For several weeks, Nathan has been throwing character concepts our way until we have a distinct personality we feel fits within the context of the narrative. Continuing our method of ‘organic development‘, we have final reached a point we can call it a day with the character.
The concepts below by Nathan were the most recurring images that sparked peoples interest. We regularly asked other teams which character they felt most attached to in order to find our character’s personality visually. We detached ourselves and relied on laypeople to bring things life. We got to a point where there was a such a regular divide however that we went with the character that spoke broadly to us and has Nathan modify it stylistically to fit within the context of the narrative.
At one point, I suggested we use Nathan’s final house concept and see it the too match aesthetically in some way. My thinking was similar to the logic that couples have similar features that make them the ‘perfect match’, and wondered if we could apply it to that (Figure below). So I ended up combining pieces to get something that fit the house analysis I did. Rightfully, I wasn’t met with complete agreement, but the research application still applied and we got to a coherent outcome we feel satisfied with to move forward with the project.
Our final outcome (Nathan’s design):
While it may look simple and relatively unremarkable – that’s the point in many respects and here’s why…
Following our agreed narrative, the final character both in physique and costume fits within the context of the film. The look plays on the element of transitioning in age generation. With the character looking to become mature and more ‘adult’, his living arrangements are based on wanting to settle down and start a family, which is reflected in the contemporary middle-class home. His costume however falls within Corrigan and White’s (2012) belief that the appearance of the character must reflect the cultural, emotional and personal context of the story. Our character wears very youthful sub-cultural attire such as jeans and the whole ‘tuck-trousers-into-big-shoes’ look that I can’t really sympathise with being the generic dresser that I am. But this youthful look reflects a modest contradiction to his transition to an ‘adult life’. We have this young 20-something year old who still retains a youthful aesthetic whilst immersing himself with the traditional middle-class lifestyle. It serves as the essence of his innocence and the final remnant of his his previous life. We use this look then as a means for him to try to maintain his youth which is slowly fading away, representing the anomaly theory.
We also wanted to maintain a blank slated appearance so that the audience could project themselves onto the character. His simple look is indeed likeable and his features aim to maintain subtly whilst always the audience to feel a sense of sympathy for him.
Beth will take Nathan’s design and create the model and texture and I’ll take on the responsibility for rigging, working in collaboration with Beth to see what features of the model need focused on for rigging and discussing with Dan what specific movement requirements are needed for animation.
Corrigan, T. and White, P. (2012) The Film Experience. Bedford: St. Martin’s