11. Focus on facial expression
Expressions showing a character's range of emotions and depicting its ups and downs will further flesh out your character. Depending on its personality, a figure's emotions might be muted and wry or explosive and wildly exaggerated.
Classic examples of this can be found in the work of the legendary Tex Avery: the eyes of his Wild Wolf character often pop out of its head when it's excited. Another example of how expressions communicate motions is deadpan Droopy, who barely registers any sort of emotion at all.
12. Give your character goals and dreams
The driving force behind a character's personality is what it wants to achieve. This missing 'something' – be it riches, a girlfriend or solving a mystery – can help to create the dramatic thrust behind the stories and adventures your character gets up to.
Often the incompleteness or flaws in a character design are what make it interesting.
13. Build up a back story
If you're planning for your character design to exist within comics and animations then developing its back story is important. Where it comes from, how it came to exist and any life-changing events it has experienced are going to help back up the solidity of, and subsequent belief in, your character.
Sometimes the telling of a character's back story can be more interesting than the character's present adventures (or not, in the case of the Star Wars prequels).
Don't be afraid to experiment and ignore all the rules and tips about planning and crafting the look of your character design. Going against what is supposed to be the right way of doing something could create unexpected and exciting results.
15. Make your character design flexible
Having decent materials to work with is useful, but not essential, for the early planning of your character design. A lot of amazing characters were successfully designed years ago when no-one had personal computers and Photoshop was just a dream.
The drawings of your character should still work when rendered on paper with a simple pen or, as Sune Ehlers puts it: "The character should still be able to work with a stick dipped in mud and drawn on asphalt."
16. Swap mouse for pen
Ian of I Like Drawing generates some of his character designs away from both the computer and the sketchbook, allowing outside elements to influence his work. "I really like characters that interact with their surroundings," he says.
"The environment normally suggests an idea and then I let my strange mind do the rest. I prefer drawing in the real world with a pen instead of on the computer, because it feels good and odd things happen."
17. Get feedback from others
Show people your creations and ask them what they think. Don't just ask whether they like them or not. Instead, see if they can pick up the personalities and traits of your characters. Find who you think is the suitable or ideal audience for your work and get feedback specifically from them about it.
18. Hone, plan and polish your design
Instead of just drawing or doodling without too much pre-planning, Nathan Jurevicius prefers to take a different approach.
"I take a long time creating finished looking roughs and also thinking about how the character could be expanded beyond a 2D artwork, what the character will do in a specific world, and how it speaks and acts," he says.
19. Create the right environment for your character
In the same way that you create a history for your character, you need to create an environment for it to help further cement believability in your creation. The world in which the character lives and interacts should in some way make sense to who the character is and what it gets up to.
20. Fine-tune your figure
Question each element of your creation, especially things such as its facial features. The slightest alteration can have a great effect on how your character is perceived.
Illustrator Neil McFarland advises: "Think about the meaning of the word 'character'. You're supposed to breath life into these things, make them appealing and give them the magic that will allow people to imagine what they're like to meet and how they might move.
"I think it's strange how creating characters for the sake of it has become a distinct branch of graphic design."
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