How to Make the Main Character Stand Out in a Multi-Character Composition

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CHYEE

《Concept Introduction: How to Make the Main Character Stand Out in a Multi-Character Composition?》

This time, the theme is 'How to Create Compositions with Two or More Characters'.

To be honest, there's so much to cover on this topic. For example, 'How to make multi-character compositions look good?', 'How to place multiple characters in the same scene?', 'How to place multiple characters in a consistent and reasonable perspective?', 'How to design visual flow in multi-character compositions?' and so on are all topics worth detailed explanation.

In the first half of this article, I hope to introduce conceptual techniques that I frequently use—'How to make the main character stand out in a multi-character composition'. In other words, the following content primarily focuses on group illustrations with a main character and character-focused themes. There will also be a Q&A section, hoping to supplement some hard-to-categorize small tips.

In the second half, which is designed for beginners, I will introduce various CSP functions actually used when drawing compositions, hoping that beginners will not be limited by software usage and can fully express their creative ideas!

These techniques can be mixed and matched in the same illustration. Please do refer to them!

【Core Concepts Applied】

This time, two main underlying concepts are applied:

Contrast
Focus, Guidance

Next, I will apply these two concepts to different aspects to demonstrate the purpose of 'making the main character stand out'.

【Applications】

✧Character's Proportion within the Frame

Controlling the proportion of characters within the frame can usually be achieved by setting the distance of the characters from the camera.

Generally, the larger a character's proportion in the frame, the more likely they are the main character; this is a technique beginners can easily grasp.

However, the key point here lies in the 'contrast' between the sizes of the characters.

While a larger volume can indeed attract the viewer's attention first, we cannot use this as the sole criterion for determining the 'main character'. With the coordination of the overall composition (such as character position, cropping, etc.), a smaller character can also become the 'main character' of an illustration.

Example a. Main character takes up a large proportion; others take up a small proportion.

Example b. Main character takes up a small proportion; others take up a large proportion.

✧Direction of Character's Body

Contrast effects can also be achieved through the direction characters' bodies are facing.

Example c. Among a crowd facing the left side of the frame, only the main character is not following the crowd, thus naturally drawing the viewer's attention to them.

✧Character Action Design

In addition to the direction of the characters' bodies, designing their actions can also create 'contrast' or 'focus' effects.

However, when designing actions, it is crucial to consider the characters' personalities, backgrounds, relationships, and other settings. After all, we should not compromise the original character settings just to fit the composition.

Example d. Sitting vs. Standing (Action Contrast):

The term 'action' doesn't necessarily refer to the entire body. Localized directional movements (such as the direction of an arm in Example e.) can also work. Additionally, some more suggestive lines or forms (such as the direction of a fluttering scarf) can also achieve a pointing effect.

Example e. Using arm gestures (focus) to point towards the main character:

✧Direction of Character's Gaze

The eyes are the windows to the soul, and thus, in character illustrations, gaze holds an important position.

Viewers' eyes often unconsciously follow the characters' gazes, so by designing the direction of characters' focused gazes, you can subtly indicate who the main character is in the illustration.

Example f. The direction of the gaze makes it easier for viewers to identify the main character in the image.

Creating a main character whose gaze differs from others (※contrast method) is also feasible.

Additionally, since the depiction of gaze is quite subtle in the overall composition, it usually needs to be combined with character action design to better emphasize the main character's position.

✧ Lighting Design

If the scene setting permits, you might also try creating a contrast effect with lighting.

Example g. Here, the main character's face is illuminated by a flashlight. They seem to be exploring in a dark setting.

✧ Color Contrast

Besides lighting, don't forget the use of color.

Example h. Here, I tried to give one character black hair, while the others have light-colored hair.

【Appendix: Simple Composition Shapes】

Generally, there are two purposes for composition: first, to highlight the subject; second, to make the image visually appealing.

The former is the main theme of this article, but the latter is equally important.

To help beginners quickly grasp some basic compositions, this section will briefly introduce three easy-to-understand composition methods that can be widely applied to character illustrations, for your reference.

✧ Triangle ▲

A triangular composition can create a sense of stability and calmness.

An inverted triangle adds a slightly more dynamic feel, but overall, it remains an easy-to-manage composition.

It's worth noting that triangles are not limited to three-character compositions. They can also be applied to four or more characters.

✧ Circle ●

Circular compositions are commonly used when all characters are evenly distributed across the frame, giving a sense of harmony.

✧ Parallel Lines ☰ |||| \\\\

Parallel line compositions can easily unify the image, preventing a cluttered feeling often caused by too many people.

If the image feels too dull, you can make some variations, like in the example on the right, or even turn it into a Z-shape.

【Q&A】

Q: Can there only be one main character?

A: Of course not! In a multi-character scenario, it's perfectly fine to have two or even three main characters.

Q: Does the main character have to be a 'person'?

A: Of course not! The theme of an illustration can vary greatly, and it's perfectly fine if the subject isn't a 'person'!

Q: Can there be no main character? Everyone is important in my heart!

A: Of course! This article only set 'making the main character stand out' as its core content to better focus on a single theme. When actually drawing illustrations, you can completely consider the composition according to your needs. For example, if the theme you want to express is the friendship where characters support each other, then having no 'main character' is completely normal.

The circular composition section in the appendix above also shows some compositions without a main character for your reference.

Q: Although I've already decided on the characters I want to draw, I don't know how to start.

Do you have any suggestions?

A: You can start by thinking about the relationships between the characters (especially starting with the main character). Are they close friends? Lovers? Rivals? Or just casual acquaintances? These factors can help you decide their proximity, body language, and more.

Furthermore, imagine what event is happening in a scene and how the characters react to it; this is also a good starting point. For example, a cat suddenly falling from a height, music seemingly drifting from outdoors, or shop assistants reacting to an entering customer—these are all events that can allow characters to show their personalities, and illustrations drawn from such premises should be quite interesting.

Q: It's difficult to maintain consistent perspective when adding different characters to the same scene. Are there any simple methods?

A: If you encounter compositions that require precise perspective, you can use CSP's 3D doll function. By placing all the dolls on the same layer, you can easily adjust the perspective angle simultaneously for reference.

(For simple usage of 3D dolls, please refer to the final section of this article.)

Q: I want to draw a multi-character composition, but there are too many characters, and even if I designate one as the main character, I don't know how to arrange the others. What should I do?

A: First, please consider whether you want to draw an illustration that clearly showcases characters, like a movie poster, or if you want the characters to have interacting content?

If it's the former, using borders to separate each character is the simplest method:

If it's the latter, here are two approaches for your reference:

One is for everyone (or everyone except the main character) to perform the same or similar actions. The actions here don't need to be complex; it could simply be everyone standing in the same direction. This will prevent the image from becoming too cluttered and make it easier to control the characters' positions.

The second is to divide the multiple characters into several small groups, and then think about each person's actions and the overall layout of the image on a group-by-group basis. In reality, the number of people humans can interact with is usually limited to four or fewer, so this can be a good starting point for thinking.

Q: Are there any other tips for drawing multi-character compositions?

A: Yes, you can refer to movie or TV series posters! Movies usually feature more than one character on their posters, and they are very easy to find online. Additionally, promotional photos of idol groups or bands are also good choices.

《For Beginners: Introduction to CSP Functions》

That concludes the conceptual part of composition design.

Next, in this section, I will introduce some commonly used CSP functions for designing compositions. I hope it will be helpful to beginners!

【Basic Functions】

【Getting Started!】

After creating a new file, you will already have a blank layer on the Layer panel:

✧ Working with Different Layers

If you want to easily modify various parts of your planned composition, you can add other layers and draw drafts of different parts on different layers. Click the button shown below to quickly add a new layer.

You can also double-click a layer to change its name.

✧ Organizing with Folders

Placing all draft layers in a single folder makes organization easier.

After selecting all draft layers, click the button shown below, or simply press Ctrl+G:

This way, the layers will be grouped under the same folder.

Similar to layers, if you need to change the folder's name, simply double-click the location shown below.

✧ Quickly Change Draft Line Color (Layer Color Function)

You can change the layer properties in the folder to set the line art to blue, which is commonly used for drafts, thus eliminating the need to change colors for each layer individually. (CSP's default is blue. If you wish to use other colors, you can double-click to change them as well.)

Using lighter line colors is beneficial for the formal drawing process of inking or stacking colors later.

✧ Adding Temporary Frames for Flexible Changes

If you want to design the overall canvas cropping position more flexibly, I will add a new layer above the draft folder and set it to Multiply.

Fill this layer with a dark gray similar to CSP's bottom color to serve as a frame.

Then, use the rectangular selection tool to select the desired canvas area on the screen.

If you need to select a specific aspect ratio, such as the commonly used 3:2 or 16:9, you can set it within the selection tool.

In the tool settings, the 'Figure' option allows you to specify the aspect ratio.

For example, 'Horizontal 1.0, Vertical 1.0' in the image refers to a square.

After setting the aspect ratio, you can select the area and press the icon in the image or the Delete key on the keyboard to remove the gray.

**TIPS: There are also some pre-set frame aspect ratios available in the Material library, which are very convenient:

This way, you can get a square canvas for composition design.

If you need to change the temporary frame's aspect ratio, you can easily do so by repeating the above steps.

If you find it difficult to decide on the canvas aspect ratio, you can maintain several temporary frames with different ratios simultaneously for quick comparison, which is very convenient!

Of course, you can also directly set the canvas size in 'Edit' > 'Change Canvas Size'.

However, for me, this is a method that allows me to design compositions more flexibly and freely, without being restricted by conventional thinking. Please do give it a try!

✧ Quickly Change Object Size and Position (Free Transform, Mesh Transform Functions)

After selecting a layer (or if you only need to change a small part of the layer, use Lasso Selection), press Ctrl+T or the icon below to quickly change the object's size, position, rotation, etc.

Additionally, if you want to make small adjustments, you can use the 'Mesh Transform' function for fine-tuning.

(There are different distortion methods within the Mesh Transform function; you can try to see which one works best for you. The three I use most often are on the left, including 'Direction of Movement', 'Inflate', and 'Deflate'.)

✧ Applying Temporary Frames

After roughly deciding on the composition, you can select the central screen area and then click 'Fit Canvas to Selection' to quickly get your desired frame!

【 How to Use 3D Dolls for Perspective Reference】

In this section, I will briefly introduce the 3D doll function. However, if you want to know more about how to use 3D functions, I recommend referring to past Monthly Tips' 3D themes and official tutorials, where you will find more detailed and advanced 3D usage!

【Getting Started!】

✧ Setting Up 3D Dolls

First, drag the 3D doll directly from the Material library onto the canvas.

Since there are three characters in the image, I will drag two more 3D doll models in; simply dragging the dolls into the canvas is enough.

Note: Please drag the second and third dolls into the same layer** as the first doll.

This way, you will have three 3D dolls on your canvas.

Here, I directly used CSP's default male and female doll settings.

You can also set the desired doll proportions, such as height and body shape, in the Doll Settings (when using the object operation arrow > click the wrench to open the control panel > Sketch Doll).

Then, you can select the doll you want to move from the 'Object List' in the control panel, and then use the three buttons shown below (on the right side of the function bar above the dolls on the screen) to adjust the 3D doll's position.

Additionally, the large arrow below the doll's feet can also be used to control its position.

After clicking on different parts of the character, the arrows that appear can be used to control and adjust the character's actions.

**TIPS: There are many 3D doll poses available for download in the Material library. You might want to first find a pose similar to what you have in mind, and then gradually adjust it!

✧ Adjusting Camera Position

Here, I'll first introduce the functions that can be controlled with the mouse:

Left-click and drag: Free movement of the camera
Right-click and drag: Control camera distance (zoom in/out)

Alternatively, you can also use the three buttons shown below to control the camera.

If you want to move the camera with a specific character as the focus, after selecting that doll, click the camera button, and then you can choose a preset camera angle:

Don't like these camera angles? No problem! You can always undo these changes with Ctrl+Z!

If the dolls go off-screen after setting the angle, you can use the Move tool to adjust the entire 3D group's position (while maintaining the perspective angle).

Set the original composition folder to 'Multiply' and place it above the 3D layer to check if the placement is correct.

Of course, if you want to adjust the composition at this stage, it's perfectly fine.

Finally, reduce the opacity of the 3D layer, and after adding a new line art layer, you can easily draw characters on top of it!

【Conclusion】

Finally, I want to emphasize that composition techniques are not immutable.

Paying attention to others' methods and trying things yourself are the ways to accumulate experience.

Although the techniques mentioned in this article are just the tip of the iceberg, I hope they are helpful to you!