Objective of this creative project is to reflect on the visual appearances of Chinese shadow play characters, such as Wensheng (scholarly young men, as versus military roles), Laosheng (middle-aged or old men who wear a beard), Huadan (maiden or young women), Wenchou (civilian comics), Ching (painted-face roles, with color pattern on their face representing different personalities) and godly animal roles, from the semiotic point of view. From the characters’ facial make-up, costumes, apparels, appearances, handy props and the spatial combination of the shadow play stage, the symbolic meanings are interpreted, trying to grasp the conventional cultural implications in the play. Moreover, the analysis result is used to make the visual presentation of animation creation, which is combined with paper-cut silhouettes and the Beijing opera masks. Ironical and interesting fables and stories are used for the content, in order to lead spectators into reflection of the philosophical implications of the play.

For the research method, visual characteristics of the shadow play are used as the visual elements for the re-making of animation.In addition, difference between the signifier and the signified in F. Saussure’s theory, and combination of paradigmatic and syntagmatic, as well as the difference of C S. Peirce’s associative symbolic meanings, are used to analyze the proper animation software, and to integrate the function of visual symbols and the application of animation media.

Framework of this project is: starting from the discussion of the motive and objective of the study, three parts of analyses are made, namely analysis of the visual characteristics of shadow play art’s characters, semiotic analysis and analysis of animation categories, during literature review. Hence visual elements for the creation are set down through analysis and deduction. Conclusions made from the creation dissertation are as follows:

1 The character’s personality should match his/her actions; background music should tune in with the character’s bodily gestures; joint movement speed should be consistent with special musical effect. Then, the story can be described with the scenario movements more easily.

2 Improve the single-shot limitation of traditional Chinese shadow play. It is found that story content can be presented in more details with snap-shots; more variations can be made to the musical tempo; change of scenes can match with the story better and be smoother.

3 Change the two-dimensional facial images of traditional shadow play puppets. Using the Flash features may add to the facial expression symbols of the characters, and visual meaning can be communicated more easily.

4 Geometric images are convenient, quick and direct visual symbols. They are easy to remember by the public. With the unlimited possibilities of the combination of such visual words, boundless types of meanings and ideas can be transmitted.

5 Distinguishing the features of different characters, and combining them with the Beijing opera masks will make the visual characteristics even more stylistic.

6 Incorporate modern music to distinguish from traditional shadow play, and make the animation production richer in content.

7 Add reflective content to the animation story, so that interesting stories will have deeper meaning and implication.

8 Integrate the ancient with the modern by innovative tact, and the play will be easier to communicate, modern and diversified in presentation.

9 Simple symbols are different from visual communication; conflict in visual reading should be avoided.

10 Visual art can surpass the language barrier and become a common language.

11 The puppets’ appearances, stage space, etc. of traditional Chinese shadow play are all characterized by the integrative framework of symbols.