VAILL 385 Character Design Fall 2014: Symbolism and motifs

Monday, October 20, 2014

Symbolism and motifs

This is a continuation of what we have learned so far about SHAPE LANGUAGE

As Designers, we Simplify reality:

"...Often a designer's biggest challenge is creating exciting unusual forms that also have enough basis in reality to keep an audience grounded. [Maurice Nobel] related that there was a rich visual language of symbols that designers can tap into when simplifying and abstracting forms. Pg 97

“Throughout history man has crated images and symbols to represent the world around him. Look at the art of any 'primitive' culture, going all the way back to the cave paintings of early man. The paintings and drawings that were created weren't attempts to depict nature in a realistic way; they were attempts to show the inner essence of things, the spirit of a deer on a hunt, the shape of a demon that lay just outside the protection of the campfire. Usually this art can be traced to storytelling and man's attempts to explain the world around him.

“Sophisticated symbols are used by tribes to represent the world around them. The images weren't random; they had purpose and were trying to convey information. Everything you design, whether it be a tree or a rock, should do the same. How you choose to simplify forms will be what makes your designs special and unique.

Shane Prigmore - THe Croods

“...Design works in a similar way to primitive art. The designer is breaking down the know world into symbols that help tell a story, an abstraction and representation of reality.

Today our world is still made up of a simple visual language and symbols that represent ideas in that language. For example, it is highly likely that a well-educated forty-five year – old phd will draw the same tree, stick man, or a happy face as a five year old child halfway around the world. As designers we use these symbols as a starting point and then move beyond that , finding our own unique way of abstraction. All natural forms, even the most complicated, can be traced to basic elements found in nature. As a designer it is your job to decide what way is the most entertaining way to design an element, make it read as what it is, not be distracting, and fit with the needs of the mood and story. At best, these abstractions will be warm and relatable, not just symbols, but living, breathing characters.

Using simple shapes is a very good thing, but a designer must be specific with what they are designing. Let's look at trees and flowers, for example. I don't know how often I have seen the “lollipop” tree example . One could almost do anything to make trees that are more interesting than these. If you look to nature, you will be surprised to see w may varieties of simple shapes there are.

Todd Polson

“At a loss for interesting tree shapes? Examine how different cultures simplified tree forms, such as those found in Persian miniatures or Chinese paper cutouts. You would be hard-pressed to find anything as exciting in modern animation, and many of these images have been around for hundreds of years. Look at the rich variety of patterns and textures some of these works possess. This treatment obviously wouldn't work for all stories, but as a designer you can be inspired by sources from everywhere and anywhere. As Maurice often told us, “Don't coy rather learn to file shapes and forms into your visual memory. Then, later you can call upon these images to help you solve design problems.”

Todd Polson

These Motifs can and should go further than just period or cultural costumes - echo shapes, linework and patterns into the character design itself.

Meg - Hercules

Grecian Jug and vase shapes