Shape language is a form of storytelling used in art in order to subconsciously convey a message to a viewer by way of basic shape makeup. By using shapes in your character design, you can tell the viewer things about the character through stereotypes and visual language. Shape language can be expressed through the character's silhouette, their features, etc. Shapes can tell a story all on their own, in such a way that the viewer can just look at a character and understand things about the character without being told them directly.
A square is a very rigid shape with four right angles and straight lines. Sources online characterise squares as being solid, sturdy, stubborn, and strong, but also a bit boring and inflexible. There are a few different ways you can apply this to a character's design.
Sometimes square characters are characterised as being physically strong and sturdy. Strong main characters in anime are often square-shaped (take any protagonist from JoJo's Bizarre Adventures as an example). Of course, the key to shaping language is to not just make the square resonate in the torso and silhouette but in all aspects of the character. A good example of a square character is Gaston from Beauty and the Beast, as seen at the top left. Of course, his entire body is sort of square-shaped; however, you can see hints of squares in his jaw, nose, eyes, and hair. Gaston is made up almost entirely of squares, which reflects his character of being muscular, unbending, and stubborn.
Square characters don't always have to represent strength or sturdiness, as many people might think. Squares are also often used as an allegory for boring or old characters. Older men, for example, tend to have bushy eyebrows and a larger body type, which might suit an overall square character design. A good example of this is Flint's dad, Tim, from the movie Cloudy with a Chance of Meatballs. In this movie, all of the character designs are very exaggerated, and this character is no exception. Not only are his general posture and silhouette square, but his eyebrows and moustache are as well. You can especially see it in his nose and head shape, which are almost exact rectangles. This all fits in with his characterization of himself as boring, stubborn, and to-the-point.
Overall, rectangular or square characters are unanimously seen as strong, rigid characters who can be relied upon to stick to their morals and aren't subject to much change.
Triangles are characterised as being sharp, directional, and dynamic. They are unpredictable and powerful; street signs use triangle signs to show danger. Characters with triangles in their designs are almost always meant to be mysterious and mature. This is commonly used by villains but can be used in other ways as well.
Villains are the most common subject of triangular designs, especially Disney villains; think Jafar, Maleficent, Captain Hook, or Shere Khan. I'll use Scar as a good example since his design contains the most prominent triangles. As you can see in the image on the right, every aspect of his character design is sharp and angular. His nose creates a triangle at its point; his mane is unkempt and spikey, forming a widow's peak sort of shape at his forehead; and of course, his eyes are long and angular. This fits with his personality as a dangerous schemer and shows the viewer right from the beginning that he is an aggressive, mysterious character.
Of course, triangles aren't just used for villains. Another way that triangles are often used in character design is to allude to femininity. Using an angular face, hair, and body shape can allude to maturity and make a character's design look dynamic. "Sexy" characters often have triangle-shaped character designs, for example, Heather from Total Drama Island or Meg from Hercules. These characters always have sharp chins, long, angular eyes, often with exaggerated eyelashes, and a tall frame with exaggerated curves. A good example I found of how a character's design can look both villainous and sexy is Azula from Avatar: The Last Airbender. As you can see through her character design on the bottom right, she is meant to be seen as dangerous and beautiful, a picture of maturity in the show. You can see how angular her face is; her eyes, eyebrows, hair, and chin are all made of triangles. This fits well with her character, as she is manipulative, dangerous, and a little unhinged.
Circles represent a lot of different things in someone's mind. When you see a circle, you often think of clouds, bubbles, and generally soft things. Circles can represent infinity in some cases and generally positive things. This isn't always the case in character design, however, as circles can also represent something large, which is often more of a threat.
One of the first things people think of when they think of a circular character design is obesity, or a comedically large character. These characters are often sidekicks or background characters who are also meant to be seen as friendly and approachable; examples of this could be Carl Wheezer from Jimmy Neutron or Olaf from Frozen. These characters often contrast with the main character, who might be triangular or square-shaped. A good example of this is Fishlegs from the How to Train Your Dragon movies, whose character design is made of circles to show that he is soft and approachable. He also contrasts the main character, Hiccup, who is a triangular character. Occasionally villains will be circular, such as Ursula from the Little Mermaid or King Candy from Wreck it Ralph, but their designs are often combined with angular shapes as well to allude to their villainy.
Circles don't have to be used in this way, however, and sometimes circular designs are much more subtle. Anime characters often use circles in order to make their characters look more young and innocent. Characters such as Aang from Avatar: The Last Airbender, young Simba from The Lion King, or Sailor Moon are all examples of how a character can look youthful with the help of circles in their character design. A really good example of this is the character Anya from Spy X Family, as seen at the bottom left. You can see that her face is very circular, her eyes are wide ovals, and her hair is round and soft. Her frame is very small; however, all of her limbs and clothes are also rounded and circular. This fits with her character of being happy, bubbly, and childish.
Circular characters are almost categorically opposites of triangular characters. Where triangles are sharp, dangerous, and unstable, circular characters are soft, consistent, and childish. This is why if the main character's design is made of triangles, their supporting cast will almost always have a circular character.
By playing around with how the actual shape of the body looks, you can communicate a lot of things to the player right off the bat. By distorting size, utilising ratios, and utilising shapes, you can create a good canvas to build upon to make a good character. By building the character's body shape off of its personality, you create a recognisable silhouette that communicates ideas about the character before even considering clothes, hair, face, and accessories. The basic anatomy of the character is possibly the most important aspect of a good character design.
The shape of a character's eyes directly translates to their personality. It's the focal point of the face, and some would argue that it's the most important feature in an entire character's design. Especially when you consider animation, a lot of the time there will be focus on the face as the character is talking or expressing emotions. The shape of a character's eye can tell you a lot about their personality, and it is generally accepted that if their eyes follow the basic shape language, then it shows a lot about a character.
The chart to the top right is a good example of how the shape of an eye can change depending on the character's personality. Characters who have large eyes are generally more innocent, as large eyes will remind the viewer of babies or puppies. Smaller, slender eyes are a lot more shifty and are often given to more mature or dangerous characters. The direction that the tail of the eye is going can tell you a lot as well; a character with downturned, droopy eyes could be seen as more shy, quiet, and even lazy. Eyes with upturned corners display extroversion, maturity, and confidence. By applying both of these tactics together, you can create a dynamic-looking eye that matches its character.
When you think of a character, aside from their silhouette, the first thing you might think of is their outfit. A character's clothes can tell you a lot about them, from something as basic as their story's setting to something more complex like their backstory and motives. Costume can allude to shape language, colour theory, and personality. A character who wears black spiked armour is going to give off a completely different vibe than one who wears a pink crop top and pleated skirt. But despite the obvious difference in setting these two characters are experiencing, the underlying language is still there; we can tell that the individual in armour is going to be a lot more unfriendly than the one in the crop top.
One thing to remember about costume design when creating a character is that the outfit must not override the basic silhouette of the character. If you've gone through all the effort of creating a big, bulky character with loads of intricate muscles and complex square shapes, potentially covering it all with a massive puffer jacket is not a great idea. This isn't to say that all of the shape language has to come from the anatomy; in fact, in a lot of cases, the shapes mostly come from the outfit. However, if you have a character whose design is mostly based around muscles, for example, having them be shirtless is a very easy and common stylistic choice.
A character reference sheet is, essentially, a complete visual guide to a character and a way of exploring the different dimensions of their personality and design, as well as being a complete point of reference (as the name implies) for you and anyone else looking to draw this character in the future. This is an incredibly useful tool for animators, comic artists, fanbases, and much more, since it allows anybody to easily draw this character in whatever way they would like.
Creating a character sheet can be quite a complicated task, so it's good to keep a few things in mind before you begin creating one. Who are you making this character reference sheet for? If you're making a sheet for yourself, you can afford to be a bit fast and loose on the details, and a sheet such as the one on the top right is more appropriate; however, if it's for a commission or a production manager, for example, then you'll need to be far more detailed. In other words, if other people are going to be using it, you should consider the information that other people need to know in order to correctly draw or animate your character. At the same time, however, you need to make sure you're brief and concise in order to not confuse those using your sheet. Spacing, text, and readability should all be considered.
All reference sheets should contain a few key elements:
A basic sketch of your character, from head to toe, wearing their complete outfit If they have more than one outfit, you might want a few sketches showing all the different versions of their design.
A close-up of the character's face, from the front and from the side Many artists like to do both left and right side profiles, and some do the back as well.
A basic colour palette showing the colours used in the design
These are the bare bones of a character reference sheet; however, this is by no means the limit. Many artists like to include expression references (common expressions the character would make in order to display how they would express it), and a lot more complex character references show a full turn around of the character, including slight side profiles to show the character from interesting angles. If your character design contains an overlay of any kind, you might want to include an overlay over the relevant colours of your palette. Eye close-ups, mouth close-ups, accessories, and important items of clothing or props—all of these can be included in your reference sheet if needed. To the bottom right is an example of a very complex reference sheet, which TenelleFlowers designed for a character of theirs. This character is an important character in an animated series on which multiple animators will be working, hence the complexity. The other animators working on this project will need to know exactly how to draw this character, including things like height, fur details, mouth and eye shape, etc. Each detail is accompanied by a note explaining the detail and includes sketches, lined-out sketches, and fully coloured drawings in order to show the character in every possible light. If I were animating this series, I would have no doubt in my mind that I could confidently draw this character, and that is what a good reference sheet should aim to do. This is the best example I could find of a fully cohesive and inclusive character sheet.