Research Question.

Surreal to become real? Why do movements which would be unrealistic in real life make an animated character become more believable?

My first artifact aims to investigate character development through a range of practice’s which can be incorporated into an animation.

There are many techniques for developing a character, not just in the form of animation, for Example… Chekhov Technique involves developing a character from the Fingers to the hands then arms and so on…

“You might thrust them forward aggressively, clenching your fist, if the desire reminds you of grasping or catching or you might stretch them out slowly and carefully, with reserve and caution.” “Having one started this way you will no longer find it difficult to extend and adjust your particular gesture to your shoulders, your neck, the position of your head and torso legs and feet, until your entire body is thus occupied.” (Chekhov, 1953)

Laban's theory is slightly different but aims to achieve a similar result.

“Movements originate in the trunk, the center of the body and then gradually flowing out to the extremities of the arms and legs are generally more free flowing than those in which the center of the body remains motionless when the limbs begin to move. (Laban, 1980)

To demonstrate these techniques a pre-modeled character was animated to express an aggressive action, the reason behind the choice of emotion was because anger is an easily recognizable form of expression in which an audience can relate with. The action was broken down into stages and constructed in two difference methods. By creating these pieces this will demonstrate character development and how different mediums such as acting and dance can translate into the world of animation and the importance of knowing how the body moves.

A 1

When Producing this experiment the original assumption was that there would be a visible style difference between the two techniques but according to peer feedback this process did more in proving that this method works best on an individual level rather than defining types of animation, for example each animator will find their own most effect way of creating life.

I will now concentrate on key framing as this was lacking in the first experiment.

From here my intention is to develop these skills being put to practice by animating a sequence from the television series concentrating on the story telling aspect of a scene paying a great deal of attention to the characters body language when storytelling. The way our minds read what is happening in a scene if often determined by the shapes a character will make this creates body language.

http://youtu.be/F7uvmuzKPd4