Every human being has a different nature. When he was in a new community, not a few individuals who have difficulty to adapt because he confronted by the diversity of these properties. But do you know that from dozens of human nature, there are actually only 4 basic character of human beings.

Then if all these characters, and how the characteristics…..?

This is 4 Basic of Human Characteristic, based on a psychology book (Personality Traits) which I read several years ago.

Basic first human character is the sanguinis.

Someone who has high confidence, and easily adapt to other people can be said as a sanguinis. Usually someone who has sanguinis character, likes to gather with other such as have party and make lively situation. The appropriate job for sanguinis is marketing or public relation

After sanguinis, second characteristic is melancholy.

As we know the word melancholy likely associated with the “graceful”, then so does the melancholic person. Melancholy is often interpreted as the opposite character sanguinis. Someone who is melancholy tend to prefer solitude and became Sensitive. In this case sensitive is referred is to have a high enough sensitivity to a condition. It is not surprising that a melancholic woman could tear while seeing the movie drama. Whereas in the physical aspect, the oval-faced man could be classified into this category. Furthermore, the appropriate job of melancholy is a doctor or a psychologist.

Third Type of human character, is phlegmatis.

If you always show calmly and peace you could be categorized as individuals who have plegmatis. A plegmatis usually do not like conflict and tend to shy away from conflict. Besides that he also tend to be less expressive. And physically they usually have a round face.

The last characteristic is Koleris,

A leader is usually tend to have the basic character koleris. You remember with Margaret Teacher Not. A woman Prime Minister of Egypt, known for his leadership success. As a prime minister, Mrs. Teacher Margaret could be categorized as a Koleris.

A Koleris is known to have talent as a leader because of firmness in determining that there was something about him. But unfortunately the other side Koleris people have a weakness that is likely to make comment. The most people for this character usually has has a square face / jaw bones strong.

Although fundamentally human character can be divided into 4, but the psychology of the individual may not only consist of 1 character. For further review actually, every individual consists of more than one character. You would never find someone with one character. Usually there are more than 2 character in person. You must also often not heard the word “emotional”. People who are emotionally in psychology tend to have 2 basic character of the opposite melancholic and sanguinis.

The person is usually able to easily demonstrate changes something on his faces. He could cry when facing sad condition on the other hand they will give nice laugh in funny situation. In addition, emotional person will looks more aggressive.

Whatever type of character of human nature, either melancholy, sanguinis, plegmatis, or the melancholy. Of course it has its own weaknesses and strengths. Most importantly perhaps it would be better if we can have a mature understanding of it in everyday social intercourse.

Then approximately, what it contained the basic character within each of us…? For a more objective answer would not hurt you to ask your friends or your closest family.

So you’ve decided to write a novel and incorporate one or more emo characters into your book. But what if you know nothing about emos? This article is designed to show you how to design a character.

Emos have changed greatly from the time since the culture was first introduced to society. In fact, by the time you read this article, the style may have changed even further, so your best bet in creating the most awesome emo characters that you possible can is to check out some currently updated emo websites to see what the current trends of the style are.

There are generally two different types of emo characters, the traditionally dark dressed angst teen and the more modern colorfully dressed up beat teen. The more traditional emo will be highly moody with possible frequent outbursts of sobbing. He or she will wear mainly black clothing and have a defining side swooping bang.

The modern emo will dress in a variety of colors and be far more outgoing and less moody. The best way to get an idea of how your emo characters should be described is to Google Image the words ’emo styles’, and create a character out of the mix of images that are pulled up.

A great way to get a feel for how your emo characters should act is to check out a popular emo forum. There’s no better way to design a character than to know what that type of character would generally act like. As with any forum, you will encounter a wide array of personalities. Simply find someone who you think is interesting, and model your character after their personality.

Screenplay characters are the most important part of screenwriting. When creating screenplay characters, let’s think about scripts as a producer would. This is a good habit to get into because producers are the people who get your script produced. Understanding the hand that feeds you is never a bad idea, ever.

To get a script green-lighted (meaning it’s going to be produced), there are a lot of steps that need to happen during that process. It’s by no means always a straight line from A to B – in fact, it more frequently looks like drunken squiggly versions of the broken lines you see on the road if you were to try to draw it out. Here is what always needs to happen:

1. An actor of some prominence has agreed to be a main character in the movie.

2. A director of some prominence has agreed to sign on to direct the project.

Do you know what’s at the root of A-list talent signing on to develop a script — underneath all the money and politics? It is that somebody had put their heart and soul into creating screenplay characters. When they were creating their screenplay characters, they cared about the main character enough to think it was worth their time, money, and energy to give that person life. There’s a lot of work involved in getting to that point, but it all starts with creating a screenplay protagonist prominent creative people can get behind because if they don’t get behind it, then how will an audience ever get to see your work on a big screen?

– Some writers simply start outlining their characters by having them talk to one another and seeing where that writing sample leads them. Most writers will openly admit that they struggle with dialogue and that it is the hardest part of writing a screenplay for them. Remember, the most important part is to understand character development in screenwriting. I wouldn’t recommend using this method unless you are one of those chosen lucky few who are comfortable with writing dialogue scenes — if it feels like pulling teeth to you, stay far away from this one.

– Occasionally, writers have been known to use paintings, photographs, or other visual art mediums to inspire how their characters look. If you are creating screenplay characters whose job or personality require them to look a specific way, then it is always a good idea to research that visual style beforehand. Remember, a skilled writer is an informed writer.

– Take about half an hour to interview your screenplay character – this is both a strange and incredibly fun exercise, and it can be incredibly effective, but only if you choose to fully commit to it. Essentially, the way this exercise works is you sit down, turn on an audio recording device, and ask your character a series of questions that you’ve already written out. The hard part is, you have to answer them yourself – you’d be surprised at what you might come up with, and bonus points if you manage to work a character voice in there as well. Then you just play back the tape and integrate your “interview subject’s” answers into the screenplay, which will definitely help with creating character development in screenwriting.

– Create the screenplay characters you know well. This is always a fun one to do, and one that I’ve used a number of times since I began my writing career back in… well, since I began my writing career. Be careful how you go about this, though — some people are really open to the idea and some will not be able to run away from it fast enough. If you feel like the person you are writing about falls into the latter category, then there’s an incredibly simple solution to the problem… just don’t tell them about it or show them the writing!

Use these exercises on a regular basis to help further your character development in screenwriting, and you’ll be surprised at how fully formed your characters will start to suddenly look and feel – remember, that’s how you get A-list talent involved. I would recommend doing this primarily for your protagonist, antagonist, and primary supporting characters.

A big part of creating characters in screenplays is to first make an empathy map to help identify things they would not want the world to know about. It should include things the characters encounter on a daily basis. If executed correctly, you’ll find that a funny thing begins to happen — your characters slowly but surely start to take form, and instead of just dealing with vague, interchangeable traits, you’ll find yourself with parts actors will absolutely love to play.

Let’s do an exercise that will put all this information into some sort of context in which you can actually use it. After you’ve created an empathy map of your characters, take a good look at the traits you wrote down on your empathy map.

Do you see those parts of your character that they wouldn’t want the world to know about if they were an actual, flesh and blood person? Those are the ones you want to pay attention to. There’s no exact way to quantify what you’re supposed to be looking for – remember, this isn’t a math problem we’re working on here – but like the old saying goes, “You’ll know it when you see it.” Then you just have to answer one simple question – over the course of your script, is your character forced to confront those things?

If the answer is yes, congratulations — you’re totally headed down the right track and you understand character development in screenplays! If your answer was no, then you need to go back and stack the deck against your protagonist a little more until they have to run head first into the things they’re most uncomfortable with confronting about themselves. Once you’ve gotten to that point, it’s there that things start to really get interesting – you’ll notice that, seemingly out of nowhere, your characters suddenly sound, and react, like real people. They have real-world needs and wants and emotions — they’re people — or almost people and that shows that you’ve mastered character development in screenplays.

This is where things start to get interesting. If you’re focused, you’ll figure out a way to get your antagonist to force your protagonist to confront these things about himself. Those traits they’re afraid of are going to be key to the climax because that’s what we’ve been building towards this whole time — the protagonist having to overcome themselves, warts and all. The antagonist is merely a physical representation of the protagonist’s struggle to find some sort of inner peace within themselves.

It’s all part of understanding character development in screenplays. This kind of stuff is why we go to the movies in the first place. We want to see people overcome something within themselves because when we hop in our cars and head back home, it makes us feel like we can overcome those same challenges within ourselves.

Cultivating an Unshakable Character by Jim Rohn is about becoming who you were meant to be. This motivational guide will help you to unlock the leader that lies within you. Everyone knows someone who possess an unstoppable character. Your character is who you are as an individual – it’s what sets you apart from everyone else. When people think of you, they’re automatically reminded of what it is that makes you unique.

People without character are simply average individuals who obviously follow the rules of those who possess character. They’re perfectly fine living a mediocre life and never really achieving any huge accomplishments. They simply go with the flow of life and silently, suffer inside because they feel as though they’ve never really been able to express who they are as a person. Individuals who possess lack of character are the one’s who end up getting trampled upon throughout their lives. Without character, you’ll reach the end of your days with a sense of regret, looking back and thinking about what you could have done with your life.

Cultivating an Unshakable Character by Jim Rohn will teach you all about how to adopt a “the buck stops here” attitude and how it can be utilized to lead your employee’s, friends, and make you one of the most admired individuals in your social circle. Let’s assume for a moment that you don’t have a social circle, a business, or even a job at that. For the moment, you’re what society considers a complete failure – a loser, a nobody, and quite possibly – a has-been. Okay, so does this mean your life is over? Absolutely not.

What it does mean is that you can have a fresh new start and begin life anew. All anyone needs to get ahead in life is an unshakable character. With brilliant character, you’ll obtain the job you want,which will inevitably put an end to all your financial woes – helping you to obtain the home and vehicle you want, as well as pay for your child’s college fund, and help out anyone nearest to you who needs it. However, this is only the beginning of a life full of happiness and admiration. Cultivating an Unshakable Character by Jim Rohn teaches you the skills needed to be a successful leader. You’ll find yourself with an insurmountable amount of friends, ultimately putting an end to your social difficulties.

Fortunately, this book provides something that is more valuable than money, security, friends, or admiration – and that is enlightenment. It helps to get your wheels turning and opens your eyes to how your life could be. It gives you the 12 pillars of character that help to form a solid foundation for a life full of future success.

Upon reading this book, the lessons and information provided can be applied to your life immediately. After applying the information supplied in this relative short success guide, you’ll notice that your thinking changes and you come to the realization of who you really are, as well as who you were meant to be. This book will help you to uncover the fighter that lies within. Everyone knows that if you want to get ahead in life, you must take the steps to do so. If not, you’re going to continue to feel like hamster on a wheel who is obviously getting nowhere fast. Cultivating an Unshakable Character reaches out and teaches you how to be, and more importantly, how to be yourself.

Your fellow veterans get it. Unfortunately, your loved ones, who never shared the experience, just don’t understand boot camp. What happened there? Why have you changed? The following was documented to help you start that conversation. They will never really know. Maybe they can at least understand.

“The content of one’s character” is a phrase we hear often. We each have character; some just have more content than others. Or, so we are led to believe. How do we know how much content of character we have? At what point do we reach our bottom? How do we react when we stare into that abyss? These are the questions basic military training, known affectionately as ‘boot camp’, allows each one of us to answer for ourselves.

During the summer of 1989, I had the distinct pleasure of serving as a Cadet Training Officer for Air Force ROTC at Dover AFB, DE. This was a six-week encampment designed to both mold college students into leaders of American warriors and to weed out those unable to meet stringent USAF officer requirements. Along with the rest of the staff, I reported a week early for mission review and plan development.

Just hours before the cadets would arrive at daybreak, my true mission was completely revealed. After spending the evening together as a staff for R&R, I looked around the room only to realize that I was left alone with the Commandant of Cadets, a Lieutenant Colonel of impeccable credentials. He asked me to sit close to him and began to speak out of character in soft tones, “Civilians will be arriving here in a few hours. I’m counting on you to make sure officer candidates leave.” Expecting this was the complete thought, I responded with the customary “Hooah” to acknowledge I understood my mission and accepted its challenge. But, he went on.

As he spoke, I felt his intensity rise. Though he never got loud, his passion and sincerity captured my attention and filled me with great anticipation. I was no longer having a casual conversation. I was experiencing one of the most memorable moments of my life which would lead to a significant emotional event in the coming weeks. “I want you to break every cadet that comes through that gate. Break them mentally, break them physically, or break them emotionally – but, break them! Then, they’ll know the depth of their character.” I sat there, mouth agape, obviously taken by surprise and pondering deep thoughts as he finished, “They can’t be rebuilt Air Force… They can’t lead Airmen to war… Until they find what they’ve got deep inside.”

It was almost four weeks later until I internalized his words. I was checking the barracks at o’dark thirty, expecting the cadets all asleep; yet, knowing they might be shining shoes by the light of the moon or studying by flashlight. These things had to be done at night. Time was not permitted in the daily routine for cadets to accomplish all assigned tasks. Nonetheless, as the night-stalker, my duty was to punish anyone caught. It was a game. They had to do whatever necessary to pass courses, inspections, and physical fitness tests; I amped up the difficulty level. There was only one cadet up that night. He was out in the open scrubbing the floor to a high polish when I came upon him.

Within minutes I had him outside doing push-ups. As he counted them off, “1, 2, 3, 1, sir…1, 2, 3, 2, sir” I detected a comical flippancy to his cadence. He had done this before. He knew the game by now and was prepared to wait me out so he could return to his barracks and feign sleep until I left the area. The Commandant’s words returned to me. I didn’t quite know how to accomplish my mission. I did know: failure was not an option.

This was a huge specimen of a man before me. Had he not chosen to defend freedom, he could have easily decided to spend his time chasing a football as he broke linemen in half and ate quarterbacks for a light snack. He proceeded past 50. I lectured. I told him he was government property now and he was not taking very good care of that property. By the time he passed 100, I was extolling the virtues of sleep and the body’s need for rest. It was not until close to 200 four-count push-ups that he even began to slow. But, by 250 he was mine. I didn’t need to yell. I had learned that a whisper was much more powerful. I put my lips ever-so-close to ear and questioned his manhood. As his arms began to shake from lifting his mammoth frame so many times, I knew his strength was leaving him. A few more and he was physically unable to continue. I had forced him to the end of his physical limits. He tried to push himself up; but, his arms were no longer cooperating.

“Have you had enough?” I barked loud enough to change the mood; yet, not so loud as to wake those sleeping inside. “No, sir,” he returned crisply, now with serious desperation in his tone. I invited him to quit, “Maybe my Air Force isn’t the place for you, cadet. Say the word and you’ll be back in your mother’s arms before this time tomorrow.” I barely completed the sentence when he belched out, “I will not quit, sir.” His body didn’t agree. He was done. I called him to attention and stood nose-to-nose with him. “This isn’t the job for you,” I prodded softly “why don’t you go back home to mommy. There’s enough Air Force in me for the two of us. Say the word, cadet.” His face began to tighten. His muscles, though fatigued, grew taught. His eyes pierced me like daggers. His gaze was chilling.

I was no slouch myself. At 6′ 5″, 220 lbs I was not only the Athletic Training Officer, I was also a martial arts fighter with the state record for the fastest knock-out in Pennsylvanian history and a soon-to-be Air Force athlete for that sport. Though I had faced large men in the ring, what stood eyeball-to-eyeball before me was more than a man. He was a giant of which epics are written – a mountain given voice. As I noticed the muscular definition of his tree-trunk-like arms, I believed I could almost smell his rage.

Just as I prepared for the worst, I realized it was not rage in the air. It was the content of a man’s character I was witnessing. A tear rolled down from his right eye. “I will not quit, sir” he bellowed out as his voiced cracked, “there is nothing you can do to me…” Both eyes were tearing now. “Nothing you can say to me…” The resolve returned to his voice. “…to make me quit, sir.” He straightened his shoulders even more, tightened his fists, stood at attention in perfect form and finished, “We can stay here as long as you want, sir….as long as you need to… ’til you understand, that I WILL NEVER QUIT!” We didn’t need to stay any longer. My work was done. He had found his bottom and saw the content it contained.

Weeks later, at his graduation ceremony, he saluted smartly then extended his hand in friendship. “I’ll never be able to thank you properly for that night,” he said as his eyes dropped from mine. I took his hand and shook it with purpose, responding, “And you’ll never need to, Hooah?” His gazed affixed firmly to mine as his grip strengthened and he ended our time together with one parting thought. For there was but one thing he could say to show his complete understanding: “Hooah.” This was a leader of warriors.

Thomas Paine once said, “Character is much easier kept than recovered.” This dovetails with being prepared for an emergency. Planning to keep a reputation can help the organization avoid suffering a devastating loss. When the plan laid out in advance is to admit any faults and err on the side of honesty, the credibility of what is admitted will garner more respect than when an attempt to back-pedal is made.

Anticipation

How can management and decision makers control a crisis? The answer is simple. A crisis cannot be controlled, but the consequences of the crisis can be managed, mitigated and/or prevented. The first order of business is to know and understand the hazards that threaten the “business.” An effective organization must conduct a hazard vulnerability analysis that ranks threats. Dealing with threats against organizational character must be one of the threats considered.

Many disaster preparedness programs consider the traditional natural and manmade hazards, but a class of hazard often overlooked is related to business continuity, especially public relations. Public relations incidents raise concerns, and if not handled properly, can elevate to the level of a crisis. If the crisis grows large enough, it can threaten the very existence of an organization.

Crisis Response Begins With an Admission

The most critical part of crisis response is admitting that you are, in fact, in the midst of a crisis. It is only at this point that the consequences of a crisis can be managed. Following a predetermined action plan and set of organizational morals can guide the response. A public information campaign addressing the situation and describing what the organization is doing to rectify the problem is activated, and a trained public information officer addresses media and public concerns.

How To Be Seen As Responsive

* Be proactive in the approach, viewing the problem from the eyes of the consumer.

* Do not try to utilize the science of the issue to prove a point.

* Do not use the engineering aspect to explain that a repeat of the event is not possible or is incredibly remote.

* Do not try to utilize the facts as your defense.

* Remember that the public does not want to hear about the science, the engineering — or, at times, even the facts. The public wants to hear that you understand their concerns and that the organization sees the issue from their perspective.

Managing and Maintaining Character

Management of character is easy when your organization has chosen in advance to do the right thing. Warren Buffet once said, “First, state clearly that you do not know all the facts. Then state the facts that you do know. One’s objective should be to get it right, get it quick, get it out, and get it over. You see, your problem won’t improve with age.”

Preparing for a crisis allows the “if-then” thought process to occur in advance of an issue. Decisions can be made in advance, not under duress. Preparing to have an open and honest response to a public relations crisis in advance of an onslaught of reporters and public scrutiny (when your legal counsel is attempting to persuade you to limit your liability exposure) will prevent senior management from being led astray.

Waiting until the disaster occurs puts forces upon decision makers that may change their perception of reality. “Groupthink is a mode of thinking within a cohesive group that is engaged in by people who so strongly seek consensus that there is no realistic appraisal of alternative courses of action,” stated Michael C. LeMay in Public Administration: Clashing Values in the Administration of Public Policy. “A drive for consensus at all cost completely suppresses dissent.”

Crises easily can become a groupthink phenomenon. With prior planning and decision making, you can avoid having your values go sideways during the crisis. Follow the advice of Warren Buffet by engaging in public transparency that will save the organization time as well as its reputation. It’s easy when the direction has already been established from the executive level to “do the right thing.”

Conclusion

All aspects of a successful emergency response are contingent upon planning. A successful outcome is achieved by doing the right thing at all turns, not solely attempting to protect the organization from legal liability. Organizational character can be maintained if advanced planning and training ensures that all parties understand the organization’s policy is to be open and honest. This will maintain the integrity of the organization, ensuring that organizational character is valued and protected.

Debra Morgan, played by actress Jennifer Carpenter, is Dexter Morgan’s sister on the hit Showtime series Dexter. She has pretty much been the leading lady since the series started in 2006. Working for Miami Metro Police Department, she starts off the series as a normal “badge” (cop) just doing whatever she can to try and move up the ranks.

In season 1, episode 1 we see Debra for the first time at a crime scene that Dexter is called to involving a prostitute that has been chopped into multiple pieces. She is dressed as a prostitute herself but only because she has been working undercover. With one of the foulest mouths you have ever heard on a young lady, Debra could make any parent instantly change the TV channel. She is very brash and to the point. This is what so many people love about her character.

Later in Season 1, she was seduced by the season’s main villain/serial killer called the “Ice Truck Killer”, obviously not knowing at the time he is a serial killer. She was taken and almost killed by him only to be saved by her brother Dexter in the next to last episode of season 1. This event leaves her traumatized and uneasy around men for a long time after. She eventually finds love here and there but from that day on, she has put her job before everything but her immediate family.

She is later placed in the homicide division of Miami Metro with Dexter and the rest of the cast. After events that ended season 2, she is given her shield and promoted to detective. She has been through a lot but thanks to her brother Dexter, she has always had someone to talk to and to guide her.

Currently in season 5, episode 5, Debra is still the best detective in Miami Metro’s homicide division and she lives in Dexter’s old apartment with Dexter and his son Harrison. Even though it has gotten on her nerves sometimes, I think she really enjoys having them living with her. Dexter has always been there for her so having this opportunity to pay it back in a way really makes her happy.

Whether we’re looking at Shakespeare or SpongeBob, there are common character archetypes that appear in stories across time and cultures. Archetypes are characterized or classified by the role they serve or their purpose in a story. The classical archetypes of a good story include the protagonist and antagonist, the mentor, the sidekick, and the love interest. Let’s take a closer look at these five archetypes and how animation studios bring them to life.

The Protagonist

This protagonist is the main character in a story, show or movie. In many cases, this character turns out to be the hero. It is usually easy to identify the protagonist because the storyline revolves around them and their lives, problems and internal conflicts. Roughly, in Greek, the word protagonist translates to “player of the first part” or “chief actor.”

Why is a protagonist so important? They aren’t always the heroes; sometimes they are just the focal point in a show or even in an advertisement. A protagonist is typically on the “good side,” and follows a moral compass that many deem good. The protagonist is likely to change throughout a story and that action expresses the theme of a story an animation studio is trying to put out. A protagonist serves as a doorway into an emotional story or an emotional heart. They tend to draw a viewer or reader into the story. The best protagonists are characters that people can relate to. As a viewer, you may have shared hopes, fears or goals with a protagonist.

When we look to animation and some of the most well known protagonists we see characters like Buzz and Woody or Superman. Though heroes in our eyes, protagonists are far from perfect. They hold some type of flaw, whether it be internal or within their environment. The conflict they face then causes them to fight back or fall back from the big obstacle, and the way they choose to react to a situation is how we choose to interpret the character’s qualities.

The Antagonist

Classical forms of storytelling feature a main character known as the protagonist, which we discussed. This character will typically enter the story first. Then enters the antagonist. This character is typically depicted as the “bad guy” or the “villain.” Antagonists are without a doubt entertaining and bring a moral conflict to light, which as a result puts our hero at a fork in a moral road.

These characters serve to teach viewers wrong from right. These characters are an essential component to any story for many reasons. They are the primary opposition for a protagonist. They elicit the protagonist in the story to change their perception and try to live in a less flawed world, no matter who or what they must hurt to attain it.

When an antagonist or a villain in any story is personifying a central conflict, it brings a different element to a story that will benefit it. The pressure an antagonist puts on the protagonist eventually brings forth inner conflicts. These characters typically test their counterpart’s moral compass and commitment to being morally just.

The Sidekick

The role of a sidekick was once referred to as the “close companion.” This role dates back more than a century. Specifically, we have our first literary glimpse at a sidekick in The Epic of Gilgamesh, which features a protagonist-sidekick. The main character seeks not only friendship, but also advice from Enkidu. This character has defined many of the consistent and quality characteristics we seek in a great sidekick in regards to a production of a film, book or television series and more.

Gilgamesh was unarguably the main character. However, the epic reveals that the secondary character, Enkidu, played a smaller but still meaningful role in the story. When Enkidu is killed, Gilgamesh responds aggressively because he has grown close to his friend and confidant. The depth of the reaction Gilgamesh has not only adds depth to him as a character, but also lets the audience know how significant the bond was between the protagonist and sidekick.

Another common trope of the sidekick is to infuse the story with humor. This is especially true of animated characters. Where would Bugs Bunny be without Daffy Duck to set him off? Some may see Daffy as more of an antagonist, but he’s not really out to get Bugs. The two characters play off of each other and add lots of laughs along the way.

Other great sidekicks in time include Dr. Watson and Sancho Panza. These sidekicks perform different roles and functions in support of the main character they assist throughout a storyline. They serve a grander purpose than simply being a companion or assistant. They humanize the characteristics of a protagonist. They are also the character that moves the story.

The Mentor

The mentor is usually a great help for the protagonist in any story. They guard or protect them during a big quest or journey that involves both physically harmful obstacles as well as emotionally harmful obstacles. They can take many forms. Typically we imagine a grey-haired and aged man, but sometimes the mentor can take the most unsuspecting form.

These characters usually provide support and guide their “student” toward the right path. Mentors are known for having high morals and standards that can often challenge the student they are looking after. They always find a way to inspire them and push them to aspire for something good.

The Love Interest

This character might often be over-looked, but also plays a very important role in many stories. They are the person with whom the main character falls in love with. They serve, as a catalyst in the journey a protagonist must go through. Depending on the ultimate goal of the protagonist, the person who is their love interest can be of great assistance and motivation, much like a mentor can be.

So the next time you’re watching your favorite cartoons, pay close attention to more than the character design quality. Look into the roles you believe each character plays and their significant contribution to a story line. You’ll find it is hard to have a compelling story without these staple archetypes.

How to make a great 3D model

Building models in a 3D environment is not as technical as one might think. Once you get familiar with the principles of 3D modeling, things will start to make sense. In the end you really only need a few tools to complete your model! Here are the key elements to remember along your way to 3D modeling master.

The first step is to define your character

Don’t make your models generic! Search any 3D forum and you’ll find tons of perfectly naturalistic lookalikes. Almost naked women holding swords, standing on mountains, being surrounded by thunder and lightning while fighting an evil monster. You have the chance to create your own unique, weird, interesting or funny world full of characters nobody has ever seen. Observe your environment. I bet it is full of one-of-a-kind characters.

When you have an interesting situation or character in mind, jot it down and continue with the next step.

Design your character or scene

Your design reflects the personality of your character. Does he have hard edges or a rounded silhouette, is he big or small? What is unique about him and how does his unique personality show? Does he suffer from anything?

Draw or photograph your character from as many perspectives as you like. Front and side view are essential, as these are the reference images for your 3D Model.

3D Modeling – Start with a cube!

When modeling in 3D, always begin with building a rough version of your model. This step is called “blocking”. Start with a cube and model the silhouette from the front and side view first. Try and keep it as simple as possible, then add details until your model is done.

There is another approach to modeling, where you start with a small body part, detail and finish it right away and move to the next one.

Personally I don’t recommend using the latter approach! It is easy to get bogged down in details and lose the big picture of your model. Plus for beginners it is hard guesswork to interconnect the different detailed parts. To keep it as easy as possible, build the foundation first, than add the details! Once your 3D Model is done, it is still gray. Now it is time to add some color:

Add shaders and textures to your 3D Model

A shader lets you define surface attributes such as color, specularity, transparency etc.

UV mapping unwraps the surface of your model to a square, two dimensional image. Now you can paint textures in an image editing program and apply them to your model. Some 3D programs feature tools to directly draw onto your model, which is great because it is much more intuitive!

Conclusion

You have learned so far that 3D modeling is not just pressing buttons! It requires some amount of planning and even drawing, taking photographs or building a clay model. Once you start building your 3D model stay away from details at first. “Block” your characters basic shape and only when you like the silhouette, begin adding details to your model. To further refine the character, add color with a shader and unwrap the surface with UV mapping to apply texture images.