CHARACTER DESIGN GCD61704/Task 1: Personification
CHARACTER DESIGN
GCD61704/Task 1
LIU CHENG RUI (0370930)
GCD61704/Environment design/ Bachelor of Design (Hons) in Creative Media / Taylor's University
INSTRUCTION
Task 1
week1
In the first week, Mr. fitri told us about the tasks and requirements
of this module and guided us on how to create a basic world for a
character. After that, we began to collect moodboards and references to
build the world.
The world I want to create is similar to a world of cultivation, and
the characters I design also conform to the worldview of the cultivation
world. The name of this world is "The Spirit-veined Nine
Provinces".
Fig1.1 "The Spirit-veined Nine Provinces" moodboards
Big background
Legend has it that the remains of nine giant dragons transformed
into the foundation of the earth. Their veins, blood and breath
turned into nine spiritual veins, running through the universe and
giving birth to the nine provinces.
Nine continents
Each state thrives by relying on a spiritual vein, the strength of
which determines the state's level of prosperity, cultivation
system and cultural form.
The layout of heaven and earth
The Nine Provinces are separated by the Linghe River and the
Tianqian River.
2. The area rich in spiritual vitality is lush and green, with
picturesque mountains and rivers.
3. In the land of spiritual depletion, mountains and rivers are
parched and cracked, demonic beasts are irritable, and disasters
often occur.
In addition, I also found some references for the characters I
want to create, mainly cultivators.
Fig1.2 Character
moodboards
This week, Mr. fitri told us how to create characters using silhouettes and how to draw simple costumes. Most importantly, Mr. fitri informed us that we need to practice basic character dynamics.
So I drew my character silhouettes according to Mr. fitri's
method.
Fig2.1 Character silhouettes and simple costumes 3
Fig2.2 Character silhouettes and simple costumes 2
week3
This week, Mr. fitri told us how to create specific types of
character designs and target audiences, and asked us to create
the story backgrounds of our own characters.
Type: Fantasy/Drama
Audience: Teenagers (13-18 years old)
Character Story – “Chang An”
Beginning / Character Introduction
Chang an was born in the poorest alley of a remote town
called Mud Bottle Alley. Orphaned at a young age, he
survived through hard work and humility, helping shopkeepers
and craftsmen for a few coins a day. Though he had no
spiritual roots or family background, he was kind,
disciplined, and quietly dreamed of one day seeing the
Immortal Mountains beyond the clouds.
Inciting Incident
One night, a battle between cultivators broke out near his
town. The sky was torn by sword light, and the earth
trembled. In the ruins, Chang an discovered a broken sword
and a scroll filled with cultivation writings. That moment
awakened his desire to walk the path of immortality.
Motivation
He wished to become strong — not for fame or revenge, but to
protect those he cared for and to prove that even a mortal
could touch the heavens through perseverance and sincerity.
Conclusion
After years of hardship, Chang an became both a swordsman
and a scholar. Standing once again before his humble
hometown, he realized that true cultivation was not about
power, but about keeping one’s heart pure amidst the dust of
the world.
week4
This week, I continued to refine my character, including its
personality, costumes, weapons and so on.
Fig4.1 Ideation
Fig4.2 Inspiration
Fig4.3 World
Fig4.4 Character Story – “Chang An”
Fig4.5 Character abilities and traits
Fig4.6 Character Clothes
Fig4.7 Character Clothes
Fig4.8 Character Weapon—Qingheng
Fig4.9 Character Weapon—Qingheng
Fig4.10 Character Silhouette Study
Fig4.11 Character Silhouette Study
Fig4.12 Character Silhouette Study
Fig4.13 silhouettes 1
week5
This week, I further refined the silhouette of No. 5
clothing and drew four different orientation display
pictures.
Fig5.1 Final Turnaround
After that, I refined my task1 slides as follows.
Task1 slides
FEEDBACK
week2
The dynamics of the character are very important, so one should
practice more and try different dynamics.
week3
Different roles have different types and target audiences. You need to
learn to create characters that meet these requirements.
week4
1. You designed different clothes for the characters. What are the
differences among them?
2. If you want to establish an image of a grassroots cultivator, then
the clothes you design should not be as elaborate as those of a rich
young man.
3. Some clothes are nice, but attention should be paid to the handling
of details. For instance, you can seal patterns on the clothes, just
like the patterns on armor.
4. Why are certain special features of the clothes (such as the raised
part at the shoulder area) designed in this way? What are their uses?
Some characters need to use loose clothes to highlight their figures.
It is necessary to understand the role of clothes in the character's
image.
REFLECTION
Experience
In this character design, I attempted to integrate traditional cultural ideas with modern character narratives. Starting from the initial concept of "ordinary people cultivating immortality", I have constantly pondered the theme of "How ordinary people can grow in adversity". By constructing a complete worldview and character background, I make the spiritual growth and visual changes of the characters echo each other. During the process of drawing, I gradually realized that design is not merely about the external form, but also the expression of emotions and philosophy. Through the evolution of clothing, weapon design and posture research, I have learned how to make visual elements serve the inner story of the characters.
Observation
Throughout the entire creative process, I found that the relationship between character design and cultural background is very close. The simple attire of the character "Chang 'an", the bamboo forest environment and the soft lighting all reflect the serene temperament of an Eastern cultivator. I noticed that even simple fabrics or grayish-blue tones can convey the character's resilient and peaceful inner world. Furthermore, when analyzing the postures of other characters (such as Qi Jingchun, Ning Yao, Zhi GUI, and Jian Ma), I realized that posture can enhance the expression of personality - a steady standing posture reflects rationality, while flowing lines convey tenderness and strength. This makes me pay more attention to the connection between the language of modeling and the spirit of the characters.
Findings
Through this creation, I found that the concept of "cultivation" is not only reflected in the character stories but also in my own design process. The growth of a character from an ordinary person to a cultivator is just like my process from the initial conception to perfecting the details - both are forms of self-cultivation. I realize that details determine the authenticity of a character. For instance, the layers of clothing, the structure of the shoulders or the texture of the sword can all enable viewers to feel the vitality of the character. At the same time, I have also learned to seek the "balance between the heart and the way" in design: pursuing visual beauty while maintaining the purity of spiritual connotation. Ultimately, my character "Chang 'an" is not only a cultivator but also a concrete expression of my understanding of persistence and belief.
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