APPLY TAN HUI TIAN’S COLOUR THEORY TIPS TO YOUR FIGURES

1 Beyond Colour Theory

Colours convey mood and meaning, and you can use it to direct or misdirect the audience. At its most effective, just the colour palette can bring to mind the object. It also serves as a bond when different objects share the same palette, such as the historical significance of the red, blue and white stripes in Pan-slavic flags. Beyond basic colour theory, the science of colours and its everyday usage can be useful information. For instance, knowing that in European culture, royalty is represented by purple, while in India, deep red and ochre symbolise grandeur and wealth, can be useful in creating culturally specific characters.

2 Concept and Usability

When I create a character design, form follows function. A hierarchy of information applies to colour design, too. Areas of high contrast will attract more focus, and bright colours can indicate narrative significance. I try to go from a macro overview before tackling details. Here, the characters are twins working as bodyguards. They share a black, green and white palette, but also have spots of pink or cyan to differentiate them. I also try to ensure that no other in-universe characters have a similar palette. The narrative theme is dark, and therefore the general colour palette reflects that and is muted.

3 Build a Palette

I use tools like Adobe Kuler and ColorLovers for inspiration – you can use Kuler to create a palette from an existing image. Before deciding on a palette, explore options with a character colour sheet (usually with flat colours). Also, keep in mind the usage and context of the image. If, say, it’s meant as a final asset in an environment, make sure it contrasts against the main environmental colours. I tend to use a neutral white light for shading, so that it’s easy to adjust the character art in different lighting conditions afterwards.

Before settling on a palette, explore options with a character colour sheet

4 Colour Psychology and Symbolism

People perceive colours differently (think of viewers who might suffer from chromophobia or experience colour blindness). But there are general meanings and physiological effects associated with colours. For instance, I tend to avoid fully saturated colours such as CMYK magenta, because it gives me a headache! There are some exceptions when a ‘pop’ aesthetic may be preferred. In my example, the character is a heiress who’s revealed to be the main villain of the game towards the end. Her smaller stature and weak body makes her an unexpected villain, but the impression of vulnerability is further enforced with a predominantly pink and white palette, which signifies innocence. Whereas, the impression of inner darkness is supported by the presence of a darker palette.