尽管三维动画相当的成功并具有广阔光明的前景,但二维动画在形式语言上也有不可取代的明显表现性优势。首先,二维动画在形式上是对真实的高度的抽象和凝练,在反复权衡取舍的原创艺术创造中,单纯凝练的形式语言往往形成独特的艺术意蕴,体现为一种哲理、诗情或神韵。手绘动画在形色空间和动作设计上更多追求“似”而非真,语言不但言尽其实而且以少胜多,正好暗合艺术真实的规律。其次,二维艺术语汇由于绘制的关系,在形式转换上,使“动”的意义变得更加宽广。它不只局限于模仿真人的表演,模仿摄像机的移动。它更善于在镜头内的形式转换上做文章,从而体现出动画浪漫、夸张、幽默的表现色彩。其他平面动画,例如沙动画,剪纸动画,木刻动画,针幕动画等也都是在媒介上对手绘动画的开拓,各自的限制中体现美的艺术趣味,各具独到的表现性。但大量三维动画,很难放弃与生俱来的“仿真”能力,在再现的过程中,损失了艺术创造中的表现性特征,往往适得其反地带来艺术灵感和心灵遨游的萎缩。 Although 3D animation is quite successful and has a bright future, 2D animation also has an irreplaceable and expressive advantage in formal language. First of all, the two-dimensional animation in the form of the true height of abstraction and condensation, in the repeated trade-offs of the original creation of art, the simple condensed formal forms tend to form a unique artistic meaning, embodied as a philosophical, poetry or charm . Hand-drawn animation in the color space and action design more “like ” rather than true, the language is not only the word but also to win less, just in line with the true laws of art. Secondly, the two-dimensional art vocabulary due to the mapping relationship, in the form of conversion, so that the meaning of “move ” becomes more broad. It is not limited to imitating real people’s performances, imitating the camera’s movement. It is more adept at making inroads in the transformation of forms within the footage, thereby reflecting the romantic, exaggerated, humorous nature of the animation. Other graphic animations, such as sand animation, paper-cut animation, woodcut animation, needle-screen animation, are also pioneering hand-drawn animations in the media. Their respective limitations reflect the artistic interest of the United States and each has its own expressiveness. However, a large number of three-dimensional animations are hard to give up their innate “simulation ” ability. In the process of reproduction, the loss of the expressive features of artistic creation tends to counter the atrophy of artistic inspiration and spiritual travel.