Alive Character Design .pdf

File information


Original filename: Alive Character Design.pdf
Author: Tom

This PDF 1.5 document has been generated by Microsoft® Word 2010, and has been sent on pdf-archive.com on 02/11/2012 at 13:27, from IP address 81.108.x.x. The current document download page has been viewed 8538 times.
File size: 249 KB (3 pages).
Privacy: public file


Download original PDF file


Alive Character Design.pdf (PDF, 249 KB)


Share on social networks



Link to this file download page



Document preview


Alive Character Design for Game, Animation and Film – Haitao Su, Vincent Zhao
Part 1: What is Character Design?



P12 Quotes on the ‘definition’ of character design
P18 Categories of Character Design
o Logo
 Simplistic
 Cute (big eyes, small noses)
o Simple
 More complex than logo but still very simple
 Stronger forms
o Ordinary
 Rich variety of expressions
 Suitable for media such as animation
o Complicated
 Proportions and expressions of character are closer to reality
 Used by Disney
o Realistic
 Closest to reality
 Found in Hollywood blockbusters and high definition games
 Intended to amaze the audience and give a sense of reality

Part 2: Basic Principles and Procedures of Character Design







P25 It’s important to have a sketchbook, documenting designs and ideas
P28 Ask yourself some questions about the character you are designing
P29 Draft a selection of designs in a low resolution to help define character forms
P30 Recommended software
P34 Colouring process step-by-step
P38 Ten key tips for character design
o Working with a joyful mood
o Shortcuts to Create characters
o Take every character seriously
o The character is real
o Remember the 3D property of the character
o Uniqueness is a characters life
o Putting all the characters together
o There is no mission impossible
o Maintaining curiosity in everything
o Learning without holiday

Part 3: How to Approach Different Categories of Characters


P43 Attractive Female Characters
o Obtain an understanding of the female world
o Thin shoulders and big butts

o





P48 Don’t necessarily give them beautiful facial features, but arrange the features in
a proper way. The proportion and positioning is much more important
o P50 Select an appropriate body to head ration, normally between four and six.
 The smaller the ratio, the more lovely the character looks.
o P52 Capture female motions
 Use dynamic curves in the hair, breasts and hips to display the charisma and
personality
o P56 Hair and costume
 Use reference from fashion magazines etc. to gain inspiration
P59 Male Character Design
o P59 More about strong lines rather than flowing curves
o P60 Basic physical features of men
 Body made up of geometric shapes, face should be depicted by straight lines
o P61 Body Proportions of a male
 Common head to body ratio is 7.5, however we expect men to be a lot more
towering than females, to give a sense of security
o P62 Muscles and skeleton of a male
 Don’t worry learning every muscle/bone
 Keep an anatomy book handy
 Curves can capture some femininity in a male character, whereas straight
lines make him look extremely masculine.
 Combine curves and straight lines to enhance the characters vividness
o P64 Gestures and Body Language of a Male Character
 Proper body language can enhance the characters uniqueness
 Bulging muscles are significant for a powerful man
o P66 Costumes of male characters
 The costume must reflect the characters personality and identity.
o P68 More to say about male characters
 Use weaknesses to make the character appear more realistic, no man is
perfect.
o P69 Use exaggerated perspective effects to make the character three-dimensional,
more attractive and realistic. Avoid flatness.
P130 Bad Guys
o P132 Use straight lines and sharp angles
o P133 Physical characteristics can say a lot about the nature of the character, for
example an arches back can suggest the character is sinister and evil.
o P134 Body language is very important, can represent a natural expression of the
characters emotion.
 Closed, distorted and deformed emotions as a result of their negative
sentiments such as jealousy, pessimism, insanity, wickedness, hatred,
dismay, frustration and anger.
 Looks of zombies in games are generally already established, so body
language can be very useful to help portray the character.
o P136 Facial expression can really enhance the design.
o P138 Light and shade



o

Heroes always stand in highlight, whereas villains tend to hide in shadow.
 Light source placed below or to the side, can obscure the face and
enhance the wickedness and darkness.
P140 Use accessories based on what we see in real life.
 Smoking
 Tattoos
 Wear masks
 Long nails
 Favour black clothes


Document preview Alive Character Design.pdf - page 1/3

Document preview Alive Character Design.pdf - page 2/3
Document preview Alive Character Design.pdf - page 3/3

Related documents


alive character design
734 power
better web type cheat sheet
grad coursedescriptions researcharea
geekybugle01
i won t dance audition brief

Link to this page


Permanent link

Use the permanent link to the download page to share your document on Facebook, Twitter, LinkedIn, or directly with a contact by e-Mail, Messenger, Whatsapp, Line..

Short link

Use the short link to share your document on Twitter or by text message (SMS)

HTML Code

Copy the following HTML code to share your document on a Website or Blog

QR Code

QR Code link to PDF file Alive Character Design.pdf