sional skills and the consistency and cohesiveness of their designs.
Using the five steps proposed by Seegmiller as a guideline, we di-
vided the process in six iterative steps: Identification and Analysis
of the problem, Conceptual Research - textual references, Defin-
ing the Characters psychological aspects and possible appearances,
Sketching the Characters, Rendering the best sketches.
3.2.1 Identification and Analysis of the problem
As the name suggests, the first stage consists on identifying and un-
derstanding a problem that corresponds to the requirements of the
character that the artist must understand in order to design it. It is
common that people rush headfirst into creating a design without
understanding the concept of it, and as result, the final design is
flawed and inconsistent [14]. Tillman [17] also states that, by creat-
ing a character without story or without knowing the basic require-
ments, the artist will have to go back and redesign it from scratch.
If this situation is applied in the context of the industry, time cannot
be wasted and such reckless behaviour would not be accepted.
Seegmiller segments this step into two different sub-steps, iden-
tifying and understanding the problem and analyzing the problem.
The former concerns with the general understanding of the ques-
tion at hands, while the latter concerns about further researching
and a breakdown of the elements in manageable pieces. Both steps
are undeniably fundamental for composing the bigger picture, the
project. On this paper, however, we decided to put both steps under
the same stage. Our objective is to describe a method instead of
giving an explanation.
To identify what the problem is and to further analyse it, the
artist needs to understand the conditions that are given to her. This
problem usually is the final objective that needs to be fulfilled. A
character creation must occur within certain parameters to influ-
ence a certain audience according to a certain art style. Therefore,
the artist must bear in mind that the real objective is to understand
and work within the limitations given by the project managers and
creative directors. It is in this stage where the artist becomes aware
of the background processes that will surround the project.
The character designer will analyse each topic and specification
given to him or her in order to get a better understanding what is
expected from his or her artwork. The artist must read what is be-
ing required by each element of the background processes, then the
artist will have a better understanding of the work environment, the
teammates, the budget, the deadlines of the project, the art style re-
quired, the story and specifications of the characters and the media
the character will be released. Based on that analysis, the artist will
develop an efficient and creative work method to construct a suit-
able character design. The creativity must be always pushed far,
especially with todays technology.
3.2.2 Conceptual Research - textual references
As soon as the artists finish planning their work method, they start
to research what they can about everything related to the character.
From simple texts on blogs to historical documents, every piece
of information that might give the artists any insight to design the
character is investigated. But most importantly, the artists need to
have focus. Nonetheless, character designers read the story devel-
oped by the writers once. Through the script is that the artists find
their way to research with more focus. Absorbing a great quantity
of information might not always be helpful.
The use of references to build a character is extremely impor-
tant [17]. References are a crucial aspect, and should not be taken
lightly, especially when these references are textual. Legends and
fables were created having a real story as basis, and the myths are
also a way to understand the reality [1]. During many centuries, sto-
ries were told and written, leaving the construction of the character
for the imagination of the audience. Now, thanks to diverse mech-
anisms that allow stories to be represented visually, the audience
does not have to play the role of character designer anymore [14].
Although, the audience have their own perception of the character,
so the artists must always take that into consideration. Moreover,
the story is still there, under the many layers of graphics and visual
effects, guiding the actions and events.
A written story still holds the keys to trigger our imagination.
This stimulus facilitate the exploration of different designs and pos-
sibilities. On the other hand, manuscripts and books also provide
to the artists some aspects of the real world and its artifacts that can
be used in the product. Using both aspects of the written media, a
character designer has basis and confidence enough to create a char-
acter that works within the limitations and that correlates with the
audience. A concept artist mainly work with concepts, therefore,
Character Designers must know how to transmit ideas through their
designs.
3.2.3 Defining a Character - psychological aspects and role
A character is a person. Even though this sentence might sound
strange, it is the simplest way to understand what a character is.
Characters possess unique characteristics and a story of their own,
with memories, accomplishments and regrets. Characters are com-
plex to design because they are similar to living sentient beings,
even though, they are designed to fulfill a role in a specific context.
At this stage, the characters personality is constructed and will
define the characters appearance. It is extremely important to point
out that, from this stage onwards, the constraints will vary accord-
ingly with the context and they will have a major role on each stage.
Characters are the personification of ideas which usually carry
out a message. These ideas manifests through a series of aspects
such as the character way of talking or how the character dresses
and how it behaves under certain circumstances. Tillman [17] refer
to these specific traits as archetypes. Archetypes are characteristics
which people can easily relate to and understand. Tillman presents
six types of archetypes: hero, shadow, fool, animus/anima, men-
tor, trickster. They represent fragments of human personality traits.
Using archetypes is highly recommended to construct the base of a
character design. However, a character might be more complex and
composed by more than only one archetype.
It is important to add human feelings and emotions to a character
in order to improve the credibility on the design. When developing
the psychological aspects of a character, the artist has to focus on
what is the role of that character in the product and within the sto-
ryline. At this point the artist have reached a connection between
the story, the media and the audience. The character must fulfill its
role in the story at the same that time it must appeal to the audience,
and it must be suitable for the media it is inserted on.
The element Story influences the character in two different ways.
One is through the story of the character itself, and the other one is
through the story of the world. A narrative involves the construc-
tion of a world or scenario where characters are inserted and inter-
act among themselves. These interactions are what build a character
personality, while the world defines the physical aspects of the char-
acter. Personality affects how the character behaves, its posture, its
relationships, its goals, its motivations etc. The world defines why
the character wears a given type of clothes, its body type, the phys-
ical qualities of the character in general.
The element audience, on the other hand, defines what art style
and tone the character should be. When an artist is working on a
project, whether it is a personal project, he or she will be creating a
product for a certain public. When an artist works for a company,
other professionals will be dealing with what the audience wants.
It is through an analysis of the audience that the tone of the story
is adjusted, and because of that, the tone of the character itself will
change.
The construction of a character’ psyche must also obey to the
rules of the media it will be published on. While in movies artists
SBC – Proceedings of SBGames 2016 | ISSN: 2179-2259
Art & Design Track – Full Papers
XV SBGames – São Paulo – SP – Brazil, September 8th - 10th, 2016