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Bancroft Tom - Creating Characters with Personality

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From Snow White to Shrek, from Fred Flintstone to SpongeBob SquarePants, the design of a character conveys personality before a single word of dialogue is spoken.Designing Characters with Personalityshows artists how to create a distinctive character, then place that character in context within a script, establish hierarchy, and maximize the impact of pose and expression. Practical exercises help readers put everything together to make their new characters sparkle. Lessons from the author, who designed the dragon Mushu (voiced by Eddie Murphy) in Disneys Mulanplus big-name experts in film, TV, video games, and graphic novelsmake a complex subject accessible to every artist.

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Contents
Creating Characters with Personality - photo 1First published in 2006 by Watson-Guptill Publications Crown Publishing Group - photo 2
First published in 2006 by Watson-Guptill Publications Crown Publishing Group - photo 3First published in 2006 by Watson-Guptill Publications Crown Publishing Group - photo 4

First published in 2006 by Watson-Guptill Publications,

Crown Publishing Group, a division of Random House Inc., New York

www.crownpublishing.com

www.watsonguptill.com

Senior Acquisitions Editor: Jacqueline Ching

Senior Developmental Editor: Stephen Brewer

Designer: Mada Design

Senior Production Manager: Hector Campbell

Text and illustrations copyright 2006 Tom Bancroft

Library of Congress Control Number: 2005028462

Library of Congress Cataloging-in-Publication Data

Bancroft, Tom.

Creating characters with personality / by Tom Bancroft; introduction by Glen Keane.

p. cm.

ISBN-139780823023493

ISBN0823023494

eBook ISBN9780399578731

1. Characters and characteristics in art. 2. Graphic artsTechnique. I. Title.

NC825.C43B36 2006

741.6dc22

2005028462

All rights reserved.

v4.1

a

Dedicated to my wife, Jennifer, for all her endless support and love. And to our four silly girls: Alexis, Ansley, Emma and Ellieyou all made it hard to work on this book but without you nothing would be worthwhile.

Special thanks to my best friend and business partner, Rob Corley, who wrote and illustrated because he can draw strange, scary creatures way better than I can. Thanks, too, to Paul Conrad, another good friend who colored the cover image as well as the color models and style images and provided excellent guidance; the incredible and inspirational Glen Keane, who wrote the Introduction while handling a busy schedule directing a major film; and the awesome contributions from the masters of their trade: Butch Hartman, J. Scott Campbell, THE Jack Davis, Peter de Sve, Bill Amend, and Mark Henn.

Thanks also to my editors at Watson-Guptill, Jacqueline Ching and Stephen Brewer, to the designers of Mada Design, Inc., and to my brother Tony, sister Cami, and my mom and dad, Jim and Cori Crismon.

INTRODUCTION
THE MAGIC OF CHARACTER DESIGN

Creating characters has never been easy for me. The designs dont give themselves up without a struggle; there are no formulas for a quick and easy path. To design a character I do hundreds of drawings, exploring and waiting for that moment of recognition when I can see the face of the character I am searching for staring back at me. That is the magic moment I am always working to achieve.

I remember the process of finding the Beast for Beauty and the Beast. What would he look like? I had done a myriad of designs and looked at many other artists versions as well. Any one of the designs could have been an acceptable Beastbut I just knew it wasnt the Beast who lived and breathed in our story. My walls were covered with pictures of wild animals of every sort. Lions, bears, tigers, gorillas, mandrills, and wolves. I had one storyboard that was filled with nothing but horns: some that twisted, some that spiraled, short ones, curved ones. I had countless close-ups of eyes, nostrils, and teeth. For months I drew combinations of these elementsstrange, hybrid creatures with every permutation of horn, tooth, and facial feature imaginablebut I never achieved that deeply satisfying Ah-ha! moment.

Then one day an animator on my team asked me, So whats the Beast gonna look like? He stood behind me looking over my shoulder as I sketched, and I explained that I liked the sadness of the buffalo head, the softness of the lions mane, and the ferocious muzzle of the wild boar. I continued condensing my room full of reference photos into one cohesive drawingand the Beast suddenly appeared. Thats Him! It was as if he had always existed, and I was finally able to coax him onto my paper.

This kind of search is personal and intense, so much so that the characters we create seem truly to live and breathe in our imagination. One of the great rewards of our craft is knowing that the close attachment we feel to our characters will be shared by the thousands who will believe in them as well. Designing characters is a magical process, and its wonderful to have this book in our handsa book, long overdue, that finally explores our craft in-depth. Enjoy.

Glen Keane

Supervising Animator/Director

Walt Disney Feature Animation

CONTENTS
Creating Characters with Personality - photo 5Creating Characters with Personality - photo 6
Creating Characters with Personality - photo 7Creating Characters with Personality - photo 8
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Creating Characters with Personality - photo 21PREFACE When I was growing up I bought every how - photo 22
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