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Creative Character Design, by Bryan Tillman
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Create compelling, original characters using archetypes and design elements such as shadows and line with the tips and techniques found in this image-packed book. Bryan Tillman bridges the gap between the technique of drawing characters and the theory of good character design by using case studies, examples of professional art, and literary and pop culture references to teach you how to develop a character, not just draw one. The book also features Character Model Sheets that will guide you through the creation of new and unique characters. Finally, Bryan will break down established character archetypes to show you why and how the different aspects of good character design work. The content on the book is based on Bryan's popular 2009 Comic-Con course on 'Character Design'. Learn what makes a character unique and powerful by using shapes, shadows, and form - this title includes 'character model sheets' so you can put it all together yourself, as well as case studies from established artists. It bridges the gap between the technique of drawing characters and the theory of good character design in a practical, hands-on way - learn how to use story and archetypes to develop compelling, new characters. Based on a standing-room only presentation at Comic-Con 2009 in San Diego, it features the artwork of a collection of professional artists as examples to the techniques shown in the book.
- Sales Rank: #446341 in eBooks
- Published on: 2012-12-12
- Released on: 2012-12-12
- Format: Kindle eBook
Review
"Tillman's book bridges the gap between the technique of drawing characters and the theory of good character design by using cse studies, examples of professional art, and literary an pop culture references to teach how to develop a character, not just draw one. The book is based on Bryan's popular Comic-Con course on character design."--Animation Magazine
Most helpful customer reviews
9 of 10 people found the following review helpful.
Mixed Bag
By Heather LaRee
My (adult) son is a comic artist and avid reader (among other talents). I asked for his more-experienced thoughts about this book:
Bryan Tillman obviously has plenty of artistic skill and a vast knowledge of creating characters. And, he never lets you forget this. For as much insight as this book possesses, I found it extremely difficult to get passed the tone of Mr.Tillman's words. Arrogant to a laughable degree, "Kaiser" (Tillman's pen name) takes far too many pages to say the same thing. This left me, the reader, feeling like my intelligence & comprehension skills were greatly underestimated. I'm not 8 years old, and this book isn't for 8 year olds.
All this said, Creative Character Design does offer great information about character archetypes and interaction. Pleasantly, the book went beyond simply diving into the visual process and offered a lot of insight into allowing who the character IS dictate how he/she looks. Although, this said, I do wish Mr.Tillman had used some of his "better" art for the contained examples. The majority of the actual character designs in the book are very flat and uninspiring.
Creative Character Design serves well in gaining a fresh perspective on character development, but I will be looking elsewhere to grow and evolve my design skills.
3 of 3 people found the following review helpful.
Cutting Edge Designs! CREATIVE CHARACTER DESIGN: A Critical Review
By Andre Lawrence
[[VIDEOID:mo19ELVSEC9LLD8]]"The one thing that you as the character designer must remember is that the characters are always in service to the story--is not, nor will ever be, the other way around."
Bryan Tillman
This is one of those unique books on illustration that you often wonder why hasn't a "style" like this been published before or on a grand scale that a publisher like Focal Press would produce.
CREATIVE CHARACTER DESIGN is a illustrative how-to book with a distinctively hip-hop, urban rendering. If these books How To Draw Caricatures and Cartooning the Head and Figure (Perigee) are considered the foundations for learning how to illustrate people/ "characterizations" for a mass "pop" population, then this book CCD is such a book for this second decade of the new millennium.
In a sense, Tillman is saying about illustration and the storyline, form-follows-function.
What's special here is that Tillman, the author and creative director for a design firm, has some very simple-to-follow illustration basics as well as a psychological outline to get the most out of one's talent.
According to Tillman, before one can approach an illustration, he/she should possess the following five (5) traits in order to correctly capture the image. They are as follows:
Starting Points:
* Archetype
* Story
* Being Original
* Shapes
* References
Of the five, only one "Shapes," struck me as not be self-evident.
As I read and re-read, I found the psychological breakdown of personalities based on the shape of the head intriguing. What do we typically think when we see a person with a circular-shaped head? Do we really have a distinctly different set of feelings for one with a square-shaped head? What about a triangular-shaped head, what do we presupposed about their personalities?
"Shapes and Silhouettes," Chapter 5, is a must read.
It is my guess that even experienced artists, even those of us who've been illustrating for more than three decades can learn something from this book.
I also want to point out, which is not explicitly stated here, but needs to be pointed out about "illustrating," and it is a comment made by a former art professor (in an unusually boring and unproductive class.) He said, that when it comes to illustrating a person--how you feel about a person will have a dramatic effect on the way that subject is rendered. And, there's nothing that can be done to dramatically change the output unless there's a change in impression by the artist. So, for instance, if the model is profoundly beautiful, let's say a "Cheryl Ladd." If the artist has some ill-feeling toward her, the rendering will undoubtedly show the character flaws that the artist feels the subject has. The opposite is also true. If the subject is, politely-speaking, not at her/his optimal and the artist has an exaggeratedly positive feeling, then the resulting image will no doubt reflect a generous display of admiration. (And, I'm guilty of this myself.)
When you go through this fine book, bearing in mind, the subjects that Tillman mentioned fascinated him as a young man, you'll clearly see that images of warriors and women (not a bad combo ;) ) are by far his most creative and best executed designs.
CREATIVE CHARACTER DESIGN--an excellent resource for learning illustration.
2 of 2 people found the following review helpful.
A solid manual about character/story design
By Joan C. Scott
Though this is a manual on character design for visual media, it presents a methodology that is sound for anyone developing any story.
Backstory, which Tillman repeatedly stresses is of the greatest importance to story development. When developing a story for visual media, nobody fails to visualize things. But people attempting to write a short story or novel frequently omit this very important step. I teach writing, and from time to time I edit a book. Many times I have said to story writers, "How does that LOOK? Draw a sketch and then use your words to make your readers SEE what you have drawn." For a writer, the drawing skill does not have to be as well developed, but the visualization is equally important as in visual media.
Tillman's point about "would it work?" is also very important. His example of a human with four arms is excellent -- a reader or a viewer of visual presentation is going to be frustrated by presentation of a half-baked character whose anatomy simply could not function in any reality readers or viewers know. "Great art" alone may make uncritical consumers of the product happy, but art created for that level of consumer is very forgettable -- and if we are going to bother to make a story, we should strive to create quality that will be enduringly memorable.
Tillman's section about presenting a character in a series of 3-point or 5-point stances is also good. This helps a visual artist OR a writer to see the character "in the flesh" and avoid a "cardboard character" feel to the character being developed.
Tillman's teaching methodology is good: he gives a homework assignment at the end of each chapter which draws directly on what he has just presented -- and he chuckles with his reader to the effect that he realizes there is no way he can enforce the homework -- but your learning will be better if you do it. He also has a conversational, breezy tone that is easy to read but does not compromise his instruction.
One does not have to utilize Tillman's particular style of drawing to benefit from his book -- I for one am not fond of that particular style -- because his instructions will fit any style of visualization -- and for any story visualization is truly everything.
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