今石洋之作为日本新生代的动画导演凭借独树一帜的视觉美术风格而备受关注,本论文从今石洋之的个人创作经历和日本动画产业环境、前辈动画师对其创作的影响入手,将案例进行对比分析和归纳总结,以今石洋之执导的数部TV动画作品、电影动画作品、短片动画作品为主要研究对象,试对今石洋之动画色彩视觉风格做出梳理,从色彩设计、视觉风格、镜头语言三个方面进行研究，尝试总结三方面特征，为相关动画研究、动画创作提供思路。本文第一部分概括今石洋之的创作历程，将不同阶段的主要作品进行梳理与分析；第二部分对今石洋之作品中的色彩设计进行分析，包括高饱和度色彩字幕设计、极简化用色原则与主观色彩的运用；第三部分归纳今石洋之作品中的视觉风格，结合蒸汽波美学风格、霓虹黑色美学风格进行阐述；第四部分分析今石洋之作品中的镜头语言，从透视法与场面调度的角度研究其作品呈现的画面效果。

As a new generation of Japanese animation director, Imaishi Hiroyuki has attracted a lot of attention for his unique visual art style. This thesis starts from Imaishi Hiroyuki 's personal creative experience and industrial environment, and the influence of his predecessors on his creative work, and then compares, analyses and summarizes the cases, and takes the TV animation works, film animation works and short film animation works directed by Imaishi Hiroyuki as the main objects of the study to make a compendium of the color and visual style of animation, from the three aspects of color study, color application and camera movement, and tries to summarize the three characteristics to provide ideas for related animation research and animation creation. The study takes several TV animation works, film animation works and short film animation works directed by Imaishi Hiroyuki as the main objects of study, and tries to sort out the color and visual style of animation, and conducts research in three aspects, color research, application of color, and camera movement, and tries to summarize the three characteristics, so as to provide ideas for related animation research and animation creation.

The first part of this paper outlines the creative history of Imaishi Hiroyuki, combing and analysing his major works at different stages; the second part analyses the colour design of Imaishi Hiroyuki's works, including the design of highly saturated colour subtitles, the principle of minimalist use of colours, and the use of subjective colours; the third part summarises the visual style of Imaishi Hiroyuki's works, combining the aesthetic styles of vaporwave and neon aesthetics to illustrate them; The fourth part analyses the camera language of Imaishi Hiroyuki's works, studying the effects of his works from the viewpoint of perspective and scene scheduling.