Characters
DESIGNING & DRAWING
VOL. 1
CLINT CEARLEY
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ACKNOWLEDGEMENTS
Special thanks to my parents who’ve always
stood behind me in art, all the great artists from
whom I’ve learned so much and my patrons
who have supported my teaching and musings.
God bless.
Copyright © 2017 by Clint Cearley. All Rights Reserved. No part of this book may be used or reproduced in any manner without written permission except in
the case of brief quotations embodied in critical articles and reviews. Sharing and distribution of this material without written permission by the author is
prohibited. Author contact information available at back of book. All artworks are copyright © by Clint Cearley unless otherwise noted.
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TABLE OF CONTENTS
SECTION 1: THE PROCESS
6
Guidelines - They make the thumbnail process extra speedy
7
Pick a Theme - Focus your creativity by limiting your options
10
Expounding - Delve deeper into the character and their design
11
Accessories - Great way to add instant interest and history
12
Direction - Be open to going a direction you didn’t originally intend
13
Say Something - Decide what the character says and SAY IT
SECTION 2: TOPICS
19
Bodytypes - People come in all shapes and sizes
22
The Head - Reveal the character through the face
28
Methodology - Using a system to direct decisions
29
Symmetry - The pros and cons of symmetry and asymmetry
30
Shape Language - Know and use shapes innate connotations
32
The Seven Aspects - Simplifying design to harmony and contrast
37
Materials - The clothes make the man they say
SECTION 3: CASE STUDIES
43
Aurora - Creating two versions of a formidable goddess
45
Chloe - Personal character exampling the creation process
46
Necrolurgy - Steampunk necromancer anyone?
49
Little Red Riding Hood - Letting the backstory inspire the design
SECTION 4: EXERCISES & RESOURCES
53
Twist - Character design is often just reality with a twist
55
Illustrator - Create your own literary illustrations
55
Silhouette First - Working from the outside in
56
Scribbles - Finding inspiration and characters in randomness
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Overview
READ THIS FIRST
By its nature character design is about creating original characters which
is why this material does not focus on teaching you how to reproduce
my drawings but rather, to teach the process so you can effectively make
your own.
The book is comprised of four sections, Process, Topics, Case Studies,
and Exercises & Resources which is noted at the top of the page.
PROCESS: EXAMPLE
Process is the step-by-step sequence of creating a
character and examples such things as setting up
guidelines and sketching thumbnail concepts. The
book has three ongoing characters exampling the
process; a warrior, an elemental and a centurion.
TOPICS: EXAMPLE
Here are investigations into relevant related topics like
bodytypes, shape language and design philosophy.
These side lessons carry the bulk of the information
needed to improve understanding and refine your
characters.
CASE STUDIES: EXAMPLE
Example of several commerical and non-commercial
projects so you can see how the full process goes.
RESOURCES: EXAMPLE
Resources contain practice and exercise ideas, pages
of predrawn guidelines as well as basic figures to
sketch over.
Tools used? For those curious about the
tools used in the illustrations most were
drawn with a 0.5mm mechanical pencil
though those with shading may have
included a 4H, 2H, HB and 2B pencils.
Print it. This book is
sized at 8.5x11 inches
so you can print it off on
3-holed paper and have a
copy for your shelf.
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PROCESS: GUIDES & MANNEQUIN
SECTION 1: THE PROCESS
My first experience with character designing was
when my mom had bought me a toy where you’d
create your own superhero by combining pieces of
different characters. There were three slots, one for
the head, torso and legs. In each slot you’d place a
hard plastic piece with a raised design, lay paper
over them and rub with a crayon to get your own
character. I thought it was fantastic. Far before I
could really draw such things for myself I could enjoy
the process of making my own cyborg lizard man.
My process has progressed from those plastic
pieces but I still think it’s a fantastic thing bringing
to life your own characters. So, we start by looking
at the creation process with: a warrior, a centurion
and an elemental. After that we’ll move to section 2
where we’ll delve deeper into the thought process
behind the decisions and principles you can use to
get the similar results.
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PROCESS: GUIDES & MANNEQUIN
Guidelines
The first idea and sketch for
a character is rarely the best
which is why we want to
start by making many little
sketches (called thumbnails)
and picking the best ones
from the collection to develop in more detail.
To create this batch of
thumbnails let’s start by
setting up some proportion
guidelines. It just takes a
moment to draw these out
but then you can focus on
the ideas without having to
juggle proportions at the
same time. These are quick
and rough proportions
for thumbnail sketching
so you’ll want to use a
more refined system (and
reference) for accurate larger
drawings.
NOTE - Body height and distances are commonly
measured in head lengths. This system for drawing a
figure gives you a 8-head character which is idealized.
Real adult humans are roughly 6 1/2 heads.
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THUMBNAILS: ELEMENTAL
Pick a Theme
A blank sketch page can stun an
artist’s flow of ideas. It is the problem
of having too many choices but by
picking a theme and narrowing the
field it can help your brain to focus
on one area and start the creation
process.
We will look at creating three
different characters, first a female
elemental then a male blacksmith
brawler and finally a futuristic
Centurion. The elemental is based
on organic shapes and curves
reminiscent of flowers and antlers
while the blacksmith warrior will
example designing that incorporates
man-made clothing. References are
not usually used at this stage, just
focus on interesting shapes and
silhouettes.
We’ll be using the human as the
basis for our designing but character
design is certainly not limited
to humans only. In fact, I highly
encourage sketching non-humanoid
figures and creatures but let us begin
with the familiar.
Right now we are breaking down the figure, design and
pose into separate stages but they can be combined into
one as with the digital sketches above.
At this stage the theme is simply “fantasy female elemental” with
the idea that she has flowing curves inspired by natural shapes.
This is an example of using
methodology, a combination system
in this case with concern for complex
and simple shapes. Learn more about
Methodologies in Section 2.
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THUMBNAILS: WARRIOR
Whereas the elemental had shapes
and curves based on nature the
concepts for this warrior blacksmith
are based on more geometric shapes
and straight lines.
Study Habit - If you are a novice or
amatuer artist I recommend you spend at
least half your drawing time on drawing
from life or photo reference. Otherwise,
you are likely engrainging bad habits
that will take years to unlearn. I know
you want to just make stuff up all day but
trust me, keep it at half. You’ll thank me
a couple years down the road when your
work has a depth and believibility your
contempories lack.
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THUMBNAILS: CENTURION
Starting Point
Where the Elemental and Warrior are
basically fantastical in nature the Centurion
character will be reminiscent of the classic
centurion design. To start the process of
creating a character based on an existing
design take the time to draw the source and
identify its iconic visual elements.
In this case I locate a book on the history
of armor and various reenactment photos
to base the initial study on (seen at right).
Noted are the visual elements needed to be
kept in order to emulate the overall centurion
appearance. This includes the arch shape
over the helmet, vertically aligned and
layered shoulder plates, horizontal torso
elements and knee-length skirt.
Even with those parameters the design
possibilities are nearly boundless! Will the
design stay symmetrical or go asymmetrical?
Is the character a grunt soldier, a general or
royalty? Do they use the same materials to
make their armor? Are they human?
At this stage I’m not trying to achieve
anything other than finding a cool design I
can be excited about. You will also see that
these designs are more detailed than the
Elemental and Warrior but that’s fine, I was
just having a good time exploring the ideas.
Fancy version
of original
Interwoven
and spikes
This initial sketch was drawn from historical
reference and to the right I identified the most iconic
visual queues I’d need to retain while redesigning.
The design possibilities for a new helmet
design alone could be its own project!
Ultimately it’s drawing the helmet that sets
the direction for this design.
Patterns in your design can add
a wealth of visual interest and
help harmonize and connect
various elements.
Asymmetrical with
squared spikes
Symmetrical top with
asymmetrical bot
Just have fun exploring possibilities!
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Asymmetrical with
longer skirt and brads
EXPOUNDED: ELEMENTAL
Expounding
After sketching your concepts pick
your favourite one to do a more
in-depth design. Essentially, the
thumbnail concept becomes your
mannequin for the next stage. We
will now look at creating variations
and details of the character.
These
expanded
concepts
should be drawn about twice the
size of the thumbnail (for me about
3.5” tall). You can draw it larger but
I suggest not going too much larger
or you’ll want to put in too much
detail for this intermediate stage.
This is the point you may want to
start collecting reference, whether
it’s textural like wood patterns
or another inspirational piece of
artwork whose style or approach
you want to incorporate. Also begin
considering what accessories go
with the character.
The shapes of the thumbnail
made me think of driftwood so I
followed that idea with this concept
of what she would look like as a
creature of wood.
Jot any color notes or supporting ideas next
to the character that you don’t want to forget
(as I have done above). It’s not always easy
to remember what you were thinking if you
come back several days later.
The driving idea behind the elemental face was reshaping the usual
oval face shape into something different and interesting. This makes
it not-quite-human but the features remain relatable.
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EXPOUNDED: WARRIOR
Details can give history and depth to your characters
Unlike the elemental where a specific thumbnail concept
was chosen to be expounded, various points of several
concepts were meshed together for the warrior.
Accessories
Take the time to sketch historical clothing. I referenced the
vikings above from a book on the history of armor. Looking
to designs of the past can be a great foundation when
designing a new character as incorporating familiar design
elements lend believability.
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The silhouette and large overall shapes are what
makes a character quickly recognizable which is
why we started with doing thumbnails that use
only larger simple shapes. As long as the details
you add later don’t break up the pattern of those
shapes then they continue to serve their purpose.
That said, details don’t make the character but
they can add a wealth of interest and history.
Having armor scratched tells us they’ve been
in battle. Including fur can indicate they’re from
a cold region or add a one-armed teddy bear
dangling from the warrior’s scabbard and that
tells us there’s another side to the character’s
story.
When it comes the time to accessorize the
character, don’t miss the chance to use it as a
way to tell a bit about their history, culture or
lifestyle.
EXPOUNDED: CENTURION
Direction
Be open to the design going in a direction
you didn’t initially consider as the best
ideas can be the unplanned ones.
While exploring helmet ideas (right)
something reminds me of a space helmet
which sparks the idea of a futuristic
centurion (which I jot next to the sketches).
With that direction set I immediately have
a much clearer idea what he should look
like and with each attempt the look gets
closer to what I picture in my mind.
I develop the helmet first till I am
satisfied with its look then let it inspire
the aesthetic for the rest of the character.
This is somewhat backwards from the
two other examples but that’s okay,
follow whatever element you can picture
clearest.
I experiment briefly with a glassfronted design so you can see the
face which would resemble the
classic helmet. However, I decide
that this character isn’t about the
man in the suit, but the suit itself so
a closed front design is chosen.
Think 3D. Instead of
boring flat planes consider
adding variation to the plane
by changing the angles. On the
helmet blades the bottom edge
bends up and the top forwards
and curves. It can be a small
change but gives more sense
of depth and volume.
Motif? A motif is a repeated design, shape,
or pattern and can be a great tool for
artists. By having a subtle theme woven
throughout it can give good direction for
design and add nice visual interest. A notsubtle example of motif would be that
Spiderman’s costume has a spider motif.
In the Centurion’s case there are two
motifs; wings and double rings. Both of
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these were established in the helmet
sketch (above) and intentionally repeated
in the rest of the design. The double
rings are seen on the inside of the helmet
blades as well as the end of the shoulder
plates, on the forearms and on the knee
and calves. The wing design is repeated
on the shoulder ornaments and in relief
details throughout.
PROCESS: REFOCUSING
Say Something
Now it’s time to step back and refocus the
character. During the process of finding
cool shapes and designing buckles it can
be easy to lose sight of the heart of the
character. They can still be generic at this
stage so we want to find what it is this
character says and really SAY IT.
The blacksmith warrior doesn’t say
strength, survivor, blacksmith, warrior or
anything in particular though all those
things are said quietly. Let’s pick an
aspect, give it a megaphone and see what
happens.
At this expounded stage the character elements are a jumble but it’s your
job to create a hierarchy. What single aspect is at top? Determine that
then determine what aspects can best be used to hold that aspect higer.
Everything should be promoting that single aspect and vision.
FINAL 1: ARTIC HERO
Refocusing on the hardened arctic
nature of the character we now know
exactly what kind of guy he is by
glancing at him. While many aspects of
the design remain unchanged several
key points were revisioned. To reflect
the severe cold weather he endures he
is given a heavy animal skin cloak which
ties into the design by making use of the
preexisting large circle clasp. The exposed
right upper arm is now partially covered with
a simple wrapping as well. Growing the hair
out is nice a visual cue that he needs every
bit of warmth he can get.
Swapping the satchel for a bear skull is
a small indicator of the deadliness of the
character and what he has to face. The
bracers were too large and “loud” to fit with
this design so their size were decreased to
let the rest of the design take point.
To round out the image a strong wind was
added as well as clumps of snow that cling
to the boots and the bottom of the cloaks.
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PROCESS: FINALS
FINAL 2: BLACKSMITH BRAWLER
Where the previous version played up the arctic
nature of the character this one sees him as the
fantasy blacksmith. Realize that both versions are
equally valid final designs derived from the same
source, it just depends which resonates the most
with you the artist and is the best fit for the project.
Since he would likely be working in a covered area
the hood was removed as well as the armored plates
on his chest. Exploring the idea that he would want
protection from the heat for the arm that would
reach nearest the forge he was given an armored arm
and gauntlet that breaks the too-symmetrical
original design. This addition also gives us
the chance to show off the handiwork
of the character and strengthen what
he’s about. Continuing the concept of
the dangerous nature of the forge he is
given an eye-patch eluding to a past
mishap.
While a conventional blacksmith
apron is very simple with a single
belt fastened around the waist ours
is cluttered with more belts but I still
wanted it to step that way a little
more. To that end the design work
was dropped from the lower half
and the large diagonal strap from
the chest to waist which helps to
clear up the apron shape.
As with the arctic version,
the large bracers were played
down by exchanging one for
a gauntlet and the other for a
studded leather version but the
protruding cylinder shapes were
reused as elements on the armor.
The satchel which was
replaced for a bear skull in the
arctic version is replaced by a
belt of tools which places the
character and helps to convey his
occupation.
The armor was originally drawn as seen at the right but replaced
with the left version later. Upon considering the original, it didn’t
fit properly with the overall design which is more rugged and
angular not curved. It didn’t properly say what the character was
trying to say so it was replaced. If you have the time to hone the
vision, do so.
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PROCESS: FINALS
FINAL START: FUTURE CENTURION
For a character that is as complex and symmetrical as this one it’s a
good idea to first draw an accurate body pose then build the armor
over that otherwise it’s too easy to get proportion and angles off.
Take the time to get reliable reference for key elements.
In this case I find a walking pose stock photo on an art site that is
close to what I had in mind and with a couple of webcam photos of
myself to supplement areas we’re ready to draw!
Remember that unless the character is out of
control (falling, being thrown, etc.) then the
shoulders and hip angles are opposite with one
high and the other low or vice versa.
Below is my initial thought to
use an eagle design inspired by the
Roman’s flag pole figures but it seemed
too archaic. Over the years surely the
design would evolve into something
more streamlined so I choose to use
a winged profile instead that has a
sleeker more modern look.
At this stage I want to keep in mind the
major shapes needed in order to maintain
the centurion look and not be side-tracked
by details.
If you don’t want your character to be too
bulky but still want them armored consider doing
what I choose to do here which is interlocking
synthetic muscle. It looks cool and is believable
as protection and flexible enough to move in. The
key to visually sell it is to mimic the direction and
placement of the real muscle.
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PROCESS: FINALS
FINAL CONCLUSION
Only after blocking in the basic shapes in the
earlier stage do I begin on the details. While there
is a lot of details they are basically the same four
repeated; wing design, filigree, circular greebles
and bionic muscle. This keeps it more cohesive
and simplifies the coloring process. It’s key at
this stage to think three-dimensionally and keep
in mind the thickness of the layers and how the
elements would interact while he moved. I won’t
say it completely functional but it is believeable
and that works.
While working on the character I was approached by Applibot inc. to create a character
for their mobile game Chaos Drive. I told them I
was already working on someone that would fit
their game and pitched them the drawing. They
liked it and I proceeded to create a fully painted
version (below). A freelance artist needs to keep
an entrepreneurial spirit and look for ways to
maximize their work.
Never underestimate the value of
unused and unpublished characters.
Sometimes, they can be turned into
full paying commissions.
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PROCESS: FINALS
Finished drawing
I originally sketched a massive explosion behind him and
I wish I had kept with that idea. I could have had cool
turbulance in the smoke and fire from his engines. Second
guessing yourself gets you sometimes.
I lower the opacity of the rough sketch and begin drawing a clean
line version over it in Photoshop. I start by blocking in the basic form
or the object; sphere, cube, cylinder or cone, then work my way to
smaller details.
With the lines finished I mask
the character then shade
a basic soft front light, add
cast shadows from the front
light and finish with occlusion
shadows. Essentially, it is
hand painting an ambient
occlusion pass you would do
in 3D. Colors added overtop.
FUTURE CENTURION 2
Along with the commission to paint a full version of
the future centurion (Hyperion by name) was the
need to make another version. Every character for the
game has both a Normal and Advanced version. The
design already created would be my normal and now I
needed to create a suped up version.
This can be a fun challenge for a character designer,
a second chance to really push the concept. In this
case I’m happy with the basic character and decide
that the advanced should have attached weaponry
and space-faring engines. The pose has more action
so he appears more aggressive, the engines splay out
behind the shoulders like wings and twin rail guns are
mounted on the shoulders because they’re freaking
rail guns and are awesome.
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SECTION 2: TOPICS
You’re familiar with the process now so let’s dive
deeper into the design, anatomy and principles
behind the process. I’ve included several topics I
think are important for developing your skills and
understanding but this is by no means a complete
collection of relevant topics which is why this is
only Volume 1.
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DETOUR: BODYTYPES
NORMAL
ATHLETIC
BRAWNY
BRUTE
STOCKY
Average guy,
little muscle tone
eg. Constantine
Defined muscle
tone but not bulky
eg. Nightwing
Bulging muscles
and wide chest
eg. Conan
Superhuman massiveness,
neck swallowed in bulk
eg. The Hulk
Rounded muscles and
squarish torso
eg. Hagrid
Male Bodytypes
The mannequin guide at the beginning of
Process builds us a generic male body but
the options for bodytypes are huge and
choosing the right one for your character
is important. But how do you choose?
Archetypes is a good place to start.
An archetype is “a very typical example
of a certain person,” an accepted standard.
A wizard for example is accepted to have
a Normal, Athletic or Stocky bodytype
but not Brawny or Brutish since they rely
on their magic and not strength. Think of
a ninja or assassin and you’ll picture the
Athletic bodytype, lean but deadly (unless
you’re a panda).
Such archetypes have ingrained
themselves in the societal psyche, not
necessarily needing to be taught but
recognized so you can use them to your
advantage. Building your character on
an archetype allows you to build on the
groundwork laid by artists before you.
Many other standard bodytypes exist that
I have not included, such as:
• Age variations from infant to elderly
• Exceptionally tall and lanky
• Elongated/elastic
• Part human and part something else
• All non-human and creatures
Dwarf
Child
Athletic
Stylized Athletic
Heavy
Brawny
Mutation
Stylized Brawny
The examples at the top were drawn with a fairly realistic anatomy. Your
personal or project style may be very different. The examples above show
how they could be adapted into simpler and exaggerated versions. Which
shapes you accentuate and how you do it creates your style but be warned
about stylizing before you learn proper anatomy and proportions. Those
who do it well do so because they know where they can cut corners without
undermining the anatomy. As the saying goes, it is wise to first learn the
rules before trying to bend them.
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DETOUR: BODYTYPES
Underlying Shapes
The heart of varying bodytypes is not just
differing muscle builds but the underlying
basic shapes. These are critical for faster
sketching and stylizing characters. This
involves breaking the body down into
simple components. These simpler shapes
can be much easier to modify and pose
than the more complex outer anatomy
which can be added after.
Once you begin to recognize the
underlying shapes you’ll realize how
simple it is to create new and interesting
bodytypes. Just a tweak of a trapezoid
here or a cicle overlapped there and
you’ll have something different and more
repeatable.
The chest/torso shape is the most important for male characters with the arms
being second. For women it is the chest/torso then hips. The chest/torso is
commonly expressed as a rectangle, trapezoid (skewed rectangle), diamond,
oval, circle or combination of those.
A FEW EXAMPLES
STANDARD SINGLE SHAPES
VARIOUS COMBINATIONS
Overlapping ovals
Drawing exegerated bodies
with simple shapes can be
beneficial even if you intend
to end up with something
more realistic.
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Sometimes a simple shape can
even be used for the overall body.
Rectangle
DETOUR: BODYTYPES
Female Bodytypes
Using a 8-head proportion system gives
us the vertical placement of nearly every
major anatomy point using halves (crotch),
quarters (nipples and bottom of knee),
eigths (chin and belly button) or thirds
(waist and top of knee). Memorization of
these proportions and how to sketch them
highly recommended. This system for
drawing the figure is lifted almost entirely
from the teachings of Andrew Loomis.
For a more in-depth look into the subject
study his book Figure Drawing for All it’s
Worth. Also recommended is Bridgman’s
Complete Guide to Drawing From Life
which can be found inexpensively.
Major differences between the male and female anatomy at this stage:
female shoulders slightly narrower, waist has more acute angle from
rib to hips, hips are as wide as shoulders and the hips widest point is
slightly lower.
There are as many variations as there are women!
1) Narrow shoulders with wider hips is average but could be enough to distinguish her from
a group of other women 2) Switch to circles and ovals to establish forms for heavier set
characters 3) Wider shoulder, lats and neck give a stocky swimmer build perfect for a warrior
woman or amazon 4) Stretching the proportions can create other species (Na’vi anyone?)
5) 7-head figure, close to real life
You can quickly block in the breasts by
creating an upside down heart shape. This
also gives you the angle change from the
chest to the shoulder.
Be open to changing up the shapes you use to create the body.
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DETOUR: THE HEAD
Head & Face
There’s no denying that a character’s
face can make or break the character.
There’s also no denying that drawing
realistic believable faces can be
difficult to do but don’t stop practicing
if you’re struggling with it!
To the right is a basic face using
standard facial proportions which can
serve well as a model to work from.
Take the time to commit the basic
proportion measurements to memory,
it will be time well spent.
While the rest of the character
design can give the character a unique
look it is often a good idea to give the
face a distinguishing characteristic to
help identify them if they are going to
be used in context with many other
characters.
• 1 eye width between eyes
• Nose is approximately 1 eye width
• Mouth width = width between pupils
• Ears vertical from eyebrow to nose
Head ratio 2:3
including ears
Quick sketches from life or reference photos
are a great way to improve. Use websites that
display portrait photos on a timer for sketching.
Keeping them below 5 minutes will force you
to focus only on the crucial elements and keep
you from getting bogged down in the details.
After doing a rough sketch of your character, reference
actual people and incorporate small aspects to give
more life to your character. I normally wouldn’t think
to twist the beard to one side or have asymmetrical
eyebrow arches but adding them takes him from being
a random character to a specific person.
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DETOUR: THE HEAD
Eye & Brow
The eye can give a soul to a character
like nothing else can but it is also one of
the most mishandled elements in novice
and amateur art. Pay special attention
to understanding the 3D forms of the eye
and lids as well as not outlining them.
Remember that the eye is a slit opening
of a sphere, not a flat design on the skin.
Also, avoid treating the eye shape like a
symmetrical almond but rather a rounded
parallelgram.
One way to differentiate characters
is by the tilt of the eyes.
Don’t forget that the
eye is a sphere, thinking
about that and how the
skin has to fold around
it can help you render it
correctly.
Keep in mind that the iris
takes up half of the visible
horizontal opening of the eye.
The eyebrow arch is also a good place to establish a
specific character look. It can help to lightly sketch in
a guideline that sets the position of the brows at rest
then draw the brows themselves.
Think of the shape of the eye not as a pinched
oval but rounded parallelagram with the corners
not being in the middle but towards each side.
Eyebrows are often a series of
convex and concave curves, not just
a single curve.
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DETOUR: THE HEAD
Forgeting the upper and or
lower lid is common and
can lead to the eyes looking
flatter or painted-on.
Don’t neglet doing detailed drawings from life
or reference which will help you practice value,
shading, edges and tool handling.
Feature Framing
A simple way to create unique characters
is using feature framing shapes. This
could be a triangle, “T” or an houglass
shape that determines the position
and size of the features. This is also a
useful way to aid in keeping a consistent
likeness for a character that you have to
draw repeatedly.
Playing with feature
framing variations
can be a lot of fun and
help you generate new
characters quickly.
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DETOUR: THE HEAD
Nose & Mouth
The nose is the most deceptively simple
of the facial features. Begin by blocking in
the general form which can be done with
a few lines. Then refine with more subtle
planes and folds as needed. Don’t outline
or emphasize the nose or the avial folds
unless it is instrinsic to the character such
as a troll, goblin, witch or someone very old.
I find drawing a diamond
shape is useful for blocking
in the end of the nose.
The end of the nose is
essentially comprised
of 3 interlocking
spheres.
THE MOUTH
You will likely be drawing the mouth from a front view most of the time so
I have addressed several points to aid in that. To the right is a breakdown
of the system of convex and concave curves that make up the mouth. It is
worth the time to study and remember these. The top lid can be divided into
three sections while the bottom is divided in two. This allows the middle
section of the top to rest in the divit between the two bottom sections.
Bottom lip is made of two
interlocking ovals.
It can be helpful to think of
the crease between the lips
as a flattened “M”.
25
DETOUR: THE HEAD
Head Shapes
Most of the characters you
create will probably use the
standard oval shaped head but
you’re certainly not limited to it.
Experiment with other shapes,
each gives its character a unique
impression. These experiments
won’t immediately result in a
finished character but can be
the spark that pushes you to
imagine someone you never
would have considered.
Like Feature Framing, creating shapes
then filling them with a character can be
a great exercise and way to brainstorm
for ideas.
Ditch basic shapes altogether and create random shapes which are more
likely to generate non-human characters. This also has the bonus of letting
you develop a strong and differing silhouettes from the start.
26
DETOUR: THE HEAD
Moving past basic shapes try using basic forms for head concepts.
Just stick to a 3/4 view with a center line and eyebrow angle and
see what kind of characters you can come up with! You’ll find a page
with these basic forms in the back of the book for you to print and
and sketch from.
27
In the same way we discussed
choosing a theme with the
elemental try choosing a design
theme for a series of heads.
DETOUR: METHODOLOGY
Methodology
In the early stages think graphically,
how the character works as a set of large
shapes. What size shape should come
next? Should it be vertical , horizontal
or angled? Using a methodology helps
answer these questions by guiding
decisions with a logical system. Methods
create concepts with intelligent design
and a related look while being visually
distinct with each using a different
visual paradigm. Methods keep the eye
moving by creating contrasts with size,
angle and shapes used. There are more
methodologies possible those exampled
but these should get you started.
SHAPE - Arrange elements to
fill a large simple shape(s).
CROSS - Shapes are laid out
with their direction being
primarily vertical or horizonal
while alternating.
ZIG-ZAG - Effectice whether you
make the pattern with branches,
war paint or draped fabric.
“X” - Layout the shapes at contrasting angles and varying sizes
but stay in same shape family.
SIZE - Shapes remain the same
design and alignment but vary in
size and placement.
REPEATED ELEMENT - Overall
design stays the same but a second
element is repeated throughout.
CONTRASTING SHAPES - In this case,
the straight-edged rectangles contrast
against the organic curves.
COMBINATION - Varying the size, angle
and orientation to create balance.
28
DETOUR: METHODOLOGY
Symmetry
Symmetricality can convey uniformity
such as in a organization or military,
being in control emotionally/mentally
as well as indicating artificiality (too
perfect). Also, a hallmark of beauty
is symmetry, it examples intentional
design, forethought and is natually
pleasing.
Asymmetrical designs can be a good
way to have a charcter stand out from
a regimented and symmetrical group.
This is often used to designate “hero”
characters in a crowd. It can also signify
a break from convention; such as
being rogueish with a “devil may care”
attitude, a rebel or somehow emotional
or mentally off kilter. Asymmetry is also
part of nature, from minor misalignments
of features that make you look like you to
trees being twisted and unbalanced by
years of harsh weather.
a·sym·met·ric adjective; not
identical on both sides of
a central line. Don’t forget
asymmetrical designs, they can
be trickier to pull off well but be
more engaging as well as being
good creative practice.
symmetrical
asymmetrical
Asymmetry is an effective way to denote signifcance to a
character so they stand out from a standardized crowd.
COMPLEXITY VS. SIMPLICITY
Another aspect to incorporate and consider is complexity vs simiplicity. A simplitic area on a
complex character will draw attention while a complex element on a simple area will draw
attention. This can also be used in symmetry as seen on the left. The large simple shape
of the cape on the right side is balanced to a degree by the decorative element behind the
left shoulder. In this case, the complexity of the decorative element gives it more visual
“weight” allowing it to balance a much larger shape. The same effect can work with
color or value, bright colors and extreme values carrying more visual weight than
dull colors or greys. This principle works the same whether it’s a landscape vista
or a fantasy prince.
29
DETOUR: SHAPE LANGUAGE
CURVED
NEUTRAL
ANGULAR
Probably good,
Approachable
Nature magic
Even with no detail or shading the shape language
alone is enough for us to make assumptions about his
moral leaning, amiableness and likely type of magic.
Probably bad
Standoffish
Dark magic
Shape Language
When setting out to design a character consider asking
yourself, “Which shapes will I use?” Different shapes
convey different impressions similar to the way colors
do. Where you will eventually choose a color palette
to paint your final scene you can choose your shape
palette that the character will be built on.
Shape impressions is something we all respond
to and have been taught on an unconscious level. As
artists we need to be consciously aware of them so we
can use them to our advantage.
As the wizard example shows even at this early stage
we can convey core information about the character
but that information needs to be accurate. For
example, if the rightmost wizard is friendly and good
then it’ll be an uphill battle to convince the viewer of
that because his basic construction says otherwise.
In that case we’d need to rely on other factors to
offset the angular appearance. We could try bright
colors (avoiding hostile red), soft fabrics, rounded
facial features, happy expression, an adorable animal
companion, and curved-based patterns in the clothing.
Organic
Non-threatening
Morally upright
Artificial
Threatening
Morally corrupt
Circles, ellipses and wavy lines go on one side and
rectangles, triangles and straight lines on the other.
In character design these shape groups have intrinsic
perceptions as noted above.
In shape language the rules bend
in regards to rendering style. Some
artist’s styles are naturally more
angular, such as Mike Mignola’s
(pictured). This doesn’t negate the
standards but it can skew them
so neutral is a step towards the
angular side.
30
DETOUR: SHAPE LANGUAGE
Below is a map of sorts where characters have been placed based on the shape language of their character design and the
character’s moral leaning. If they are made more of curved lines and organic shapes they sit towards the left while those with
sharper lines sit towards the right. Moral leaning is determined by top to bottom placement.
GOOD
Those in the top blue section often use
bright colors along with their rounded shape
language which is why many animated
protagonists fall in this area. Likewise,
traveling opposite the characters lose color
vibrancy and end in muted colors or black.
The rule-of-thumb is that character’s with
sharper shapes and darker colors are evil and
vice-versa so we find that those who fall in
the yellow areas are the exceptions. On this
side they are good guys who could easily be
seen as villains due to their straight lines,
dull colors and spiky shapes. Many
anti-heroes fall in this area
such as Vampire Hunter D
and Batman.
1
13
2
14
3
20
IC/CURVED
N
A
G
R
O
21
11
15
SHARP
FICIAL/
ARTI
12
4
19
16
10
5
18
9
17
6
Those within this bottom
yellow area are the exceptions
for the evil side. They use rounded
organic shapes which are usually reserved
for heroes. The Xenomorph uses the organic
curves with a combination of black and
spikes which conveys its evilness but
Saruman is the true wolf-in-sheeps-clothing
as he dresses in flowing robes of pure whites
with nothing to betray his inner darkness
except his spiked black staff.
8
7
EVIL
In addition to generally using harder shapes
towards the evil side they also tend to go
darker in tone. Many leave color behind
altogether and use black alone such Darth
Vader, Pinhead and the Xenomorph. Black
then is a reliable tool to convey a character’s
shady morals.
1. Superman 2. Robocop 3. D 4. Boba Fett 5. Jafar 6. Darth Vader 7. Pinhead 8. Xenomorph 9. Saruman 10. Treebeard 11. Cheshire Cat 12. Mickey Mouse 13. Ponyo 14. C3PO 15.
Kratos 16. V 17. Gollum 18. Ursula 19. Pan 20. Abe Sapien 21. John Constantine
I claim no ownership of the characters shown above. Copyrights held by their respective owners.
31
DETOUR: THE SEVEN ASPECTS
Genre
Values
Silhouette
SEVEN
ASPECTS
THE
Shapes
Balance
HARMONY & CONTRAST
Color
Material
Design Elements
HARMONIOUS AND CONTRASTING
If we were to distill character design into it’s components we
would have the Seven Aspects. Depending on how you classify
things maybe your list would differ slightly but for the moment
let’s go with these seven.
1. Genre - The nature of the character; fantasy, scifi, horror,
etc. There’s also some overlap with time period in here.
2. Silhouette - The outline is highly important as it can be the
fastest way to recognize and distinguish a character.
3. Balance - Symmetrical or asymmetrical, balance addresses
how things are arranged inside their contour.
4. Material - What is the character composed of? Different
materials give an entirely different impression.
5. Color - Colors can make a rogue stealthier, a hero into
a superhero and help distinguish between similarly
designed characters.
6. Values - “Values” has nothing to do with money in this
instance, we’re talking about what light/dark patterns
you’re using.
7. Shape - Hard and angular to curvy and flowing, shapes tell
a great deal about a character.
Character design, as much in art, I see coming down to
harmony and contrast. Contrast in light against dark,
warm next to cool and details offsetting simplicity
for example. Harmony could be seen in keyed colors,
symmetry or repeated patterns or shapes.
An effective character design has a unified vision with
the parts tailored to support that vision – Harmony.
Yet, there should also be room for unique elements,
something iconic about the character – Contrast.
A completely harmonious character would come
across a bit bland, everything “by the book” with
nothing making it unique or memorable. While a
character with every aspect contrasting with each
other would be chaotic since every part would visually
fight to stand out and each trying to run in its own
direction. The ideal then is for the character to be
mostly harmonious with one or two well chosen points
of contrast to make them unique.
Now, let’s look at each aspect individually to see
what harmony and contrast looks like for each.
Mickey Mouse of Disney and Harvey Dent (Two-Face) of DC Comics are property of their respective owners, I claim no ownership of the characters.
32
DETOUR: THE SEVEN ASPECTS
1) GENRE
While the genre of a character gives us their general
nature and that of their world it’s rarely used as
the major contrasting element. Two genre blends
however are fairly common such as killer clowns
(whimsical+horror). Many other genres exist than those
listed below and these can be subdivided if desired.
Rule-of-Thumb
Harmonious - Using one to two genres.
Contrasting - Combining three or more genres.
Spy
Action
Adventure
Comedy
Whimsical
Western
Romance
Horror
Science Fiction
Medieval
Mystery
Fantasy
Fairy Tale
Historical
Monster
Post-apocalyptic
Mecha
Steampunk
Thriller
Supernatural
Noir
Note on Genres - Be aware that some genres such
as steampunk and post-apocalyptic are already a
combination of two genres (victorian+industrial and
modern+medieval respectively).
2) SILHOUETTE
Creating a strong (unique and interesting)
silhouette is a big point in character design. Each
character should be instantly recognizeable by
their contour alone. This is especially true for
animated characters either in film or games as
they will be viewed in many poses and need to
be recognized at a small size or in motion.
Rule-of-Thumb
Harmonious - Anything reasonably expected or
symmetrical.
Contrasting - Contains an unusual and defining
element to the silhouette for which the
character is recognized. e.g. Mickey Mouse
and his ears and Pyramid Head and his...
pyramid head.
HARMONIOUS
CONTRASTING
Killer clown
(whimsical+horror)
Pirate Cowboy Killer Clown
(pirate+western+whimsical+horror)
Acceptable as Harmonious
as it uses only 2 genres.
Using 3 or more genres quickly
makes it the iconic aspect of the
character.
Silhouette in Concept Art - 3D modelled characters will be seen from
many angles and need to be instantly recognizable as friend or foe or
what class of character they are. The Silhouette is the strongest visual
indicator as the Balance, Materials and Shapes are not definable at a
distance while it’s Color and Value may not be clear under certain lighting
conditions. This is why games are careful not to have two characters or
creatures with the same silhouettes or basic forms.
2D images which will stand on their own (such as card illustrations)
and not be converted to 3D do not have to worry as much about the
silhouette as they can setup up the entire scene to make the character
stand out.
The silhouette is such a key element of a character design that many
concept exercises and painting processes start with establishing a
strong silhouette. We’ll look at some of those exercises later.
While Mickey’s silhouette is
symmetrical its simplicity helps
make it his most defining feature
(further emphasied by the fact
his ears remain flat to view
regardless of his angle).
Pyramid Head’s distinct silhouette
is unmistakeable which is critical in
a survival game where split-second
reactions can determine your fate.
Mickey Mouse of Disney and Pyramid Head of Konami are property of their respective owners, I claim no ownership of the characters.
33
DETOUR: THE SEVEN ASPECTS
3) BALANCE
Unlike Silhouette which deals with the exterior of the character,
Balance addresses how things are arranged inside that contour.
Rule-of-Thumb
Harmonious - The majority of the elements are symmetrical with
only a few minor elements (belts, tattoos, etc) breaking up the
symmetry.
Contrasting - Decidedly unbalanced/asymmetrical arrangement of
elements. Unbalancing elements evokes a impression of mental
instability or eccentricity. e.g. Two-Face.
Harvey Dent (aka. TwoFace) is the poster boy
for unbalanced in more
ways than one! While
his bright colored suits
and coin are memorable
it’s his stark left/right
difference that makes
Balance is iconic aspect.
While the left figure is
Harmonious and completely
symmetrical the right is
asymmetrical but not
iconically so. In this case
we may consider Balance
to be his minor Contrasting
aspect.
4) MATERIALS
What is your character composed of or wearing? Feathers, metal,
vines and scales all give a different impression. If that material jives
with their genre, time period and class then it’s harmonious but if
not then it is contrasting. A knight in metal plating and leathers?
Harmonious. A knight in feathers and beads? Contrasting.
Also keep in mind what time period various materials and styles
were invented. Prehistoric characters wouldn’t have regal styling
and pieces of gleaming jewelry, the technology to create such
things hadn’t been invented. That said, there is artistic license to
bend the rules for “coolness” sake.
Rule-of-Thumb
Harmonious - The materials used fit the genre, time period and class
of the character.
Contrasting - Using a material that doesn’t fit the genre, wouldn’t
exist in the time period or isn’t standardly used in their class.
One way to keep things harmonious is to limit the
extremes from connecting. Prehistoric men wearing
crude loincloths would not have gleaming material
to make them from while the more futuristic the
character the less likely they’d have anything that
was crude in construction and surfacing.
Dull - Rough fabrics, cotton fabrics,
denim, dirt, various kinds of rock, dry
mud, dried untreated wood.
Lustre - Skin, most paints, most
plastics, varnished wood, windstopper/
waterproof fabrics, treated leathers.
Glossy - Various plastic or metal
fabrics, sealed hard plastic, eyeballs,
teeth, some glass, gold.
Gleaming - Chrome, mirrors, some
glass, nacre (mother of pearl), various
precious gemstones.
Harvey Dent (Two-Face) is property of DC Comics, I claim no ownership of the character.
34
DETOUR: THE SEVEN ASPECTS
11
12
1
2
10
9
3
8
4
7
6
5
HARMONIOUS
A simple gold/white scheme with red
as an accent color.
5) COLORS
The Silhouette may indicate their class and the Genre tell you about the nature
of their world but Colors showcase their personality. More so than the other
aspects Colors can convey they individual tastes and demeanor. Whether they’re
boastrous, quiet, happy, forelorn, reserved or outgoing you can say it with Colors
almost regardless of what the other aspects may be.
Harmony and contrast works on two fronts here; with the character and with the
other colors. A forlorn man wearing bright colors contrasts with his personality
while neon green could contrast against a character with a harmonious red color
scheme.
Rule-of-Thumb
Harmonious - Limiting palette to four neighboring brackets on a twelve color
wheel (with one allowable accent color) that coincides with their personality.
Contrasting - Using a wider palette than four neighboring brackets or dressing the
character in colors contrary to their personality. A clown in a two bright colors is
expected so despite being vibrant it wouldn’t be contrasting. A clown in shades
of greys could be contrasting, not due to visual impact but unconventionalism.
CONTRASTING
More is not always better. Such a wide
range of colors can quickly over-power
almost all other aspects of a design.
A staple of using color in character
design for video games is indicating vital
or weak points with bright color. In this
case the player would immediately know
to focus damage on the horns due to
their vibrant green.
On complex characters such Brisela a
good way to keep the visual busyness
in check is to use large simple gradients
of color. Instead of each small element
having a different color look to unifiy
entire areas into a single tone.
Hector, drawn by the author is owned by Applibot, Inc. Used with permission.
35
DETOUR: THE SEVEN ASPECTS
6) VALUES
“Value” in art refers to how light or dark something is
without regard to it’s color. A dynamic value scheme can
make your character’s appereance highly graphic and
engaging. Whether it’s a pale face surrounded by shrouds
of dark fabric, a streak of black warpaint across the
character’s eyes or glowing white apparition with arms
dripping of black tar the strong graphical impact needs no
color to hold up.
Rule-of-Thumb
Harmonious - Keeping the value range to within five adjacent
values on a ten scale.
Contrasting - Using more than five neighboring values or five
values that do not neighbor. In the case of the apparition,
the character uses four light values and one black tone
like an accent color.
7) SHAPES
Shapes covers several distinct subaspects. Shape Palette - Shapes
like colors can carry connotations
and which shapes you choose can
influence the viewer’s impression.
Visual Flow - Shapes create a visual
flow with angles playing off each other
and large and small forms contrasting
against each other. This flow adds
visual interest and keeps the eye
moving around the design creating
similar effect of playing warm colors
off of cool.
VISUAL FLOW
Contrasting angle/
shape against another
creates a visual flow
that leads the eye
around the design.
Form Language - When shapes follow
intelligent design it gives believability
and understanding but when it
doesn’t it can kill a good render leaving
viewers puzzled how such a thing
could exist. eg. Mechanical design
where pieces would collide with each
other and physiological design that
follow no logical biological rules.
The large curve of the pauldron
is contrasted against the small
angular tabs set at its right
angle .
The pauldrons
curve down to
the plackart but
because they
don’t face at right
angles the flow
is continued, not
stopped.
The under shape at
a right angle to the
verticals stops the
visual flow and helps
keep the eye up where
the focal point is.
Rule-of-Thumb
Harmonious - a) Keeping the shape language reflecting
the nature of the character concerning Curved vs
Angular. eg. a dryad made of rounded forms or a
drawven barbarian with strong angular armor. b)
Form language that follows reasonable functional or
physiological patterns.
Contrasting - a) Using a shape palette that does not reflect the
character’s nature. eg. a dryad made of acute angles or a
dwarven barbarian sporting flowing art nouveau designs. b)
Form language that does not follow reasonable functional or
physiological patterns.
36
DETOUR: MATERIALS
Materials
Never settle for just reusing the same
materials when designing attire. Keep an
open mind because each has its own visual
flavor and variety is key to keeping things
fresh and interesting.
Materials also offer the chance to expand
the color palette, give hard and sharp
edges and variance in texture. For instance,
bright armor plates by themselves can be
nice but would really “pop” if paired with
dark heavy fabric as the fabric would be
dull unlike the metal and would be dark
which would make the metal appear
brighter.
A common mistake in rendering textures and materials is not adequately
distinguishing what material the viewer
is seeing. Leather, metal and cloth can
appear very similar if they all are given
the same behavior to light (surfacing) and
don’t fold, crease and bend correctly. This
is why I’ve noted some light behavior with
the materials shown.
This collection is by no means exhaustive
so start your own materials reference
library to draw from.
ROUGH FABRIC
QUILTED FABRIC
Loose weave, likely wool
Moderate ribbing
Stitching or border at edge
Possibly slight fraying
Tight weave with padding
Can be fabric or leather
Heavy vertical ribbing
Grommets or tacks at ends common
Time - all periods
Time - primarily medieval
Dull - does not highlight, specular
light or reflect
Dull to Lustre - depending on fabrics
or leathers used
QUILTED FABRIC
STRETCHY FABRIC
Dull - does not highlight
or specular light. Surface
is usually rough, fuzzy or
gritty.
Lustre - may have diffused
highlights with some
reflective light visible.
Gleaming - will highlight
and specular light, show
reflective light or mirror
its surroundings.
Surfacing - Capturing how a material’s
surface behaves under light is crucial
to visually “selling” the material.
Determine which family it belongs to;
Dull, Lustre or Gleaming. Gleaming may
also be reflective like a mirror or glossy
like hard plastic.
Tight weave with padding
Distinct stitched “X” pattern
Worn under medieval armor
Large stitching at edge
Time - medieval
Dull - does not highlight, specular
light or reflect. Usually off-white.
37
Tight weave, no visible stitching
Bunches in horizontal “Y” & “Z” patterns
Time - medieval onward
Dull to Lustre - depending on fabric
DETOUR: MATERIALS
ROUGH LEATHER
FUR
WEAVED CORDING
Underside of hide
Flexible to semi-rigid
Puckers and curls at edges
Forms in small narrowing clumps
May be used as padding under armor
Common in cold climates
Time - prehistoric to medieval
Time - all periods
Thick fabric cords weaved into plate
Common in ancient Asian armor
Often paired with beads
Length and angles vary in pattern
Dull to Lustre - may have diffused
highlights, no specular light
Dull to Lustre - may have diffused
highlights depending on source
Time - primarily medieval
Dull - does not highlight, specular
light or reflect. Colors varies
RUBBER
BONE/CARAPACE
CHAINMAIL
Flexible to semi-rigid
Often ribbed to form donut shapes
Stylish on retro robots!
Organic curves
Repeating patterns common
May be used as primitive armor
Time - Mid 1800s onward
Time - all periods
Interlocking metal links
May be single or double linked
Notoriously tricky to pencil draw,
better to suggest with a hash pattern
Lustre - may highlight with diffused
specular light. Usually black
Dull to Lustre - may have diffused
highlights, no specular light
38
Time - primarily medieval
Lustre to Gleaming - reflects
highlights with some specular lights
DETOUR: MATERIALS
LAYERED PLATE ARMOR
SOLID PLATE ARMOR
INDUSTRIAL METAL
Plates extend from underside toward
the narrowest end
Edges may be flat or ridged
Pin where ends link
Single piece armor
Often ridged in curving patterns
Common as armor for appendages
Edges usually ridged
When plate metal just isn’t enough!
Reinforced edges and seams with pins
Raised edging with bolts
Don’t forget knicks, dents and dirt
Time - medieval to renaissance
Time - medieval to renaissance
Time - industrial age onward
Lustre to Gleaming - reflects
highlights with some specular lights
Lustre to Gleaming - reflects
highlights with some specular lights
Lustre - may highlight with diffused
specular light
Patches may be sewn on top and
bottom or on all sides
Other materials to consider and collect:
• Glass
• Beads
• Animal scales
• Animal hide
• Gelatinous/tar
• Feathers
• Gossemer
• Wood
• Leaves
• Roots/vines
• Hair
• Wicker
• Stone
• Ice
• Magma
• Crystal/gems
• Flame
• Skin
• Chrome
• Porcelain
• Digital screen
• Paper
LEATHER ARMOR
Rectangle patches in quilt pattern
Brads, grommets or large stitches
May be affixed from back
Edges may have ridge
Time - ancient to medieval
Lustre - may highlight with diffused
specular light
39
Metal pieces are often affixed to
the middle of the patches. Theses
usually have simple to elaborate
designs on them.
DETOUR:
MATERIALS
DETOUR: MATERIALS
Each stitch is shared by two
scales and the bottom of each
scale covers the stitch below.
Note that this means one side
(usually the left side) of the
scale is covered 30% by the
scale next to it.
Thin vertical ridge common on scales. Helps to
keep the scales from slipping sideways?
SCALE ARMOR
Metal, leather or dragon scale!
Stitching usually hidden under scales
Shapes and sizes greatly vary
Edges may be ridged
Time - ancient to medieval
Lustre to Gleaming - depends on the
material used
Many scales are rounded outward which increases
their structural strength against attacks.
While pointed scale armor follows an “X” pattern note
that the scales do not extend directly from the point of
the scale above it. They are offset just to the left and
right of the point. Same goes for dragon scales!
Large visible stitching is most common
in ancient Asian armors.
40
DETOUR: MATERIALS
COMPOSITE/PLASTIC TECH
ARTIFICIAL MUSCLE
HEXAGONAL MESH
Distinct planes but with subtle curves
and rounded corners
Circular greebles* common
Try adding markings and symbols
Little says futuristic like this stuff!
Anchored with clips at ends
Mimic actual musculature pattern
Subtle texturing often used
A staple of futuristic clothe
Pattern is usually quite small
The inside and outside often have
slightly different tones or finishes
Time - modern onward
Time - near future onward
Time - modern onward
Lustre to Gleaming - will specular
light but in a glossy, not mirrorlike way
Dull to Lustre - may have diffused
highlights, no specular light
Dull to Lustre - may have diffused
highlights, no specular light
CARBON FIBER
Very light weight but very strong
Pattern is usually quite small
Herringbone and vertical patterns
most common
Time - modern onward
gree•ble, noun; a small piece of detailing
added to break up the surface of an object
and add visual interest.
Dull to Lustre - may have diffused
highlights, color is gunmetal grey
41
RESOURCE: CASE STUDIES
SECTION 3: CASE STUDIES
In the following section we look at character
design in action during the creation of
several commercial and non-commercial
projects. Professional work, unlike an
artist’s personal sketching and designs, is
usually directed by the client. This direction
begins with the Brief, an outline of the
character or scene which can be as short as
a few words or a lengthy bio full of detailed
descriptions.
42
CASE STUDIES
Aurora
The client: Applibot, Inc.
The venue: Legends of the Cryptids (mobile
game)
Name: Aurora, Goddess of the Polar Lights
Younger sister to the sun god, Apollo, she
is of unparalleled beauty. She symbolizes
the spark of creativity. Her arrival heralds
the coming daybreak to end the Age of
Darkness.
Create two versions of Aurora, a Normal
and an Advanced. In the normal version it
is the moment before Aurora descends from
the heavens to the Age of Darkness. For the
advanced version Aurora has descended
and ends the long continued war in an
instant. The world is filled with light.
I begin by collecting references for ancient
Greek and Roman armor but bearing in
mind that the client is more concerned
with just getting a cool image than
historical authenticity. The references
serve to jumpstart ideas rather than being
a constraint.
Since she is about to
descend I try a top
down view so we see
the ground far below.
Normally you’d tilt
the viewpoint up at a
character to make them
appear more powerful
but this angle resonanted
well and ultimately this
pose paved the way to
the final.
Shape inspired by the mohawk
on Roman general’s helmet.
Trying to
maintain the
feminine waist
curves through
the armor.
A key to figuring out Aurora’s look was finding
a balance to her looking beautiful and
heavenly while also a believeable warrior.
43
CASE STUDIES
Once I’m happy with the character designs and composition thumbnails I do a
more detailed line drawing. These are sent to the art director for approval with
no revisions requested. I add flowing white fabric into the scenes to harken back
to classic depictions of mythological characters. No weapon was specified in
the brief but I feel she should have one and decide a bow would be fitting. She
wears a laurel and has free flowing hair in the normal version but dons a helmet
and additional armor for the advanced. Since she is the goddess of daybreak I
choose pale oranges and violets for her color scheme. n
Ridiculously skimpy “armor” is common
place for female fantasy warriors but
don’t jump to that cliché. I didn’t and
have since received several comments
thanking me for not going that lazy
route and instead creating a character
that was beautiful, feminine and still
powerful and deadly.
I adjust the pose so
the bow and arrow
are plumb vertical
and horizontal to
create a dynamic
composition.
The final and
sketch that set the
direction.
Colored images © Appibot, Inc.
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CASE STUDIES
Chloe
Chloe is a personal character and
this was a quick personal project
but it examples the process so well
that I felt it should be included.
The character is a high-spirited
explorer/maintainer of a collection
of reality books. She must carry
various tools of the trade with her
so bags or pockets are necessary.
She also has her own sense of
fashion and collects various
elements from her adventures. n
I begin by drawing a single pose that has personality then copy that and create a
collection of quick costume ideas over the pose. Choosing the best six I pull them
out and refine the concepts.
Next I add flat tone colors to the
concepts playing with varying
color and value combinations.
I pick my favorite to
move to a final. To
this stage I used no
reference but now was
the time and I pulled
refs for various parts
of the attire. The pose
was also referenced
and modified. In the
end she is eclectic and
haphazard, exactly as
she should be.
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CASE STUDIES
Necrolurgy
Client and venue: ImagineFX
Brief: Create a steampunk wizard
for a tutorial article.
This content was originally created
for the magazine article but as
I retain the rights to it I’d like to
share it in this section. We’re
also changing the focus from the
painting process to the character
and cover more of the character
creation stages that weren’t
covered in the original.
By the way, ImagineFX is the
best digital painting magazine on
the market and I do recommend
the publication but as they are
expensive, maybe asking for a
subscription for your birthday is
the good option.
After binge reading Hellboy comics I was inspired
to create this automaton man. This was before the
commission and when it arrived I was inspired to
revisit this concept. His design moves from being
more engine-like (above) to more human (below)
I made a note to have a
patchwork heart sewn to
his jacket that was given
to him by a little girl till
he could find a real one.
Regrettably, I forgot to
include it in the final. Oh
well, it was a good idea,
maybe I’ll get to use it
later.
These composition
sketches set the
way forward.
46
CASE STUDIES
While the painting will be digital I choose to
sketch the scene in pencil with the main character,
skeletons and chains sketched separately (after
testing various thumbnail versions)
I scan and compile the sketches in Photoshop. The composition
chosen is simple with the character centered and various
design elements pointing towards him (the chains, skeletons
looking at him and background girder crossing his chest).
As I work on the piece I begin
to flesh out more about who
he is and what is happening in
the scene. He is a steampunk
necromancer that uses the
forbidden science of necrolurgy
to draw power from the afterlife.
He channels this power through
his staff that sports an encased
human skull. The dark power has
its price however which causes
his body to wither. This effect
can be seen on the hand and
when it becomes unsustainable
the body part is replaced with
a steampunk construct. The
rest of the image is a little more
allegorical. The graves reference
the necrolurgy power and the
skeletons essentially represent
death trying to pull him down
and stop him from cheating its
system.
I know this doesn’t all come
across in the image but knowing
it helped me understand the
scene and make decisions.
Putting the sketch layers into a group
I set its Blending Mode to Multiply and
create a Normal layer underneath where
I begin blocking in the color with a large
round brush.
The colors chosen are cold and subdued
to reflect the scene’s subject. Red was
originally picked as the main accent color
but I change it to blue as I feel red would
be too natural and warm.
I move onto blocking in the colors of
the necromancer’s various elements as
well as the surrounding chains. While
not aiming for photorealism I make
it a point to differentiate the surface
qualities between the brass, steel
and clothe. Wanting the character to
stand out even more I brighten the
background behind him so his contour
has greater contrast.
47
CASE STUDIES
I use my iMac’s Photo
Booth program to snap
some quick references
for the skeleton hands. I
pull these images up in
Photoshop, add them as
new layers and position
them next to the figures
to sketch from.
A second chain is added
in the front to break up
the perfect “X” pattern
made by the two current
chains and the pipes
on the right side are
painted.
Browsing online I notice a photo of
a wolf dusted in snow and I decide
to add the same wintry magic
to my image since it’s a logically
explains the cold color scheme
and the background fading
into grey. One layer is added for
the falling snow and a second
for snow that has collected on
surfaces.
With a vinyl skull I picked up
from a Halloween store in front
of me I refine the skeletons
one-by-one desiring to add a
touch of authenticity without
compromising their initial design.
I purposefully retain Mignola’s
Hellboy style to them since he
inspired the scene.
Some technical know-how is essential to
operate your painting program but beyond that
it is not what separates pros and amateurs. The
difference is not external in the form of technical
know-how but internal in the understanding of
light behavior, color, values, design sense, as
well as one’s critical thinking process and general
commitment (among others).
Remain open to additions and changes
throughout the piece. Taking Snapshots in the
History menu throughout the painting process
will make you more comfortable to experiment
with ideas along the way since you’ll always have
a safety net just a little behind you. n
I only used four
brushes to paint
the image, three
default rounds from
Photoshop and a
custom rectangle
brush set to follow
the direction of my
stroke to create
straight lines and
Watch a timelapse of the painting
sharpen edges.
process on my YouTube channel,
www.YouTube.com/Swatches.
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CASE STUDIES
Little Red Riding Hood
This non-commercial project began
during a panel at Spectrum Live by
Iain McCaig, a character concept artist
on Star Wars Ep. 1-3, John Carter and
Peter Pan (among many others). In a
back and forth with the audience we
discussed a post-apocalyptic retelling
of Little Red Riding Hood. We outlined
the story and characters during the
panel then he challenged us to illustrate
them after the event. Below is my pass
at the concept.
The exercise of reimagining a classic
tell is a fantastic one that I recommend.
If you’re wanting to build a concept art
or illustration portfolio but don’t know
what to draw, this is your answer. It let’s
you create new characters, has built
in audience recognition, shows you
can work inside a frame while being
creative and viewers love watching a
series unfold.
Take the story and characters you’re
familiar with and give them a new spin.
What if Goldilocks and the Three Bears
was a space fantasy piece? Goldilocks
could be an astronaut stranded on an
alien world who comes across what
she thinks is the abandoned residence
of a native. How about Hansel and
Gretel as a western? A woman hires a
cannibalistic shaman to put a spell on
the man she wants to marry then sends
his children to the shaman as payment.
Story of Red 3 - A 10-12 year old female clone (3rd generation) created as an
unknowing organ bank for her privileged and unseen original that lives in a
walled utopian city.
They removed her right arm and replaced it with an artificial one. She has
no clear memories of that event except for nightmarish recollections of a wolfman which is one aspect of her consistently seeing the world differently than it
actually is.
Visuals of Red 3 - What would she actually
want to wear and have access to? The overcoat
would offer good protection, give her a swooshy
cape feeling she likes then put it with shorts
to give a mismatched impression. A backpack
to carry supplies as well as a beaten umbrella
as an unique prop. Why an umbrella? Because
if you're ten and you find an umbrella you're
totally going to keep it and pretend it can do all
kinds of things.
When possible, let the narrative direct the
visuals, not the other way.
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What if Pinocchio was a science fiction
piece where the puppet was an artificial
intelligence? Actually, scratch that one
as it’s already a movie.
It doesn’t take much to get the
creative juices flowing when revising a
classic partly due to the fact that the
narrative is baked in to begin with.
Starting with a narrative gives an
immediate buffet of ideas and options
to explore.
I’ve included my images and thought
process in notes in hopes that they
may encourage you and help you
understand how to approach the
challenge.
CASE STUDIES
Story of the Woodsman - A man of undetermined age, he is also a clone (9th
generation), but has not been harvested. Acquiring the axe from emergency
firehose box in the operation room he used it to force his way out of his
containment zone and is now roaming through the area. Nana warns Red
not to associate with the Woodsman. In the end, it is the Woodsman that
breaks into the operation room to save Red from the wolf.
Visuals of the Woodsman - His apparel reflects him as a man on the move.
A large camping backpack is loaded with supplies and a bedroll as well as
bottles of water. A post-apocalyptic world is reminiscent of the Wild West
in some ways and a tip to show that is with a heavy poncho the Woodsman
wears which is practical as protection and source of warmth. Never knowing
what he might need or want to collect he wears a fisherman's vest under the
poncho with pockets for everything.
Story and Visuals of Nana (Grandma) - She is a doll of Red3 who
is actually a surveillance device of the computer that monitors the
clone. It is Nana that convinces Red to go through the woods to
"Nana's house" which is actually the operation room.
The strength of the connection between Red and Nana is through
stories. Red doesn't know how to read so she relies on Nana to
explain the world around her but Nana uses that to manipulate
her. Red has a big imagination and Nana feeds that by recounting
tales every night. Nana then is her link to a world of imagination
and friendship.
Nana's design is straightforward in the style of Raggedy Ann. She
wears an apron, has white curly hair and rosy red cheeks.
50
CASE STUDIES
Story and Visuals of Wolf (Surgeon) - An unnamed
man who harvests the organs and is in league with the
Nana computer, doll and unseen elite society.
While the surgeon is connected to everyone's
backstory we don't see him until the end when Red
enters the operation room. He doesn’t really need a
backstory himself though it is important it’s established
what his role is.
In contrast to the other characters dirty and
disheveled appearance the Surgeon is clinically clean.
We never actually get to see his face as he wears
augmentation lenses and apparatus on his head.
Since Red3 sees various things differently than reality
it is she who remembers him as a wolfman. In designing
the Surgeon it was important that there would be visual
cues shared with the Wolf version. This includes the red
"eyes", red hands, black face and grey body.
Having a clear idea what the surgeon should
look like I decided the best way to render him
was to use the technique of “photo-bashing”
where pieces of photos are meshed together
and hand painting is used to blend them and
fill where necessary.
Visuals of Red1 - Imagining the original Red has a
genetic pre-disposition for joint problems Red1 has
had both legs from the knee down, left arm from
elbow down, her right eye and organs harvested.
A machine attached to her back filters her blood.
The machine also helps regulate her body temperature, thus the lack of need for heavy clothes. Giving
Red1 short artificial legs and long arms increase
her Gollum-ness of walking on all fours. Unable to
wear a backpack due to the machine, she pulls an
old shopping cart full of supplies via a rope
tied about her waist. A machete has been
lashed to the end of her crutch as a
meager attempt to arm herself.
Story of Red1 - She is the first clone in the Red line and has
been harvested many times. Part machine and part human we
see her briefly as a harrowing example of what's in store for
Red if things don't change. She is a Gollum-like character.
After several attempts
to sketch Red1 in pencil
I switched to Photoshop
which was enough of a
creative change to get me
over the design hurdle.
Sometimes a change of
medium can really help.
51
RESOURCE: EXERCISES
SECTION 4: EXERCISES & RESOURCES
I’ve thrown a lot of concepts at you in
the previous section and here is where I
provide some springboards for you to start
creating. The exercises are good to start
you brainstorming, maybe approaching the
creative process differently than normal and
push you to attempt concepts you’d normally
never try. Also included are time-saving pages
that you can print out and sketch over with
guidelines, mannequins and head shapes.
Use them for your personal studies or a group
drawing activity.
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RESOURCE: EXERCISES
Twist
Character design is often just reality with a twist. It’s getting
something relatable (even ordinary) and giving it a shove
in a different direction. The twist can be lots of things,
like changing the standard gender, species, time period,
technology, genre or many more! Or perhaps it works better
to think of it as a mashup where you get two or more (usually
unrelated) elements or ideas and combine them together
into something new.
It’s simple enough, just pick at least one characteristic
from each column or stretch your skills by using a randomizer
(or dice) to pick one for you which will keep you from just
choosing subjects you are comfortable with.
Class
Distinguishing Elements
1. Pirate
2. Centurion
3. Knight
4. Barbarian
5. Detective
6. Mage
7. Assassin
8. Cyborg
9. Android
10. Elemental
21. Cowboy
22. Hunter
23. Mercenary
24. Scientist
25. Diplomat
26. Scholar
27. Outlaw
28. Seer/Oracle
29. Witch
30. Bounty Hunter
1. Pet/Stead
2. Artificial Bodypart
3. Wounded/Scarred
4. Unusual Haircut
5. Tattoo
6. Jewelry/Adornment
7. Bodypaint/Makeup
8. Plump
9. Old
10. Facial Hair
21. Glowing Shape/Pattern
22. Animal Facial Feature
23. Animal Horns/Claws
24. Animal Legs/Fur
25. Animal Tail/Wings
26. Albino/Very Pale
27. Shadowiness
28. Extra Limbs
29. Unusual Proportion
30. Expression
11. Wizard/Shaman
12. Undertaker
13. Merchant
14. Barmaid
15. Soldier
16. Monk
17. Paladin
18. Cleric
19. Necromancer
20. Punk
31. Astrologer
32. Technician
33. Mechanic
34. Blacksmith
35. Medic
36. Adventurer
37. Advisor
38. Guard
39. Navigator/Guide
40. Nobility
11. Eyewear
12. Prop
13. Weapon
14. Muscular
15. Hood/Shroud
16. Eyes
17. Good Looks
18. Hair Color
19. Magical Limbs
20. Sexiness
31. Crest/Emblem
32. Headpiece
33. Skin Color
34. Thorns/Bone Spikes
35. Diseased
36. Bald
37. Mask
38. Glowing Bodypart
39. Eyepatch
40. Posture
Species
Genre
Motif
Time
11. Satyr
12. Vampire
13. Ent
14. Demon
15. Faerie
16. Troll
17. Gnome
18. Witch
19. Siren
20. Mutant
11. Mythological
12. Crime/Detective
13. Superhero
14. Space Opera
15. Post-apocalyptic
16. Dystopian
17. Space fantasy
18. Urban
19. Surreal/Dream
20. War
11. Sphererical
12. Geometric
13. Floral
14. Wave
15. Tree
16. Sun (radial)
17. Leaf
18. Herringbone
19. Interwoven
20. Lattice
1. Human
2. Goblin
3. Elf
4. Minotaur
5. Dragonborn
6. Alien
7. Halfling
8. Nymph
9. Giant
10. Orc
1. Whimsical
2. Western
3. Horror
4. Science Fiction
5. Steampunk
6. Fable/Fairy tale
7. Fantasy
8. Mystery
9. Action/Adventure
10. Mecha
1. Dragon
2. Wings
3. Ram
4. Lion
5. Snake
6. Bird
7. Triangle
8. Hexagonal
9. Cubic
10. Circular
Corresponding guide page on next page >
53
1. Prehistoric
2. Ancient Empires
3. Middle Ages
4. Victorian
5. Western
6. Industrial
7. Modern
8. Near-future
9. Futuristic
10. Post-apocalyptic
Gender
1.
2.
3.
Male
Female
Androgynous
One item from each list could
generate over 300,000,000 different
character combinations!
RESOURCE: EXERCISES
Print off page, fill out your parameters from the previous page and sketch them out
Class:
Species:
Genre:
Time:
Gender:
Distinguishing Element:
Class:
Species:
Genre:
Time:
Gender:
Distinguishing Element:
Class:
Species:
Genre:
Time:
Gender:
Distinguishing Element:
54
Motif:
Motif:
Motif:
RESOURCE: EXERCISES
Illustrator
Silhouette First
Where the last exercise was about
illustrating well-known characters with
a twist this one is about illustrating
your own version of characters.
Whether it’s for a story that has
never been visualized such as from a
favorite novel or one that has known
renditions it doesn’t matter. No one
reads the same book and imagines
the characters exactly the same way.
So pick up a book, begin reading and
sketch the characters as you go!
As a fun problem-solving and exploration exercise draw a series of silhouettes.
Focus on making them varied and interesting. Don’t think about what’s inside
making the shapes, just focus on making interesting shapes. Afterwards go
back and fill a character to fit that silhouette. This is pretty backwards from the
standard concepting but that’s one of the reasons that it makes a great exercise.
Having to imagine postures, props, and whatever else to fit the shapes can
really help your brain consider new possibilities. Also consider doing silhouette
swaps with a friend where you both draw the shapes then swap and fill in the
characters on the other’s shapes. That way you can’t cheat yourself by planning
the character ahead of time. Or try turning the page which often leads to the
character needing to be in an unusual pose. The same approach can also be
used for heads or busts, not just full-length figures.
To get you started here’s some
silhouettes to play with!
55
RESOURCE: EXERCISES
Scribbles
Our brains are hardwired to find patterns out of chaos
especially when it comes to humanoid shapes. Like seeing
everyday objects in clouds this exercise is about finding a
character in a jumble of lines. Pull out the shapes that are
useful, leave those that aren’t and you may be surprised the
variety of interesting characters you come up with. These
examples to work from were created digitally but you could
also try making pencil squiggles or use a light grey pen to
make some random shapes. While most will probably be
forgettable you may find some worth continuing with.
56
RESOURCE: MANNEQUINS
Save some time by using the basic bodies below but I also suggest making your own collection that will match your
particular style. Print the page and sketch over these or make copies for future use.
57
RESOURCE: GUIDELINES
Save some time by using the basic proportion guidelines. Sketch here or make copies for future use.
RESOURCE: THEME EXERCISE
Now it’s your turn! Choose a theme to expound each concept with: avian, royalty, fauna, or combine them together!
59
RESOURCE: MATERIAL EXERCISE
Materials can dramatically change a character’s look. Use the same character I did
but use a different set of materials. Instead of the leather/fur I showed earlier try
your own combinations!
60
RESOURCE: HEAD SHAPES
Make some head variation of your own
Old age
Makeup/Warpaint
Animalistic feature
Use these simple
head shapes to get
you started.
61
Unusual hairstyle
RESOURCE: HEAD FORMS
Now practice with
simple head forms.
Add your own in the
space at the bottom.
62
RESOURCE: CHAMPION EXERCISE
Your Champion
You’ve looked at my two final examples and now it’s
your turn! The aspect you’re focusing on is him as the
champion. As you can see, a basic body pose has been
provided which shows this version of him is not just
strong but Herculean!
Remember those bracers we played down in the other
two designs? Now is their time for prominence. In this
version the bracers aren’t just fancy apparel but magical
artifacts forged by Hephaestus himself. He is noble,
powerful and in your hands. Good luck!
You may want to also look at the other
similar designs we made earlier in case
one of them sparks some ideas.
Here’s your starting point. Now take a minute to
think over the vision and determine what helps tell
that vision and what needs to be altered or added.
63
RESOURCE: ELEMENTAL
Now it’s your turn! I’ve started two of the figures but the rest are up to you.
Elemental
Hooded mage
You choose the theme here!
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FINAL THOUGHTS
We will never “finish” art. We chase perfection in our
work, knowing all the while that it is the pot of gold
at the end of the rainbow and we will never reach
it. But that’s okay. The satisfaction of creating today
what we couldn’t previously emboldens us to continue and to ask more of ourselves and our abilities.
It is my hope that this book has aided you in your
art by removing some obstacles or connecting some
mental dots and in turn emboldened you to dream
bigger and attempt more than you have before.
Clint Cearley
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gallery
clintcearley.com
education
patreon.com/swatches
videos
patreon.com/swatches
store
swatchesart.com
ABOUT THE AUTHOR
@cearleyclint
Trained in traditional media Clint Cearley now
works primarily as a freelance digital artist. He is
most well known for his illustrations for the game
Magic: The Gathering and as the host/teacher of
Swatches. Art featured in Spectrum 17, 19, 21
and 24 his work was also awarded the Master title
in Exposé 10.
Facebook.com/cearleyart
clintcearley@live.com
Clint currently resides in central Tennessee, USA.
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