movement as part of communication

By understanding how movement patterns communicate connotative information, we are able to combine characteristics to movement patterns that suit our needs….Movement is extremely powerful in gaining our attention and communicating to us various information

As the director is working with the actors on stage, it is very important to choreograph the movement. The audience often will have their attention guided to the main characters in various scenes by the hierarchy and use of movement. Depending on the context, the movement of the non-central characters should bow down to, not overtake, the central characters in a scene.

In psychology, movement has also been associated with communication, as with the theory of affordances….When we look at the world around us, the way an animal or person moves communicates to us a great deal of information. A butterfly’s movement may afford chasing, where a spider’s may afford avoidance. We are able to recognize the creature by just the movement alone and from pattern of movement we are able to interpret the “meaning” of the creature.

We are very self-centered and see ourselves in almost anything. “We assign identities and emotions where none exist. And we make the world over in our image.”

Movement of the human body is very different than the movement of objects on the computer screen….found to be: Path (the line the object movement creates), Area (the use of space by the object), Direction (the direction of the animation), Speed (the speed and tempo of the animated object).

Phi Phenomenon is defined as that phenomenon in which still images appear to move. This mechanism varies with different conditions, but is generally clocked at from 1/10 to 1/5 of a second

Emphasizing Movement for a Livelier Effect.
Classical animation uses several tricks to make movement snappier and more emphatic… exaggerated, comic animation goes wild with these things; naturalistic animation uses them with more restraint.

Anticipation – If you know a big move is coming, emphasize it by going BACKWARDS first. In other words, before leaning forward, lean back a bit.

Follow-through – After the move, let the moving object go slightly beyond the final point.

Squash & stretch – Most GIF animations that use simple objects could benefit from this trick. Make the object slightly elastic, so it stretches into a movement, and squashes on impact with another object.

Drag – With complex objects and characters, you can show the force of inertia by having different parts follow the trajectory at different rates: the slower bits appear to “drag,” as does any object at rest suddently becoming an object in motion. These bits can also be behind-time in the trajectory. Disney has always used this to great effect with the hair and clothing of human characters, and ears and tails of animal characters, so a character leaping up is followed by these peripheral parts, then when the character is on the way down, the hair, ears, etc., are still travelling up, and reverse course a little more slowly.


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