Rosie Hilder is Creative Bloq's Deputy Editor. After beginning her career in journalism in Argentina – where she worked as Deputy Editor of Time Out Buenos Aires – she moved back to the UK and joined Future Plc in 2016. Since then, she's worked as Operations Editor on magazines including Computer Arts, 3D World and Paint & Draw and Mac|Life.
The process of creating a character design is often full of hurdles. Although many of the well-known characters from cartoons, advertising and films look straightforward, in actual fact, a vast amount of effort and skill will have been exerted to make them so effective.
."I don't like to feel like I've created by characters; I like to feel like I've kind of just encountered them."."Decide what you’re trying to communicate, then create loose sketches with movement, acting and flow. As soon as you start to tighten up the drawing, you’ll automatically lose some of the dynamic, so it’s important to have as much life in the early stages as possible. Movement is all but impossible to add later, so make sure it’s in the initial sketch.
"Not only will this help your art, but it is a fun activity that I find is a great way of breaking up my day," she adds. Read more of Isabel Armitage's tips forSea of Solitude is an upcoming game by Jo-Mei studio At one point one of her team members had to say to her that their Sea of Solitude design was looking a little too similar to The Last Guardian. She looked back at her initial artworks, and it brought back the feeling she had when creating them.
When devising The Simpsons, Matt Groening knew he had to offer the viewers something different. He reckoned that when viewers were flicking through TV channels and came across the show, the characters' unusually bright yellow skin colour would grab their attention.Another good way to make your character distinct and improve its pose, says Ørum, is to turn it into a silhouette."Then you can see how the character ‘reads’ and if you need to make the gesture more clear.
It's also worth considering the balance between stretch and compression."Even a neutral pose can lead the eye by applying these two approaches, resulting in an effective character design," says Ørum., and went on to work on projects for Disney, the BBC and MTV, and earned himself a BAFTA award and nomination in the process. However, it was his less successful years doing standup comedy that provided inspiration for his trademark character animations.
And if you're going to turn it into a comic strip, a la Luke Pearson's Hilda, it'll need to not only make sense from all angles, but look good too. "You’ll create balance because complementary colours create dynamism, while monochrome colours invoke feelings of calm. You could also try a tertiary colour scheme, which adds a third colour , and then work with monochromatic versions of those colours, but it demands more planning and skill for it to work well. If you’re new to colour, try and keep it simple.""Some years ago I went from hating drawing hair to loving it," Ørum.
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