Reka Podlussany, An Analysis of How Pixar Animation …

Reka Podlussany

Character Design in Pixar Movies: An Analysis of how Pixar Animation Studios uses shapes to reflect the personalities of its characters

AAD Dissertation Studio 3 2020–21

Extracts from Reka Podlussany, Character Design in Pixar Movies: An Analysis of how Pixar Animation Studios uses shapes to reflect the personalities of its characters

Dissertation Studio 3 Narrative and Storytelling Tutor: Jon Baldwin

School of Art, Architecture and Design London Metropolitan University 2021

Appearance As Solomon Asch describes: ‘Each person confronts us with a large number of diverse characteristics (.…) yet our impression is from the start unified’ (1946, p. 258). Similarly, when we start watching a film, we take a look at the characters and instantly develop an impression of them (Asch, 1946, p. 258; Ekström, 2013, p. 4). For movies, writers usually aim to establish their stories’ characters quickly, as the average duration of a film allows less time to develop a character (Hauser and Docter, 2009, p. 19) than for instance, a TV series (Mayorca, 2019). Of course, the voice of a character, which echoes its thoughts and opinions, the colours and the scene which he or she is a part of, all contribute to shaping the character’s personality and role (Yue, 2016, p. 76), yet this study is focusing on the intentions and thinking processes behind a character’s visual development. As discussed in a series of ‘Pixar in a Box’ lessons, when it comes to character design, some story artists at Pixar prefer to begin with the inner qualities of such individuals. They define the characters’ beliefs and what they enjoy (Khan Academy Labs, 2017d), they imagine how they would react in certain situations (Khan Academy Labs, 2017e) and what their obstacles (Khan Academy Labs, 2017b), wants and needs are (Khan Academy Labs, 2017c). As soon as the script and its characters are clarified, artists begin to extend these into storyboards, which then get further developed into colour scripts that are crucial in visualising sets, props and lighting, while they also begin to shape the initial look of a character (Rosa, 2015).

As mentioned earlier, an accurate and appropriate character design assists the viewer in interpreting the character’s personality (Hauser and Docter, 2009, p. 19; Ekström, 2013). Certainly, casting actors for a live action movie gathers people with given outer characteristics which they are born with, whereas animation offers the possibility of pouring these personalities into forms and the freedom of shaping every detail on the character according to the narrative (Any-Mation, 2017). In fact, to intensify ‘the representation of the character’s personality’, character designers do not only exaggerate2 specific external

2

Exaggerate: The use of exaggeration can also be connected to the art of caricatures. ‘The term caricature comes from the Italian, caricare, meaning “to load”, “surcharge” or “exaggerate”’ and is defined as an often distorted and grotesque ‘exaggeration of an individual’s distinctive features’ (Rhodes, 1996, pp. 9-11).

However, caricatures and cartoons ‘differ in both their aims and their devices’: the purpose of cartoons ‘is to express an idea’, while caricatures illustrate and form opinions of individuals in a drawing (Rhodes, 1996, p. 15).

features on a character, but they often apply simplification to a certain degree (Wang et al., 2011, p. 4). See also: Any-Mation, 2017; Ekström, 2013, pp. 8-14; Hauser and Docter, 2009, p. 19; Rosa, 2015.

The key aspects of a sufficient character development also involve the significance of a character being visually appealing (Lynn, 2015; Thomas and Johnston, 1981, p. 67). ‘Appeal (…) is often misinterpreted to suggest cuddly bunnies and soft kittens. To us, it meant anything that a person likes to see, a quality of charm, pleasing design, simplicity, communication, and magnetism’ (Thomas and Johnston, 1981, p. 67). Whether it is a hero or a villain, it has to be exciting to look at, otherwise the viewer will lose interest in the character (Thomas and Johnston, 1981, p. 67; Wang et al., 2011, p. 2). This method becomes even more significant when it comes to young audiences. The simplicity and intensity of an individual’s key characteristics enhance the success of gaining children’s attention and their appropriate understanding of the character (Any-Mation, 2017). In order to make an audience immediately recognise and generate certain emotional responses towards such characters, their external development often begins with basic primary shapes (Any-Mation, 2017; Ekström, 2013; Hauser and Docter, 2009, p. 19; Khan Academy Labs, 2017g; Powerhouse Animation Studios, 2017; Solarski, 2012, pp. 284-285; Tillman, 2011, pp. 68-73), which are also the fundamental aspects of this dissertation.

Theory and Method Perceiving Shapes Throughout the years, plenty of effort has been invested in the examination of displaying and perceiving emotions. Since Charles Darwin (1872) suggested that facial expressions appear similarly on every human face (Aronoff, 2006, p. 83; Larson et al., 2007, p. 526; Larson et al., 2012, pp. 1-2), it has also been proposed that the human brain is capable of ‘pattern recognition’ as ‘the common characteristics of different faces’ get identified by the observer in a so called ‘prototype effect’ (Wang et al., 2011, p. 1).

Triangles Numerous studies have revealed that downward pointing triangles are usually rated as “bad”, as opposed to circles or curved shapes, which were identified as “good” (Larson et al., 2012, p. 2; Larson et al., 2007). It has also been found that this hypothesis can be connected to the fundamental differentiation of a happy or an angry face, as the latter generally contains more angular and sharp lines, such as eyebrows pointing down and towards the centre of the face, creating the shape of a triangle (Larson et al., 2012, p. 2; Aronoff, 2006, p. 88). Bassili’s experiment (1978) has shown that this is originally routed in the muscle movement of the face (Aronoff, 2006, p. 88; Larson et al., 2007, p. 526; Larson et al., 2012, p. 2) and it has also been found that such demonstration of anger is in service of the observer’s quick recognition of threat and danger (Aronoff, 2006, p. 84; Larson et al., 2007, p. 526). Although, it is important to note that in character design, such principles of perceiving shapes do not only refer to an individual’s facial components and expressions, yet it is also built into its bodily shapes to support the reflection of the given character’s nature (Any-Mation, 2017; Ekström, 2013; Flynn, 2010, p. 435; Powerhouse Animation Studios, 2017; Tillman, 2011, p. 73).

It is also critical to mention that the perception of shapes as a visual language have partially developed from nature (Solarski, 2012, p. 283; Ekström, 2013, p. 6). While it has been mentioned that triangles are generally associated with danger, this has also evolved from the observer’s previous experiences in sensing surfaces. For instance, we know that thorns and spikes would prick our hands, therefore even without physically touching them, we instinctively react to such pointy shapes as something to be mindful of (Solarski, 2012, p. 283; Ekström, 2013, p. 6).

Consequently, character designers often label a triangular

Fig. 3: Attila Brindzak (no date) Thorn or spike? [Photograph].

(Brainman Pictures, 2021).

form as speedy, threatening and aggressive (Solarski, 2012, pp. 280-284; Ekström, 2013, p.

7), sharp, dangerous, mischievous, deceitful and sinister (Powerhouse Animation Studios, 2017; Ekström, 2013, p. 7), as they create tension in the viewer (Tillman, 2011, p. 70).

However, studies have also proven that upward pointing triangles (often referred to as

‘upward Vs’) are usually perceived as ‘more neutral’, in comparison to the clearly ‘more unpleasant’ categorisation of the downward pointing ones (Larson et al., 2012, pp. 5-10).

While characters with a triangular body shape often indicate the antagonist in the story (Ekström, 2013, p. 7; Powerhouse Animation Studios, 2017), downward pointing triangles can also be used to communicate an ‘unbalanced’ personality (Powerhouse Animation Studios, 2017).

Circles In contrast to triangles, general associations of circular forms were found to be more ‘pleasant’ (Larson et al., 2012, p. 10). Previous researches have also shown that this fundamentally connects to the observer’s ‘preference for a babyface’, as the latter’s disproportionately large head, round face and circular eyes are found to be pleasant to look at for adults (Larson et al., 2012, p. 10). See also: Aronoff, 2006, p. 89. Similarly in animation, children are often built upon rounded shapes and curvilinear lines (as seen in Pixar’s The Incredibles, Inside Out and Coco) as they represent youth (Solarski, 2012, p. 284) and tend to be playful (Tillman, 2011, p. 72), soft and harmless (Ekström,

Fig. 4: Drawing How To Draw (no date) Proportions of Children, Infant and Baby Heads [Drawing].

(Pinterest, 2021).

2013, p. 6). On the other hand, adults with likewise facial attributes are also often perceived as ‘warm, honest, and kind’ (Larson et al., 2012, p. 10). Since characters with circular body forms are also thought to be comforting and protective (Tillman, 2011, p. 72), protagonists and good characters are usually based on rounded shapes (Solarski, 2012, p. 285; Ekström, 2013, p. 6), as well as a welcoming, caring and nurturing character, such as a mother, who is often drawn by soft and gently curved lines (Powerhouse Animation Studios, 2017).

According to Chris Solarski, circles also represent a generally safe, positive and energetic character (2012, pp. 283-284), while Nick Swift highlighted further personality traits, such as movable, friendly, fun and approachable (Powerhouse Animation Studios, 2017).

Rectangles Lastly, the third primary shape to mention is a square. Such rectangular shapes can be constructed from circles, but a couple of triangles can also form a square (see Figure 5 and 6). Perfectly rectangular features are rare to find in nature, hence their origins could rather be connected to architecture. The shape of an average building is usually a rectangle, simply because of ‘the force of gravity’ (Steadman, 2006, pp. 119-120). Its vertical walls meet at a 90° angle, which are connected to the horizontal lines of its floors, establishing a stable structure (Steadman, 2006, pp. 119-120). Furthermore, the solid bases of any building is assembled from similar, rectangular components at a relatively smaller scale, such as bricks, beams, floorboards, etc. (Steadman, 2006, p. 127). By analysing the presence of square based shapes in architecture, the key connotations of such forms in shape language have already been drawn up. Characters with a rectangular body shape usually represent order, equality, security and trust (Tillman, 2011, p. 68), safety, strength, stability and confidence (Solarski, 2012, p. 280; Ekström, 2013, p. 6), sturdiness, solidity, resilience and power, yet they can also convey an unchanging, stern and stubborn personality, said Nick Swift (Powerhouse Animation Studios, 2017). According to Bryan Tillman, square built characters often stand for conformity and masculinity (2011, p. 68; Solarski, 2012, p. 284), while Chris Solarski also added that curves are traditionally used to convey femininity (2012, p. 284). A possible explanation for this could be that – according to psychologists - it has been evolutionary developed, that women generally find men with physical strength more masculine and attractive (Windhager et al., 2011, p. 805).

Fig. 5: Aldoaldoz (2010) Straight Square Inscribed in a Circle [Illustration]. (Wikipedia, 2010).

Fig. 6: Maria Gee (2017) Half Square Triangle Units [Illustration]. (Scissortail Quilting, 2017).

Analysis and Findings Geometric shapes in human-bodied characters from Up (2009)

Perhaps, the simplest way of understanding the visual language behind a fictional character’s appearance is to examine human-bodied individuals first. Story artists at Pixar often gather inspiration for their characters from the people in their personal lives (Khan Academy Labs, 2017d; Lynn, 2015). For instance, Carl - as the main protagonist in Up (2009) – was partially based on the story supervisor’s father. ‘Without my experience with my father, I would not have been able to actually tackle that moment in the movie’s storyboard credibly (…) I told him, Dad, I’m drawing you as Carl’, says Ronnie del Carmen (Khan Academy Labs, 2017d).

Carl Fredricksen At first sight, Carl might seem like an average and boring old man, however the narrative journey makes him undergo a complex and sophisticated character arc through a series of challenging obstacles (Hauser and Docter, 2009, pp. 11-14; Khan Academy Labs, 2017a). At the beginning of the movie, we meet Carl as a child. Even though his significant character development begins at an old age, to fully understand the insights of Carl’s personality, it is crucial to begin the analysis of his character from his childhood and examine how the visual components of Carl have been changing.

Fig. 7: Pixar Animation Studios (2009) Carl Fredricksen [Drawing]. (Lynn, 2015).

Looking at Figure 7, one of the most drastic changes that Carl has gone through is the evolution of his body shape from an adorable little circle to a strict square (Ekström, 2013, p. 11; Hauser and Docter, 2009, p. 40; Pixar, 2016). On the first three figures of this illustration, Carl’s circular body shape is not unusual, considering that he is a child (Flynn, 2010, p. 436). As

Fig. 8: Pixar Animation Studios (2009) Young Carl [DVD Screenshot]. (Up, 2009).

previously discussed, children are often portrayed as circles in animation, as the most characteristic bodily and facial features on infants are also rounded (Larson et al., 2012, p.

10). It has also been mentioned, that circles generally represent youth (Solarski, 2012, p.

284), playfulness (Tillman, 2011, p. 72) and friendliness (Powerhouse Animation Studios, 2017; Ekström, 2013, p. 6). However, we can also identify certain characteristics connected to rounded shapes, such as movable (Powerhouse Animation Studios, 2017) and energetic (Solarski, 2012, p. 284) that does not seem to fit Carl. Based on the first few minutes of the film, even his younger self can be rather defined as stiff, quiet, but reliable. Perhaps, these are the personality traits that began to form his appearance from a child towards a more adult-like, cubic shape. The sharpening of his face and body can relate to him physically getting more mature and masculine (Solarski, 2012, p. 284; Tillman, 2011, p. 68), but it certainly stands for his trustworthy and secure personality (Tillman, 2011, p. 68), which have always been somewhat conveyed through the rectangular shaping of his glasses, that did not seem to change throughout the whole film. Apart from the constant presence of his glasses, we can also identify, that Carl has also been dressing in a smart and formal way from a quite young age, his style and presence have been developing equally. As an audience member, we could assume that Carl had a quite stable and balanced life growing up, as supposedly nothing has provoked a sharp neither sudden character change in his development. Before analysing the effects of Carl’s upcoming character journey on his appearance, a comparison between Carl and his wife’s personality will be carried out.

Ellie Fredricksen As Albert Lozano, character art director explained: ‘Carl and Ellie should play off of each other. They should almost be opposites in a way’ (Khan Academy Labs, 2017g). As an audience member, this might be one of the first significant facts about them that we immediately notice. While Carl is a rather introverted and static character (Ekström, 2013, p. 11; Hauser and Docter, 2009, p. 40;

Fig. 9: Pixar Animation Studios (2009) Shapes of Carl and Ellie [Sketch]. (Khan Academy Labs, 2017g).

Pixar, 2016), Ellie is full of joy, excitement and enthusiasm, which is defined in her uninterrupted smile, dynamic movements, sudden turn-ups (Flynn, 2010, p. 436; Wozny, 2014, p. 5) and nevertheless her clothes of vivid colours. ‘Ellie was represented by this circular, lighter shape (…) and she would be coloured magenta’, added Albert Lozano (Khan Academy Labs, 2017g) (see Figure 9). Since Ellie is much more energetic (Wozny, 2014, p. 5; Solarski, 2012, p. 284) and playful (Tillman, 2011, p. 72) than Carl, even when she grows older and becomes slower by age, her head still forms a circle (see Figure 10), which communicates her positive (Solarski, 2012, p. 284), caring (Powerhouse Animation Studios, 2017), warm and honest (Larson et al., 2012, p. 10) personality which has not changed since she was a child.

Fig. 10: Pixar Animation Studios (2009) Ellie Fredricksen [DVD Screenshots]. (Up, 2009).

Carl without Ellie Even though Carl has always been a more quiet and solid individual (Ekström, 2013, p. 11; Pixar, 2016), the opening section of the film has shown that he also admired every movement of Ellie, as she represented the colour and light in his life (Wozny, 2014, pp. 5-7; Hauser and Docter, 2009, p. 82). Therefore, when Ellie dies, Carl’s environment generally appears in the paler tones of grey and brown (Hauser and Docter, 2009, p. 82) to define his mood, while also guiding the audience’s emotional state regarding the scene (Thomas and Johnston, 1981, p. 267; Yue, 2016, p. 76). Looking at Carl after losing Ellie (see Figure 11, left), the general stability (Solarski, 2012, p. 280; Ekström, 2013, p. 6) that his rectangular head has been reflecting so far, is now more likely to be associated with a stern, unchanging and stubborn identity (Ekström, 2013, p. 11; Powerhouse Animation Studios, 2017). ‘Carl is all about squares and boxes, and he is very solid, very stuck in his ways’, defined the movie’s co-director, Bob Peterson (Pixar, 2016). See also: Hauser and Docter, 2009, p. 40. The defensive side of Carl gets further emphasised by his generally unconcerned, but rather bitter facial expression4. Despite the negativity that Carl’s triangular mouth might echo on the left side of Figure 11, it has been discussed earlier that upward pointing triangles are usually identified as ‘more neutral’ than the downward pointing ones (Larson et al., 2012, p.

5). To further support the previous statement, focusing on Carl’s similarly shaped hat, we can identify that this is also an upward pointing triangle, but with rounded edges, which suggests that Carl is not a threatening character (Solarski, 2012, p. 284), yet a rather impassive one at this stage of his life. Towards the end of the movie, Carl’s emotional state gets gradually brighter as he approaches the destination of his character arc (see Figure 11, right), and becomes a better, smiley version of himself (Khan Academy Labs, 2017a).

Fig. 11: Pixar Animation Studios (2009) Carl’s Character Arc [DVD Screenshots]. (Up, 2009).

Charles F. Muntz The third character to introduce is eventually the antagonist of the story, Charles Muntz. Charles is the childhood hero of Carl and Ellie (Hauser and Docter, 2009, p. 10; Pixar Wiki, a), therefore the designers ‘wanted to make Muntz look heroic, with broad shoulders and a really strong presence’, explained Albert Lozano (Hauser and Docter, 2009, p. 33). If we take a close look at Charles appearance in Figure 12, we can identify that he is drawn with sharp and angular lines (Ekström, 2013, p. 11). Charles is also built upon the multitude of mainly downward pointing triangles (Hauser and Docter, 2009, p.

124), in fact, ‘his shape is like an exclamation point’, added Albert (Hauser and Docter, 2009, p.

Fig. 12: Pixar Animation Studios (2009) Charles F. Muntz [Image]. (Pixar Wiki, a).

33). Based on this, we can anticipate that the audience might already sense something sinister (Powerhouse Animation Studios, 2017; Ekström, 2013, p. 7) about Charles at first sight. Muntz’ character switches from a childhood hero to an evil man relatively quickly: Carl gets to meet him as a happy and humorous person (see Figure 13, left), yet roughly after five minutes, he reveals himself as a jealous, threatening and aggressive character (Pixar Wiki, a).

This rapid change is the most noticeable on Charles’ face, as his eyebrows get suddenly pulled down and inwards, as well as the wrinkles around his slim eyes become immediately more dominant in the close-up shot in Figure 13, right. In fact, Charles’ overall triangular body shape (Ekström, 2013, p. 11) can also certainly echo his unbalanced personality, as all a downward pointing triangle needs is ‘a little nudge’ to get pushed ‘over the edge’ (Powerhouse Animation Studios, 2017).

Fig. 13: Pixar Animation Studios (2009) Charles’ Character Arc [DVD Screenshots]. (Up, 2009).

When it comes to character design, artists and animators do not only rely on the simplicity of shapes, but they often aim to reflect ‘a character’s concept through its silhouette’, explained Chris Solarski (2012, p. 319). Looking at the different characters’ silhouettes collectively, helps the designers establish ‘a more varied and balanced cast’, added Nick Swift (Powerhouse Animation Studios, 2017). As Figure 14 shows, even without seeing Carl’s face, his square-like silhouette demonstrates that he is more stiff and static (Ekström, 2013, pp. 4-11; Hauser and Docter, 2009, pp. 42-48; Pixar, 2016) than Charles, whose silhouette appropriately illustrates his dangerous and evil personality. Even though, both characters are two old men with white hair and a walking cane, the use of shape language can create a great contrast between their appearances (Ekström, 2013, p. 7).

Fig. 14: Pixar Animation Studios (2009) Shapes and Silhouettes of Carl and Charles [Illustration].

(Ekström, 2013, p. 11).

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