With the digital age of illustration, the efficiency and aesthetic of design has been shaped by the functionality of tools. Though it does provide relief for laborious tasks; we all too often receive a payoff that lacks spontaneity and life. Rather than working rigidly and formulaic, it is more rewarding to produce art in a pliable and organic manner. As an animator, I strive to preserve and push rhythm and flow in design. Let's review some helpful approaches.
Introduction
First, let's look at some concepts that will help you to create characters with dynamic and interesting poses. Then we'll break down the basic process of creating a character from sketching through to the final vector file. Whether you're interested in creating vector mascots for branding design, or making interesting characters to use in your animations, you'll find these techniques helpful.
Some Working References
To be able to implement rhythm and flow into design, it is extremely useful to observe how it has been approached and applied to already existing and successful designs. For example, Dreamworks Animation’s Kung Fu Panda is an immensely rich source of reference. The stylization of the film’s design depends upon strong lines of action and secondary rhythm lines.
Modern animated cinema is full of amazing sources of inspiration, mastered by the likes of Pixar, Disney, Dreamworks, Blue Sky studios and countless others. It's worth taking the time to study this professional work.
The Line of Action
This is essential in defining an element’s direction and position within space. The broader the direction of the line is, the more powerful the essence of movement and life is. I’ve outlined the line of action in the image below.
It's most obvious in organic forms, though inorganic forms can still be deconstructed enough to have a line of action, or thrust. You can consider this line to be the spine of a form, and everything moves along its axis. As a rule, it's the longest rhythm line.
Secondary Rhythm Lines
Secondary lines of action are used as a tool to complement the line of action. In the breakdown below, the line of action is outlined in pink, while the secondary lines are outlined in green.
There are almost an infinite number of lines you can find within poses, and the more obvious they are, the more dynamic the form becomes. These lines often converge, or diverge away from the line of action several times, drawing the eye along the shapes.
The key to develop visually interesting poses and shapes is the composition of the shapes and directions. If you can pull the eye towards the most important information and maintain a visual hierarchy, the rest of the piece will hold itself together solidly.Secondary rhythm lines are also helpful to define the contour silhouette form. To further accentuate this (as seen in the example below), ‘seams’ are created within fur shapes using harsh changes in color, which allows the pattern’s direction to more obviously follow the flow.
Choosing Your Tools
Now that you have an insight into the workings and functionality of rhythm and flow, it’s time to sharpen those vector tools, and get down and dirty. You can use any vector illustration package. I prefer Flash as an Animator, for it’s simplicity and malleability, but you could use Illustrator, Corel Draw, or even Freehand as well. If you are unfamiliar with the Flash drawing tools (which I will be using), be sure to check out my crash course on that topic.
Now, before you even start working in vector, wherever possible, work in raster or traditionally (yes, that means pencil and paper). What you really want to do is flesh out the volumes and rhythms before taking it into a final vectored piece.
Unfortunately, there is no quick and easy way to learn to draw; it’s just lots of observation and practice. Don’t let that get to you though, it’s all about having fun and getting a feel for drawing!
Fleshing It Out
You can rough a loose drawing out on paper, or in Photoshop, but I must stress how valuable it is to work loosely in a non vector medium before taking it into something cleaner.
As you work with your drawing, be sure to feel a general flow and direction, while remaining loose with your line. You will have plenty of time to finesse later on.
Vector Time
Now it’s time to pull lines though your drawing and get some flowing shapes happening! When working in a vector package, it helps to get the longest lines in place first (look for the line of action). Then build the smaller details in. Make sure the transition from convex to concave is fluid, and don’t be afraid to use sharp corners to allow shapes to punch. Keep working until you've created all your basic shapes.
Coloring Solids
It works best to lay down solid colors that contrast and describe the shapes. If you're ever get stuck for color inspiration, check out color resources from photographs and design. It’s all about making the colors fit together as a whole.
Highlights and Shadows
Highlights and shadows really help to define where a form is in space, and how it relates to others. Think about cast shade and light, as well as where ambient light may be hitting.
Temperature of light should also be considered. Rather than just increasing and decreasing a color’s value, it's always good to think about a color of the light that can then tint the highlights and shadows. Mix it up and experiment with different variations.
Keep in mind that the shadows and highlights can also be very handy tools to define contour. When you add these to an illustration, think about how the line would travel around the form, and use the line to describe how it turns.
Line Work
Line work helps wrap everything together. There are a lot of possibilities with line. Does there need to be line in some places? Thick and thin? Fat outline? Colored lines? Rim Lit? It’s all up to you. I like a combination of colored lines, thick outlines, and sometimes no line at all! If your shape definition is strong enough, you can style your line however you like. If they are helpful to defining rhythm in composition; it’s a good idea to preserve them.
Where to Now?
Hopefully you'll create something fun that is dynamic and spontaneous in your next character design. It does require a lot of practice, but by reading this you'll have gained an insight into some practical approaches to developing a working piece.
Never think of this or anything as formulaic because that removes life and spontaneity. Think of it as some inspiration to get ideas onto paper, and then onto screen! Now get out there and make some fun artwork!
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User Comments
( ADD YOURS )Lee Milthorpe July 16th
Fantastic! Best tutorial yet by a long long way!
Simona July 16th
Thanks so much for sharing. This is very helpful to everyone. Beginner and advanced levels. Kudos!
Daniel July 16th
very helpful, thanks a lot for sharing.
Nate July 16th
Very detailed and easy to follow. A++
Dino Latoga July 16th
This will come in very handy. Really nice tip.
MONSTER July 16th
Excellent tutorial.
I love the beaver!
Pasquale July 16th
I’m glad that my writing could be of use! If you have any ideas for things you’d like me to write about, do let me know
Brent Nelson July 16th
Pasquale you rock. Your stuff is the bomb.
liam July 16th
Great tut mate, nice explanations.
Juan Estey July 16th
I really want to get in to digital drawing…do you us a wacom tablet? If so, which one would you recommend for starters?
George Coghill July 16th
Nice tutorial. Interesting approach in regards to discussing the aesthetics of a cartoon character as opposed to the mechanics of creating vector art. Not sure if this is a vector tutorial per se, but still informative.
I am actually in the process of refining an approved tutorial for VectorTuts revealing tips on dynamic line quality for cartoon characters created in vector art.
lightupbox July 16th
Great tutorial! It’s really helpful to see someone address the principles at work. I’d love to see an extension of this subject that gives more detail on using vector tools to get “organic” results. As a longtime freehand artist, I often feel stifled by my limited software knowledge. Thanks!
Juan S July 16th
They have some cool attitude
belinha July 16th
I just love it!Thank you!
ajcates July 16th
Look at Darkmotion, a published writer. You still need to do that Sasquatch drawing for me.
Tim July 16th
Awesome! keep up the good work
Dobra July 16th
Great tutorial, simply and efficient.
Ty so much^^
Catherine July 17th
Brilliant =) Awesome resource to have. I am soooo subbing to the rss feed.
aGS July 17th
Very helpful, thanks!
Alex Beltechi July 17th
Love the horse. Thanks a lot for the tips, they’re very helpful.
elcodigodebarras July 17th
Thanks for sharing your kowledge with all who love graphic design, like me; even I´m a rookie.
Thanks again ´cause with your help Internet is being a more friendly place.
Chris Spooner July 17th
Great resource, I find myself rarely drawing cartoony characters but when I do get round to sketching it’s really enjoyable!
A guide to shading in Flash July 17th
@Juan Estey it depends how much you plan to illustrate. I say the best game plan to trying wacom hardware is to start with the Graphire (4) which is cheap and still has a great feedback response, and then if you decide you love it, fork out some more for an intuous (3) !
Blue Buffalo July 17th
Very cool. Easy to follow tips and great instruction.
Ali July 17th
nice i’ll have to try it :]
Sumesh July 17th
Beautiful characters there, Pasquale. Unfortunately, the beauty is ultimately decided by sheer skill and I’m found lacking in that
Danny July 17th
This is a great unique tutorial!
Pasquale July 17th
@ Sumesh
Hey, don’t even be phased by the work of others! You just have to find a way to get ideas down! Anyone can draw - it’s just figuring out approaches that will work best for yourself!
solwyvern July 17th
Awesome!
The lines of action and rhythm lines were very interesting… well, that’s one way too look at a drawing. XD
Braden Keith July 17th
I wish I could draw this stuff in the first place to be able to follow this.
WAR July 18th
Great tut! I think the description of how to create dynamic characters was very enlightening. I look forward to more.
Feed my Head!!!
Peace,
WAR
Mostly Lisa July 18th
super helpful even for us vector n00bs.
ps that beaver has blue eyes <3.
w1sh July 18th
Hey Dark,
You should definitely do another piece on lighting.
Nice thorough tut.
Shane July 19th
nice tutorial - thanks for posting.
Zach LeBar July 21st
top notch stuff. this is EXACTLY the sort of stuff I want to see more of on VECTORTUTS, not really having to do with direct vector techniques, but just as important as discussing photo manipulation techniques like perspective, shadows, etc. on PSDTUTS(which, btw, i’ve also been enjoying very much. :))
Mitch July 22nd
You should watch the classic basics.
http://www.animationarchive.org/2008/07/asifa-comiccon-schedule.html
bhuvneshwar July 28th
it nice & helpfull. i will try it
Thomas July 31st
Great Tutorial thanks
Preet Parwana August 7th
it’z very nice & helpful
Arun August 17th
Great tutorial! Darkmotion, you da man!!
erica November 18th
helpful!
jR November 25th
hEy wAT A cOol IDEaZ
aipoftoday December 10th
Kick Ass! Tutorial
metalpig December 12th
a very helpful tutorial
thanx!
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