I followed my previous experience with full-body standing drawing of a character, a workflow that complements the artwork and makes the whole 2D part more complete.
Full-body standing drawing of a character is a popular way of presenting mobile games and some computer games, where the story and personality of the character is expressed through composition, movement, and weaponry, special effects, and participation in the character design. My presentation is based on full-body standing drawing of a character, which is popular in China. Although the style and final effect of each game is different, fine details and special style design are what every game is pursuing. So I first started to experiment with the composition, the main character is a young girl who is full of vigour, so it must not be a stagnant standing or sitting position, she should be a leaping image, the dynamic lines of the whole person should not be sagging but fluctuating and bending. The last weapon I designed for him was a bow made of light and magic, following the dynamic trend of the whole person.

I looked for large dynamic original drawings with settings and ages that matched the protagonist as a reference. These large dynamic poses and appropriate body dynamics not only show the subtlety of the character’s design, but also demonstrate the basic skills of the artist. A lot of original character drawing work requires high precision drawing and solid basic skills, so I also chose a leaping motion as the final full-body standing drawing of a character.

Of course there will be some small adjustments after the draft is selected, for example, here the high head is not very suitable for the whole composition, so in the end it was changed to a low head. The hair was also lengthened a bit in relation to the three views to harmonise the composition. The final composition is similar to a water ripple, starting from the most complex figure and fading out layer by layer to the end of the bow, with the colours progressing to darker colours, and finally disappearing with the lack of a solid bow.

At the same time I made plans for the final composition, my final vision is to make a rendered scene for presentation, and the overall composition becomes very important. The main character will perhaps appear in a dynamic pose in the final scene, perhaps with a small animation. My hope is to create a scene where she is battling a monster.The plot of the composition is about five minutes before sunrise, seeing that Taint has already blocked the news and started to wait for the Gate of Heaven to open, He Ming inspired the power of the amulet, hit Taint, and retrieved a name, which was turned into a key to unlock He Ming’s power, so that He Ming could use the power of the “name”.

And for the final full-body standing drawing of a character, detailed portrayal is equally important. A good drawing is one where the face is flat, but all the objects on the body are realistically drawn, especially the skin, which adds a lot of detail when drawn like a real person. And all the edges need to be closed, not to miss a bit of blank space and position, which will affect the overall effect.

Before finalising it, I had done some little experiments with putting a realistic approach to painting into electronic painting. By putting a layer of blue light in the shaded parts of the skin, it was possible to create the feeling of blood vessels that come through the real skin in daylight.

The red hair and furry texture on the other hand required other research, halfway through I experimented with using grey and purple shading to bring out the red of the shiny side of her hair, but it was extremely difficult to control the colour that way, so in the end I opted for darker warmer colours to hit the shadows to show the shiny side of the hair, and the edges would close up very cleanly and stiffly. The shaggy ones on the other hand use darker colours to rub out the shape of the hair and then dab lighter shadows to show the soft material, the shadows don’t need to be too hard.

The detailing is one of the most torturous aspects of the process, and a final product that doesn’t have enough detail is fatal to this style of game art. So I’ve been improving my shadows and details for a long time, and I’m barely meeting my requirements. But it’s still not drawn enough.