In Class Assignment: In your sketchbooks, finish developing you underwater sea characters; the businessman, the old lady, and the teenager.
Then using your underwater reference, begin to develope various underwater backgrounds.
PROJECT #1: UNDERWATER SCENE - create an underwater scene, using the three characters you developed. The scene must take place in any of the following locations; a bus stop, a library, a school, a mall/store, or a doctor's office.
Don't forget to refer to your research when developing these underwater worlds.
Remember, everything must be true to the backstory of the world your characters inhabit.
Rough Sketches are due next week (3/7/11).
FINAL ART (in color, printed and mounted) due 3/21/11.
Tuesday, March 15, 2011
Class #5 Part2 Backgrounds, Props & Research
When faced with a new project (a book, graphic novel, animation, or game), the first thing you must do is read the manuscript, and begin to research the world you are about to illustrate. Even if the world never existed, or no longer exists, researching similar worlds will help you to develope believable backgrounds and props. For a recent project, I needed to recreate ancient Rome and Pompeii. Through museum visits, magazines, books, and researching on location in Italy, I was able to recreate a series of buildings, rooms and various props to make my world more believable.
The following images are some of the background images I created for an ongoing project about ancient Rome.
Class #5 Part1 Backgrounds & Props
Once you have created your characters, you will need a believable world in which they will live.
Backgrounds and props create a mood, and helps the viewer get involved with the story.
Props and backgrounds must be true to the characters back story. For example, the Flintstones, a stone-age family, live in a prehistoric world populated with dinosaurs. Their home is a cave-like dwelling, their appliances are prehistoric creatures. Everything, including the flora and fauna are based on research of a prehistoric world.
Home sweet cave.
Refridgerator...
a garbage disposal...
instant camera ...
telephone...
record player ...
car...
police car...
crane.
When they bar-b-que, you know the steaks are from a dinosaur.
Updated Fred, with computer and mouse.
Every situation and story line that the Flintstones and the Rubbles experience, are true to their back story and environment.
Monday, March 14, 2011
Class #4, Part 2 Expression Sheet
In Class Assignment #2: Fill out 25 Essential Expression Challenge sheet, using your previously developed character based on your self-portraits. HOMEWORK: 1. In your sketchbooks create three new underwater characters based on last weeks research of fish, etc. Characters must be a business man; an old lady; and a teenager.
2. Research images of underwater topography, fauna, etc. Bring in next week.
Class #4, Part 1 Self Portrait Character
In Class Assignment: In your sketchbook create a simplified character based on your self portraits.
Class #3 Part 3 Facial Proportions & Planes
Use the reference above to help create your self-portraits.Class #3 Part 2 Character Types
In Class Assignment: Based on the three character types above, create in your sketchbooks 3 characters types each for a Pirate, a Cowboy, and a Robot. For a total of 9 Characters.HOMEWORK: 1. In you sketchbooks, create a realistic Self portrait. Due next week.
2. Research images for an underwater character. Fish, crustaceans, etc. Bring in next week.
Class #3 Part 1 Character Design
Character Design:
A character designer creates original drawings of characters for various visual media (comic strips, graphic novels, book illustration, animation, gaming, television, gaming, and corporate logos). His goal is to fulfill the needs of the script, scene, game or story.
20 character design tips
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 four-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? 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 is essential to good design. 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, books, 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.
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 colors. 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 the illustrator to do his ‘thing’. Usually, an illustrator will break down the core features and personality. For example, if the eyes are important then he will focus the whole design around the face, making this the key feature that stands out.
4: Visual impact
Weather 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 color 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. Some characters are bold and seem to dance on the page. A strong line comes from strength and rhythm.”
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 important in cartoon caricatures and helps emphasize certain personality traits. If your character is strong, don’t just give it normal-sized bulging arms, pump them up so that they’re five times as big as they should be!
7: Color
Colors can help communicate a character’s personality. Typically, dark colors such as black, purples and grays depict baddies with malevolent intentions. Light colors 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 emphasize character traits and their background. For example, scruffy clothes can be used for a poor character, 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.
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 character is purposely dull). Personality can also be expressed simply in how the character has been drawn.
11: Expression
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.
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.
14: Quick on the draw
Do not 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 an artist creates his characters he doesn’t always know what he’ll draw. Draw what you find interesting.
15: Hone, plan and polish
Instead of just drawing or doodling without too much pre-planning, I take a long time to create 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: Drawing materials
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. I prefer drawing in the real world with a pen instead of on the computer, because it feels good and odd things happen.”
17: 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.
18: 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.
19: 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 breathe 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 think it’s wonderful that creating characters for the sake of it has become a distinct branch of graphic design. Remember to stay ‘true’ to the character, don’t add anything that doesn’t make sense to his personality.
20: Bottom Line
Have fun.
A character designer creates original drawings of characters for various visual media (comic strips, graphic novels, book illustration, animation, gaming, television, gaming, and corporate logos). His goal is to fulfill the needs of the script, scene, game or story.
20 character design tips
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 four-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? 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 is essential to good design. 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, books, 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.
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 colors. 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 the illustrator to do his ‘thing’. Usually, an illustrator will break down the core features and personality. For example, if the eyes are important then he will focus the whole design around the face, making this the key feature that stands out.
4: Visual impact
Weather 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 color 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. Some characters are bold and seem to dance on the page. A strong line comes from strength and rhythm.”
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 important in cartoon caricatures and helps emphasize certain personality traits. If your character is strong, don’t just give it normal-sized bulging arms, pump them up so that they’re five times as big as they should be!
7: Color
Colors can help communicate a character’s personality. Typically, dark colors such as black, purples and grays depict baddies with malevolent intentions. Light colors 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 emphasize character traits and their background. For example, scruffy clothes can be used for a poor character, 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.
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 character is purposely dull). Personality can also be expressed simply in how the character has been drawn.
11: Expression
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.
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.
14: Quick on the draw
Do not 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 an artist creates his characters he doesn’t always know what he’ll draw. Draw what you find interesting.
15: Hone, plan and polish
Instead of just drawing or doodling without too much pre-planning, I take a long time to create 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: Drawing materials
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. I prefer drawing in the real world with a pen instead of on the computer, because it feels good and odd things happen.”
17: 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.
18: 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.
19: 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 breathe 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 think it’s wonderful that creating characters for the sake of it has become a distinct branch of graphic design. Remember to stay ‘true’ to the character, don’t add anything that doesn’t make sense to his personality.
20: Bottom Line
Have fun.
Class #2, part6 Gesture
Gesture drawing is a practice which allows an artist to draw strenuous or spontaneous poses that cannot be held by the model long enough for an elaborate study, and reinforces the importance of movement, action, and direction, which can be overlooked during a long drawing.
In class Assignment #1: In your sketchbooks draw a front, back and side view of the skeleton.
In class Assignment #2: In your sketchbooks draw a series skeletons displaying various gesture poses.
HOMEWORK: 1. In your sketchbooks practice drawing the human figure in various gestural poses.
2. Research costumes, props, etc. for three characters; a pirate; a cowboy; and a robot. Bring in images from magazines, internet, etc.
Class #2, part5 Rythm & Balance
It is important to be aware of where your center of gravity is located, or your figure will not look properly placed in space.
Our anatomy follows a rythm to allow for proper balance. Notice how the shapes are balanced on our frames.Class #2, part4 Additional Figure Reference
The above images are to be used as reference to help you in your figure drawing.
Class #2, part3 Shapes
The above images are a break down of the shapes needed to create the human figure. Basically they are composed of cylinders, ovals, and wedges.
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