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rhazade-waterbender:

thewonderfullurkerofoz:

psdo:

jingles-pigtails:

coelasquid:

characterdesign101:

Principles of Problematic Character Design, the First

Disparate Stylization

The tendency of artists to keep female characters close to idealized human proportions, even when male characters’ proportions are dramatically stylized.

I remember talking to a guy in school who claimed that it was impossible to make goofy looking female characters and it was like dude, just because you don’t doesn’t mean no one can.

A good example of this is seen in Christopher Hart’s books.
Here is his page on male body types:


Here are his female body types:

WOW.

sit down, c-hart

I would like to see more comic relief female characters tho~ I can only think of a small few and they;re mostly old school villains or secretly male.

Personally, I prefer it when no character is necessarily the designated comic relief (I’m sure I’ve hinted at that a few times, but never said it out loud).  True nonetheless.

Reblogged from Rhaza'de Waterbender
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dewognatos:

greekamazon:

mirrepp:

HELLO CHARACTER REF SHEET

Was just talking about these today.  
I’m INTP, in case anyone wondered, though I don’t think the “self-contained and reserved” and “have good powers of concentration” apply.  I mean, I have a tumblr for gods’ sakes.  What’s concentration? 

Oh wow, this is so much better for typing than those tests. I am apparently an INFP?

Reblogged from Immi Gnatos Deuom.
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characterdesign101:

Please don’t do this: Character design by appropriation.

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characterdesign101:

Dress in Detail from Around the World

Some 150 pieces, from the tropics to the Arctic circle, from the plains of India to the mountains of Montenegro, have been chosen to illustrate how different cultures create their regional and national costume. The garments range from the ceremonial to the everyday, and display a breathtaking richness of detail: rows of ornamental buttons, embroidered patterns, intricate pleating and stitching, flamboyant fringes and tassels that define and decorate at one and the same time. Featuring specially commissioned photographs and line drawings that demonstrate the underlying structure of each garment, the book is arranged thematically, drawing together examples of each type of detail and decoration from disparate cultures. Details of fastenings, necklines, cuffs, hemlines and fringes contribute to a wide-ranging survey which is both a visual feast of textures, patterns and craftsmanship, and a serious contribution to the interpretation of dress. The text is packed with information about the garments, the ways they were worn and how they were made. The result is a stunningly beautiful book that provides a unique glimpse into the V&A’s world-famous dress collections, and opens our eyes to the variety and creativity of dress around the world.

I adore this book. It is divided into chapters by type of detail (chapter one is “Necklines” for example) and each example is accompanied by a crisp line drawing of the full garment detailing where the seams are, as well as a succinct description of the garment’s purpose, origin, and age. It also gives you the name of some embroidery techniques that you can look up to learn how people have been embellishing clothes in real life for centuries.

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characterdesign101:

Embroidered Textiles: A World Guide to Traditional Patterns

“Details the ethnic diversities found in embroidery and helps the reader to identify the symbols, fabrics, stitches, materials, and techniques that are unique to each region.”—Maine Antique Digest

The art of embroidery has been practiced for thousands of years. In the West, traditions have been at the mercy of trade and fashion, but in other regions embroidery continues to be rooted in ancient beliefs and superstitions. This beautifully illustrated book examines in detail the fascinating symbolism of the motifs and patterns that give life to these traditional textiles from around the world.

The global range is as remarkable as the variety of materials and motifs on display. Each textile—from Sumatran sarong to Ghanaian banner to Native American pouch and Guatemalan trousers—bears its own distinctive designs.

The book covers all aspects of the subject: key regional items, cuts, fabrics, stitches, and mythological, religious, and spiritual symbols. Complete with a glossary, a dictionary of stitches, and information on public collections as well as how to collect textiles of one’s own, this is an unrivaled guide for anyone interested in textiles, costume, or craft. 362 color and 156 black-and-white photographs and illustrations.

This book is unique in that it describes the cultural significance of embroidery and embellishment, down to the placement of the embroidery and colors used. You can easily use these kinds of details to create design “rules” for a fictional culture that will help give it a distinct style.

For example, say it is a custom in your fictional culture for new wives to embroider square of special fabric with symbols of protection to give to their spouse. That simple “rule” creates an opportunity for you to give a variety of information to the audience. How does the spouse wear the protective square? Like a bandana? Like a keffiyeh? Like a handkerchief in a breast pocket? How big is the square? Maybe there is no ironclad rule about the dimensions of the square. A large square with abundant detail might imply any number of things about the wife - maybe she’s overcompensating for something. Maybe she’s bored. Maybe it’s ~true love~. A small square might imply a lower economic status. From lack of a square you can infer that someone is unmarried. From a hidden square you might infer that the marriage is rocky.

Maybe that kind of detail is ultimately unimportant, but I like to give an audience something they can play Sherlock with.

My production team needs this.

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py-bun:

catbountry:

elizzibeth:

fargopachi:

aizenbutt:

amateurcatalyst:

methylbenzene:

pantiesnpasta:

uncommonxgrace:

THANK YOU

THANK YOU SO MUCH

WHOEVER MADE THIS

GOD BLESS YOU

I LOVE YOU

Helga thinks this specific interpretation of character design might need to be reevaluated. Successful character design isn’t about getting every anatomic detail perfect, it’s about being able to express emotions and movement in a simple and clear way! The reason why character designers exaggerate eyebrows and eyes is because it’s one of the most emotive parts of the face! :3

Reblogged from deliciousKaek
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azakhm:

Here are some things I did for school…

I’m LOVING Adellus and his greek spirals! So cute!

Reblogged from fy character design
A VIDEO

albinwonderland:

akitron:

sammvitch:

Christopher Hart - Drawing Cutting Edge Anatomy

Found this on my harddrive, I’m not sure if I downloaded the pdf as a joke or as legitimate help. But copy-pasting the same body for a woman is /not/ how you draw. I was scrolling through this with pretty good hopes that this was going to be a decent explanation of the comic medium in general and how anatomy can be pushed without falling into Esher girl territory.

Nope.

Take most “Lets draw design comic characters” books with a huuuge grain of salt.

i like that basically u can see whats wrong with the way we view women just right here in “body shapes”

this is absolutely ridiculous

SEXISM IS OVER

I love how for the men you have

A normal looking guy

A chubby dude

The hulking mass of man beast

The thin and scrawny guy

And then the ‘Hero’ and ‘Villian’ that basically look the same.

But the women are all variations of a thin/sexy lady archetype that don’t vary…at all really. Outside of boob size and clothing choice they’re all pretty much the same. :/ 

Reblogged from ambitions like ribbons