Conclusion
The data from the research questionnaire supports the theses made in the write-ups on the emotions. When comparing the data it becomes apparent that for some emotions you need the head and the body to guess the emotion correctly, whereas for others you only need the head.
As indicted beforehand, the emotions fear and surprise are very similar when only being portrayed upon the head. The research data supports this idea. A significant number of people mixed up the emotions fear and surprise when they were portrayed upon the head. However, with the inclusion of the body, almost everybody guessed the emotion correctly. In this instance the inclusion of the body in the animation clarified the emotion.
This is also the case for the expression of the emotion sadness. Without the inclusion of the body people sometimes mistook it for disgust.
On the other hand, for very strong emotions like happiness and anger the body is not needed at all to guess the emotion correctly. In the case of happy it rather confused the audience and people started it mistaking it for surprise. I do not really have an explanation for this phenomenon yet.
A similar result can be seen for the emotion disgust. Almost everybody got the emotion correctly when only seeing it portrayed upon the head, but people started mistaking it for surprise when seeing the body. This might be due to the relative closeness of the body movements for surprise and disgust.
With these results it becomes apparent that sometimes even head and body movements together are not enough to authentically portray an emotion. Often factors such as environment and narrative are needed in order to portray an emotion authentically within 3D animation. This is especially the case with the emotion of disgust. I found that the body movement for disgust was very weak when not including the environment, e.g. a rat that is held up by the character.
The results of this questionnaire made me think critically about my animation skills as well. I managed to portray an emotion very authentically upon the character’s face. This might largely be due to the quality of my model. Its face was very expressive which allowed me to do lots of different movements with different parts of the face, e.g. eyebrows, eyelids, mouth, teeth. However, when it comes to body movements I feel that my animation skills can be improved.
Another very surprising outcome of this research the comparison between male and female participants and their overall percentage of incorrect answers. Whereas people generally believe that females are more emotional and empathetic, in this questionnaire they got a percentage of incorrect answers that was 5% higher than the percentage of incorrect answers for males. However, these claims cannot be generalised due to the small number of the sample. Further research is needed in this area.
The data from the research questionnaire supports the theses made in the write-ups on the emotions. When comparing the data it becomes apparent that for some emotions you need the head and the body to guess the emotion correctly, whereas for others you only need the head.
As indicted beforehand, the emotions fear and surprise are very similar when only being portrayed upon the head. The research data supports this idea. A significant number of people mixed up the emotions fear and surprise when they were portrayed upon the head. However, with the inclusion of the body, almost everybody guessed the emotion correctly. In this instance the inclusion of the body in the animation clarified the emotion.
This is also the case for the expression of the emotion sadness. Without the inclusion of the body people sometimes mistook it for disgust.
On the other hand, for very strong emotions like happiness and anger the body is not needed at all to guess the emotion correctly. In the case of happy it rather confused the audience and people started it mistaking it for surprise. I do not really have an explanation for this phenomenon yet.
A similar result can be seen for the emotion disgust. Almost everybody got the emotion correctly when only seeing it portrayed upon the head, but people started mistaking it for surprise when seeing the body. This might be due to the relative closeness of the body movements for surprise and disgust.
With these results it becomes apparent that sometimes even head and body movements together are not enough to authentically portray an emotion. Often factors such as environment and narrative are needed in order to portray an emotion authentically within 3D animation. This is especially the case with the emotion of disgust. I found that the body movement for disgust was very weak when not including the environment, e.g. a rat that is held up by the character.
The results of this questionnaire made me think critically about my animation skills as well. I managed to portray an emotion very authentically upon the character’s face. This might largely be due to the quality of my model. Its face was very expressive which allowed me to do lots of different movements with different parts of the face, e.g. eyebrows, eyelids, mouth, teeth. However, when it comes to body movements I feel that my animation skills can be improved.
Another very surprising outcome of this research the comparison between male and female participants and their overall percentage of incorrect answers. Whereas people generally believe that females are more emotional and empathetic, in this questionnaire they got a percentage of incorrect answers that was 5% higher than the percentage of incorrect answers for males. However, these claims cannot be generalised due to the small number of the sample. Further research is needed in this area.
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