li The art and development of Thin Glynn. All images and design rights property of Luke Davis. All characters property of Luke Davis

Tuesday, November 08, 2005

Transformation onto paper

When Glynn is faxed, he is transformed into a piece of paper. 90% of feedback from people side with the idea that some part of Glynn's original image (2d form) should be printed onto this paper. Emma Baker started the ball rolling at the start of the summer with her comment on the 1st script "like the idea here but how does the audience know the paper is Glynn? Is he going to display a typical characteristic or are you just going to tell us it is him? Maybe give him an orange corner, or something to represent his hair? Just so there is something recognisable." When I presented my film, the animation group again liked the idea of his 2d image being printed onto the sheet of paper. Due to the head shape of 'Thin Glynn' it was going to be difficult to incorporate his hair; especially as at this time he had a large afro. 7th November lunchtime chat with Johnny again surfaced this recurring idea. I had been worried about the in-world physics which crippled this idea because if he was printed as full design of Glynn onto the flat sheet of paper... the following folds would jumble the print all over the place once he was in the man / crane / airplane / throwing-star shape. Johnny proposed the idea of designing the print so that it works as the man shape, and then unfold - therefore allowing the sections of his body to self-jumble themselves over the initial flat paper. This idea fixed the forementioned physical problem, and opened up the oppourtunity to enhance the facial character animation once in origiami form (something that was going to let down the strong character that had been built up by 2d Glynn). So... onto the fresh clone of Thin Glynn I sketched Glynn's human form so that it fit into the constraints of the origami form. The result is a very awkward looking stance, but I think that this fits in with the awkward process that Glynn was squeezed through in order to reach this stage! The main torso of Glynn's body is stretched slightly so that his belt fits in with the belt on the origami form. Overall I like the stance and composition of Glynn on this paper, and the transformation alongside the print of his existing 2d form works on so many levels. In the next post I will explore the uncomposed affect this sketch has on the (unfolded) flat sheet of paper. (CHANGES)- I may depending on feedback, move his feet/shoes to the corner of the origami form.


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