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Character Design Character Design CharacterCharacter Design forforGraphicGraphic NovelsNovels CharacterCharacter Design forforGraphicGraphic NovelsNovels A RotoVision Book Published and distributed Copyright © RotoVision SA 2007 10 9 8 7 6 5 4 3 2 1 by RotoVision SA Route Suisse 9 All rights reserved. No part of this ISBN: 978-2-940361-52-6 CH-1295 Mies publication may be reproduced, stored in Switzerland a retrieval system, or transmitted in any Art Director: Tony Seddon form or by any means, electronic, Design: Studio Output Steven Withrow & Alexander Danner RotoVision SA mechanical, photocopying, recording, Sales and Editorial Office or otherwise, without permission of Sheridan House the copyright holder. Reprographics in Singapore 114 Western Road by ProVision Pte. Hove BN3 1DD, UK While every effort has been made to contact Tel: +65 6334 7720 owners of copyright material produced in this Fax: +65 6334 7721 Tel: +44 (0)1273 72 72 68 book, we have not always been successful. Fax: +44 (0)1273 72 72 69 In the event of a copyright query, please Printing and binding in Singapore by Star www.rotovision.com contact the Publisher. Standard Industries (Pte) Ltd CONTENTS: Section I: The Graphic Novel 011 Section II: The Character 021 Section III: Elements of Design 033 006 FOREWORd: name of the rose 012 What Is a Graphic Novel? 022 story & archetype 034 Unity & Sequence 008 GRAPHIC NOVEL CHARACTERS & SEVEN PRECEPTS 014 History & Geography 024 The Central Character & the Opposition 038 Tools & Techniques: Character Model Sheets 016 The Graphic Novelist: Singular Vision 026 Contrast & Commonality 040 Speech Patterns: Dialogue, Balloons & Lettering 018 The Design Team: Collaboration & Oversight 028 The Supporting Cast 042 The Face 030 Character Histories: Motivation & Conflict 044 The Human Form 046 The Nonhuman Form 048 Case Study: Eric Shanower 054 Line, Contour & Sequence 058 Case Study: Eddie Campbell Section IV: Design Style 065 Section V: Appearance & Reality 087 Section VI: The Expanded Cast 111 Section VII: Knowing Your Audience 131 066 The Character Design Spectrum: 088 Subtext & Symbolism 112 Group Identity & Storytelling 132 Age Appeal Abstraction to Hyperrealism 090 Wardrobe & Props 114 Case Study: Jason Little 134 Gender & Culture 068 Genre & Tone 092 Expression, Motion & Gesture 116 Case Study: Dylan Meconis 136 Case Study: Wendy & Richard Pini 072 Minimalism 094 Case Study: Jenn Manley Lee 120 Case Study: Busiek, Anderson & Ross 142 Case Study: Bryan Talbot 074 Cartooning 100 Case Study: Brendan Cahill 126 Case Study: Stan Sakai 146 Case Study: Andy Runton 076 Verisimilitude 104 Case Study: Metaphrog 150 Case Study: Mark Crilley 078 Reality & Imagination 080 Case study: Lea Hernandez 084 Case study: Jeff Nicholson Section VIII: Modern Methods 155 Section IX: Putting It All Together 175 156 Digital Design 176 Symmetry & Synthesis 184 online resources 158 Research in the digital age 178 Judging & Refining Your Character Design 185 suggested reading 160 Case Study: B. Shur 182 Conclusion: Into the Future 187 Glossary 164 Case Study: Scott Christian Sava 188 acknowledgments & picture credits 170 Case Study: Ryan Estrada 190 index 192 contributor list Foreword: Name of the Rose Even though I use it to describe the It’s needed because we are living another Watchmen were predictably books that I write and draw, the term in a golden age of GNs, and it’s time disappointed, and the books confirmed “graphic novel” is inadequate and they had a proper identity of their own. their old prejudices about comics. misleading. “Graphic,” with its There are now more and better-quality connotations of both commercial art graphic novels being produced in Slapping together half a dozen issues and explicit pornographic images, is an incredibly wide gamut of genres of Superdork doesn’t make a quality followed by “novel,” suggesting that and styles than ever before. From graphic novel. As with text fiction, it’s a bastard offspring of another art Joe Sacco’s reportage to Jeff Smith’s movies, and plays, graphic novels form, that of text fiction, which it comedy adventure, from Frank Miller’s must be created as such—and created patently isn’t. The comic medium has macho noir to Marjane Satrapi’s as a whole: quality writing and artwork its own distinct history, traditions, and poignancy, from the realism of Harvey coming together to create something grammar, and predates the novel Pekar to the fantasy of Neil Gaiman. unique, a novel in both substance form. “Novel” also indicates a length Much to the awe of creators who knew and structure. that many graphic novels don’t have; the insular boys’-locker-room world of most graphic novels are actually comics prior to the “revolution,” public Character Design for Graphic Novels novellas or short stories, such as Alan libraries and mainstream bookstores is not just about character design but Moore and Brian Bolland’s The Killing now have graphic novel sections, and provides an in-depth examination Joke (DC Comics; 1988). according to the marketing director of the creative process behind the of Barnes & Noble, the GN is the graphic novel. Moore simply calls his books “big fastest growing area of book sales comics,” partly to deflate any claims in the last hundred years. With this in Now, if only Withrow and Danner of pretension, but chiefly to irritate mind, Steven Withrow and Alexander would come up with a different proponents of the “graphic novel” Danner’s Character Design for Graphic name for it... label. But this is also problematic. Novels becomes very timely indeed. For one thing, “comics” describes The key to the survival and growth Bryan Talbot the entire medium, from the three- of the graphic novel is quality, and Sunderland, June 2006 panel gag strip to Moore and Eddie with more writers and artists entering Campbell’s scholarly epic From the field, the need for expert advice (See pages 142–145 for more about Hell (now published by Top Shelf couldn’t be greater. Talbot and his work.) Productions), so a “big comic” could just as easily mean a sequential In the mid-1980s, the first boom mural. Secondly, the word itself of GNs, spearheaded by Art is a misnomer, dating back to the Spiegelman’s Maus: A Survivor’s mid-nineteenth century’s “comic Tale (Pantheon, 1986), Moore and (meaning funny) papers” and “comic Gibbons’ Watchmen (DC Comics, companions” to newspapers, and 1986/1987), and Miller’s The Dark as we know, graphic novels often Knight Returns (DC Comics, 1986), deal with tragedy. Like “comics,” seemed like the dawn of a new age. “sequential art” is unspecific and also Respectable newspapers and grown- Right: a bit of a mouthful, as is “pictorial up magazines ran features on them. An intricate and narrative.” So it looks as if we’re stuck Comics were cool. But it didn’t last. well-crafted with the phrase “graphic novels,” or There simply wasn’t the quantity and character design from Bryan Talbot’s its equally unsatisfactory and even range of quality books to build on Heart of Empire: less descriptive abbreviation, “GNs.” the nascent public interest. Instead, The Legacy of What’s needed is a word that simply capitalizing on the growing demand, Luther Arkwright (Dark Horse means GNs in the way that “novel,” opportunistic comic-book publishers Comics, 1999). originally indicating a new form of compiled monthly production-line literature, now means a substantial titles and released them as “graphic piece of text fiction. novels.” Duped readers expecting 007 Graphic Novel Characters & Seven Precepts The graphic novel is a personal, one: TWO: three: four: idiosyncratic medium. Other Character design is not an Comics characters are The “appeal” of a character “Bad designs” can be related art forms, including end in itself sequential beings is context-specific very effective animation, computer games, and The goal of character design for They are meant to be drawn Put simply, what works for one Some designs lacking in the finer monthly comic books, require graphic novels is storytelling, not hundreds if not thousands of times, author, in one story, for one points of visual art—symmetry, more standardized processes image creation. (That said, there is and often don’t (and shouldn’t) stay audience, will not necessarily consistency, proportion, etc.—are than graphic novels, due mostly an aesthetic appeal to looking at perfectly consistent from drawing to work for another. Hergé’s world- actually perfect for the story they to the larger number of people character designs as visual objects, drawing. Unnecessary complexity famous design of the boy reporter illustrate. If it’s done purposefully involved. Also, the particular but that really shouldn’t concern and disparity, however, can be Tintin, for example, is brilliant in and serves the story without being markets for such products demand the graphic novelist in the moments cumbersome and distracting. And, its context, but would be ludicrous too distracting, then no design is that more precise expectations of creation.) as we’ll emphasize throughout the for a character in Kazuo Koike truly bad. A certain rawness can are met, whereas most graphic book, characters can have more and Goseki Kojima’s poignant often be the key to real substance, novel readers enjoy the indivisible than one level or aspect of detail. yet violent manga Lone Wolf and whereas a slick, schematic surface peculiarities of an individual vision. Cub (except perhaps in an ironic can sometimes be quite hollow. context). Also, it should be noted (Again, it’s context-specific.) Rather than make pronouncements that readers rarely see exactly what about how to draw or what tools the author sees. (Lone Wolf and and techniques are best, we will Cub is now reprinted in English by explore character design as a Dark Horse Comics.) function of storytelling, as each design should follow the unique requirements of each story.
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