Character Design Quotes

I am not concerned with simply surviving.

I am very concerned about improving. I start each day by examining yesterday's work and looking for areas where I can improve. I am always trying to draw the characters better, and trying to design each panel somewhat in the manner a painter would treat his canvas.

Good Web design is about the character of the content, not the character of the designer.

The divine glory is an object only worthy of attention;

and to display his holy character, was the design of God in creation; as there was no other beings existing antecedent thereto, to attract the mind of Jehovah; and we are sure that God is pursuing the same thing still, and always will.

Writing is in fact an entirely outworn, decayed and corrupt convention whose chief & most conspicuous character is its monumental witness to the conservatism, laziness and irrationality of men and women.

Trial. A formal inquiry designed to prove and put upon record the blameless characters of judges, advocates and jurors.

I might as well enquire,” replied she, “why with so evident a design of offending and insulting me, you chose to tell me that you liked me against your will, against your reason, and even against your character?

Well,the fun part of being a writer is that it's like making a wonderful film, with no limit on my budget. I can design the sets, the costume, the lightings, I write the script, and then I get to perform all the roles as I step into each character's skin, zip up, and adopt that point of view. So, to me, they are all compelling and fascinating.

RIDICULE, n. Words designed to show that the person of whom they are uttered is devoid of the dignity of character distinguishing him who utters them.

Character design, like story design, requires a hook to grab the reader’s attention.

Sometimes, you start with the drawing and then the gag comes to you in the middle of it. That is when you start working on the solution of the gag, which is composition, placing, equilibrium, and character design.

If you compare my character to the others, they were sexy with designer clothes.

I had the nerdy outfit.

I think getting something together to showcase your voice is important.

You can also watch cartoons and play games and just kinda listen, and try to see how the design of the character matches to the voice.

I think hand-drawn animation can be something really special.

If the character design is quite simple it has the ability to allow people to easily relate to the characters in a special manner.

He had a sense of his dignity, which was of the most exquisite nature.

He could detect a design upon it when nobody else had any perception of the fact. His life was made an agony by the number of fine scalpels that he felt to be incessantly engaged in dissecting his dignity.

I guess you can stay sort of true to the story;

you don't have to artificially bring the character back from whatever doom you've designed for them, you can tell the story, I suppose, honestly.

The Congress of the United States, in recognition of the unique contribution of the Bible in shaping the history and character of this Nation, and so many of its citizens, has by Senate Joint Resolution 165 authorized and requested the President to designate the year 1983 as the 'Year of the Bible.'

I love to design for women, it's really open and very free.

I always think of my friends. I think of both fictitious characters, real people from the past and the present. I am not a woman, but I find women so beautiful and so fascinating.

We've carried that over into the visual development as well.

We've designed quite an exotic cast of characters, but the last thing we want is to dictate to the players how their PCs should look. What we want to do is inspire.

Every character I've had in my act - none of them have a similar creation story.

I actually thought up Peanut and designed him in my head. I described him to a woman that was making soft puppets and she drew up some sketches. And the character came to be just because he popped into my head.

Costume design is so important and really helpful, and I really love that aspect of character development, just figuring it out.

We now demand the light artillery of the intellect;

we need the curt, the condensed, the pointed, the readily diffused -- in place of the verbose, the detailed, the voluminous, the inaccessible. On the other hand, the lightness of the artillery should not degenerate into pop-gunnery -- by which term we may designate the character of the greater portion of the newspaper press -- their sole legitimate object being the discussion of ephemeral matters in an ephemeral manner.

We started getting the script to different people and we were in the business of trying to fund it so we could get it off and running, and all the characters and sets designed and everything.

I think it's really cool that videogames are getting more and more sophisticated and believable, and that people who worked on movies are being asked to art direct and design video games and characters, so they look better and better. When I see Jurassic Park on the screen, I predicted that games would be able to create a virtual experience that was just as real as the movies - we're not quite there yet, but it's getting better all the time.

The movies I did before were movies with a lot of characters, a lot of locations, and low budgets, which meant that I was running all over the place and never had the chance to build a relationship with an actor. I was always having big, strong relationships with the cinematographers or editors or production designers, but not with the actors.

I wish I could say I had any idea what I was doing when I designed characters.

I just take things I like and make my version of it.

The costume designer designing clothes that helped the comedy in The Proposal, that sold the character. Each and every detail was so perfectly thought of, what wouldn't be here? That's a lost art.

I think what we want to do is - when we choreograph, when we design choreography, we try to take it from a character standpoint first. Obviously you write a script and it's like, a Jason Bourne or a John Wick or something like that, you don't start choreographing double twisting wire moves and backflips, or doing the splits. You try to keep it so it fits the character, or the tone of the film.

I do think, in the future, headlamps are probably going to be smaller, slimmer. I also think that a lot of designers will start playing around with the daylight running lights. That gives a lot of character to the vehicles in different ways, so I think designers are going to play around with that to try and give each brand a certain DNA so you can almost recognize what car it is when you look at the headlamps.

Most people have no idea how much goes into designing a typeface. Twenty-six letters in the alphabet, usually with two versions of each, upper and lower case. Punctuation and alternate characters and numbers - let's not forget numbers - can add another 40 or so.

Holland is very good at avant garde, probably due to the Dutch character. Good at design. Experimentation sometimes works here very well.

Usually when you start the characters, the first thing is the script. Your design work is about telling the story. It's later that casting comes into play, but it's a huge component.

Designing the prints was very much like writing a story with characters, [inspired by] some of my my favorite icons of the time: Eva Perón and Josephine Baker.

When I saw this Broken Kilometer, it reminded me of these 1,000 Buddhas. That piece is 1,000 one-meter gold rods, and this is 1,000 pieces of gold gilded wooden sculpture. In terms of design, it's up to the space's character.

When I was writing my first draft, and feeling grandiose, I e-mailed an artist/clothing designer I know and suggested we collaborate on a fashion line inspired by the outfits my characters wore. I regret that we never did that.