Wednesday, 22 December 2010

Finding Nemo... the art of.

Whilst on my recent rant about my Love for Pixar.. I rediscovered the book 'The Art of Finding Nemo' that I had froma few years back... now I actually got a hold of this whilst i was still on my photography.. so how I didnt notice that i was more into illustration back then.. i do not know..

its interesting seeing a behind the scenes of some movies, espcially animated ones as you start to get a sense of just how much work and effort goes into creating the finished product but also how they came to the conclusion.

a lot of the preliminary drawings and concept art are executed by various artists.. each having their own skill and technique in which to represent mood and character.. but I shouldve referenced their work on Finding Nemo, earlier in my project.. maybe then I would have come up with some more alien looking underwater elements... one thing they had to combat was still showing bright colours that would attract a younger audience but still being true to life.. as colours are nullified under water due to certain spectrums that dont filter through...

Even still, it was their character designs that interested me more.. seeing their workings out to how each would move.. afterall a starfish cant tell us how it would move/walk or backflip.. you see a lot of the humour featured in the movie showing through these early sketches as well as the artists own sense of humour and personality coming out.. as seen in the Angler Fish's shorting out bulb..
In the Dory/Blue Tang facial tests and the Marlin/Clown fish studies we see some of these human emotions and characteristics shining through.. as the teeth are exposed (fish dont have teeth like we do but it makes it easyier for us to relate to them)... theres a lot of psychology that goes on in the background when creating a character.. we read signs such as the raised eyebrows, furrowed brows, wide eyes and quivering lips as emotion... a character may appear happy.. but how happy? is their mouth wide open smiling? are their eyes wide? or is there small sly curving of the lips suggesting 'plotting'....this all clues us in to the feelings of a character and we start to relate to this.. often adopting those characteristics ourselves... its an early, almost primal trait, that we develop as a child.. we mimic what we see in order to learn and understand as we grow and develop... this is probably why many artists sit with a mirror near by their studio so they can use their own face as reference for adding emotion...

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