{"id":"pinscreen-animation","no":621,"name":"Pinscreen Animation","ja":"ピンスクリーン・アニメーション","era":"1930s–","family":"アニメーション技法","kind":"技法","essence":"数十万本の可動ピンを面から押し引きし、横から当てた光が作る影を1コマずつ撮影する技法。ピンの高さが白から深い黒までの連続階調になり、版画のような粒子と彫刻的な光が時間の中で変形する。","cues":["微細な点と短い影が集まる灰色の階調","輪郭が粒子へほどける柔らかな黒白像","横光の方向に揃う無数の影","前の状態を均して次の形へ彫り直す連続変形"],"intents":["静けさ","技術","懐かしさ"],"sourceTitle":"National Film Board of Canada — Animation Techniques: The Pinscreen","sourceUrl":"https://blog.nfb.ca/blog/2018/07/25/animation-techniques-pinscreen/","pair":["mezzotint","sand-animation"],"study":["Alexandre Alexeieff and Claire Parker","pin height, side light and tonal value","The Nose and Mindscape"],"works":["夢、記憶、変身を、黒白の像が物質的にほどける短編やタイトルで表すとき","線画より柔らかい階調を保ちながら、版画の暗部を動かしたいとき"],"recipe":{"type":"文字を載せる場合は細い輪郭へせず、ピンの影に負けない中太の短い語を静止面へ置く。","layout":"一つの大きな明暗塊を先に作り、焦点だけピンの高さを細かく変え、外周を粒子へ溶かす。","material":"ピンを同じ間隔で並べ、横光を一方向に固定する。白は押し込み、黒は引き出し、中間調を高さの差で刻む。"},"avoid":"写真へ粒状ノイズや鉛筆フィルターを重ねるだけでは成立しない。明暗がピンの高さと光の方向から生まれ、各コマで物理的に作り替えられる必要がある。","colors":["#E8E4DA","#7C7B76","#181817"],"motif":"animation","collection":"Dictionary expansion 34","addedAt":"2026-08-23","source":{"title":"National Film Board of Canada — Animation Techniques: The Pinscreen","url":"https://blog.nfb.ca/blog/2018/07/25/animation-techniques-pinscreen/"},"reference":{"status":"verified","pageUrl":"https://blog.nfb.ca/blog/2018/07/25/animation-techniques-pinscreen/","credit":"National Film Board of Canada — Animation Techniques: The Pinscreen"},"en":{"essence":"Pinscreen animation pushes and pulls a field of movable pins, photographing each state under side light. Pin height becomes a continuous range from white to deep black, so print-like grain and sculptural light transform over time.","cues":["Gray tone built from tiny points and short shadows","Soft monochrome contours dissolving into grain","Countless shadows aligned to one side light","Continuous transformations sculpted after smoothing the previous state"],"works":["Expressing dream, memory or transformation through monochrome images that physically dissolve","Animating the deep tonal field of printmaking without reducing it to line drawing"],"recipe":{"type":"Use short medium-weight words on still areas so lettering survives the pin shadows.","layout":"Establish one large light-dark mass, vary pin height most finely at the focus, and let the outside contour dissolve into grain.","material":"Space the pins evenly and lock one side-light direction. Push pins in for white, draw them out for black, and carve intermediate tone through height."},"avoid":"A photograph with grain or pencil filters is not a pinscreen. Tone must come from pin height and light direction, physically rebuilt for each frame.","study":["Alexandre Alexeieff and Claire Parker","Pin height, side light and tonal value","The Nose and Mindscape"]},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}