My Animation Studio journey began by completing simple warm up exercises – drawing long, confident lines, circles, and curved ‘S’ shaped lines which, if practiced daily, will also help improve muscle memory and build confidence in my line work.
Once warmed up, our first task was to study the basic shapes and forms that make up animated characters; the purpose being for us to understand how every character can be broken down into much simpler shapes, no matter how complex they may appear. After all, as Richard Williams wrote and is true of understanding the fundamentals of animation, ‘If a musician knows his scales, he can concentrate on the performance… but if he constantly has to think of the mechanics of what he’s doing – then he can hardly play’ (Williams, 2009).
Firstly, I practiced drawing and combining three different 2D shapes (circles, squares and triangles) and from these, adding depth and physicality, created a variety of related 3D forms.
The next step was to then to complete the famous ‘Flour Sack Exercise’ by combining two of these forms – a sphere and cuboid, to create an appealing sack character in different poses. Having first researched reliable online sources, including every animator’s must-read, Thomas and Johnston’s ‘The Illusion of Life: Disney Animation,’ here’s my attempt which I think shows that personality can be injected into a character made from even the simplest forms.
Source: Thomas and Johnston,1995
Source: Body, 2008
Our homework assignment was then to look at three different animated characters from TV shows or movies, and by breaking their construction down into their most basic geometric shapes, gain an understanding of their underlying form. However, before starting, I carried out some research into shape language, to discover how we all make assumptions about a character based on visual cues, and how the shapes chosen by the animator (which can have both positive and negative connotations) can be used to subliminally encode meaning, elicit emotion, and make the character more believable.
Source: The Walt Disney Family Museum, n.d.
Source: www.21-draw.com, 2022
Firstly, I chose Mickey Mouse who, for such an iconic character, has a surprisingly simple design, comprising mainly of circles and spheres, with cylinders used for his torso and limbs; shapes specifically chosen by the animators to relay his innocent, friendly and approachable character, and protagonist status. As the same character is often drawn by many different animators, rounded forms are often chosen for their simplicity and repeatability, and because they ‘follow through’ better on screen (Blair, 1994). Also, having completed my sketch it was interesting to see the extent to which some of the proportions had been heavily exaggerated in this anthropomorphic character.
My second choice was Principal Skinner from the Simpsons, whose overall simplistic design again mainly consists of rounded shapes such as spheres and cylinders, with the occasional triangle added in his hair; shapes likely chosen to relay the negative connotations that although a Vietnam veteran holding a high-profile job, he is cowardly, gullible, and still lives with his mother.
Lastly, I chose my favourite cartoon villain; the shape-shifting master of darkness Aku from Samurai Jack. Interestingly, relaying his cruel, destructive, unbalanced, and merciless character, his base form is predominated by sharp, triangular shapes, with the character also elongated to make him feel more imposing. However, also implying weakness in this omnipotent character, and foreshadowing his inability to defeat Jack, circular shapes have also been incorporated throughout his design.
In conclusion, I found this task fascinating, and invaluable in helping me to take my first real steps into character design.
References:
Blair, P. (1994). Cartoon Animation. Tustin, Calif.: Walter Foster Publishing, Inc.
Body, B. (2008). Brendan Body’s Blog: Flour Sack Exercise. [online] Brendan Body’s Blog [Accessed: 2 Oct. 2023].
Available at: Brendan Body’s Blog: Flour Sack Exercise
The Walt Disney Family Museum (n.d.). Shape Language Tips & Techniques. [online]. Accessed: 2 Oct 2023.
Available at: https://www.waltdisney.org/sites/default/files/2020-04/T%26T_ShapeLang_v9.pdf
Thomas, F. and Johnston, O. (1995). The Illusion of Life : Disney Animation. New York: Hyperion.
Williams, R. E. (2009). The Animator’s Survival Kit: Expanded Edition. London: Faber and Faber.
www.21-draw.com (2022). Why is Shape Language So Important? [online]. Accessed 2 October 2023.
Available at: https://www.21-draw.com/why-is-shape-language-so-important/