Character Creation for TV: Imagination to Digital Sketch [ Part 2 ] | Stephanie Chewy | Skillshare

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Character Creation for TV: Imagination to Digital Sketch [ Part 2 ]

teacher avatar Stephanie Chewy, Animator // Character Design

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Intro : Class Overview


    • 2.

      Shape Language


    • 3.

      Roughing in Your Character


    • 4.

      Design Choices


    • 5.

      Thank You


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About This Class

In this class we'll be roughing in the first design for our character, based off of the rough posing thumbnails we did in Part 1. We will also explore the basic shape language in character design. That is, the different feelings and impressions each shape portrays to the audience. I will show my work and thought process leading up to the first design of my character. Lastly, we will also focus on the different design aspects a character may have, as well as how to come up with differing choices for those aspects to induce variety in our designs. This class is all about experimenting and having full reign on what we wish our character to look like to our target audience, and being proud of what we end up with. 

Meet Your Teacher

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Stephanie Chewy

Animator // Character Design


Animation Graduate | Lover of Character Design | TV Animation

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1. Intro : Class Overview: everyone in this class, I'll talk about how to create from imagination to sketch her doctors were TV animation. This is a part two out of three Siris for beginner to intermediate level, and it requires the use a flower shop and drying tablet. You might remember that in the previous class you talked about the similarities and differences between characters in TV, animation, characters and the production aspects of both. You also started brainstorming our own character based off of the two defining treats from our own favorite childhood character. We also dealt into how to pose her character from nails to ensure a clear silhouette, expression and intent. Lastly, we also exploit the purpose of negative space, is on the line of action and oppose and how they contribute to the dynamism off occurred in this class, we're going to explore further the shape language of a character. That is, what is it about a character's design that makes them likeable for approachable? We'll be talking about the few basic shapes commonly used in design to create a design that's full of personality, and then we're going to actually start drawing the rough sketch of her character starting with one off the opposing thumbnails we have selected from the part one class off Siri's based on shape language. We are also going to the side character. That s it's there. Well, Victor and thus was any design. We will also go through the different design choices character may have during the drying stages. So what are you waiting for? Place the enroll button. Now let's get started. I'm roughing out our own character. 2. Shape Language: Let's take a look at these two characters. How do you think there, like in their shows? They look like heroes, or do they look like villains? Why do you think that you book such emotions? Now? Let's look at these two. What do you think they're like based on their appearances? Or, if you do know them, what similarities do you think they share? Same as thes two characters. What is it about these two that they share and comment? Keep this reasons in mind, and we were turned to them later. Six characters are dominated by a certain shape. The 1st 2 characters are dominated by a round or spherical features. As such, they come across as being fluid, soft, gentle. It can also mean that their balanced and there sometimes when mostly well rounded, they're also most likely fighting for justice. Well, they process gentle. It will most likely also have an interest rate that may be fueled by, but it's not tied to loyalty to friends or family. Let's go back to these two characters. They're both protagonists off their own show, and they both have frowned and gentle features, especially with regards to their facing they're awesome, motivated by a strong inner desire to protect their friends and family. They're not only approachable, but they're also relatable to their audience. As such, they are, in their own shows, righteous, compassionate and also obviously, the protagonists are the heroes. Now let's explore what the box features entail. That means that the design of the character comprises off more sharp than shot soft edges, sometimes giving off a somewhat stiff impression. These characters are more rigid than their spherical counterparts, but they may also represent immense strength and stability within. They're also dependable because of how balance they are on all sides. Depending on the show, off shaped characters can either be very serious are chest Very silly was importantly, though. There the characters that others time rely on as a true companion. Last me. Let's talk about the triangular features. Characters with these features generally look asymmetrical and have sharp edges. They're the most unbalance out of the three shades we have explored today, triangular features represent cunning, a soul as being resourceful because of the mystery the characters will sometimes have, as I have set before. They're also unbalanced, and this can relate to their physical appearance or just the way they think your logic may not be a straight for a spherical or box shaped characters. As such, these characters are usually, but not always the villains off the show. Another fun point. They're commonly associate it with the color green plaid. That's for another class, anyways. They're definitely more than just these three shapes and characters. Three. We talked about just the more common ones, and they're also pretty simple to remember. Characters of more spherical features are gentler and more righteous, a solos maybe more childlike or innocent, as compared to other characters with more triangular features. Characters with box features can also be either stubborn or reliable or both, but don't take these terms too seriously. These air terms commonly associate it with their features, but they may not always be true. That being said, do you know that in order to create an appealing character, a mixture off different shapes is needed? After all, nobody likes the one face character that wouldn't be relatable. Mia's humans have many faces because of the experiences we have come across in our lines. It will make sense then, for cartoon characters, toe have to sing idea in their back story and design. Now, without further ado, let's visit the thumbnails that we did in part one of this video CDs and actually start drawing a character. 3. Roughing in Your Character: So starting off with where we left off and depart one with this class. Here we have our thumbnails so you can make this money issue you like It's almost poetry, your character's personality. So I have decided that I'm going to see, like, this pose right here. I know that it feels on that. So I do is I'll go to select my layer and the layers that's you don't have your layers box . You can press f seven to talk a lit on enough or you go to the windows and layers right here. So I have, like this are this post me for my character? And I was like Castle, too, from two bucks. Or you can press Al if you like, we're going to isolate this bulls from the rest, so just slightly go over it with lots of when you see it. I like it. Sounds like this I want to do next is either You can do this two ways. You can pass control J to duplicate it on a separately, and now you'll see that if I turned this original from the earlier off, you only have a post that you isolated on this later you are. You could also you're and then just do what you do normally. So just copy control, see country and you can see that it It's done the same thing as what person control J would have done. But this puts it in a different place because it doesn't need to align itself with the original just copy and propping, drawing and pasting it. And you're telling it that it doesn't matter where it goes a song as it's on another layer . So anyways, just turn out here. I'm now seeing here and you have your isolate the kick. What you want Dio is just press control team to bring up the transformation tools and then hold Ault and shift and just pull it up s biggest. You can't artists Venice you want because you're going to draw in it. So just whatever size that you feel, it's comfortable for you to start drying press and then you're ready to go. Just create a new layer on top of your original on earlier and then go to your from now we're I'm better rename it as you've been a brain. He'll pass it, e you pass a box down to see so I can see what I'm drawing on top of it while still referencing the original Holtz. So know what you have are isolated posts. Now just go ahead and extra step because I feel like this helps me designing. So I'm actually I'm just re drying the same polls. What was slightly varying proportions? This is because when I was working on the polio thumbnails, I wasn't thinking that heavily on what bodies height, my turn your head, I waas. But I wasn't focusing on. I was focusing on the expression and the intent of the boats. But now that I have a clear idea of what my character is supposed to look like, I'm just really re drying clothes with proportions that I feel are closer to the character that I want to design. You can do this if you like. If you feel like it helps you, I usually work in the way that I would prefer everything to be as clear as possible. Well, that when it comes to the later stages, I won't be struggling and guessing on a distant factors that I didn't clear previously in my building stages. So I'm just not jump right into it. And I'm just trying to fill on my character now during the eyes. And how I feel would best represent my character's personality steak son Harmon and are encouraged at this stage at this stage is the most fun part about it is just trying everything and realizing what works, what doesn't work, going head making progress, every design choice at a time. So I'm also keeping in mind the shape language that we export earlier. How I want my character toe look and behave. How I want other people to see my character is making their light is mean. I need one of his future. It's I'm also looking at references at this point, looking at references off soccer uniforms on cool references are supers of a super important I can eqt can't stress home from there. Easiest wreck princess if you you can, um, but not so much as they would Pinder your creative process. But it's just important to know how to draw something accurately so that it can properly relate to your audience. So because yeah, I'm lost because my character is a soccer boy. I'm sketching out. I want him to look like and Googling images, offs, operative forms, soccer balls and shoes. You'd be surprised by how much you think you know and how much you really know. I'm learning. Every time I hear all something, this one are interesting. Sorry that happened to me that taught me about the importance of references. So one of my design classes in German in my professor asked us to draw a bicycle for memory . I thought I knew perfectly well what a bicycle look like. I mean, come on, it's a bicycle. Um, I wrote it every day when I was younger. I have all people should know how Journal bicycle. But when my pencil hit the paper, I realized that I was completely lost. I did not know how to draw a bicycle. This came as like a huge shock to me because I thought, like something so common should be just common knowledge to everyone. And I turned around. I realize my whole life all my classmates were having the same problem. So at that point I realized that how important reference was just because you looked at something for so long or use had something for so long doesn't necessarily mean that you know every single detail object. So yeah, references are that's normal because normally we don't pay attention. We don't pay that much attention to what we have. So anyways, I just starting on my carriage, you agree to start building your very stressful Yeah, Get references if you need to. Don't be lazy. Very lazy person. And I realized that I couldn't move without references. Little is your restaurant, so I just really actually going in the areas. They're supposed to be a darker color than others. Just because I'm like that your friends and totality contrast its designs makes your designs like, pop more. I'm leaving his hair out for a very special reason. It's because we're going to work on the different design choices for his hair in the next video. So if you're not sure of something design choice for a character that's fine, leaving out from for time being, show you guys how I approach my design choices. And then in the next video 4. Design Choices: So now that we have record their roughed out, you can go ahead with a few decide variations for them. In my case, it will be my characters hairstyle. So what I'm gonna do first is I'm gonna duplicate this basically control J. And when I hit B to bring up my move tool and moved debilitating layer next to my original . Now I want to create a new empty layer on top with them and start assigning different hairstyles. So I'm just trying what I feel. What best suit my character's personality. Just really? Really. Oh, and on remember to your name your layer so you don't get lost by double clicking on them. So I'm just naming the later that I'm drying my hair styles on as hair and the rest as boy one and boy two, respectively. But really, just name it whatever you want to name it. Anyways, I'm not being afraid to make mistakes because this is the experimenting stage. I'm also looking at references online on how soccer players keep their hair logically speaking. Well, soccer players don't keep their hair long just for the sake of being more lightly. When they're running off course, you can break this rule in cartoons because, well, they're cartoons, and you are free to do whatever you want. So just take this logical point into minor consideration. It's good to know, but if you're carrying Deuce needs are otherwise that's going to your character's personality tops all else. So I'm just going to keep designing more hairstyles until I find one that I am comfortable with. Progressing on Phenomenal select all three of these years, my holding control Lawson Nothing and hitting control t to bring up the transformation tools. And then I shrink thes three and give myself more room. Then I still like the previous basin air, and I drag it over to the side and repeat my process again. I'm roughly coloring in the hair to create contrast, as always, give myself an idea off what the character will look like when it's colored well in designing right also like to see myself as molding the hairstyle on top of the character, keeping in mind my character's head shape and where it curves inwards or outwards, and how the hair would behave under those circumstances. I'm also thinking about how I want the audience to perceive my character and that, along with the references, are helping me make informed decisions on design. Usually, long hair with bangs can show mystery our docility, while short in spite hair show active nous and multi spoke. This is not always the case, but it's an example of how a hair style can influence the first impressions of the character. You may also notice that I'm zooming out and in a lot on my drawing and this because I want to look upon the various hairstyles as a whole. Specifically, I'm looking at the character silhouette, and I'm paying attention to which design is catching my eye the most and which one the least. These decisions are helping me to inform what I want to apply to future hairstyles. As I keep going and designing and experimenting leave with these different hairstyles. So I'm just gonna finish in here. I'm gonna do the same thing as like that before just satellite that mayor duplicated with Country Jay. And I'm just gonna strength, um, that And now I have five burying designs off hairstyle for my character. So I'm just gonna go ahead and select all the layers by heading shift, this time, selecting the first and last layers off my drying. Then I hit control G to group them all together and rename this group as here. That way, when we want to move this group of drawings, I don't have to go through the whole process off selecting all the layers you can just like the group and stay. It also makes the landless more organized as we go along. Yeah, and that's it for now. So go ahead and pick a specific aspect of your character. It could be the hair, the eyes, the eyebrows, the face shape or the outset and design at least two other alternatives offs that aspect keeping the pose the same when you're done, feel free to post her work in the Progress calorie or the Project Gallery, so we can all look at it. 5. Thank You: Hello, everyone, and thank you all so much again for enrolling in this lesson. Congratulations on making it this water. Give yourselves a pat on the back. Today we have explored a different shapes we can employ in character design and what they can mean in terms of visual language. We have also managed to rough in the initial design of our character and come up with different design aspects. For one element of that character, you read a post what you have in the project gallery. I would love to see what you come up with. Creativity knows no bounds, and it's always feel free to leave a comment below on what lesson you would like to see next or what you think I can add to or subtract from my classes to make them more suitable for you. The next lesson will be covering will focus on lining your character, some style choices in the liner, and if you have time, we'll bring it all the way to color. Thanks again, A very merry Christmas and that fans, and I hope to see you next class