Rumplestiltskin Character Design Feedback

        Having completed the initial character designs, I was able to receive feedback from the client (Becky). As the initial brief was quite vague, with little reference material provided, this feedback was invaluable in giving me a clearer idea of what Becky was looking for in the characters.

        For the Miller, Becky requested a variety of features from across the three initial designs. She preferred the face and head shape of the middle character, but ideally would like his physique to more closely resemble the figure on the left. However, she would like him to maintain the shorter stature of the central figure. What came through from this discussion was that it was important for the Miller to look weary and downtrodden. In terms of costume, the button down shirt was the preferred option, with tatty , torn and patched trousers.

        On a more practical note, having a  moustache allows Becky to get away with not giving the character a mouth. If the moustache were to be detachable from the face, moving this could more easily create the impression of speech and changing expression than if different mouth shapes or entire heads had to be cast. In this case, the thicker, bushy moustache would be more practical than the thinner, handlebar style. However, Becky requested that the ends were elongated somewhat, while still maintaining the stronger shape.

        For the Miller's Daughter, Becky's favourite design was the girl on the far right. Despite my reservations about the difficulty of animating long, free flowing hair, this was a feature which Becky requested, in a chestnut brown shade, with a hair band. She also preferred this figure's outfit, with the fitted sleeves. However, she specified that the skirt should have the same tattered and ragged aesthetic as the Miller's trousers, something which can easily be incorporated. When I drew the girl on the right, I envisaged her having a similar face as the girl on the far left, only I drew her with her features scrunched into an expression of anger. Becky agreed that the features of the girl on the left (the rounder face, and large, sad eyes) were most befitting to convey the youth, innocence and vulnerability of the character. In terms of the girl's figure it was tricky. As she is married off during the story and becomes a mother, there needed to be a balance between youth and maturity. Consequently, Becky suggested a petite figure, however, considering that this character will be created as a physical puppet, having rounder hips will help balance the puppet (prevent her being top heavy), as well as providing Becky something to hold on to during animation, and helping support the voluminous A line skirt.

        The colour scheme for these characters should reflect the fact that they are poor penniless peasants (at least for the start of the story), so no rich or ostentatious colours (or fabrics, when it comes to costuming). As such, I will limit my palette to a range of browns and natural colours, as though their clothes are made from coarse linens, cottons and hessians.

        Reassured that I had a better idea of what Becky was looking for, I now felt ready to begin work on the final character turnarounds.