Details Can Make Your Characters Even Better

When most artists design characters, they tend to design each character individually. That is, while they may pick a theme for specific sets of characters, in general, each character is designed by itself without keeping other factors in mind, such as the overall theme of the piece, foreshadowing issues, and sometimes even other characters. While the characters created can be good, possibly even iconic, it can create a disconnect between the characters, sometimes even a disconnect between the characters and the overall piece. By considering various factors, the characters can be better linked to each other and the piece in question.

Fitting Them In

The first thing an artist should do is to read the script. Things within the script may suggest themselves to the artist, such as specific themes, ways to visually link the various sets of characters, or even just minor idiosyncrasies. A sharp-eyed artist may note that the writer has a character who uses a cigar to light explosives, but the writer forgot to mention said cigar. Sometimes specific items may suggest themselves, such as giving a noirish feel to a high-tech cop.

Other times, a theme may suggest itself. Consider Dick Tracy: The cops and their allies are handsome stalwarts, the kids are cute, the women are gorgeous, and the villains are grotesqueries. Most of Superman’s have an athletic look to them, the reporters are clean, and the politicians look just a little off. Batman has the best themed villains, as they visually represent their modus operandi. Wonder Woman has the greatest range of villain looks, but they mostly fit into three groups: classic deities (Ares, Hephastus, Aphrodite), athletic women (Grace, Cheetah), or the physically deformed (Dr. Psycho, Dr. Cyber). These themes can create a continuity within the book that strengthens the book.

It’s even possible that all of the characters may have a general look to them. You can tell a Star Wars character from a Star Trek character, and it has to do with more than just the uniforms. Even the slobs of Star Trek feel like they wash their laundry on some sort of schedule, and pressed and neat outfits apply to everyone; even the most garishly dressed characters look like they take pride in their appearance. Star Wars characters look like they are in their laundry outfits, and the clothes that have been washed look like they have been washed maybe a hundred times too many. The Imperials definitely stand out, but it’s hard to miss cleaned and waxed armor; they’re the true aliens in a universe full of aliens.

Finding a theme, or even a set of them, helps you create some great visually appealing characters, even when they are horribly ugly.

Consider Their Psychology

You can get bonus points if the character’s appearance matches their psychology. Look at Mustafa and Scar: Mustafa has a regal mane, the physique of a wrestler, and even standing still looks graceful: There is no question that he is a noble king. Scar, on the other hand, is thin, wiry, his mane is stylized but sparse compared to his brother, and even the scar just adds that extra touch: He is definitely ready to stab someone in the back while enjoying their death. The two are rightfully iconic, but doing iconic is Disney’s bread and butter.

Heck, let’s stick with Disney for a bit, specifically “Beauty and the Beast.” Gaston oozes toxic masculinity with his cleft chin, chest hair, and gorgeous smile, while Le Fou is obviously a lackey with his round yet bent-over shape, threadbare clothes, and bad teeth; their relationship becomes more obvious when you consider that Gaston is looking forward while Le Fou looks up to him. Lumiere is a ladies’ man, with his thick yet styled mustache, thin frame, and open arms contrasts Cogsworth’s put-upon bureaucrat, with his round body, bushy mustache, and worried expression; put them together, however, and their deep friendship is obvious from their complementary forms.

These are all little things, but they add up quickly to define those characters. We know all about them just by looking at them. Putting them next to specific characters tells us even more about those characters: Scar is ever in Mustafa’s shadow, Gaston couldn’t care less about Le Fou, who worships him, and Lumiere and Cogsworth could not live without the other. These little details tell us all we need to know about the inner workings of the character we’re looking at, doing a lot of heavy lifting. Better yet, since we’re shown everything we need to know about the characters, it allows us to get straight to the story.

Working With The Story

Character designs can help tell the story as well. Simba resembling his father implies that he will take his father’s place; his design provides some foreshadowing. The fox-like designs of Robin Hood and Maid Marian let us know the two will be paired, perhaps too obviously. Prince John’s emasculated appearance (small mane and thin frame for a lion) lets us know he’ll lose every time. Again, little details are doing some heavy lifting.

In short, character design done well not only looks great but also helps tell the story. It behooves the writer and illustrator to work together to create the best possible piece, and there needs to be a crossover: The writer needs to think visually so that he can describe what he sees when a character comes to mind, while the illustrator needs to think analytically. By crossing over, the best possible art can be created.