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Greenberg, M. T., Weissberg, R. P., O’Brien, M.
U., Zins, J. E., Fredericks, L., Resnik, H., &
Elias, M. J. (2003). Enhancing school-based
prevention and youth development through
coordinated social, emotional, and academic
learning. The American Psychologist, 58(6–7).
Kline, C., & Blumberg, B. (1999). The art and
science of synthetic character design.
In Proceedings of the AISB 1999 Symposium on
AI and Creativity in Entertainment and Visual
Art (pp. 1-6).
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Notes from article (summarized in YOUR OWN
WORDS):
 YOU SHOULD HAVE A LOT OF DETAILS
FROM THE ARTICLE HERE. DO NOT JUST
SELECT POINTS FROM THE ABSTRACT.
YOU NEED TO READ THE ARTICLE.
 THESE POINTS MUST BE IN YOUR OWN
WORDS
 Learn from traditional character animation.
Understanding of character emotions and thought
that allows us to predict their next actions. The
actions additionally are realistic and consistent.
 Revealing inner thoughts through motion, sound,
form, colour and staging. To tie their actions to
their desire.
 Desire is the key to identify with character.
 Intentional stance coined by Daniel Dernett
expresses that people see characters as “rational
beings” so their actions will consequently result in
desire.
 Beliefs turn desire to actions, reflecting how the
character would approach that desire.
 In conclusion, Motivational drives, Emotions,
Perception, Action selection.
 Motivational Drives: behaviour is driven from

Tillman, B. (2012). Creative character design.
Crc Press.
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hl=en&lr=&id=7tB7AgAAQBAJ&oi=
fnd&pg=PP1&dq=what+visual+eleme
nts+make+a+character+design+pop&o
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_3GLB9pu1pDATUKI#v=onepage&q
&f=false
desire stemming from a diversion from the base
state of “satisfaction.” Changes positive or
negative from that state that can include hunger,
fear, external stimuli, or death can result is either
low or high levels of motivation.
 Emotions: Emotions also influence action. Action
would reflect inner emotion. When showing
character expression, choosing a dominant
emotion is key, as the viewer sees a clearer image
of the character’s desires and beliefs as a whole.
 Perception: Characters need to fit in with the
world around them. If the character is a creature, it
must have a method to interact with the world
through any means of sensing. For, robots can
have auditory and visual sensors to interact with
the world. Requires a balance between internal
goals and external stimuli.
 Value based Framework: The goal is to approach
the elements as a whole. 2 apparents: high level of
interdependence between systems and an
assignment of quantitative interpretation to
emotions and drive (priority).
 Archetypes: They are the first pieces of a
character design. Represents personality and traits
that can be identified easily. Archetypes helps lead
the character story and development. Carl Jung’s
definitive archetypes: Hero, Shadow, Fool,
Anima/animus, Mentor, Trickster.
 Stories: Second piece, it is most important. Take it
time to develop backstories and personalities

Mattesi, M. (2012). Force: Character design from
life drawing. CRC Press.
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https://books.google.ca/books?
hl=en&lr=&id=-
qHcAwAAQBAJ&oi=fnd&pg=PP1&
dq=character+design&ots=ojn2I7_mQ
U&sig=86E4ipMV24V03jOzB8EGKx
FgpH8#v=onepage&q=character
%20design&f=false
before drawing will become a foundation for ideas
to be added and changed. Characters serve story.
 Originality: Influence is natural, so it is difficult to
be original conceptually – it is natural to find
similarities between preexisting media and your
own creation.
 Shapes: Shapes tell a story, basic shapes such as
circles, squares, circles, or triangles can be
tweaked to create an engaging silhouette.
 Reference: Reference is important. Collecting
information on the subject and looking at other
artist’s interpretations regarding the subject.
 Aesthetic: Look of the character determines
viewer’s reaction. Questions to ask: “What style
should be used? “What colors used?” “What
medium used for?” and “Who is the character’s
audience?”
 Appeal is important, regardless of moral compass.
Original drawings with humor and personality are
the key. By studying people that possess certain
characteristics that align with your design, one can
incorporate tangible characteristics into the
design.
 Bridge between figure drawing and character
design.
 Reference helps create subjects more sophisticated
and deeper, as understanding of the inspiration
increases. Best of the industry use references all
the time.
 Drawing from model can give information to get
inspired by. Elements such as forms, shapes,
CLC / CAPSTONE RESEARCH LITERATURE REVIEW

textures, and colors.

 Opinion of story can lead to truth of the model.
Admiration of the model invokes sensitivity.
Learning to draw the human form with said
opinion is a skill that is employed in the industry.
 Characters drive the plot. Knowing who the
character is and why they are such are important.
Test: put the character in a box and imagine their
reaction.
 Create the character’s morals and thoughts into
visuals.
 KEY CONCEPTS WHEN DESIGNING:
 FEAR: Multiple forms, listen to internal dialogue.
Notice why and when you feel indecisive.
Drawing is about experience, not the final product.
 RISK: To have opinion, risks must be taken. Must
be willing to fail to explore creativity. Must love
the feeling is risks when working.
 OPINION: Risks allow to unlock opinion. Truth
must be seen to form opinion, which comes from
heightened clarity. Ideas that lead one thought to
another should be preserved. Maybe the pose
reminds of an animal, power, architecture, culture,
time, a character, or other works. Draw upon
intuition.
 HIERARCHY: Thinking from big to small is a
good way to assess challenges. It creates a defined
path the helps understand complex ideas.
Applying this to a pose: Biggest: hip to rib
relationship, Next: arms, legs, and head, Last:
hands, feet, fingers, toes.
 CONTRAST AND AFFINITY: ‘Contrast creates

Fogelström, E. (2013). Investigation of shapes
and colors as elements of character design
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https://www.diva-portal.org/smash/
get/diva2:651309/FULLTEXT01.pdf
interest.’ Lack of contrast creates mediocrity.
Watching out for symmetry, parallels,
monotonous lines. Contrast is where the ‘magic’
happens. Applied: single line. Is it parallel to the
edge of paper or is it 45*? Variety in the weight?
How long or short is it? Does it travel off page?
Affinity/Unity means repetition in drawing. For
models it would be two hands/feet. In character
designs, it could be patterns in shape, colour, tone,
line.
 Design is the process of thoughts and activities
that is interpreted to produce a final creation.
Three main elements: insight, intuition, and
reason. Insight is the understanding of the problem
and the realization of the solutions to that
problem. Intuition is the innate pull one feels to
make certain decisions. Reason is the conscious
analysis of the situation.
 When designing art principles must take taken into
consideration. Certain choices are made to avoid
repetition. A way to measure this is the read on the
silhouette or the colour choices.
 Shapes are the basic fundamentals to art that help
create intuitive designs and find originality.
- Square: stability, trust, order, conformity,
security, equality, masculinity, maturity,
stubbornness, balance
- Triangle: action, aggression, energy,
sneakiness, fleet-footed, masculinity, force
- Circle: innocence, youth, energy,
femininity, gracefulness, playfulness,
comforting, unity, protection, childlike

Lankoski, P. (2004). Character design
fundamentals for role-playing games. Beyond
Role and Play, 139-148.
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https://www.researchgate.net/profile/
Petri-Lankoski/publication/
200010276_Character_Design_Funda
mentals_for_Role-Playing_Games/
links/54eb0aa20cf27a6de115daae/
Character-Design-Fundamentals-for-
Role-Playing-Games.pdf
 Sandberg lists seven principles to make a
character interesting. Contrast, Movement, Unity,
Variety, Balance, Focus/Emphasis, Proportion,
Rhythm & Pattern.
 Silhouettes should be read from the start by
blocking out the drawing.
 Gestalt is a term that explores the idea the
elements can be interpreted as a whole when
following principles applied:
- Proximity of elements
- Emphasis pulls eyes due to the viewer
grouping elements as a whole.
- Continuity is when the eye is lead though
curved lines. Sharp lines break the
continuity.
- Closure is when an object or space is
incomplete, but hints at missing
information.
- Figure and ground are the differences
between the space of the subject and the
background.
- Colour theory: harmony of colour or the
contrast of colour can allude to deeper
cultural hints to personality.
 Char design strengthens role-playing games, as
good characters are an important aspect for a
successful game.
 RPGs are both immersive but also reminds the
player that it is a game. Knowing that the events in
the game do not impact reality makes a character’s
failure enjoyable.
CLC / CAPSTONE RESEARCH LITERATURE REVIEW

 An event’s relevancy is tied to the relevancy of

the character that is being controlled.
Understanding needs and ambitions that justify the
action.
 Robert Bergman states six elements that can be
applied to the design of game characters:
1. Needs: provide purpose, focus and
direction – reason for protag’s
relevancy in story
2. POV: explain how character see
event.
3. Attitude: character’s stance on event.
4. Change: required for realism-
reaction to change- realistic
backstory
5. Weakness: allows the building of
obstacles, can be a point of change
6. Habit/Mannerism: identifiable char.
 Method of writing characters adapted from Lagos
Egri. This method is called “Bone Structure” that
aims to create a 3-dimensional character.
- PHYSIOLOGY: sex, age, height/weight,
colour of eyes/hair/skin, posture,
appearance (distinct features), defects,
heredity features, physique.
- SOCIOLOGY: class, occupation,
education, family life, religion,
race/nationality, social status, political
affiliations, amusement/hobby.
- PSYCHOLOGY: morals, goals/ambitions,
frustrations, temperament, attitude to life,
complex/obsession,

Chadwick, J. A. (2012). Making Characters
Come Alive: Using Characters for Identification
and Engagement. The English Journal, 102(1),
34–39. http://www.jstor.org/stable/23269379
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https://www.jstor.org/stable/pdf/
23269379.pdf?refreqid=excelsior
%3A8bd046696342545fa5ba73c0279
804b7&ab_segments=0%2Fbasic_sear
ch_gsv2%2Fcontrol&origin=&initiato
r=&acceptTC=1
imagination/judgement/wisdom/taste/poise
, extro/intro/ambivert, intelligence
 Goals are a way to structure to and bridge both
plot and emotions. A level of struggle must be
introduced to produce a more interesting story.
 Characters should behave in individual ways,
defined by the characteristics and stories assigned.
Conflict and action then blossom from the
character’s faults.
 To produce conflict, Egri mentions orchestration
that hold two severest design elements.
- Point of attack: something that the
character can gain or lose.
- Unity of opposites: guarantee that no
interested parties will back down.
 Characters are the component that makes a story
intriguing. The ability to create a real character
allows readers a breach to experience the fictional
world in. Characters transcend flat or static,
dynamic or round descriptions. Good characters
speak. (approach empathy with teens in mind)
 Themes of identification help connect with teen
readers, as they are in constant search for identity.
- Alienation & derived identity
- Nature vs nurture
- Appearance vs truth
- Duty vs responsibility
- Justice vs injustice
 In works such as The Great Gatsby, the primary
character desire change, change in what they see
in other’s good lives, rather than change that is

Burke, K. (1941). Four Master Tropes. The
Kenyon Review, 3(4), 421–438.
http://www.jstor.org/stable/4332286
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https://www.jstor.org/stable/pdf/
4332286.pdf?refreqid=excelsior
%3A85e9f5b8c6d0a01c35e2cee608b1
5b04&ab_segments=&origin=&initiat
or=&acceptTC=1
good for them. Familiarity comes from alienation
and derived identity within young teens.
 Important questions to note:
- Who is the character’s real self?
- What is the derived identity?
- What is the reason for the second self?
 Metaphor, metonymy, synecdoche, and irony are
the four master tropes. These four tropes shift with
application and are not definitive within
distinction.
 Metaphor = perspective, Metonymy = reduction,
Synecdoche = representation, Irony = dialectic.
 Dialectic: aims to represent interacting
perspectives
 Metaphor: seeing though another thing. So, the
word ‘character’ can be used as a general term, the
‘thing.’ The application of the metaphor would be
that the character is portrayed in the eyes of
another character. A from POV of B and vice
versa.
 “But on the contrary, it is by the approach through
a variety of perspectives that we establish a
character’s reality.”
 Considering the position of the character relative
to those around that character allows deep
exploration. Through the perspective of others that
see the aforementioned character. The role it plays
in the surroundings.
 In social settings, correlation is not enough and
requires a level of substantiality. Furthermore,
there cannot be a set ‘science’ for characters. The

Card, O. S. (2010). Elements of Fiction Writing-
Characters & Viewpoint: Proven advice and
timeless techniques for creating compelling
characters by an award-winning author. Penguin.
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https://books.google.ca/books?
hl=en&lr=&id=9h9jDwAAQBAJ&oi=
fnd&pg=PA1&dq=compelling+charac
ters&ots=VmGfeJOI8Z&sig=PUl8Fq
Z4PbnvNbIaPcIwy6XU76U#v=onepa
ge&q=compelling
%20characters&f=false
aim is to convey something intangible with the
tangible. An attempt to reduce larger ideas and
fully representing the reduced concepts. Example:
‘shame’: is not a ‘state’ but the cumulative of all
factors or characteristics of shame. Reduction =
representation.
 Artistic representation is synecdochic in nature, as
the expression links to an idea that is external to
that piece. Stories require opposing forces of a
synecdoches to interact. Ex: (good/evil,
before/after, temporal/logical sequence)
 BASICALLY, big to small, small to big,
INTERLINKED/CONNECTED
 Goal is to invent characters that avoid cliches and
provide opportunities for the story. Storytelling is
improved through the discovery and nurturing of
characters. Placing the character into the world is
important. The surroundings.
 Goal is to make the character feel real, live,
connectable. Viewers will have to know the
upmost amount of information.
 Characters are told through actions. Through their
reaction to situations and not informed directly to
the audience.
 Motive is important to understand action by the
characters. Motives help justify action, as can
even ‘excuse’ actions that may been seen as
‘negative’ without the context. Motive gives
action moral value.
 The past is important to a character. It helps sets
the stage for further development and justifies the
CLC / CAPSTONE RESEARCH LITERATURE REVIEW

motives and adds deeper contexts to any quirks or

characteristics that the character may possess.
People are the consequences of the actions that
they have done and are also the actions that have
been done against them. The past allows the
reader to understand the character and empathize
deeply.
 Reputation helps place the character in the world
around them. By inferring to the surrounding’s
opinion on the character, the reader can construct
an opinion before they meet the character in the
story. Furthermore, this allows the sense of
‘existence’ that people have, as they had lived
lives before the main events of the story.
 Stereotypes are the attributes automatically
associated due to another characteristic of that
character. A level of unfamiliarity to a character
gets the reader asking question derived from the
limited information they glean from the page. This
is a method to draw the reader into the story. It is
important to play for and against stereotypes,
often subverting the expectations of the reader.
 Networks are the various faces the character puts
on in specific situations. With each relationship
there is deep history. Distinguishing the
differences within demeanor and action between
the character’s networks reveals the character’s
personality to the reader.
 Habits or patterns of behavior are all parts of a
character. Ranging from small actions from
tapping legs to being prone to emotional outbursts.
These habits help distinguish characters to the
CLC / CAPSTONE RESEARCH LITERATURE REVIEW

reader. Certain habits carry additional information

about the character. These habits also become
opening for the plot to progress.
 Talents that characters possess indirectly inform
the reader plenty about the character. The talent
can become a plot element but can also be a minor
detail given to the character. They add a certain
niche to the character that makes them
identifiable.
 Preferences also are an element that builds a
character. It helps visualize and justify actions,
often supplementing the motive in a story. By
giving preferences to the characters another level
of depth can be added. It can also serve as a
reoccurring motif throughout the story.
 Physical appearance can reflect a person’s
backstory or lifestyle. Physical disabilities can
help mold the character’s lifestyle. It can also
become a point of where future obstacles may
arise. The strongest impression. History can be
carried by a person’s body.
 The author must judge whether the character is
interesting and believable. A level of intrigue
should be met when visualizing the character. It is
a gut response, not an intellectual decision. The
author must write to please oneself on the basis of
belief, emotional investment, and
understandability.
 A tip is to ask casual questions about the
characteristics of a character. The external and the
shallow. A level of exaggeration can be utilized to
make the character stand out in the story.
CLC / CAPSTONE RESEARCH LITERATURE REVIEW

 Ask questions for every idea that is thought of.

Why did it happen? What was the consequence?
What purpose? What now?