Week 2: Character Types and Their Uses and Library Research - Click Here to return to Term 6 Character Design and Development

Character Type and Character Modification

Leonard Rivera

Instructor Name Ommited

GD341-OL-D3 Character Development Design

June 21, 2009

Character Design and Development Process

I am going to present a basic framework for the character design and development process.  There does not seem to be a methodology etched in stone; however, there are very important steps that do need to be carried out. Where you start and how you finish will depend greatly on the scope of the project.

Overall, I’ve identified 3 basic stages. First stage is the foundation of it all. This is the planning stage. Second stage would be the roughing out stage. Where you begin to actually create the character and present your ideas. The final stage is of course, finalizing. This is where the character comes to life and plays its part. So let’s take a closer look at each one of these stages and some of the most important steps to carry out in each one.

First comes the planning, which can make or break a character design. The rest is a measure against your artistic ability to bring the character to life. Planning is where the character is conceptualized and constructed. I feel you need to have a complete understanding of what you are being asked to design. Well, what that means really depends on the scope of the character. Is the character for a full length animated movie, 30 second commercial spot, a video game, or a non-animated character for comics or print a campaign? These are just some of the questions that may be asked. There are many more scenarios in which an artist might be asked to do a character design. Each one will dictate how detailed and precise the character will need to be during the planning process.

In order to understand the character, we need to get the details of the story in which it is to play a role. Some questions you may ask are: What is the setting? When is the setting? Where is it? What would characters be like in this setting? Do they really fit in? Why do we need this character and what do we need it to do? Listen to the story and ask questions. Meet with the writers, director, anyone involved with creating the story itself. Crucial to this is the ability to communicate with both the source of the project and each other on the team.  (Hedgpeth Missal 93-94) Take notes and sketch ideas. Discuss all the characters in the story. This is about where you will decide on what and how much research needs to be done.

Once the artist has the story straight, they will need to get more detailed answers and think about how to begin to draw. “Unless you get your setting right, everything else just falls by the wayside, it just doesn’t feel right..”  (Armstrong 1:33) Some questions to ask might be; how you can make the characters instantly recognizable? Think about the clothing and accessories they might have. Do they look right in the clothing and with the accessories? Do they fit in to world? Does everything fit well with the story? Take all of your answers and ask finally; is it believable?

It’s time to get very specific with the characters themselves. We have a basic idea of the world and characters. We should also have a pretty good idea of the character’s role. Now we need to know which of the characters help to progress the story and which ones are background characters. Which background characters have a one shot scene involving interactivity with a main character? Any characters that do not help to progress (or tell) the story should be relegated to a background character. This is important because you will need to spend a lot of time on the main characters that you will be developing. Background characters can be a bit more generic and not involve so much individual attention and back story.

Now that we have our main character(s) chosen, we need to know what the character archetypes are and if we want that to show through in the design. Here is where we really start planning the character(s). We define the body language and gestures unique to each character. We may want to work in how the archetype is either communicated or how it might be concealed in the body language. This is where we are building the presence of the characters. What are they like just standing there? What if the character I am designing was standing right here, next to me. How would it make me feel? An artist sketchbook should be filling up during the planning process.

That sure was a lot of writing, and I still have two more stages to discuss with you. I’m guessing many people would agree about the importance of planning. Now it’s time to start designing visually. It’s time to draw your character roughs. While you are doing this, you will be referring back to all your plans, notes and sketches. This is arguably the best part. Your creative juices are flowing and as an artist you are putting pencil to paper and bringing the story to life with your first round of rough sketches. This part might be fun for many or it can be frustrating. Rarely does anything from the first round of sketches make it in to final production. It does happen, but rarely. More often than not, you will go through 3 or 4 rough sketches of everything from the actual character, to accessories, poses and expressions. A good example can be found at this website location; http://cwtutorials.blogspot.com/2007/04/pepsi-character-designs.html , where Chris Wahl takes us through the varying sketch and review stages.

We are calling these “rough” simply because they are not the final versions. It has nothing to do with the quality of the sketches. Roughs should be highly detailed and of great quality as if they are each the final version. Make sure your roughs still fit in to the story and are believable.

That’s it. That’s what I’ve found to be stage 2 of this stage 3 process. Roughing everything out until it is finalized. Finalizing is the final stage. It will usually begin with model sheets. Not actual model sheets for 3D modelers, although; it could be depending on the particular project or scope. The model sheets created here are of the final characters, in full color as they will appear in the final production. This is a turnaround view; full color model sheet of the character dressed and accessorized with its most commonly used clothing and accessories. (Armstrong 6:51) This model sheet will work as a reference through the production stage. All other artists in the production will be using these sheets to actually create the character(s) you designed. You finalized model sheets will come with a descriptive brief outlining the main characteristics and possibly the accessories.

Designing a character can be accomplished in the three, easy to remember, steps. First you must plan. Set the scene, get the story right, get the look right, develop the characters and build up personalities. Get the roughs done. Accept feedback and adjust accordingly. Lastly, you’ll want to lock it all down and finalize everything with your model sheet(s).  Communication and your artistic ability are the cornerstones of good character development.

Works Cited

Armstrong, David. "Character design - the basics." http://www.youtube.com/watch?v=02DtV7zw1tM. Ed. Catalyst Studios. Prod. Catalyst Studios. Manchester, 22 4 2008.

Kevin Hedgpeth, Stephan Missal. "Exploring Character Design." Kevin Hedgpeth, Stephan Missal. Exploring Character Design. Clifton Park: Thomson Delmar Learning, 2006. 93, 94.

Wahl, Chris. Chris Wahl Art tutorials: Pepsi Character Designs. 2008. 17 June 2009 <http://cwtutorials.blogspot.com/2007/04/pepsi-character-designs.html>.

[Previous Week 1]                                                                                                                                                                                                                [Next Week 3]