21-Draw-Illustrators-Guidebook-vol-2-ebook-(2021)

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2FUNDAMENTALS OFCHARACTER DESIGNRANDY BISHOP
FUNDAMENTALS OF CHARACTER DESIGNWITH RANDY BISHOPCharacter design is a very broadsubject and requires years ofresearch to learn in depth. Thereare so many things to consider and avenuesto explore along the way; it can be easy toget lost. Understanding this, in this chapterI provide you with a broad perspective aswell as focus in on enough detail to morefully engage and benefit you.Before we begin, I want to clarify that theconcepts I’m sharing with you are basedon my experiences as a character designer.Other artists have their own methods, butthese techniques are what work wellfor me.As a character designer youhave a lot of details to consider.I’ve asked other artists whatthey think is most importantto keep in mind whiledesigning a character,and the answers arealmost as variedas the peoplethemselves.No matter whattype of characteryou create, there’sone thing thatneeds to be atthe forefront ofyour mind as youmake every designdecision: the story.CONSIDER THE STORYYou can’t talk about character designwithout discussing storytelling, since thetwo are (in my mind) the same thing. Artin all its forms is about communication.You’re saying something with your artwhether you’re a painter, a composer, awriter, a designer, a performer, or actuallyanyone skilled in one of the fine arts of life!Everything you do as an artist is tied tocommunication. Creating a piece of art isthe same as tellinga story inmany ways.As a characterdesigner, you’reresponsible forcreating the conduit foran audience to experiencea story. Because audiencesexperience stories throughcharacters, the design of acharacter has a dramatic effect onthe story, which is why character designis such an exciting job. However, keep inmind the relationship goes both ways. Thedesign of a character helps to shape thestory, but the story is what should shapethe design of the character—they go handin hand.32 21DRAW
Page 1 and 2: VOLUME2
Page 3 and 4: Published in Sweden, by 21 Solution
Page 5 and 6: For beginners, students, and master
Page 7 and 8: INTRODUCTIONThank you for purchasin
Page 10 and 11: 1DIGITAL DRAWINGUsing ProcreateERIK
Page 12 and 13: stored on your device, simply tap t
Page 14 and 15: PROCREATE INTERFACEActionsSelection
Page 16 and 17: To view your layers, bring up the L
Page 18 and 19: but don’t pick up your pencil for
Page 20 and 21: DIGITAL DRAWING11
Page 22 and 23: ROUGH SKETCH FIRST PASSROUGH SKETCH
Page 24 and 25: FINAL LINES AFTER ADJUSTMENTS1SILHO
Page 26 and 27: and Color Balance adjustment tools.
Page 28 and 29: ORGANIZING YOUR LAYERS12345678DIGIT
Page 30 and 31: BEFORE CLEAN UPAFTER CLEAN UPDIGITA
Page 32 and 33: After you have a good idea of where
Page 34 and 35: LESSON 7: FINISHING UPIn this lesso
Page 36 and 37: DIGITAL DRAWING STEP BY STEPDIGITAL
Page 38 and 39: BEFORE AND AFTER FINAL ADJUSTMENTSD
Page 42 and 43: Good character designrequires plann
Page 44 and 45: SIMPLIFICATION AND EXAGGERATIONStyl
Page 46 and 47: Every aspect of acharacter’s desi
Page 48 and 49: “The Everyman” or “Regular”
Page 50 and 51: “The Magician”Visionary, Unconv
Page 52 and 53: IT’S ALL ABOUT THE PROCESSWhen a
Page 54 and 55: Step 5: Value and shadingStep 7: Fi
Page 56 and 57: MODEL SHEETSCharacter model sheets
Page 58: LEARN MORE ONLINE: 21-DRAW.COMLearn
Page 61 and 62: DRAWING FEMALE CHARACTERSWITH MEIKE
Page 63 and 64: If I want to print my art ona large
Page 65 and 66: IMPORTING REFERENCESTo place your s
Page 67 and 68: SIMPLIFIED SKELETON TECHNIQUEI star
Page 69 and 70: CHOOSING COLOR SCHEMESCOLOR THEORY
Page 71 and 72: COLOR PROPERTIES (HUE, TINT,TONE, A
Page 73 and 74: Tap and holdthen movearound toselec
Page 75 and 76: way I can easily adjust the color o
Page 77 and 78: layer is alpha locked and the backg
Page 79 and 80: I use the basecolor, make ita bit d
Page 81 and 82: BACKGROUNDLast but not least, we ne
Page 84 and 85: 4STYLIZED FIGUREDRAWINGRENÉ CÓRDO
Page 86 and 87: and other simple shapes to build ea
Page 88 and 89: CHARACTER DESIGNAfter practicing an
Page 90 and 91:
PRO TIP:I sketch my basestructure u
Page 92 and 93:
Creating perspective and volume cor
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You continue using the same process
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CHARACTER DEVELOPMENTFor this examp
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STYLIZED FIGURE DRAWING89
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Page 102 and 103:
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Page 106 and 107:
CHARACTER EXERCISELet’s do an exe
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QUICK SKETCHESThe previous page has
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HOW TO BRING YOUR CHARACTERS TO LIF
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However, there is a big difference
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HOW TO DRAW EYES: STEP 2Now that yo
Page 117 and 118:
EYE EXERCISES TO PRACTICEThe follow
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FACIAL EXPRESSIONSHow are you able
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EXAMPLES OF FACIAL EXPRESSIONSHere
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POSING YOUR CHARACTERSThe ability t
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DRAWING THE HUMAN BODYThere are var
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EXAMPLES OF POSINGWhat I love about
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6CHARACTER DRIVENILLUSTRATIONSKENNE
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For this piece, I play around with
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Running fromghost/monster’90sClot
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THUMBNAILS—CRAFTING YOUR STORY MO
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I also play around with tone andlig
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FINALCHOSENDIRECTIONI choose a view
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LINES OFACTIONbrandishing a hockey
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MOOD—SELLING THE IDEA THROUGHLIGH
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76804320THE BLOCK IN—STARTING THE
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CHARACTER DRIVEN ILLUSTRATIONS139
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One thing to note—it is important
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LOCALCOLORHARD LIGHTSHADOW LAYERWIN
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the environment. This process appli
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I tweak the ghost a bit so his tona
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7MASTERING LIGHTINGAND SHADINGAVELI
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tones contrasting on his face, the
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In the image at right, the mainligh
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In this film clip from Marriage Sto
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TOOLS AND TECHNIQUESMY MAIN BRUSHES
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ALPHA LOCK: Activate it by swiping
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light are clearly delineated, eveni
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In the above image, the characterwi
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This girl is like “don’t evenda
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12Gather a bunch of imagesso you ca
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4Identify the different light sourc
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CONCLUSIONI hope you’ve learned s
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KENNETH ANDERSONCHARACTER DESIGNERI
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RENÉ CÓRDOVACHARACTER DESIGNERCOM
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MEIKE SCHNEIDER3D ARTISTILLUSTRATOR
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ERIKA WISEMANDIGITAL ARTISTILLUSTRA
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