Idle posing seems to be a thing most people overlook. But in truth, your character’s idle stance probably holds volumes of information about their character, most likely even more than any other stance they assume. This is because our default stance tells everyone around us about the demeanour, aura and mood we resort to when we’re not appropriating ourselves.
What’s so tricky about these kinds of poses - is how sensitive it is. And how complex the human body communicates. One nudge of the arm, the tilt of the head or curve of the spine can alter our perception of a character’s attitude completely. And sometimes, combinations of such variables can mean that some contributors are neutralized or maybe even switches its meaning entirely.
- Watch theatre. The actors are taught in communicating moods and attitudes to a tee and can give you a very clear look at how the exaggerated mannerisms we see in animated shorts, manifest in human form.
-Sit yourself down and watch old cartoon shorts. Watch how other animators and artists have gone about tackling posing like this.
-Look at yourself in the mirror, observe how subtle the changes are when you swap between poses and moods.
Some quick thumb rules that generally apply ( but can still be reversed or neutralized when used in combination with other mannerisms )
Vulnerable parts exposed. Torso open, shoulders back and legs spread apart.
An open posture communicates confidence and courage. A person with an open posture is not afraid to take on whatever challenges come their way.
Vulnerable parts are hidden. Shoulders in tugged in against the torso. Legs close together
A person carrying a closed posture is not as brave and brawny as those with an open posture. They have a tendency to be nervous and can be easily intimidated by some challenges.
Character defaults to literally looking down on others. Either by towering, if they’re taller than the character they’re looking at. Or by glaring up from under their brow if they’re shorter.
These characters hold a strongly dominant aura around them and will seek the upper hand in most situations. Dominant demeanour isn’t necessarily meant to be intimidating but more as a tool for the character to look and feel powerful and in control if coupled with an open posture.
Character defaults to maintaining a direct line of communication between their own and their companion’s face when interacting.
These characters can be perceived as more mellow than those of dominant demeanour. They appear more open and friendly since they’re not trying to impress themselves on you with their physique. They can also come forward as naive and optimistic.
On top of these thumb rules, you got all the variables that can either add or subtract from the intensity of their respective traits.
Variables such as shyness, aggression or aloofness serve as additional hints on a character’s personality. But be careful when you browse for these additional values. Each combination of these gives a completely unique attitude.
Conveying character through their attire
So there are two things to conveying your character through their attire. Well, three if you account for the bit of personality that is by default embedded in their choice of fashion.
Let me tackle the ladder first cause it is the simplest one to explain:
If you want to convey that your character likes scorpions or snakes, you slap a snake on them somewhere or otherwise drop aesthetical hints of this particular interest. These are choices made consciously by the character, and should therefore also be treated like so in-universe. This is your character going out of their way to express an interest in a certain topic.
These are the most blatant and ‘easy’ ways to implement personality to your character’s outfit.
Where it gets a little more meta is when we start to consider their function, job and social layer, their opinion on norms such as gender and sexuality, etc. Values that contributes to the character’s subconscious. As well as choices made inspired by their lifestyle.
Let’s take a look at the two drawings above ^. The character is obviously the same. But their outfits are rather different.
Both hold an inch of vanity, as it is obvious that the character pays attention to how people perceive him ( note the styled hair, perfectly fitted and spotless clothes ). However one submits itself to a lifestyle heavily influenced by formalities, and proper conduct while the other comes forward as more free-spirited and radical in their attitude. Take a second look at the two outfits. Contemplate how the cuts, rate of coverage and choice of accessories separates the two outfits from one another. And what that, in turn, tells us about the character.
What does he do for a living?
What’re his thoughts of conformity?
Is he a by-the-book person, or more of a happy-go-lucky type?
What materials and pigments are used in the outfit?
Are these expensive pigments and materials?
What does the materialistic quality and style of the outfit tell you about the character’s economic standing?
What ‘s the overall impression you get from the characters physique in combination with the attire?
There are a great many things you can derive from simply looking, and those are just a handful of analytic points you can study when looking at characters ( and humans too IRL )
We’ve taken the character’s conscious and subconscious choices into account. Now it’s time to bring our own agenda forward. What do -you- want to communicate with this character. Your OC might have their own tastes and preferences, sure, but did you know that -you- can control the way your audience perceives your character, outside the choices your character makes actively for themselves in-universe?
By fidgeting with the overall shapes present in the outfit ( and character anatomy too actually ), we can provoke psychological responses based on instinctual thought processes and presumptions hardwired into our subconscious. Here’s a quick rundown of those shapes and how they work.
These tropes can, of course, be mixed, matched and used to any degree that you want. Not every production or project makes use of these particular figures by committing themselves 100% to their attributes. But you will frequently see traces of these tropes applied in competent pieces of visual storytelling, as it has proved effective in directing our perception of a character without even having to tell us outright; what their personality is going to be like.
You can also hint at character’s development, by subtly implementing some tropes from one category into the other. Or hint at an underlying character trait that otherwise isn’t communicated by the character’s dialogue or immediate actions.
If you manage to combine both posture, the formalia of outfit design and the meta-contextual design, you’re pretty well set to tell your story to your audience.
I Hope this has been somewhat helpful. It is one of my favourite parts of character design and storytelling - so it felt great to talk about at length again.
- Mod wackart ( ko-fi )
Tristan is property of Studio!Wackart
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