boasts mature digital animation, 3D animation and virtual imaging sectors. Nevertheless, the specialized market demand for pure ink-wash animation remains weak, with no complete closed-loop industrial structure in place. Issues including disconnection between artistic creation and market demands, limited career paths for specialized talents, and the absence of industrial transformation mechanisms have greatly hindered the inheritance, innovation and development of traditional ink-wash animation.

To delve deep into the cutting-edge intelligent imaging industry, break the dimensional limitations of single-type ink-wash creation, and accumulate experience in diversified image production and full-cycle project management, I took the initiative to engage in systematic industrial practice in the fields of AI digital human short dramas and AI 3D animation creation.

Throughout market-oriented practice, I centered on cross-disciplinary learning and multi-dimensional empowerment. Leveraging intelligent imaging technology systems, I expanded into diverse creative areas including 3D animation production and AI virtual digital human short dramas. This fully breaks the creative boundaries of traditional 2D ink-wash animation and greatly enriches my range of visual creation as well as industrialized production experience.

During my professional career, I achieved progressive career growth from intern to assistant director, then chief director and chief screenwriter, with steady salary growth from several thousand to tens of thousands. In this growth phase, I systematically upgraded my comprehensive capabilities covering visual creation coordination, script narrative construction, audio-visual cinematography control and team project operation. I have also thoroughly mastered the industrial production workflows and market operation logic of AI digital human short dramas and AI 3D animation.

In technical research and project delivery, I consistently benchmark top-tier industrial creation standards with high requirements, delve vertically into animation VFX technologies, and horizontally integrate live-action film production logic:

On one hand, I thoroughly study the industrial narrative framework, camera choreography and visual presentation of classic 3D animated works by Light Chaser Animation;On the other hand, I focus on researching the groundbreaking ink particle VFX technology of Deep Sea, and develop an innovative approach that combines the freehand texture of traditional ink wash with modern particle effects via artificial intelligence.

Meanwhile, I actively absorb the thinking of light-and-shadow shaping, narrative pacing, scene arrangement and performance control from live-action films. I integrate 3D animation technology, AI virtual imagery, contemporary audio-visual language and ink-wash aesthetic systems, enabling mutual learning and integration across multi-media technologies, expressive languages and creative mindsets.Relying on this diversified technical system, I have completed the full-cycle production and market launch of multiple visual works, accumulating solid cross-disciplinary technical reserves and practical experience for the subsequent digital innovation and cross-dimensional creation of ink-wash animation.

Experience in market-oriented industrial practice, accumulated expertise in standardized industrial animation workflows, and steady career advancement have granted me a comprehensive understanding of diverse forms of modern intelligent visual creation. Yet my original aspiration to devote myself to Chinese ink-wash animation has never wavered.To me, industrial practice with AI-driven intelligent imagery serves as a reservoir of technical know-how and forward-looking insight into emerging industries, while the research and creation of ink-wash animation represent a lifelong pursuit rooted in my artistic conviction.

Years of specialized study, artistic reflection, iterative creation and industrial practice have led me to a profound realization: the vitality of Chinese ink-wash animation lies in carrying forward the heritage of traditional aesthetics, and more importantly, in innovation empowered by the times.

Intelligent imaging technology is not a tool to replace traditional art, but a vital medium to restructure the creation paradigm of ink-wash animation and revitalize the contemporary value of traditional aesthetics. Likewise, explorations in market-oriented creation do not dilute artistic temperament; instead, they enable the aesthetic of Chinese ink-wash animation to achieve broader cultural dissemination and industrial implementation.

In the future, I will continue to draw on the artistic theories, innovative thinking and industrial experience acquired during my studies at Beijing Film Academy, uphold the artistic essence of the Chinese School of Animation, further delve into innovative research integrating AI intelligent imaging with traditional ink-wash animation, and continuously refine a modernized, market-oriented and industrialized creation system for ink-wash animation.

I will nourish creation with academic research, empower tradition with technology, and boost industrial development through practice. I will fully explore innovative development paths for Chinese ink-wash animation in the new era, enabling the millennia-old ink-wash artistic conception to radiate brand-new artistic vitality and industrial value in the age of intelligent imagery, and dedicate youthful creativity to the inheritance, innovation and industrial upgrading of Chinese-style animation.