The study of shape is essential to the understanding of all visual art. And in animation, it’s absolutely essential to how we convey our ideas. Its impact on the success of our final execution is huge.
Here, we will be using a single shot by a master animator (Frank Thomas?) from Disney’s 1973 hand-drawn classic Robin Hood to demonstrate the importance of shape and how it can be used to improve the quality of our work.
THE SHOT:
THE BREAKDOWN:
Shape of the Composition:
The most important thing of any art is composition. Right from the start, the shot is graphically designed to surround the most important compositional elements. From the branch to the tree trunk our eyes flow around and in towards the face of the character, where he begins to speak once the overall image has been taken in by the viewer. There is never any doubt where we’re supposed to look, the circular seashell design being one of the most foundational and effective techniques used in art’s history.
Shape of the Pose:
Here we see an example of simple yet decisive posing. The overall shape of the pose not only directs the eye, but stabilizes the character’s weight and defines his attitude. The overall triangle shape and the “triangle within a triangle” formed by the clenched hands form a symbolic display of spiritual purity and innocence.
Shape of Negative Space:
Pragmatic usage of negative space lends clarity and depth to a pose. The animator’s clever placement of the snout and hat rotated upwards and away from his compatriot (offscreen) not only adds to the coyness and playful innocence of the character, it creates beauty and contrast while holding the basic pose established earlier. The effect being the isolation of attention and performance to that of the head and face.
Shape of Change & Contrast:
Great animators always find ways to express contrast. Here, the animator builds the forces of compression with the neck, head and shoulders of Robin pushed up against each other forming the anticipatory action. It’s followed by the release of the forces in the next key pose as the character relaxes and elongates the body parts in opposing directions; the head goes up, the shoulders and hands downwards, the body folded over in the reverse “C” curve. Note also how the angles of the head and facial forms show the contrast in expression with absolute clarity.
Shape of Detailed Forms:
Here, we focus on the areas of description that help to define the more detailed physical forms of the character. The linear marks depict not only forces at work within the pose, but also the substance inside of the various forms which constitute the whole. This is what we call plasticity. The eyebrows press downwards giving volume to the brow meat while the cheeks, snout and chin push and bulk up against each other during his relaxing smile. Even the lines at the break of the arms give the upper and forearms distinction and perspective and not just added beauty.
Shape of Movement:
Often given only minor consideration or as a mere afterthought, shapes OF movement are also important. Astute animators know not only to have good arcs, but also to design the paths of action (POA) beforehand. When used effectively they add flow and appeal. Here, in looking at the hands we can see that they travel in a wonderful heart-like shape, which serves to add elegance and grace to the character’s already charming demeanor.
CONCLUSION:
Although this is only a small introduction of how to apply shapes in animation, it’s a good start for artists to think and observe more carefully the forms that we choose and what they can mean. The study of old school* film, fine art and illustration will serve us well if we wish to raise our skillsets and the overall appeal of our work.
*It is only my humble opinion, but much of the work produced today is either negligent or egotistically ignorant of the fundamentals of good design. The rushed nature of modern education and industry have prevented the full absorption and understanding of such artistic concepts that make for work that is stronger in clarity, appeal and depth. It is for this reason I suggest looking at the work from the past for more useful (and easier) analysis and development.