Course overview Course overview
Designing Characters for Production
This class will focus on taking your character designs through a production pipeline and learning to make your designs functional for animation. In this course, you will be acting as a professional Character Designer. We will cover both common and important types of assignments that will be expected of you as a working professional. You will walk out of this class with not only the experience of a real professional setting, but also with professional work that you will be proud to showcase in your portfolio.
Character Design For Production WHAT YOU’LL LEARN
The more you know, the better.
Igniting your imagination
Lectures by Nate Wragg
Nate Wragg was born in Davis, CA in 1983. He took an interest in drawing and painting at an early age. After graduating high school, he studied animation and design at The California Institute of the Arts in Southern California. Since then, Wragg has gone on to work as an illustrator and designer on various projects-including Ratatouille, Toy Story 3 and Puss in Boots. He was one of the primary character designers on the Pixar Feature Toy Story 3. As well as designing characters, Nate was also the Production Designer of Pixar’s short film Your Friend the Rat and has been involved in designing several main title sequences, most notably the animated end titles for Ratatouille. Most recently he was the Production Designer on Captain Underpants.
Character Design For Production Student gallery
spring TERM Registration
Feb 11, 2019 - Apr 26, 2019
Melis Malatani / Summer 2017
Great instructor. An online course can be very detached from the real experience of a classroom, however Nate, really engaged us as students, through his lectures, and fast and useful critique, which made the whole experience more effective and real.
Amber Kenneson / Summer 2017
Nate is one of the best instructors I have ever had--he communicates concepts in a very clear way that is easy to understand and put into practice. His feedback is always very specific, and he communicates both what IS working and what is NOT working--and as a result gives students a clear path forward in their work.
Kate Dmitrieva / Summer 2017
Nate is a great instructor with very professional approach. Many thanks for his thorough feedback and always being there to help.
Amber Kenneson / Spring 2017
Nate is one of the best instructors I've ever had! The way he explains and demonstrates things is so clear--he makes it easy for students to implement what he is teaching into their own work. I know my own work improved by leaps and bounds over the course of just 8 weeks, and I saw improvement in the work of my fellow students as well! Basically, I loved everything about Nate's course.
Companies that hire our students
environment design Benefits
What makes this learning experience unique?
Receive personal individual feedback on all submitted assignments from the industries best artist.
1+ Year Access
Enjoy over 365 days of full course access. This includes all lectures, feedback, and Live Q&A recordings.
Certificate of Completion
Earn a Certificate of Completion when you complete and turn in 80% of course assignments.
Learn anywhere, anytime, and at your own pace with our online courses.
Speak to an advisor
Need guidance or course recommendations? Let us help!
Show us your skills
Not sure if you have the skills, or are you proving you do? Show us.
Carolyn, the Flower Shop Owner
Interview with Austin Lee
Austin Lee shares his experience and process bringing Carolyn, the Flower Shop Owner to life over 8 weeks in Nate Wragg's Character Design for Production course.
My name is Austin Lee, and I’m a Seattle-based designer. I developed an interest in drawing at a young age, and being inspired by cartoons and animation led me to study visual communication design at college. Later, I studied media design at the Art Center College of Design.
In the industry, I’ve worked on AR/VR experiences as a visual interaction designer, which often requires skills in storytelling and concept development. I took Nate Wragg’s “Character Design for Production” course because I’ve always been fascinated by great character design work and the art of animated feature films. I wanted to gain exposure to the production pipeline and learn storytelling skills through character design by taking the course.
Initial character sketch
Designing a Character with Story
The following is my description of the proposed character: Carolyn, the flower shop owner, is an aging but a charming hippie lady who loves gardening and nature. They say that she regularly talks not only to her plants but also to animals. She is a bit of a hoarder, but she only collects beautiful plants and surrounds herself with them. While she often looks tired, it is easy to intuit that she is passionate about her work and genuinely enjoys her life at the flower shop.
Character reference sheet
When coming up with the story for the character design, I was inspired by an actual flower shop owner in our area who would often encourage her customers to listen to plants and see if they talk to them when choosing what to buy. She always projected a cool, hippie vibe, and she was always well-dressed in great color schemes. While reimagining an interesting background story for Carolyn, I began collecting references for the character. I wanted to illustrate how she was very active and energetic when it came to taking care of her plants.
Character Pose & Expression Sheets
Learning how to apply exaggerations in effective ways through stretch and squash was crucial in my design decisions. After receiving feedback from Nate, I refined the character design of Carolyn; I made her less muscular and gave her more exaggerated features, such as extremely thin legs and arms that would contrast with her big, strong, bulky feet and hands. Creating various facial expressions also added more life to the design.
Character Pose & Expression Sheet and Character turn-around
Tie Down & Clean-Up
Moving away from roughs to clean-up was an interesting process. The most crucial element was maintaining the overall feeling of the initial rough sketches while refining and simplifying the design. Imagining the 3-D structure referencing the pose sheet definitely helped a lot.
One of my favorite outcomes in the process was the design of one of the supporting characters, an iguana that was apparently jealous of the twin geckos that constantly grabbed Carolyn’s attention.
Final Style & Portfolio Assembly
The final style was driven a lot by the tie down and clean-up process in week 6. Given the relatively short time frame to color the final scene and assemble a portfolio of the entire course, I decided to leverage the line drawings produced during the clean-up process, as opposed to covering up the lines and fully rendering the final shot with color. Inspired by water color, I focused on generating a digital painting that felt light and had semitransparent look. The fidelity of the painting felt sufficient for this particular scene, which was supposed to show the calm and relaxed state of the characters.
Final painted character piece
Final Thoughts and Take-Aways
Nate taught how to effectively convey a story through the character design, which enabled me to push my design work further through applying a more stylized approach as opposed to creating a generic design that felt less appealing and imaginative. Nate shared how small details, such as props, can provide rich context for the character. To highlight her everyday life as a flower shop owner, I introduced small reptile residents into Carolyn’s flower shop and illustrated an array of plants that she took care of.
Trusting the process was extremely challenging in the beginning. In retrospect, especially in the initial stage, I wasn’t sure how the character and her surrounding world would evolve. As a matter of fact, I even thought of working on an entirely different character because I was not feeling confident that I could create an appealing design through a mundane flower shop persona. However, as the design was inspired by a real-life figure, and even after pushing the design, the character still felt believable and relatable to me.
The process of illustrating and documenting various poses and angles of the character enabled me to understand the structure of the character better and apply better acting. Moreover, being exposed to the production pipeline of character design developing through a holistic approach to storytelling was invaluable in terms of understanding the collaborative processes between directors and art and story departments.