本帖最后由 鬼灵静 于 2013-11-10 21:26 编辑 |
To continue on from last week with the discussion about brows I wanted to move onto the next most expressive part of the face, the mouth. We first look at the eyes for attitude, but the mouth should complement the eyes and work with the rest of the pose. It has so much that can add to the expression and help convey so much character and personality.
(Remember, these are just things that have worked for me and not hard and fast rules. I am sure there are many other things that work too and lots of other things for me to still learn!)
For me, two things really stand out when I think about the mouth; Appealing Design and Specific Shapes.
Appeal is such a elusive thing to obtain, but for me it is one of the most important elements in animation. You know when you get it right because it looks so good that you just can't look away from it!
Animation wise, a film that I think oozes appeal is Disney's Tangled. Glen Keane and Jin Kim did so much amazing development work and design which I think really helped create some of the most appealing CG characters to date.
从动画层面上讲，一部电影看起来很有吸引力的我认为是长发公主。GLen Keane以及Jin Kim在设计上做了很多工作，我认为是至今最具有吸引力的CG角色。
These drawings are by Jin Kim for the Mother Gothel character in Tangled. The mouth shapes are really great and are so appealing to look at.
这些画是由Jin Kim为长发公主做的妈妈的形象。 嘴巴的形状做得特别的好，很吸引观众。
I know that during the production of The Incredibles at Pixar, they look a lot at Disney's 101 Dalmatians for great mouth designs and lip shapes. This model sheet by Milt Kahl of Jasper is fantastic. It has tons of character and all the shapes have so much squash and stretch and fleshiness to them.
I really like Shane Prigmore's model sheet for Coraline too. The mouth shapes have loads of asymmetry to them.
我也特别喜欢 Shane Prigmore 对Coraline的角色模型设计。嘴巴形状有很多的不对称。
When designing mouth shapes I am looking for straights against curves, for squash and stretch, for asymmetry, for simplicity in the curves (even though complex mouth shapes can and should be used, its keeping the lines simple that makes it much easier to read) and knowing when to favour the upper or lower teeth.
Everyone talks and moves their mouths in completely unqiue way, and the mouth should be unique to the character that you are working on. At Animation Mentor we are given a library of mouth shapes to work with on the character, Bishop. My advice which is the same advice from my mentors at Animation Mentor is; don't use it!
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