Shadowing Practice: Video 2: Shape - Learn English Speaking with Video
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Along with lines, shapes are a major building block of composition and are critical to each storyboard and film frame.
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We begin with primitive or basic shapes which even on their own can imply emotions.
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For example, triangles can convey action, speed, or tension.
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Circles appear friendly and squares seem reliable and stable.
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Many of our characters and rules begin as two or three shapes stuck together.
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A friendly circle on top of a strong stable square body creates Mr. Incredible.
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We can take a circle which is friendly and a triangle
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which is active and we have Dash from the Incredibles who is both of those things.
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Although we may start with primitive shapes they evolve in a fluid way to look more organic as we add more details.
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And with more detail we can convey more information, meaning, or emotion.
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This leads to what we call a silhouette, which is a filled-in outline of an object.
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Each of our characters would hopefully be immediately identifiable from their silhouette.
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Check it out!
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Now let's return to the storyboards and concept art from UP and ask our artists what they see.
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With UP we thought well Carl and Ellie should play off of each other.
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They should almost be opposites in a way, even though they complement, they are opposites.
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And we thought, well, Carl would be this square shape here who's basically got these sort of drab, earth-tone colors as a square.
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And Ellie would sort of be represented by this circular, lighter shape as well.
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And she would be colored magenta.
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Again, she kind of looks at life through rose-colored glasses was the thought.
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And so we really just wanted to start with these basic shapes for Carl and Ellie.
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And so when you try to think of those elements, these end up becoming the characters.
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And Carl is still yet represented by a square and Ellie a circle.
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You know, shape does a lot for us in this composition from up.
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There's some really simple ones to spot right off the bat.
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You have kind of a circle or an oval, very primitive.
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You have a version of a triangle.
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Again, it's got a gesture to it.
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It's leaning.
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It's dynamic.
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It's moving towards Ellie.
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triangle here with Ellie, kind of accepting those pieces.
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It's almost like they're two pieces of the same sort of thought.
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That curved circle is repeated here, which kind of helps emphasize a stacked element in the same direction aiming towards Carl's face.
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Behind Carl, we have a huge,
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huge rectangle or series of rectangles that are again helping to draw your eyes straight to Carl.
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I really like this example from Ratatouille of a character whose shape is really intimidating.
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Anton Ego is the food critic who comes and kind of is known to take whole restaurants down.
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So the way that he's designed, it's interesting.
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He's like a skinny little guy, so thin and so tall, you can just see him dominating over anyone.
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And his head is leaning forward like he's coming over you like a vulture.
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And there's something very funerary about him.
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If you look at even the way that his office is designed, from above it looks like a coffin.
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And I just really love that parallel between the character and the set design that he occupies.
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So for this scene, it's the beach race scene.
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And so the way that I use shape here was to have a really large form
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that kind of blocks out exactly where you're supposed to look.
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So it feels like you're an outsider, but you also get a feel of how fast the car is
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because we're so far back and you'll see him go across screens so quickly.
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So you have like this dark shape here that really just pushes you towards McQueen.
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Even the blades of grass are all pointing towards where you're supposed to look as well as the flow of the fencing.
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We as the audience are the outsider here
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because he's not quite understanding emotionally where he should be at yet in the film.
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so the camera is also pulled away, and the shapes are boxing him in a little bit.
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So he feels boxed in in his mind as well.
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In this panel from Cars 3, Shape does a lot for us to strengthen what's happening in Lightning's life.
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That's one thing that works well in the Cars world, is this idea that the characters themselves are shapes.
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Traditionally, Lightning has rounder images, or rounder aspects to him.
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He's friendlier, he's more approachable, he's our hero.
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When you get to Jackson Storm, our new character, he's a lot more angular.
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But there's a lot more of a sharp dynamic quality to Jackson.
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And I think these lines also help him feel faster.
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The shapes, the dynamic shapes of where he's going.
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Using these sort of primitive triangle ideas, it really gives you a sense of moving forward.
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Traditionally, other cars in the Cars world are boxes.
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Or variations on boxes.
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They're not going anywhere.
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They're slow.
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but they also help frame the more dynamic characters that we're looking at, the curves of lightning and the strong angles of storm.
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As you can tell, shapes can be used in many ways to help tell a story, and it's universal.
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The use of shape to convey meaning can apply to everything, a car, a monster, a human, or even an emotion.
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In this next exercise, you'll have an opportunity to think more about shape.
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