Sense of environment-

Sights of life appear to us both visible and invisible; but what can not be seen do show themselves indirectly through interaction with things visible.

The animated form is the visible part and the air it breathes is invisible. I feel that a successful animated performance does subliminally reflect a sense of air that sustains the life.

By nature, all forms function within a given environment- a fish in water, a bird in the air, a mammal on land, a planet in vacuum of space…

It is very relevant to be aware of the environment surrounding the animated forms. Most often these elements are invisible and one tent to overlook their importance, but the feel of environment directly influences the movements of forms.

Imagine we take time to define a fish with definite graphic look, personality and temperament as essential to bringing this character to life; true, but that fish would not live if there is no water for it to swim in. The way this fish goes about its life, inheriting its physical outlook is partly affected by its environment- salt or fresh water, in stillness of a pond, stronger current of a stream, in open sea or by a reef with strong tidal waves.

Imagine yourself moving about on one fresh morning, then in a humid and muggy day, maybe inside a clustered room filled with smell of old antiques… Your movements are likely to have subtle variation reflecting the air and atmosphere you’re experiencing.

When animating, I make a point to sense the weather condition, time of day, feel of space, texture of air, atmosphere, etc. Subconsciously, it affects movements of the animated character.

Above a scene from a film that was not very good, but I was very grateful to be exploring sense of flight, brief moments up-close with falcon and beautiful memories of friends working together in this character unit. (Back then, I was not conscious to sense of atmosphere when animate.) And here, sketches of anteater.