Study Task 4- Introduction

The connection between Character and Background Design in assisting narrative, and the theories behind how their use can evoke greater empathy or interaction from an audience.

I will be exploring the concept that background design is no longer secondary to character design and that by utilising them together, you can create a stronger narrative. In the Art of Howl’s Moving Castle, Michiyo Yasuda says that “to determine colours[...]I always take into consideration the personality and emotional development of each character” which is why even when Sophie becomes young again, her hair remained white, because her character had moved forwards so greatly. This example shows the impact of colour theory, the connection between character and background; but I also intend on considering how different mediums, 2D/3D or technology can either inhibit or benefit their success. The character design in “Feast” is restricted by the rendering of its technology (https://www.awn.com/animationworld/chat-kristina-reed-creating-winston-and-disney-s-feast).

 Collectively, I will be looking at what improves character and background design, in turn strengthening narrative. The theory is that an audience will empathise more with the story if they can believe it could truly exist, meaning the worlds created must be detailed and authentic. Such as in Brave, where technology enhanced the surroundings ten-fold using specific software, returning to the consideration of technology. https://www.youtube.com/watch?v=VgLu48OPI2g  . I am very interested in researching deeper into the idea of creating a believable world, the theory is supported by the assumption that “film protagonists never look into the camera lenses so as to not collapse the viewers ‘identification’ with the camera’s point of view”, p.61, Hyper Narrative Interactive Cinema. 

I believe that I will find a strong link between this theory and design. I suppose it will also follow the route of the ‘suspension of disbelief’, simply accepting a premise is real in order for the narrative to take hold. All these ideas hark back to our history of cave paintings, showing that storytelling and communicating through art is inherent to who we are, as “the caves structure a landscape of dreams” (Animated Landscapes, Chris Pallant) in the same way that animation visualises what once once just an idea. 

Sophie's hair in Howl's Moving Castle