Character/Object Design - The Art Institute of Las Vegas: Fall 2006

Character & Object Design :: MMA122

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• Syllabus

Week 10: Final Portfolio Presentation
This week, we learned the importance of color in our character designs. We viewed examples of this from the concept design firm Massive Black www.massiveblack.com
Look at the examples in this week's section and how color is used.

Also, begin preparing your Final Portfolio presentations due the final week.
It will include the various components of character design. Update images for this portfolio, and complete the ones that are missing in order to ensure high score.

The requirements for the Final Portfolio are on a handout given in class.

HOMEWORK:
Create two illustrations of your character in an environment. These pieces must be colored, and must include your character holding a object. Be sure that the color conveys the feeling of the character.

NOTE: A little note regarding composition. Composition refers to how the elements in a picture are arranged. A balance must be achieved between the backgfound (negative space) and foreground (subject). This alone is the perhaps the most important factor in creating imagery and is more important than any technique. Basically, if the composition is weak, the image will be weak. A good composition will invite the viewer and will retain the viewer's eye. For this week's homework, you will be illustrating your character in an environment, be sure to consider the composition of the entire page. Below are examples from illustrators from the Golden Age of Illustration: Howard Pyle and N.C. Wyeth. Notice the intentional placement of the figure within the image and notice how your eye moves withing the page.

Week 9: Things to Come
Please review the emotion homework that is due this week. This week and for the remainder of the quarter, we will be covering sequential poses, color, designing objects, and your final portfolio.

Week 8: Thanksgiving

Week 7: Emotion and Feeling
This week we learned about emotion and feeling in our characters, its imprtance and how it is accomplished. Remember that it is done through facial expressions, hands, gesture, lighting and the environment. This emotional connection with character will dictate how the story will ultimately be perceived.

TOPICS DISCUSSED TODAY:
• Lecture: Emotion
• Facial structure
• Hand drawing tips
• Gesture drawing tips
• Lighting different moods
• Pickout techniqu demo.
• Corel Painter Demo

The image above was created in Corel Painter. How does gesture play an important role in the feeling of this image?

HOMEWORK:
Draw your character in 10 emotional states. 5 of which are full bodied. Be sure it is inked if you are using pen and that you used full value. Place these in a folder with your name on it. This will be due week 9.

No school next week because of Turkey Day.

Week 6: Styles
Please review Chapter 6 in your text regarding "styles". Your book has a large section on different styles to which you can apply to your character. Remember that style is driven by the elements of design like shape, line and texture. The same character if drawn in different styles will garner a different look and feel.

Topics Covered in Class:
• Styles Lecture (Chapter 6).
• Character styling in "Over the Hedge"
• How to Draw Hammy presentaion - I'm glad to know that this exercise helped many of you out.
• In Class Exercise - Know the difference between Cartoon and Realistic. What we found out, was that rendering light and having realistic true to life proportions dictate a realistic look. Cartoonly looks are simplified and are exaggerated. See RJ image above.
• Light on an object demo.
• Using traplines and refined linework to suggest form and light and shadow.

HOMEWORK:
• Create 2 drawings demonstrating 2 styles Cartoony and Realistic on two 8 1/2" x 11" sheets of paper. The two drawings must be of the same character. All drawings must be inked and shaded depending on the the type of style.

20 points
For your ink example, I will be looking for your application of differing line weights as demonstrated in class. Use a tombo pen.

20 points
For the realistic drawing, please show a variety of shadows as dictated by lightsource demo. Include a core shadow, and reflected light.

• Review the next chapter in your book. Chapter 7 "Emotion and Gesture"

Week 5: Synthesis
Please review Chapter 5 in your text regarding Synthesis. Sythesis is an important tool for the character designer. It is here that the designer takes the most common traits of a character and manipulates them by modifying them, deleting them or combining them to create new characters. The characters of Narnia are perfect example of "Synthesis".

Topics Covered in Class:
• Definitions and examples.
• In Class Exercise
• Tips for successful character designs using synthesis
• Powerpoint Presentation on synthesis

HOMEWORK:
Create 2 drawings demonstrating synthesis on 2 8 1/2" x 11" sheets of paper. OR create two drawings of a single character demonstrating synthesis. All drawings must be inked and must have value (no hatching, use markers).

• Review the next chapter in your book. Chapter 6 "Styles".

Week 4: Facial Anatomy II
Hope you had a nice break. Please review your homework below.

If you don't know about him already, Ian McCaig is perhaps the most successful conceptual character and environment designer in the entertainment industry. His work and a link to his site is featured below. When instructors show you work, we are giving you insight into what the type of standard that is expected of you from your industries. It should also serve as a source of inspiration. Reach high and always do your best.

Visit Ian McCaig's site here:

Week 3: Facial Anatomy
This week we studied facial anatomy. Be sure you use the handout from class to help you with your porportions.

We also viewed guest instructor Sheff Abella about his latest project and how designs characters and we also viewed a featurette on DVD on how the different groups were designed in The Two Towers. We learned a lot today. Lots of fun.

HOMEWORK:
1) Draw a close up 3 point turnaround of your character's face.
2) Draw your character in a 3/4 view in a pose that suggests his character.
Both assignments must be inked for professionalisma and clarity.

Week 2: Model Sheets
A nice example of model sheets can be found here:
www.angel-hare.com/acorn/tta/pic/misc/ms/

Below is a more detailed model sheet of Warner Bros. Yosemete Sam showing emotion in addition to the 3 point turnaround discussed in class. Strive for this level of refinement.

TOPICS COVERED IN CLASS:
• The Importance of the model sheet
• Character turnarounds.
• Utilizing proportion lines
• Inking your work
• Using greys to help add variety to your silhouettes
• Variatioin in a character design
• Importance of character resume and background

HOMEWORK:
1) Take one of your characters and create a character resume.
2) Create 20 silhouettes of this one character and explore costuming, size and shape.
3) Create a character turnaround of your character. Your pose should include a front, back and profile. Be sure this is inked and that you use a 20% gray to add subtle value in the shadows. Use proportions lines to help you draw your character.

You will be graded on your demonstration and understanding of the following:
• Neatness and Craft
• Clean linework
• Typed character resume (checked for spelling and grammar).
• Added value and shading.
• Good proportion and form

Week 1: Welcome
Welcome to Character & Object Design. In this class, we will be studying techniques of character creation as it relates to a story.

TOPICS COVERED IN CLASS:
• The importance of a character to story.
• Character History & Research
• Roughs & Thumbnails
• Drawing & Refining

HOMEWORK:
Character resume
More information to follow - Stay Tuned.

NEXT WEEK:
We will be going over inking techniques for your character. Bring a bottle of India ink, a sable brush and or a packet of pigma pens.