Developing physical character

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  • Developing physical character

    1. 1. <ul><li>Anatomy is destiny </li></ul><ul><li>A distinctive silhouette </li></ul><ul><li>Line of action </li></ul><ul><li>A language of gesture, posture and attitudes </li></ul>Body Language
    2. 2. Anatomy is destiny Ronald Searle’s ‘ Morbid Anatomies’
    3. 3. Anatomy is destiny Ronald Searle’s ‘ Morbid Anatomies’
    4. 4. Anatomy is destiny Ronald Searle
    5. 5. Anatomy is destiny Based on careful observation and close analysis of the human body.
    6. 6. Anatomy is destiny Ronald Searle
    7. 7. Anatomy is destiny ‘ Hillybilly Comics’ -- stereotypes
    8. 8. A distinctive silhouette A strong silhouette instantly conveys the personality of your character. That first initial read can go a long way in establishing a relationship with your audience. You will be able to communicate aspects of your character without boring your audience with cumbersome exposition. Our most memorable characters have deceptively simple silhouettes that are instantly recognizable and have stood the test of time. Strive for readability and your characters will make lasting impressions on your audience http://monstercutie.com/blog/2008/08/04/silhouettes-on-the-shade/
    9. 9. A distinctive silhouette http://fablefolk.blogspot.com/2008/04/fv-character-silhouettes.html Animators and cartoonists often use a character's silhouette to judge whether or not that character has &quot;appeal.&quot; Appeal is the overall memorability of a character -- how unforgettable they will be in the grand scheme of art.
    10. 10. A distinctive silhouette Arthur Rackham ‘ Cinderella’
    11. 11. A distinctive silhouette Rackham ‘ Cinderella’
    12. 12. A distinctive silhouette Lotte Reinenger ‘ Prince Achmed’
    13. 13. A distinctive silhouette Lotte Reinenger ‘ Prince Achmed’
    14. 14. A distinctive silhouette Lotte Reinenger ‘ Prince Achmed’
    15. 15. A distinctive silhouette Lotte Reinenger ‘ Prince Achmed’
    16. 16. A distinctive silhouette Comics often literally use silhouettes to add drama or emphasize mood. Hillybilly Comic Marvel/Paramount's 1996 Star Trek/X-Men From &quot;Uncle Buddy&quot; - Hate #20
    17. 17. Line of action Preston Blair http://www.animationarchive.org/2007/01/meta-100000-animation-drawing-course.html Also http://www.art.net/~rebecca/LifeDrStick1.html Crash course in drawing stick figures -> 3D figures
    18. 18. Drawing gesture Establishing the framework: Gesture drawings can be used as a framework to build the rest of your figure. A strong foundation leads to powerful illustration. If your gestures are dynamic and readable, the figure you construct around them will inherit those qualities. Detail work will serve to enhance rather than distract. Your figures will have movement even when standing still. And your illustrations will tell stories.
    19. 19. Body language People communicate as much, if not more, with their bodies -- their posture, gestures and expressions -- as they do with their words.
    20. 20. Social gestures Gesture may not be universal -- even conventions as simply as conveying ‘yes’ or ‘no’ vary both broadly and subtly.
    21. 21. Coded gestures Gestures may be extremely specific and aimed at communicating effectively over distances or in specialised contexts.
    22. 22. A language of posture Will Eisner
    23. 23. A language of posture Text and image modify and focus each other
    24. 24. A language of facial expressions Text and image modify and focus each other

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