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The Brief

I am designing a fantasy RPG shopkeeper, a roving merchant who appears anywhere, often when you least expect it. He might be in an alley, a field, or a dungeon. He rolls out a blanket with constantly changing pockets filled with vials, daggers, weird instruments, creature parts, scrolls, little books, odd gems, and bugs. He should feel deeply unsettling and untrustworthy, yet strangely compelling. His items can be powerful or cursed and are expensive. We will treat this as our own IP in a medieval fantasy world.

Setup and Tools

I work on a wide canvas so I can move left to right with silhouettes and thumbnails. I avoid a white canvas. I start with a subtle cool or warm tint for interest. I sketch on a new layer. I use my main brush and toggle the little “bullseye” icon for a different pressure feel. This lets me get very loose quickly.

I name my top layer line work. Under it, I keep a color layer for blocking values in black and white. I often break up big shapes with a darker or lighter value to improve quick readability.

Mindset for Thumbnailing

The key to thumbnailing is to stay loose. I brain-dump shapes and silhouettes without lifting my hand much. Messy, fast marks create accidents that suggest folds, props, or new ideas. The goal is speed and variety, not accuracy.

Do not worry about anatomy or faces yet. Think in broad strokes. Treat this as a warm-up. The first few will likely be safe and not your final pick. That is fine. Get them out of the way.

Aim for 10 thumbnails on the first pass. When you feel “out of ideas,” push a couple more. Those last ones are often the best.

Designing the Roving Merchant

Constantly ask how this merchant stores and presents goods. Are they hauling bags and blankets? Using a magic rug that unfolds into a shop? Pulling items from a portal? These questions shape the silhouette and props.

Try different archetypes and proportions:

• Tall, standard build overloaded with gear
• Stronger torso with one big shoulder pad and heavy backpack straps
• Small gnome, possibly magic-based, conjuring the wares
• Older, hunched figure with long fingers and tattered clothing
• Extremely cloaked and mysterious, the face obscured by robes
• Goods that float or orbit to emphasize mystery

Keep moving and keep changing proportions. Push the silhouette each time. Do not let two in a row feel too similar.

Blocking Values and Readability

Under the line layer, quickly block basic values to separate forms. Keep it messy. You only need enough value separation to read the design at a glance. You can scale and reposition thumbnails as they grow.

Silhouette and Asymmetry

An interesting silhouette is crucial. Asymmetry is usually stronger for a character like this. Break up the outline with elements at the:

• Waist (pouches, sashes, belts)
• Wrists and forearms (bracers)
• Shoulders (one large pad or hanging pauldron)
• Back (blankets, rugs, massive packs)

Keep pushing shape variety. Change widths, heights, and flow. Try sleeves that are very long, or no sleeves at all. Try layered cloaks, one-sided capes, or bundles hanging from a frame.

Function and Build Constraints

Think about how the character will be built and animated. Avoid connections that will be a rigging nightmare. For example, do not chain a wrist accessory to the waist. Consider bones, budget, and how it will move. Keep gear modular and readable.

Female Variants and New Ideas

The brief did not specify gender, so I explore female versions with the same approach. Keep the goods central to the design. Try:

• A cloak pulled to one side with rows of baubles and potions
• Baggier pants above the knee and a nice boot
• A stack of rolled rugs on the back that magically populate with goods when flipped out

This rug idea can spark team discussions and even shift gameplay direction. Variations in rug colors and patterns could signal different inventories. Thumbnailing can generate these kinds of cross-discipline ideas.

Embracing Happy Accidents

Let surprises drive iteration. A random line might become a cloth fold, a shoulder perch, or a bowl for kittens. Animals perched on a giant pack, dangling pots and relics, or floating goods can all add charm and mystery. Follow intriguing accidents and see where they lead.

Why This Stage Matters

Idea generation is most of the job. Rendering and anatomy can be trained, but developing and communicating new ideas is harder to teach. Thumbnails show how you translate a loose description into usable concepts for the team. Splash images do not show that. This process opens dialogue, defines direction, and fuels the entire pipeline.

Sharing and Getting Feedback

When you have a spread with real variety, send it to your lead or art director early. Label them with simple letters or numbers. Ask what they like and do not like. Early feedback prevents wasted time. Other teams may be making decisions in parallel, like story or gameplay needs. You want forward momentum toward a final that works for everyone.

Practical Tips Recap

• Start loose with a tinted background, not white.
• Work on separate layers for line and values.
• Brain-dump silhouettes, aim for 10, then push past your comfort zone.
• Do not get stuck on faces, anatomy, or details.
• Keep goods and how they are presented central to the design.
• Focus on asymmetry and a strong silhouette.
• Consider build and animation constraints.
• Explore male and female variants.
• Embrace accidents and iterate fast.
• Share early, label clearly, and get feedback.

Next Steps

Based on hypothetical feedback, we will narrow down the direction and push deeper into selected thumbnails. We will refine proportions, props, and storytelling elements while keeping the silhouette strong and the merchant’s unsettling, compelling vibe intact.

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