Greetings Artisan!
Character design can feel like navigating a labyrinth, a maze of silhouettes, shape language, archetypes, stereotypes—it’s easy to get lost with all of the advice.
There is actually a lot of great advice out there. But some of it is poorly labelled.
I remember when I first dove into character design, feeling overwhelmed by all these theoretical design concepts. I wanted to create compelling characters, but I wasn't sure how all these rules fit together, or more importantly, how they applied to my work.
One of the biggest challenges I faced was realizing that not all character design advice is universal. What works for a video game might not work for a comic book or an animated film. The approach you take—and the tools you use—can vary drastically depending on the medium and the audience.
So how do we make sense of it all?
Understanding the design brief is the key.
Design is about more than just making things look good—it's about purpose, functionality, and meeting the specific needs of a project. Whether you're designing a character for a high-paced action game or a graphic novel, the brief guides your creative decisions.
For instance, when I was designing the characters for Star Atlas: CORE, a comic book prequel to a video game, I had to simplify existing realistic 3D game designs into something that fit the comic medium. The characters needed to be easier and quicker to draw, and they had to feel distinct from their video game counterparts.
Contrast that with my work on From Other Suns, a VR game where the characters had to be designed with specific animation rigs and gameplay mechanics in mind. The characters needed exaggerated silhouettes and clear shape language so players could quickly identify them in the midst of action. But they couldn’t have extremely exaggerated silhouettes… because the animation rigs keep things proportionally locked down.
This is where the creativity comes in…
It’s also worth noting that we are never really designing a single character.
Characters exist within a hierarchy and a design language unique to their world. They're not isolated entities. Their designs must relate to each other and to the environment they inhabit. This is why a character that works in one context might feel out of place in another.
Here's what I've learned:
- Understand Your Medium and Audience: The requirements for a 3D animated film differ from those of a 2D comic or a video game. Tailor your approach accordingly.
- Focus on the Brief: Let the project's goals and constraints guide your creative decisions. This includes technical limitations, storytelling needs, and target demographics.
- Use the Right Tools for the Job: Concepts like shape language, symbolism, and color theory are all valuable—but their importance varies depending on the project.
- Consider the Character's Role in the World: Design characters in relation to others. Think about how they fit within the hierarchy and design language of the world you're creating.
- Balance Functionality and Aesthetics: A cool design isn't always practical. Consider how costume elements might affect character interactions, especially in mediums like comics where clarity is key.
- Embrace Design (Design with a Capital-D) : Think like a designer. Your artistic skills are important, but your ability to solve problems and meet the brief is what makes you invaluable.
If you're feeling overwhelmed by character design theory, remember this: It's all about context. The best design choices are those that serve the project's needs. You may hear some great advice about how to push the silhouette… but unless that really fits your project… it’s not going to serve you.
I delve deeper into these ideas in my latest video, where I share more about my experiences and the nuances of character design across different industries.
You can check it out here:
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Let me know your thoughts!
Have you faced similar challenges when designing characters for different projects?
Do you feel like there is a focus on big shapes and silhouettes in the advice you see out there?
Cheers!
-Tim
