The first task is to establish what your drawing, the process is up to you, although it has to have a digital element, so you can draw/print etc then scan it in or just straight up digital. Again this will vary on what you wish to do, concept artists Id recommend just traditional line art scanned in if you are adamant although straight up digital painting for this brief will get you the practice you need!
So from the feed back I got from talking to a few of you last week, I established most of you had used a Tablet already, so firstly no boring basics for you now, a separate group will have a workshop on setting up tablet and assigning shortcuts to it and just general exercises to help you get use to painting on a tablet and looking at the monitor/screen at the same time.
But for the guys that wrote there name down and had already used a tablet, im going to set you a mini brief that allows you to design a character, as that is what most of you wanted to do anyway. Character design is a great process to understand many elements of how to make a creation that works and fits a purpose as well as technically honing your skills. So I understand a lot want to go into concept art or try it out, So the below 'post' has a Character backstory from a current game im working on, I want all the concept guys to work to that and get use to the way of working to a client/Art directors demands, this by no means is less creative, it just means the process will be more broken down and the design serves its purpose. All the guys wishing to just do a character design/s, I want you to make your own backstory to your characters, a complete bio of there traits and personality etc weather its a single character or a disfunctioning family, you will need to write down your thought process, this will help give depth to your creations and make them believable. I have Gone more in-depth just below on character design process, take a look to get better understanding.
I will be on hand and walking around helping you all out with any questions and showing you some tricks or effects when and where you need them. As you all have varying styles and ideas i cant just sit you there and demonstrate one particular way, my style wont suit all of you. I have a huge collection of resource materials, from tutorial books to industry vets insights and works, which will on be on hand during the workshops.
Reference
http://www.posemaniacs.com/
http://SenshiStock.deviantart.com/gallery/
http://almudena-stock.deviantart.com/
Digital art group I shall be talking to you about good working practice (practically speaking) start your days with a single 30 -60 min character/anatomy sketch, line drawn or blocked out, its up to you(preferably digital folks, I presume your already doing traditional life drawing,anatomy stuff). Use the links above to collect a/your visual library/gallery and use them as reference whilst drawing. Eventually that visual library will be engraved into your head and all whilst getting faster and more efficient at painting digitally! (there are loads more great artist references on the web, use your noggin and find them)
Character Design Process
Character design can be a tricky beast to tackle, because although many of the classic characters familiar to us all through cartoons, entertainment and advertising look simple, that simplicity usually belies the many hours of work that have gone into their development.
From Mickey Mouse's famous three-fingered hands - drawn to save production time when the character was first developed for animations in the 1920s - to the elegant simplicity of Homer Simpson, character design has always been about keeping it simple. But aside from clean lines and easily readable features, what else are you going to need to know? There's knowing what to exaggerate and what to play down, what to add to give a hint of background and depth, and what to do to develop personality. Getting started can be the trickiest part in any character development project, but once you've got some ideas these tips will help you breath life into your creation
1: Research and evaluate
It can be helpful to try and deconstruct why certain characters and their characteristics work and why some don't. There's no shortage of research material to be found, with illustrated characters appearing everywhere: on TV commercials, cereal boxes, shop signs, stickers on fruit, animations on mobile phones, and more. Study these characters and think about what makes some successful and what in particular you like about them.
It can be helpful to try and deconstruct why certain characters and their characteristics work and why some don't. There's no shortage of research material to be found, with illustrated characters appearing everywhere: on TV commercials, cereal boxes, shop signs, stickers on fruit, animations on mobile phones, and more. Study these characters and think about what makes some successful and what in particular you like about them.
2: Design and plan
Where will the character be seen and in what medium? This will have a direct bearing on how you go about your design. For example, if the character is for a mobile-phone screen, there's no point designing it to have a lot of intricate details and features. Regardless of the format, "The process of thinking up concepts always starts the same: paper, pencil, green tea... lots of thumbnails, written ideas, scratches and sketches over sketches."
Where will the character be seen and in what medium? This will have a direct bearing on how you go about your design. For example, if the character is for a mobile-phone screen, there's no point designing it to have a lot of intricate details and features. Regardless of the format, "The process of thinking up concepts always starts the same: paper, pencil, green tea... lots of thumbnails, written ideas, scratches and sketches over sketches."
3: Who is it aimed at?
Think about your audience. Characters aimed at young children, for example, are typically designed around basic shapes and bright colours. If you're working for a client, the character's target audience is usually predetermined, Commissioned characters are usually more restrictive but no less creative. Clients have specific needs but also want me to do my 'thing'. Usually, I'll break down the core features and personality. For example, if the eyes are important then I'll focus the whole design around the face, making this the key feature that stands out."
Think about your audience. Characters aimed at young children, for example, are typically designed around basic shapes and bright colours. If you're working for a client, the character's target audience is usually predetermined, Commissioned characters are usually more restrictive but no less creative. Clients have specific needs but also want me to do my 'thing'. Usually, I'll break down the core features and personality. For example, if the eyes are important then I'll focus the whole design around the face, making this the key feature that stands out."
4: Visual impact
Whether you're creating a monkey, robot or monster, you can guarantee there are going to be a hundred other similar creations out there. Your character needs to be strong and interesting in a visual sense to get people's attention. When devising The Simpsons, Matt Groening knew he had to offer the viewers something different. He reckoned that when viewers were flicking through TV channels and came across the show, the characters' unusually bright yellow skin colour would grab their attention.
Whether you're creating a monkey, robot or monster, you can guarantee there are going to be a hundred other similar creations out there. Your character needs to be strong and interesting in a visual sense to get people's attention. When devising The Simpsons, Matt Groening knew he had to offer the viewers something different. He reckoned that when viewers were flicking through TV channels and came across the show, the characters' unusually bright yellow skin colour would grab their attention.
5: Line qualities and styles
The drawn lines of which your character is composed can go some way to describing it. Thick, even, soft and round lines may suggest an approachable, cute character, whereas sharp, scratchy and uneven lines might point to an uneasy and erratic character.
The drawn lines of which your character is composed can go some way to describing it. Thick, even, soft and round lines may suggest an approachable, cute character, whereas sharp, scratchy and uneven lines might point to an uneasy and erratic character.
6: Exaggerated characteristics
Exaggerating the defining features of your character will help it appear larger than life. Exaggerated features will also help viewers to identify the character's key qualities. Exaggeration is key in cartoon caricatures and helps emphasise certain personality traits. If your character is strong, don't just give it normal-sized bulging arms, soup them up so that they're five times as big as they should be!
Exaggerating the defining features of your character will help it appear larger than life. Exaggerated features will also help viewers to identify the character's key qualities. Exaggeration is key in cartoon caricatures and helps emphasise certain personality traits. If your character is strong, don't just give it normal-sized bulging arms, soup them up so that they're five times as big as they should be!
7: Colour me bad
Colours can help communicate a character's personality. Typically, dark colours such as black, purples and greys depict baddies with malevolent intentions. Light colours such as white, blues, pinks and yellows express innocence, good and purity. Comic-book reds, yellows and blues might go some way to giving hero qualities to a character.
Colours can help communicate a character's personality. Typically, dark colours such as black, purples and greys depict baddies with malevolent intentions. Light colours such as white, blues, pinks and yellows express innocence, good and purity. Comic-book reds, yellows and blues might go some way to giving hero qualities to a character.
8: Adding accessories
Props and clothing can help to emphasise character traits and their background. For example, scruffy clothes can be used for poor characters, and lots of diamonds and bling for tasteless rich ones. Accessories can also be more literal extensions of your character's personality, such as a parrot on a pirate's shoulder or a maggot in a ghoul's skull.
Props and clothing can help to emphasise character traits and their background. For example, scruffy clothes can be used for poor characters, and lots of diamonds and bling for tasteless rich ones. Accessories can also be more literal extensions of your character's personality, such as a parrot on a pirate's shoulder or a maggot in a ghoul's skull.
9: The third dimension
Depending on what you have planned for your character, you might need to work out what it will look like from all angles. A seemingly flat character can take on a whole new persona when seen from the side if, for example, it has a massive beer belly. If your character is going to exist within a 3D world, as an animation or even as a toy, working out its height, weight and physical shape is all important.
Depending on what you have planned for your character, you might need to work out what it will look like from all angles. A seemingly flat character can take on a whole new persona when seen from the side if, for example, it has a massive beer belly. If your character is going to exist within a 3D world, as an animation or even as a toy, working out its height, weight and physical shape is all important.
10: Conveying personality
Interesting looks alone do not necessarily make for a good character; its personality is key as well. A character's personality can be revealed through comic strips and animations, where we see how it reacts to certain situations. The personality of your character doesn't have to be particularly agreeable, but it does need to be interesting (unless your characters is purposely dull). Personality can also be expressed simply in how the character has been drawn.
Interesting looks alone do not necessarily make for a good character; its personality is key as well. A character's personality can be revealed through comic strips and animations, where we see how it reacts to certain situations. The personality of your character doesn't have to be particularly agreeable, but it does need to be interesting (unless your characters is purposely dull). Personality can also be expressed simply in how the character has been drawn.
11: Express yourself
Expressions showing a character's range of emotions and depicting its ups and downs will further flesh out your character. Depending on its personality, a figure's emotions might be muted and wry or explosive and wildly exaggerated. Classic examples of this can be found in the work of the legendary Tex Avery: the eyes of his Wild Wolf character often pop out of its head when it's excited. Another example of how expressions communicate motions is deadpan Droopy, who barely registers any sort of emotion at all.
Expressions showing a character's range of emotions and depicting its ups and downs will further flesh out your character. Depending on its personality, a figure's emotions might be muted and wry or explosive and wildly exaggerated. Classic examples of this can be found in the work of the legendary Tex Avery: the eyes of his Wild Wolf character often pop out of its head when it's excited. Another example of how expressions communicate motions is deadpan Droopy, who barely registers any sort of emotion at all.
12: Goals and dreams
The driving force behind a character's personality is what it wants to achieve. This missing 'something' - be it riches, a girlfriend or solving a mystery - can help to create the dramatic thrust behind the stories and adventures your character gets up to. Often the incompleteness or flaws in a character are what make it interesting.
The driving force behind a character's personality is what it wants to achieve. This missing 'something' - be it riches, a girlfriend or solving a mystery - can help to create the dramatic thrust behind the stories and adventures your character gets up to. Often the incompleteness or flaws in a character are what make it interesting.
13: Building back stories
If you're planning for your character to exist within comics and animations then developing its back story is important. Where it comes from, how it came to exist and any life-changing events it has experienced are going to help back up the solidity of, and subsequent belief in, your character. Sometimes the telling of a character's back story can be more interesting than the character's present adventures, or not, in the case of the Star Wars prequels.
If you're planning for your character to exist within comics and animations then developing its back story is important. Where it comes from, how it came to exist and any life-changing events it has experienced are going to help back up the solidity of, and subsequent belief in, your character. Sometimes the telling of a character's back story can be more interesting than the character's present adventures, or not, in the case of the Star Wars prequels.
14: Quick on the draw
Don't be afraid to experiment and ignore all the rules and tips about planning and crafting the look of your character. Going against what is supposed to be the right way of doing something could create unexpected and exciting results. When artist Yuck creates his characters he doesn't really know what he'll draw. "I just listen to music and draw the result dependent on my mood: freaky or cute. I always want to have a drawing that I find interesting. I then work more on the character after it's okay with me and my brain," he says.
Don't be afraid to experiment and ignore all the rules and tips about planning and crafting the look of your character. Going against what is supposed to be the right way of doing something could create unexpected and exciting results. When artist Yuck creates his characters he doesn't really know what he'll draw. "I just listen to music and draw the result dependent on my mood: freaky or cute. I always want to have a drawing that I find interesting. I then work more on the character after it's okay with me and my brain," he says.
15: Hone, plan and polish
Instead of just drawing or doodling without too much pre-planning, What suits your work flow, I take a long time creating finished looking roughs and also thinking about how the character could be expanded beyond a 2D artwork, what the character will do in a specific world, and how it speaks and acts.
Instead of just drawing or doodling without too much pre-planning, What suits your work flow, I take a long time creating finished looking roughs and also thinking about how the character could be expanded beyond a 2D artwork, what the character will do in a specific world, and how it speaks and acts.
16: Drawn in mud
Having decent materials to work with is useful, but not essential, for the early planning of your character. A lot of amazing characters were successfully designed years ago when no one had personal computers and Photoshop was just a dream. The drawings of your character should still work when rendered on paper with a simple pen or, The character should still be able to work with a stick dipped in mud and drawn on asphalt."
Having decent materials to work with is useful, but not essential, for the early planning of your character. A lot of amazing characters were successfully designed years ago when no one had personal computers and Photoshop was just a dream. The drawings of your character should still work when rendered on paper with a simple pen or, The character should still be able to work with a stick dipped in mud and drawn on asphalt."
17: Real-world drawing
Generate some of your characters away from both the computer and the sketchbook, allowing outside elements to influence your work. I really like characters that interact with their surroundings, The environment normally suggests an idea and then I let my strange mind do the rest. I prefer drawing in the real world with a pen instead of on the computer, because it feels good and odd things happen."
Generate some of your characters away from both the computer and the sketchbook, allowing outside elements to influence your work. I really like characters that interact with their surroundings, The environment normally suggests an idea and then I let my strange mind do the rest. I prefer drawing in the real world with a pen instead of on the computer, because it feels good and odd things happen."
18: Release the beast
Show people your creations and ask them what they think. Don't just ask whether they like them or not. Instead, see if they can pick up the personalities and traits of your characters. Find who you think is the suitable or ideal audience for your work and get feedback specifically from them about it.
Show people your creations and ask them what they think. Don't just ask whether they like them or not. Instead, see if they can pick up the personalities and traits of your characters. Find who you think is the suitable or ideal audience for your work and get feedback specifically from them about it.
19: Beyond the character
In the same way that you create a history for your character, you need to create an environment for it to help further cement believability in your creation. The world in which the character lives and interacts should in some way make sense to who the character is and what it gets up to.
In the same way that you create a history for your character, you need to create an environment for it to help further cement believability in your creation. The world in which the character lives and interacts should in some way make sense to who the character is and what it gets up to.
20: Fine-tuning a figure
Question each element of your creation, especially things such as its facial features. The slightest alteration can have a great effect on how your character is perceived. Think about the meaning of the word 'character'. You're supposed to breath life into these things, make them appealing and give them the magic that will allow people to imagine what they're like to meet and how they might move. I
Question each element of your creation, especially things such as its facial features. The slightest alteration can have a great effect on how your character is perceived. Think about the meaning of the word 'character'. You're supposed to breath life into these things, make them appealing and give them the magic that will allow people to imagine what they're like to meet and how they might move. I
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