(2 pages). Concept Art: Creating Game Characters

I highly recommend the school!
The teachers are professionals and pass on knowledge very well. They know not only “how to do it,” but also “why it is so.” Here's a big respect to Artyom and Vitaly.
I would also like to say about the guys who accompany the courses - they are super cute :) in short, they care like they are their own children, help, kick when necessary.
In general, the human approach to students is very impressive; you feel like a student, and not a bag of money.

Artcraft, you are great! Thank you so much for your knowledge, support, communication and wonderful atmosphere! I haven’t studied drawing before, but they teach here so well, accessiblely and with humor that you don’t even notice how you do everything better and better, you get inspired and want to draw more and more!!! I have already completed 2 courses - Digital drawing with Vitaly Kotenko and 2D for games with Artem Gusak, and soon I’m going to the 3rd with pleasure)) Artcraft is, in fact, a large and friendly family of like-minded people, professionals and just good people!

If you are in a creative search, looking for inspiration, or just want to be filled with new experience and new knowledge, then you are here at ArtCraft.
Or maybe you are lost in the abundance of information on the Internet and don’t know what to grab onto? You too, here at ArtCraft.
In a short time, all information will be structured and laid out on the shelves of your brain. You will be charged with such motivating energy to create that any mountains will be shoulder-deep, and the sea will be knee-deep!
Of course, in two months you will not comprehend everything, but the main thing is that you will know in which direction to move next. And this, in my opinion, is half the way to success!

People!! Go and learn! It's so exciting - you can't stop)) If you're afraid that nothing will work out, hook hands, etc. - don’t be afraid) With those guys who work at ArtCraft, with the teachers and curators, it’s impossible NOT to learn how to draw)
I took the Digital Drawing course, took my hard-earned diploma and went to the next course, like half of our group)
This suggests that the learning approach, cool atmosphere and interesting material covers the students like an avalanche) I want to dive into it and draw, draw..) Thank you guys for the knowledge!

Completed the Character Concept Art course. Very satisfied! It was not an easy walk. I had to really work to revive my brain a little to be creative.

Completed the Character Concept Art course. Very satisfied! It was not an easy walk. I had to really work to revive my brain a little to be creative. I recommend it to everyone who cares about their CG future).
Many thanks to the course organizers! Special thanks to Artyom Gusak, the course teacher! Artem is a very friendly and responsive teacher) I wish him success and even greater growth!
What else can I say, bring more courses, let’s go study)

Completed the course "Digital Drawing" under the guidance of Vitaly Kotenko. Without an artistic background and pronounced talent, in 5 weeks I learned to understand the basic artistic terminology. Familiarized yourself with the interface Adobe Photoshop at the level of a person who stopped panickingly closing the program window at the sight of error messages popping up and learned to draw in separate layers (at least) :) This course is for those who want to start drawing, but don’t know where to start. Start with the basics - here they will tell and show you everything!

Well, ArtCraft is just sweet :)
I graduated from Zebra, taught by Artem Gusak, everything was at the highest level!
As mentioned earlier, Artem seems to know something that the developers themselves do not know, and this is so. How many different tricks have we learned that, logically, should not be connected. And feedback on homework in the form of videos, you can look at your mistakes, the mistakes of others, examples of their correction and new features that may not be in the program. Even after graduation, you can write to the teacher in the chat or in the alumni group with questions.
If you don’t know a zebra, but want to sculpt it, go ahead and, most importantly, don’t be lazy, as there will be a lot of information.
Lots of positivity, fun and great knowledge :)

When the moment came when I realized that it was simply not possible to study on my own, I began to look for courses where I could fill the existing gaps and learn something new and important.
Unfortunately, there are not very many art schools in Ukraine, but the level of teaching (in ArtCraft - that’s right) is wow! :)
Of course, it was hard to travel from Odessa to Kyiv and back, but all my travels were definitely worth it! In addition, the atmosphere at the courses itself is very inviting - warm and creative. What is most important is that I was taught to analyze. It was the inability to think and sort everything out that really slowed me down, giving me the feeling that my hands could do anything, but my head was a complete mess. Two months flew by unnoticed in time, but not in terms of the level of acquired skill. IN next year look forward to visiting again! ;)

Hello, I'm a “course maniac”!
I study a lot and constantly. After completing one course, almost without a break, I go to study for the next :)
Having gone through the “character concept” here, I immediately decided to deepen my knowledge in ZBrush, and given the experience of the last course, I didn’t even have any questions about where to go. Definitely ArtCraft!
This is not my first alternative education school; everything is different everywhere. The atmosphere, core values ​​and teaching style. I believe that a teacher, first of all, should inspire! And then everything just came together :) In two months of the course, we received a powerful knowledge base and a huge flow of information to work on ourselves.
And the friendly staff of the school makes you not feel like a student within the strict walls of a university, which makes the learning process easier and more relaxed.

The ArtCraft courses were a very pleasant surprise for me.
At first glance, it is noticeable that the attitude towards classes and students here is very serious. Everything is thought out to the smallest detail. Comfortable, interesting, relevant and structured.
Studying here, I found myself not just “on a course,” but in a real creative space, the atmosphere of which is very addictive.
Communication with Artem became a very important and pleasant experience for me. He is a very attentive methodologist and mentor. Always gives one hundred percent.
I, in turn, believe that I have made a certain leap and have received a good and clear vector for the development of my skills. I really want the guys to develop further, to open more and more courses and classes. Because visiting them is very good opportunity for everyone, both beginner and experienced artist.

I learned a lot of new things and useful information. Everything fell into place in my head, because before that there were only guesses and eternal question"where to begin?".
I had a choice between different CG courses in Kyiv, but I settled on this one and never regretted it.
The teachers are very cool!

I took the 2D course for mobile gaming. I'm completely satisfied with everything :)
The volume of information seems to be more comprehensive, the publication is open to questioning and not without a sense of humor. A nice comment would be of no use to the gut :)
Be prepared to dedicate an hour to watching the video lecture and doing your homework, because this is the key to understanding and the reward of powerful blessings, as Artem Gusak obliges you! It's all about you :)
So, come and get started, both for yourself and for valuable professional beginners!

I am very glad that I chose ArtCraft school!
The presentation of the material is interesting, lively, not heavy and understandable. All practice and homework were completed with great enthusiasm.
A very cool teacher, he speaks succinctly and clearly, he will always answer all questions, and he will explain it to the most impenetrable people.
The courses give a large number of additional useful materials, links, etc.
Thanks to Artem and the whole team for the great atmosphere. Satisfied, I recommend!

When an artist talks about drawing, he imagines creating something beautiful, unusual, and outrageous to others. He wants to interest everyone who looks at his work. The artist's task when creating a character concept is to create something interesting for others. The work begins with the search for ideas. At this stage, beginners have many misconceptions about how to make character concept art. The main thing in an artist’s work is solving a problem that he has set for himself or received from his employer. Therefore, the basis of everything should be precisely the idea, which will then be captured in the form of an image.

Finding ideas for creating a character

Some conceptual artists start not with searching for ideas, but with implementation. They ask themselves questions about how to do something, which results in them moving away from the essence of the task to thinking about its details.

When a character concept artist thinks about technique and tools, he focuses on end result and instructions, searches the Internet for training videos and processes where others draw a ready-made idea. It is not explained what prompted the creation of this character. Therefore, when trying to gain experience, you need to ask yourself the question not “how?”, but “why?”. Whatever the brushes and techniques of artists, even if others like them, we're talking about about contact with the result of the work. If you try to repeat it, you can only learn to copy the idea.

Using references

Copying finished results and researching techniques helps when working with painting, but in concept art, when creating something from scratch or when a clearly defined task arises, you need to look for something within yourself and work out the image yourself. Most often, beginning artists do not do this, since they mainly turn to references.

References are not prohibited, but they are needed, like theory, only when questions arise in the process of working on concept art. For example, when creating a weapon for a character, you need to understand its design. If there is a lack of information, you still have to look for it in all available sources. But before that, before drawing the concept art of the character, the artist must have a ready-made idea.

The importance of independent work

Just recycling already ready-made images, and without creating new ones, the artist himself will quickly get tired of this, and will also not be interesting to the customer, since he will not be able to generate ideas at the proper level. Practice shows that creating concept art for a character increasingly requires development artists who are ready to generate ideas. But it’s impossible to create something right away. In order to speak, you need to know the language, knowledge of letters and the ability to put them into words. Also in concept art. First, a thought appears that needs to be told, then it is conveyed in words and phrases.

Developments in creating a character from scratch

The more work an artist has, the more often he asks himself the question “why?”, and not “how?”. Developments are the attitude to plasticity, volumes, features of working with form. As skills improve, ready-made solutions appear when you need to depict something. But the idea is always primary. And only after it arises, you need to take up the tools and implement it.

If the implementation of character concept art is put first, then it's worth considering. Information available from open sources, is the formed idea of ​​accomplished artists. Therefore, simply copying other people’s ideas from time to time, if you want to become a professional, is not an option. If an artist is not in dialogue with himself, it will be difficult for him to create something original.

How to become a concept artist

When asked how to become a concept artist, some people expect to receive instructions or a course on tools. Professionals most often ask a counter question about why they had such a desire. After which it turns out that a clear understanding job responsibilities and there is no process of working on art. There is only an understanding that it is interesting. But first you need to study everyday things, the very alphabet of concept art. Afterwards, you need to learn how to put together complex structures from simple elements and, with their help, extract the emotional component from yourself, talk to yourself and work with your inner world. Then a story appears - a story about a hero. This is the process of creating a character concept. If it is interesting and the viewer likes it, the goal has been achieved. If not, it will be useful experience and will turn into work.

Difficulties in the work of an artist

Sometimes an artist is faced with the task of quickly making a concept, agreeing on it, drawing it and submitting the result to good quality. It is clear that in this case there is no time to live the hero and look for his inner feeling - what his posture will be, what he will wear and where he lives. Therefore, there is no element of immersion. Work in this mode occurs in a flow, which can completely destroy creativity. As a result, the artist may lose interest in the profession, not receiving any satisfaction from the work. First of all, in any creative process What is important is internal sensations, the search for one’s own role in what is happening and self-realization. Satisfaction comes from the fact that the artist was able to tell something through creativity, especially if the viewer approved of it.

The relationship between the mass and dimensions of objects in the concept

Simple, basic elements artistic language are the basis of everything - it doesn’t matter whether you need to draw a single object or a complex location. At its core, creating something starts with primitives. A common mistake For novice artists, a sign of unprofessionalism is the presence in the solution of lines of thickness, which is the same throughout the entire object. If the thickness of all elements of an object does not change, it creates a feeling of unreality. The artist’s understanding of the difference in mass, the ability to highlight the main and the dependent arouses interest in the object.

Therefore, it is important to remember that in any depicted object there should not be objects that are close in mass, especially if they are of different directions. All elements must have their own plasticity and, naturally, be located in their places. Dimensions need to be distributed so that the viewer’s eyes have something to grab onto and rest on.

How a concept artist's style is developed

Any image has its own structure, where the main and the dependent stand out. Each artist develops his own geometry and plasticity. This feature is usually called manner or style. Therefore, in addition to thinking through the masses and how they will be distributed in the object, the presentation of the material is also important. This is especially true for sketches. It is not the complex, detailed forms that attract attention, but the character and lively style. Therefore, plastic should bring the object to life. The line adds drama to the entire composition. This skill develops on its own over time. But inside the creator there must be a constant dialogue with himself. It is the artist’s own sense of plasticity that creates the attractiveness of concept art.

Features of working with primitives

Despite the fact that all subjects are very different from each other, the approach to their construction and implementation is carried out according to the same canons. It all starts with primitive shapes - circles, squares, triangles. With their help it is interesting and quite easy to search for masses. Turning to primitives is where any drawing begins, since going from simple to complex is beneficial. This helps to avoid mistakes during further detailing.

Concept art for fantasy characters or game heroes also starts with primitives. They are able to tell about the nature of the object, help to develop and improve it. If you start right away with the details, you can easily make a mistake in the dimensions and the relationship between the main and the dependent. As a result, it will simply be unpleasant for the viewer to look at the picture, since he will not be able to highlight the main object, no matter how detailed it is. Therefore, it is important at the primitive stage to understand how the nature of the object and the artist’s task influence the geometry of the concept, and then build the desired concept. This is how one develops one’s own perception of an object.

Searching for associations and working with images

The search for primitives and variability of masses is one of the most important tasks when developing concepts for characters in games, films, etc. Weight and dimensions refer to the surface. A word definition helps to determine the correct ratio. For example, having designated an object as heavy, you can associatively choose for it the required form and size. Therefore, to solve problems, you need to use verbal clues and, starting from them, create associations and basic geometry.

Working with layers also helps, by moving them it is easier to create different sensations and distribution of masses. There is no need for a background in concept art; it is either gray or white. You can highlight details with color, but the main thing is information. You should not disguise it with unnecessary additions, which ultimately interfere with the overview of the work. All silhouettes should be clear and easy to read. Searching for ideas, variations of concepts through primitives, competent work with lines and correct construction - this is the basis for creating a character concept.

– passion, then there is nothing better for you than getting into the gaming industry. Getting into the IT field for artists is possible, but difficult. If an artist finds a job in the gaming industry, it is considered a great success. Game artists earn the same income as technical specialists. It is clear why this issue is so relevant today. So how to become an artist in the gaming industry, where to start and in what direction to move?

1. Make not just a good, but an excellent portfolio

In the CIS, you have hardly heard of artist trainees in the gaming industry. If companies don’t hire you for internships, then how can you get noticed? The most important thing is your portfolio. Work at it instead of looking for an internship where you will likely be assigned menial clerical work and not rewarded for your work. Try to make your work in your portfolio look like it was created by a full-time artist. They should be similar to each other. Directors want to hire professionals on par with their current employees. A high-quality portfolio is captivating. Therefore, you must do everything to make your portfolio seem 100% convincing in order for you to be hired.

Structure your portfolio and make your specialization obvious. To prevent your portfolio from being put aside, we recommend best works place first. If your goal is to draw characters, then include only characters in your portfolio. If you like to draw weapons and equipment, then, accordingly, your portfolio should include only weapons and equipment. Don't put everything in your portfolio, if you have four or five great completed pieces, include them. Sort the entries from best to worst (best). Leave your contact information in a visible place. So that they can easily contact you, insert as many contacts as possible: phone, website, links to social networks, email, Skype, and so on.

2. Choose where you will work

Decide where you will work now. Choose a specific company, find out what areas they work in, study what their values ​​and goals are. Based on the information received. Look for a company that is as close in spirit as possible, because by choosing a style that does not inspire you, in the future you will only dislike it and your work even more.

3. Decide on a style

Study the company's projects and the style in which they are created. Play their games, explore the concept art. So you can find out specific style, in which you will need to create a portfolio. Work in a target style. For example, if you want to draw in the Minecraft style, don't work on AAA horror. If you want to draw concepts, don't do texturing. Moving in the other direction is just wasting your time. Get as much experience as possible in the direction in which you are going to develop.

In addition, your value in the market as a specialist on a specific issue will increase significantly. Companies are looking for ready-made specialists and it will be more profitable for them to hire you than to train a newbie. Therefore, your chances of getting work based on your portfolio will increase. Be versatile, but in your field.

4. Focus on the best

Constantly study the work of other artists, visit CG resources. Set a bar for yourself that you will strive for. But, most importantly, do not copy the style of other artists. Be patient, over time you will develop your own style. Compare your level with the level of famous professionals and you will begin to notice progress.

5. Choose the right tools

Having studied Photoshop, ZBrush, 3DsMax, do not forget that there are many programs that can make specific tasks easier for you. Programs such as Mudbox, Quixel DDo and Substance Painter will be useful, as well as supporting Crazy programs Bump and xNormal. For example, Softimage XSI is great for modeling weapons and equipment. Look for programs that are right for you. This will significantly help you in your work and increase your professionalism.

If you draw well, but they don’t take you anywhere, don’t hesitate to ask a specialist for advice. Don't be afraid to ask employers the reason for refusal. Consult with those already working in the gaming industry. They will point out your mistakes and shortcomings. This will help you in the future. Be active, take part in competitions and complete tasks. It will be impossible not to notice you, and this is also a big plus for experience and useful contacts.

7. If there is a desire, everything is possible

If you really want to get into the gaming industry and draw CG, then start working on it now! Get to work as an artist in gaming company not easy, but it is possible. Don't know where to start? Start with the above tips and the results will make themselves felt!

Eleonora Abdrakhmanova

A graduate of the Concept Art course, Eleonora Abdrakhmanova, shared with us her impressions of school, studying in Game Graphics with subsequent transfer to Concept Art, as well as how her career developed after graduating from school.

The beginning of the way

My journey into concept art began at university. I studied to become a programmer at Bauman Moscow State Technical University and have already started working in my specialty. In principle, I didn’t plan to change anything: the work was well paid, the team was great, they let me go to study without any problems. Everything was good, but due to the specifics of the work it was quite monotonous.

During my studies, I lived in a dormitory. Although the Bauman dorms are a sanitary disaster, from the point of view of socialization it is simply an amazing place. We were friends on the floors, hung out, walked and, of course, played games together - Dota, Left 4 Dead, and many others, it was cool. Friends went so far as to make a game for mobile phones themselves, but there was an abundance of programmers, but there was a problem with artists. And then they told me: “You’re a girl, all girls can draw!”

The die was cast: I decided to learn to draw. In my hometown with extracurricular activities such as musical or art schools, it was tight, so I had no idea how or where to start.

I bought my first one Graphics tablet and started looking for online lessons on the Internet. Of course, at the beginning it turned out so-so, but, for lack of anything better, my first works went into the game. After some time, I was surprised to realize that I like to draw, but as an adequate person, I understood that I didn’t draw as well as I would like.

I decided to take some “let them teach me” courses, knowing absolutely nothing about concept art. First, I went to a short-term intensive course, where I learned from other students about Scream School and long-term training programs. By that time, I had already stopped programming, because this work requires constant self-study and takes a lot of working time, and started working as a media analyst. Although this is quite interesting job, there was a lot of stereotypical “office plankton” in her. I'm not saying it was bad job: My first team was simply wonderful. But still, at some point I realized that this was not mine, and I began to “suffocate.”

That's how I got to Scream School. The games that we made with friends at the university helped a lot during admission, and in the end I got into the “Game Graphics” program (“Concept Art” did not exist yet), and then switched to “Concept Art”.

Studying at Scream School

Scream School became my entry point into the industry. IN school time I knew nothing at all about the profession of a concept artist, and after self-studying and taking an intensive course, my knowledge was rather scarce and scattered. Classes at Scream School helped me systematize what was in my head, cram a bunch of new things into it, and remove what was completely wrong.
This is my first time at school since primary school I tried drawing with my hands, learned a lot of rendering techniques, approaches to design and many other useful things - I can’t list them all! Many of the teachers worked in the industry, and their stories were simply eye-opening. I was especially influenced by the lectures of Konstantin Vavilov and Gavriil Afanasyev-Klimov about work, the approach to design and the way of thinking. A lot of practical classes, because theory, separated from practice, disappears from my head instantly. And, of course, the diploma internship at Mail.Ru, on the Skyforge project, was very useful.

Why is it worth studying at Scream School? Because there are no alternatives in Russia! A comprehensive course, a lot of theory and practice, everything packed into just 2 years, a chance to make a portfolio taking into account the comments of industry masters... I don’t even know if any other reasons are needed!

Career after Scream School

In my case, changing jobs was not catastrophically difficult - probably because I was ready for anything. “We make casual games, farm games, mobile games” - oh, I love these games! And don’t look at the fact that I don’t look like a “successful 30-year-old woman with 4 cats.” Are you ready to move to Voronezh/Novosibirsk/St. Petersburg? - of course, I always dreamed of looking at these cities!

Perhaps I was not entirely honest with my employers that never happened, but I was ready to do a lot to get into the industry.

I quit my job old job Almost immediately after passing my diploma, at first I was looking for some kind of freelancing and working on my portfolio. Of course, I was rejected many times, but the main thing is not to lose heart and ask for feedback even when rejected. But in the end, everything turned out well - now I have a job I love, which I really enjoy going to and, to be honest, I don’t fully believe that all this really happened.

What does a concept artist do on a project?

Concept art is the visualization of the ideas of game designers and scriptwriters. Of course, they can collect references and give them directly to modelers, but references will never fully reflect the idea, especially if they need to do something that doesn’t exist yet or new idea is at the intersection of existing ideas, or there is strong stylization. In the process of work, we make many options for discussion, sometimes game designers like something new that deviates from the description even more than an option that clearly follows the original idea, and it goes into further development.

The work of a concept artist on a project is fairly standard for the industry. After game designers, together with scriptwriters, come up with a new game prototype or a new update and prepare general descriptions what should be in the game. Then they pass the descriptions to different departments, and the work begins: the artists create the concept, the modelers model them, then the work goes back to the artists for texturing. Then there is animation and everything else; usually this content does not come back to us. At the same time, work is underway on images of icons, achievements in the game and other visual things. At the main stages of development, all concepts are agreed upon with game designers and the immediate supervisor in order to minimize rework.

Is it worth studying to be a concept artist?

During your studies, you will have to deal with a large amount of work, tight deadlines and, at times, harsh criticism. If you consider yourself a heavenly talent with perfect taste and a unique vision, then you are not in the right place and probably not in the gaming industry at all. Here you need to work hard, take in any feedback and benefit from it, absorb information from everywhere, work in class and at home, honing your skills. But you know, the result is worth it - there is little that compares to the joy of seeing a concept turn into a model, and then it comes to life and appears in a game that is played by many different people!

All of the above is just my opinion. It may be different for other students, and if I suddenly offended someone, don’t be offended, listen to someone else. And best of all, don’t listen to anyone and think with your own head.

Last year, a friend infected me with the topic of concept art - developing characters and environments for computer games. I got carried away, started watching streams and reading interviews with concept artists, as well as articles about the game development process. And I really wanted to try it myself.

I have already told in LiveJournal my story of my relationship with drawing: I had a rather long period of passion for anime, when I drew anime characters in giant batches, I really liked the process. But then I was small and stupid, and I approached the process thoughtlessly - I just drew something. So this time I decided to approach character development in an adult way :)

This is one of the most big projects this year: I plan to execute the concept from start to finish - i.e. as a result I will have a character in color. I have no idea how I will do this! I have zero knowledge of color with a stick :)

Today I want to talk about the first big stage character development - searching for a silhouette. This topic particularly interested me, because... this is working with the form in pure form. You don't even need to be able to draw here :) And the artists promise that it's a lot of fun.

I had no idea where to start. In my head, as a typical analyst, there was some kind of idea about the process: I thought that first it was necessary to analyze the character in as much detail as possible - to decide who he is, what he does, what world he lives in; write his biography to better understand his character.

To begin with, I answered the questions “who?”, “where?” and “what does he do?” Baba is a pilot. The reasoning here is simple: I love to draw women, I don’t know how to draw men (and somehow I’m not trying to learn yet), I love aviation and everything connected with it (although I don’t understand anything about it). I chose the steampunk world because I like steampunk.

I deliberately avoided fantasy and sci-fi characters, because they are very big choice options for both the character itself and the design. I decided that for the first time I should take something simpler :)

After that, I made an attempt to write a biography and understand the world in which my character would live. In search of information on how to do this, I even went into the development area board games! I also learned a lot of interesting things about steampunk.
At this point I still haven't drawn anything. And in general I was at a loss, because I felt that I was starting to get too involved with the world and the character - it was not clear to me how deep to dig. You can dig endlessly.

In the end, I decided to watch a few streams with concept artists to understand how normal people to fit the process. And I discovered something interesting! None of the artists bother with the character's history in advance. Usually, at the start, it is enough for them to know what world the character belongs to (fantasy, sci-fi, etc.), and what the character does (mage, hunter, warrior, etc.). If a character is drawn from scratch, and not according to technical specifications, then this information is enough to get started. In general, looking ahead, I will say that the process of creating a character from scratch is an endless search, generation and embodiment of ideas in a drawing. At every stage.

From the streams I also learned why the silhouette is so important. Artists say that the silhouette is 70% of a character's recognition. It follows that the silhouette must contain key information about the character - character (kind, evil, shy, flirtatious, etc.) and occupation (mage, shooter, hunter, bun seller, etc.).
In general, after watching the streams, I stopped bothering with detailed biography, with a thorough study of the world, and began sketching. And I think that this is my personal breakthrough, because I could have sat in the preparatory stage for a long time, trying to work out everything and everyone in advance :)

First of all, I sketched out the pilot from my head, without looking at the references. I did this on the advice of Ivan Smirnov - he suggests using your head first.

I made this sketch in a couple of minutes at work :) For some reason, I wanted to dress my character in a coat, which is not very functional for a pilot. However, delving into the references, I learned that the first pilots are really in quality outerwear adapted a leather coat. And later this coat turned into the legendary flight jacket :)

Then I looked for references to find out what real pilots actually look like. I deliberately Googled non-modern pilots - I looked at the clothes of pioneer pilots and the pilots of the First World War.
My task was to find out character traits pilots in terms of form. After studying the references, I identified characteristic features, in addition to the jacket and glasses: baggy pants, jackets can be in two versions - warmer with a fur lining and just leather (warm twist - more voluminous, will affect the silhouette), thick gloves, large boots. All this was explained quite simply: the first planes did not have a covered cockpit or it was not airtight, so the pilots were forced to dress very warmly.

I translated all this into silhouettes. They looked sad. At this stage I haven't thought about the pose yet. My task was to make a spot in which the pilot would be recognizable.

In the picture I signed my thoughts that guided me when choosing a silhouette :)

So, I settled on the second option - it seemed to me the most typical. And then I stepped on the first rake - I began to deal with the chosen silhouette. I completely forgot that I had only taken a preliminary step - I had determined the “archetype” of the pilot, some elements without which a pilot is not a pilot :) And the most interesting thing was ahead - the search for a characteristic cool silhouette specifically for my character. At such moments it is good to have some kind of step by step plan- to see the picture of your actions as a whole, and not roll by inertia, as happened to me.

However, I managed to get something useful from this rake :)
I asked myself, “How can I improve the chosen silhouette?” I learned a lot of information from the streams. It all comes down to working on form. Photoshop lasso and transform tools are our everything :)

Working with form is magic! Increased some element, decreased another - and the silhouette looks completely different! I really liked it.
But it was then that I realized that I was doing something wrong. Firstly, I expected that searching for a silhouette and working with it would be more a long process. And more fun, probably. Secondly, I looked at this silhouette, and it seemed terribly boring to me. It was then that it dawned on me that I was in a hurry, and that I hadn’t even started searching for the silhouette yet. Instead, I immediately went to work on it. But, in fact, at this stage I had what? A certain base is a set of mandatory elements for a pilot. What I previously called an archetype.
But I got an idea of ​​what can and should be done with the final silhouette next :)

Realizing my mistake, I began to generate ideas - there is no other way to describe this process. I had a stupor that lasted several days: I couldn’t come up with any new silhouette options. Either I was upset because I thought too narrowly, or because I chose a character that, in principle, does not allow many variations - it is too simple (unlike, for example, a magician).

I got out of the impasse thanks to my whining: at work I complained to a fellow designer about my creative crisis, he suggested that I try to build on character. Take it, he says, for starting point, for example, the fact that your pilot is a cutie. And so on - for different characters.

I already had some idea about the character of my character. But because Previously, I tried to think through his biography in detail, I was a little fixated on the fact that my character is kind, open, and so on. Following the advice of a colleague, I cleared my mind - I gave up on my detailed ideas about the character of my character, and sat down to draw, keeping only “woman” and “pilot” in my head.
And it helped! I started trying it on for her different tempers and sketched out a couple of options during a break at work.

And then at home I translated everything into silhouettes and added new ideas. It turned out to be as many as 5 options!

After several days of stupor, this was a real breakthrough :)

It seemed to me that these options were not enough. The artists painted 35 pieces at a time in their streams. I wanted it too. I even remembered advice from some stream about how you can diversify the shape - add foreign objects, new atypical shapes. But what can you add to the pilot? There was an option to put a cigar or pipe in her hands. But somehow I didn’t like him. In short, I fell into a stupor again. I watched another stream - about styling and color. This is information for future stages of work. But at least she did some useful work.
And a few days later an idea suddenly struck me. I went to bed, intending to go to sleep early, but my brain decided that it was the right time. best moment for thinking. And he gave me an idea that was amazing in its simplicity - add a scarf to the pilot! I was so crazy about the genius of this idea that I jumped out of bed, ran to my notebook and quickly jotted down the idea so as not to forget.

I decided not to bother anymore with finding a silhouette (I resigned myself, yes), I chose the “nyasha” silhouette, unexpectedly for myself. Added a scarf and self-confidence to her. And I started working with the chosen silhouette. I collected my train of thought into pictures:

Option 10 seemed to me the most successful. It was chosen for further work on the character.


What can I say in conclusion? I received a lot of useful information and experience in a relatively short term. I became convinced that it is best to gain knowledge through specific tasks.

If anyone is interested, I spent about two weeks just on the silhouette - I worked on it almost every day for 1-3 hours after work. It is too long. Sometimes I feel like I'm not moving anywhere at all. But while I was writing the post, I appreciated the amount of work done - quite a lot for a person who is developing a character for the first time.

I also concluded that I bother too much where it is not necessary. My systematic approach and perfectionism often get in my way. In the case of the silhouette, I somehow overcame this by forcing myself to stop thoroughly preparing for work and just getting down to it. Looking ahead, I will say that life teaches nothing: I continue to successfully step on this rake in the further development of the character :)

I really enjoy the process itself. New experience, everything is so interesting. Although, it cannot be done without suffering: I constantly face difficulties, because... I can do very little.

But I learned a lot of useful keyboard shortcuts in Photoshop! And I remembered how great it is to draw on a tablet. I wasn’t friends with him before, but then I just took him in hand, and things went well. After all, it's just another tool :)

That's all I have. I hope you found it interesting and didn’t die reading this mountain of text: