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Current time:0:00Total duration:5:32

Video transcript

along with lines shapes are a major building block of composition and are critical to each storyboard and film frame we begin with primitive or basic shapes which even on their own can imply emotions for example triangles can convey action speed or tension circles appear friendly and squares seem reliable and stable many of our characters and worlds begin as two or three shapes stuck together a friendly circle on top of a strong stable square body creates mr. incredible we can take a circle which is friendly and a triangle which is active and we have - from The Incredibles whose both of those things although we may start with primitive shapes they evolve in a fluid way to look more organic as we add more details and with more detail we can convey more information meaning or emotion this leads to what we call a silhouette which is a filled-in outline of an object each of our characters would hopefully be immediately identifiable from the silhouette check it out now let's return to the storyboards and concept art from up and ask our artists what they see with up we thought well Karla Elly should play off of each other they should almost be opposites in a way even though they complement they are opposites and we thought well Karl would be this square shape here who's basically got these sort of drab earth-tone colors as a square and Elly was sort of be represented by this circular lighter shape as well and she would be colored magenta again she kind of looks at life through rose-colored glasses was the thought and so we really just wanted to start with these basic shapes for Karl and Elly and so when we try to think of those elements these end up becoming the characters and Karl is still yet represented by a square and Elly a circle you know shape does a lot for us in this composition from up there's some really simple ones to spot right off the bat you have kind of circle or an oval very primitive you have a version of a triangle again it's got a gesture to it it's leaning it's dynamic it's moving towards Elly another triangle here with Elly kind of accepting those pieces it's almost like there's two pieces of the same sort of thought that curved circle is repeated here which kind of helps emphasize a stacked element in the same direction aiming towards Carl's face behind Carl we have a huge huge rectangle or series of rectangles that are again helping to draw your eyes straight to caramel I really like this example from ratatouille of a character whose shape is really intimidating Anton ego is the food critic who comes and kind of is known to take whole restaurants down so the way that he's designed it's interesting she is like a skinny little guy so thin so tall you can just see him dominating over anyone and his head leaning forward like he's coming over you like a vulture and there's something very funerary about him if you look at even the way the his his office is designed from above it looks like a coffin and I just really love that kind of that parallel between the character and the set design that he occupies so for the sea is the beach racing and so the way that I use shape here was to have like a really large form that kind of blocks out exactly where you're supposed to look so it feels like you're an outsider but you also get a feel of how fast the car is because we're so far back and you'll see him go across screens so quickly so you have like this dark shape here that really just pushes you towards the Queen even the blades of grass are all pointing towards where you're supposed to look as well as the flow of the fencing we as the audience are the outsider here because he's not quite understanding emotionally where he should be at yet in the film so the camera is also pulled away and the shapes are boxing him in a little bit so he feels boxed in in his mind as well in this panel from cars three shape does a lot for us to strengthen what's happening in lightnings life that's one thing that works well in the cars world is this idea that the characters themselves are shapes traditionally lightning has around her images around her aspects to him he's friendlier he's more approachable he's our hero when you get to Jackson's storm our new character he's a lot more angular but there's a lot more of a sharp diamond dynamic quality to Jackson and I think these lines also help them feel faster the shape the shapes the dynamic shapes of where he's going using these sort of primitive triangle ideas it really gives you a sense of moving forward traditionally other cars in the car's world are boxes for variations on boxes they're not going anywhere they're slow but they also help the frame the more dynamic characters that we're looking at the curves of lightning and the strong angles of stone as you can tell shapes can be used in many ways to help tell a story and it's Universal the use of shape to convey meaning can apply to everything a car a monster a human or even an emotion in this next exercise you'll have an opportunity to think more about shape