Character Design Ideas: Real Characters and Prompts

16 character design ideas taken from real AI films made in Flick, each shown as its filmmaker designed it, with the exact prompt that made it.

An ink drawing of an open sketchbook with a boy's head sketched on one page and a pencil beside it, on a coral ground

Most lists of character design ideas stop at a line of text, so you never see whether the idea still works once it is drawn. These 16 character design ideas are real characters from 10 films made in Flick, 8 from the Summer 2026 Flick Residency and 2 by the Flick team, from a winged Death to a tiny alien fox. Each one shows the design as its filmmaker made it, the prompt word for word and the one detail that makes the character readable at a glance. They are grouped by kind, with what the 16 prompts have in common and how to design your own after the examples.

Monster and spirit character design ideas

A monster or spirit works when it has one human or material detail you can name, such as a young face under Death's hood or a creature's obsidian blade, so it reads as a character and not a shadow.
Character board for Death: a pale hooded man with black wings, photos and handwritten notes pinned to a dark wall

Death as a handsome young man with black wings

A face, an age and a personality turn Death from a shape in the dark into someone the lead can argue with, and the prompt reads like a casting note.

# Character: Death

## Appearance
Tall at 6'3, lean and commanding. He wears all black — loose dark clothes beneath a long black cloak with a deep hood that obscures his face. When his face is revealed, he appears as a strikingly handsome man in his mid-twenties with pale skin, tousled short black hair, and piercing eyes that glow an icy blue — beautiful, but deeply unsettling. Massive black feathery wings extend from his back, dark and immense. A flock of crows always heralds his arrival before he is ever seen.

## Personality
Cold, ancient, and quiet. He does not hate — he simply is. He carries an air of inevitability. But something about Vivi gives him pause.

## Role in the Story
Death comes for Vivi after the accident. But her bubbly personality even on death's doorstep makes him curious. He is not sure what to do with her.
M.E. Owens, director of One More Day
Three-panel sheet of a spiked dark creature holding a black glass blade, front, back and face, on black

A creature that is half metal and half flesh

Naming its materials, a meteorite shell, peeling silver foil and a raw obsidian blade, gives the creature a history you can read from its skin.

Extract the monster design from this image and recreate it as a professional character reference sheet with three panels from left to right: full body front view, full body back view, and face close-up. Pure black background. Even neutral studio lighting.

CHARACTER DESIGN: Maintain all the existing design details — the organic-metal hybrid body, the crown-like spike head structure, the mesh metallic texture, the organic tissue wrapping, the dark meteorite surface material, the silver foil skin patches on chest with cracked peeling edges revealing organic flesh beneath.

WEAPON: The creature holds a slender primitive blade — long, thin, asymmetric raw blade with obsidian texture — deep glassy black, sharp edges with natural conchoidal fracture patterns like flint-knapped obsidian. No handle whatsoever. The creature's hand grips directly on the raw blade. The blade is elegant and primitive, not mechanical.

LAYOUT: Clean three-panel reference sheet. Each panel shows the full character clearly. Front view shows the face and weapon clearly. Back view shows the back silhouette and spine detail. Face close-up fills the panel with the head and facial details.

Hyper-realism, extreme detail, black background, professional character concept art sheet.
Alan Xiao, director of Tusk Hunters

Animal character design ideas

An animal becomes a character when its markings and its expression are written down, so it stays the same animal from shot to shot and has a personality before it does anything.
Sheet of a fluffy cream and grey cat with blue eyes, standing front, standing back and a face close-up

A fluffy Siberian cat with a plumed tail

Fixing the cream and grey tabby-point fur, the blue eyes and the plumed tail in words keeps it the same cat in every panel and every later shot.

Create a professional character reference sheet of this exact cat (the fluffy Siberian cat with blue eyes, cream and grey tabby-point fur, and a large plumed tail shown in the reference image). Keep the same facial features, fur pattern, coloring, and proportions consistent across all panels. Composition from left to right: full-body front view (standing, facing camera), full-body rear/back view (standing, facing away), and a close-up portrait of the face. Plain seamless pure white background, even studio lighting, cinematic style, sharp detail, orthographic framing, full body in frame for the first two panels.
Alan Xiao, director of Tusk Hunters
Sheet of a black and white husky sitting from the front, standing from the back and a close-up of its face

A goofy husky with pale blue eyes

The prompt makes the expression part of the design, a cute and slightly derpy look in every view, which gives the dog a personality on sight.

Using THIS real dog as the identity reference (same husky/laika breed, identical black-and-white fur markings, face shape, ears, body proportions, light-blue eyes), create a professional character design reference sheet on a clean plain WHITE seamless background, cinematic photoreal lighting. Compose THREE views left to right in one image: (1) LEFT — full-body FRONT view of the dog SITTING, facing camera; (2) MIDDLE — full-body BACK view of the dog; (3) RIGHT — a head close-up portrait. In every view the dog has a cute, endearing, slightly goofy/derpy innocent expression. Keep the eyes their natural light-blue color. Completely REMOVE the collar — bare neck, no collar in any view. Keep the SAME dog with identical markings and proportions across all three views. Fully photorealistic true-to-life fur texture, high detail, film grain, 21:9.
Alan Xiao, director of Tusk Hunters

Historical and period character design ideas

A historical character works when the prompt uses the real names of clothes, hair and fabrics, because a named detail like a kaftan or a lace collar is specific where "old-fashioned" is not.
Three views of a Cossack soldier with a shaved head and a single forelock, in a dark red coat, holding a curved sabre

A Cossack soldier with a forelock and a sabre

Real period terms, the oseledets (a single lock of hair left on a shaved head) and a dark red wool kaftan, make a historical soldier specific instead of generic.

Keep the same Cossack soldier three-view character sheet (front, side, back of the SAME man), same face, oseledets forelock, drooping mustache, proportions, plain seamless white background, cinematic photoreal documentary lighting. Make these changes: (1) Completely REMOVE the recurve bow, the arrows, and the quiver from every view — no bow and no arrows anywhere. (2) Change the kaftan/coat color from dark teal to a deep DARK RED wool. (3) He now holds ONLY a curved sabre in his hand in the front view (and the sabre visible/sheathed appropriately in side and back views); no other weapons. Keep him blood-and-frost stained and battle-worn, tall leather boots, red sash. Consistent identical face and outfit across all three views. High detail, film grain, 21:9.
Alan Xiao, director of Tusk Hunters
Three views of a red-haired Victorian woman in a full-length ivory and pale blue silk gown with a high lace collar

A Victorian noblewoman in ivory silk and lace

Describing the fabric as well as the cut, silk with sheen and lace with weight, makes a period character look dressed rather than costumed.

Full-body three-view character turnaround sheet of the same woman from the provided character reference. Facial structure, hair, and costume 100% match the reference.

Three panels arranged horizontally on a neutral warm grey background: front view, three-quarter side view, and back view. Each panel shows her full body from head to floor.

Costume consistent across all three panels: the same ivory and pale blue silk dress with high lace collar and lace trim visible in the reference, now shown as a full-length Victorian gown with a fitted bodice, slight bustle silhouette, and floor-length skirt with subtle fabric drape and weight. Period-appropriate posture: straight spine, hands loosely at sides.

Soft directional natural window light from slightly above. Realistic skin texture, visible pores, faint freckles. Realistic silk and lace fabric texture with natural drape, material weight, and slight sheen on the silk. Slightly washed-out highlights on the fabric. Subtle film grain, slight chromatic aberration, mild lens softness. A more realistic harder light structure rather than global soft light. Natural imperfect real-camera rendering. Character sheet format.
Jaime Yao, director of Voice consistency
Four panels of a Himalayan woman in a maroon wool robe: a face close-up, front, back and side views

A Himalayan woman with a gold nose pin

One small signature, a gold nose pin, is called out as important and placed in the close-up and the profile, so the character is recognisable in any framing.

Create a professional character reference sheet of THIS exact woman, Pema (the 28 year old Himalayan woman in the reference image) — keep her identical face, dark hair pulled back with loose strands, warm weathered brown skin, and importantly the small delicate GOLD NOSE PIN in her left nostril, and her maroon handwoven wool garment. Lay out FOUR panels on one image against a plain neutral light-gray seamless studio background with even flat lighting. Panel 1: a tight CLOSE UP of her face, front on, calm neutral expression, showing her exact facial features and the gold nose pin clearly. Panel 2: a full body FRONTAL shot showing the front of the body and clothing but with the head turned away or cropped so the face is NOT visible, standing straight, arms at sides. Panel 3: a full body BACK view showing her back and the back of her head and hair (head visible from behind). Panel 4: a full body side PROFILE view, her face clearly visible in profile with the gold nose pin. Consistent identical character, clothing, proportions and lighting across all four panels. Orthographic, full figure in frame for the body shots. Natural color cinematic film photography look, 16:9.
Raj Rishi More, director of Seasons
Four panels of a Himalayan man with wavy black hair in an indigo wool robe with a striped sash: face, front, back and side

A Himalayan man in a handwoven indigo robe

Clothing with a weave and a pattern, a multicoloured striped trim and a woven sash, says where the character lives before he speaks a line.

Create a professional character reference sheet of THIS exact man, Tenzin (the 28 year old Himalayan man in the reference image) — keep his identical face, black wavy hair, short beard, warm weathered brown skin, and his handwoven indigo wool robe with the multicolored striped trim and woven waist sash over a pale shirt. Lay out FOUR panels on one image against a plain neutral light-gray seamless studio background with even flat lighting. Panel 1: a tight CLOSE UP of his face, front on, calm neutral expression, showing his exact facial features clearly. Panel 2: a full body FRONTAL shot from behind-neutral so we see the front of the body and clothing but the head is turned away or cropped so the face is NOT visible, standing straight, arms at sides. Panel 3: a full body BACK view showing his back and the back of his head and hair (head visible from behind). Panel 4: a full body side PROFILE view, his face clearly visible in profile. Consistent identical character, clothing, proportions and lighting across all four panels. Orthographic, full figure in frame for the body shots. Natural color cinematic film photography look, 16:9.
Raj Rishi More, director of Seasons

Modern and everyday character design ideas

An everyday character works when the outfit says what the person does or who they are, such as a security uniform with a flashlight or a loud floral suit on a quiet face.
Three views of an older man with grey hair and round red glasses in an orange floral print suit and patterned tie

An older man in an orange floral suit

A loud outfit on a calm face is a whole personality in one picture, and the round red glasses give the eye a second place to land.

Image 1 is elderly man in orange floral suit, main look (likeness, clothing, and identity).

Create a professional character reference turnaround sheet showing this exact character (same face, same round red glasses, same swept-back gray hair, same orange floral print suit with dark patterned tie) in three full-body views: front view, side profile view, and back view, arranged side by side. Neutral A-pose, standing. Plain seamless light-gray background, even studio lighting, orthographic framing, full body in frame for each view. No props, no scene, no other people. Identical facial features, proportions, and clothing across all views.
Zoey Z., director of Pond Marketing video
Six views of a South Asian woman with a tight ponytail in earth-tone trousers, a sleeveless jacket and hiking boots

A field scientist dressed for the desert

Clothes that show the job, rolled sleeves, a sleeveless jacket, heavy boots and a watch, let the audience read her work before she says a word.

Professional character turnaround reference sheet for Evelyn: a mid-30s South Asian woman, olive skin, sharp jawline, high cheekbones, black hair in a tight ponytail, brown penetrating eyes, slim build around 5'5", wearing fitted earth-tone trousers, tucked shirt with sleeves rolled up, sleeveless light jacket, heavy-duty hiking boots, a watch on her wrist. Create ONE wide image showing six panels side by side: front view, left profile, right profile, back view, three-quarter left view, and three-quarter right view. Same character in every panel, 100% identical face and clothing matching the Desert Portrait reference exactly, neutral A-pose, plain pure white seamless background, even flat lighting, full body in frame, orthographic framing. No scene, no props, no other people.
Karan Archana, director of Drop of Water
Three panels of a mud-streaked man with white eyes and a GoPro headlamp, front, back and a face close-up

A tusk hunter whose eyes have turned white

Leaving his everyday kit on, a sweat-soaked shirt and a GoPro headlamp, makes the white eyes frightening, because he still looks like the man he was.

This is a three-panel character reference sheet. Keep everything exactly the same — the three-panel layout, white background, the man's facial features, skin tone, dark blue-black sweat-soaked t-shirt, GoPro headband with headlamp, mud and dirt on face, deep dark circles, posture. Only one change: add black tactical boots on his feet in all full-body panels. The boots should be heavy-duty, lace-up, matte black military-style tactical boots, worn and slightly muddy, consistent across panels. Photorealistic cinematic character reference sheet style.
Alan Xiao, director of Tusk Hunters
Three labelled views of a heavyset grey-haired officer in a navy uniform with a badge, radio and large flashlight

A railroad security officer with a flashlight

A pursuer built from a uniform, a silver badge, a shoulder radio and a heavy flashlight reads as authority at once, which is all a chase needs.

Professional character turnaround reference sheet. Show the SAME man (the Bull, railroad security officer) in 3 panels side by side: front view, left profile, right profile. Full body, neutral stance, plain white seamless background, even studio lighting, orthographic framing. Identical face (fifties, broad, thick jaw, short cropped grey hair, deeply weathered), same uniform in every panel: dark navy railroad security jacket with silver badge, shoulder radio clipped to chest, heavy utility belt, holding large metal flashlight. Label each panel: FRONT, LEFT, RIGHT.
Dr. Dreams, director of Catch Out

2D and animated character design ideas

An animated character works when its shapes and colours are few enough to draw the same way every time, then one exaggerated feature, like huge eyes or a long nose, does the acting.
Flat 2D turnaround of a small round red-faced character in a blue fox onesie with a backpack and a laser pistol

A tiny alien fox in a blue onesie

A strict palette of blue, yellow and red keeps a cartoon character simple enough to stay identical in every shot of a 2D film.

Keep the same character turnaround layout of Sasa (FRONT, 3/4, SIDE, BACK) but add: a rectangular backpack on his back (visible in side and back views) and a flat laser pistol weapon in his right hand in the FRONT and 3/4 views. The laser pistol is flat, compact and futuristic, in blue and yellow colors matching his palette. The backpack is also blue with yellow accents. Keep all his original design details: round red/orange face, blue fox onesie suit, fox ears on hood, yellow boots, rosy cheeks, black outlines. Flat 2D illustration style, tricolor blue yellow and red/orange palette, white background. Same title "Character Turnaround: Sasa" at top.
Katrin Ann Orbeta, director of Mila & Sasa
Painted turnaround of a young Black girl with beaded cornrows in a white and gold dress, front, three-quarter and back

A girl with golden-beaded braids and a fish pendant

A necklace that carries meaning, a fish for Osun, the goddess of water, ties a child character to the story's myth in one small object.

Character design sheet of an 8-year-old Black African girl named Dúró, presented as a professional character turnaround with three full-body views: front view, three-quarter view, and back/side view, arranged horizontally on a single clean layout. Painterly digital gouache style with visible brushwork, soft diffused lighting, and organic paper texture, matching a high-fantasy African-inspired concept art aesthetic.

FACIAL FEATURES: dark brown skin with warm undertones, large expressive dark almond-shaped eyes, full lips, rounded soft cheeks, gentle and curious expression with a hint of shyness. African (Nago/Yoruba) features, natural and dignified, not stylized into caricature.

HAIR: neat Nago-style cornrows (tranças nagô) braided close to the scalp in straight lines, ending with small golden beads at the tips. Hair is clean, symmetrical, and frames the face beautifully.

OUTFIT: a simple white cotton dress, modest and childlike, falling just above the knees, with delicate golden trim details along the hem and around the round collar. The dress is loose and comfortable, suitable for a village child. Bare feet.

ACCESSORY: around her neck, a thin golden necklace with a small fish-shaped pendant hanging at the collarbone — the fish is the symbol of Osun, goddess of water. The pendant is small, elegant, and clearly visible.

POSE AND EXPRESSION: the front view shows her standing straight, hands relaxed at her sides, looking at the viewer with soft curiosity. The three-quarter view shows her slightly turned, head tilted, a faint smile. The back view shows the full braids and the back of the dress, with the golden hem visible.

LIGHTING AND COLOR: warm painterly lighting, soft shadows with gentle contrast, earthy color palette (browns, creams, warm golds, terracotta) with the white and gold of the dress as the focal point. Background is a soft neutral warm beige that does not distract from the character.

STYLE: painterly, hand-painted digital gouache feel, visible brush texture, no harsh pixel-perfect rendering, no cel-shading, no 3D render look. Consistent facial features and identical outfit across all three views to maintain character continuity.

NEGATIVE: no text, no watermark, no logo, no signature, no extra characters, no modern objects, no plastic, no shoes, no jewelry other than the necklace, no exaggerated proportions, no anime style.
Walter Mauro, director of Duro
Painterly cartoon sheet of a gaunt old woman with a grey updo in a maroon coat: front, side, back and face

An eccentric old seamstress, tall and gaunt

Exaggerated proportions, a long thin frame and a dramatic grey updo, turn a village trade into a lead you remember from one frame.

Redraw this exact character reference sheet (same 4 panels: Front, Side, Back, Face; same layout, same painterly cartoon style, same warm gray background, same maroon pinstriped coat and green waistcoat) but make the character UNMISTAKABLY AN ELDERLY WOMAN. Feminize her clearly: soften and round the face and jaw, slimmer refined nose, fuller lips with a touch of muted lipstick, longer thinner arched eyebrows, add soft eyeshadow and defined lashes around the large expressive eyes, add subtle blush on the cheeks. Restyle the hair as a distinctly feminine elderly updo — swept-back silver-grey hair gathered into a soft bun with loose wispy curls framing the face, keeping the dramatic pointed silhouette. Add feminine touches: small pearl drop earrings, a slim brooch at the collar, a fitted waist on the coat giving a softer feminine figure, delicate slender hands. Keep her thin, tall, gaunt and eccentric, and keep the same overall pose, framing, and color palette in every panel. She should read at a glance as an old woman seamstress, not a man.
Simay Ezer Pekcan, director of Happy Souls Alive
Painterly cartoon sheet of a thin old man with big dark-circled eyes in a dark pinstriped jacket: front, side, back and face

A gaunt old tailor with huge tired eyes

Big eyes with heavy dark circles do the acting in a stylised film, so the face tells the story even when the character stands still.

Create a professional character reference sheet for the gaunt old tailor man in Image 1. Use his exact face, features, and clothing: tall thin elderly man, long angular face with hollow cheeks, large wide expressive eyes with heavy dark circles, thick dark eyebrows, big ears, prominent nose, swept-back dark grey hair with pointed tufts and a curl at the temple, dressed in a dark maroon pinstriped jacket over a buttoned waistcoat. Show 4 panels in one image: full body front view, full body left side profile, full body back view, and a head and shoulders close-up. All panels in neutral A-pose, plain warm light gray seamless background, flat even lighting. Match the exact stylized cartoon painterly style of Image 1: hand-painted textured brushwork, angular exaggerated proportions, muted earthy teal and ochre palette, bold graphic shapes, expressive character animation look. Same identical character in every panel. Label each panel: Front, Side, Back, Face.
Simay Ezer Pekcan, director of Happy Souls Alive

What makes a good character design idea?

A good character design idea has one clear signature, an age and a job, and a few named materials or colours, so the character reads at a glance and can be drawn the same way twice.
The 16 character design prompts on this page, counted October 2026
What we countedPrompts
Started from an image the filmmaker already had13 of 16
Name a plain background15 of 16
Ask for the same face or outfit in every view14 of 16
Give an age, among the 12 human characters9 of 12
Run past 140 words8 of 16
  1. 1. Write the character like a casting note

    Give the age, the build, the clothes and a line of personality, so the model draws a person and not a type.

    Cold, ancient, and quiet.
    M.E. Owens, director of One More Day
  2. 2. Name one signature and protect it

    Call out the one detail that must survive every shot, and say where it should show.

    importantly the small delicate GOLD NOSE PIN in her left nostril
    Raj Rishi More, director of Seasons
  3. 3. Name the materials

    Surfaces carry a character's history, so say what the skin, cloth or armour is made of.

    the dark meteorite surface material, the silver foil skin patches on chest with cracked peeling edges revealing organic flesh beneath
    Alan Xiao, director of Tusk Hunters
  4. 4. Say what the character is not

    When a redesign keeps drifting, state the reading you do not want in plain words.

    She should read at a glance as an old woman seamstress, not a man.
    Simay Ezer Pekcan, director of Happy Souls Alive

A character design prompt template built from these ideas

Fill the brackets and delete the lines you do not need.

[Name], a [age] [role or job], [build].
Face: [skin], [hair], [eyes], [one expression].
Wearing: [clothes, with their fabric and colour].
Signature: [the one detail that must always show].
Personality: [two or three words].
Style: [photoreal / painterly 2D / flat cartoon], plain [colour] background.
Not: [what the character must not look like].

How do you design a character with AI?

Write the idea in one line, describe the look like a casting note, generate the design, fix one detail at a time, then lay the final design out as a turnaround sheet you can attach to every shot.
  1. 1Write the idea in one line

    Say who the character is and what makes them different, such as Death as a young man with wings, so every later choice can be checked against it.

  2. 2Describe the look

    Write age, build, clothes, materials and one signature detail in an image node with GPT Image 2 or Nano Banana Pro, both on the Free plan.

  3. 3Fix one thing at a time

    Start the next prompt from the design you like and change a single detail, so the rest of the character stays put, as 13 of the 16 prompts here started from an image.

  4. 4Make a turnaround sheet

    Lay the final design out as front, side and back views on a plain background, then attach that sheet to every shot, as in these character turnaround sheets.

Character design idea questions

What are some good character design ideas?

Good character design ideas pair a familiar role with one unexpected detail, such as Death as a handsome young man with black wings, a tusk hunter whose eyes have turned white, or an older man in a loud orange floral suit.

How do I come up with a character design?

Start from the character's job in the story, then add an age, clothes that show who they are and one signature detail, such as a gold nose pin or a fish pendant. If you can describe the character in one line, the design will follow.

What should a character design prompt include?

A character design prompt should give the age, build, face, hair, clothes with their materials and colours, one signature detail, the style and a plain background. Add what the character must not look like if the model keeps drifting.

Can AI design a character for me?

Yes. An image model such as GPT Image 2 or Nano Banana Pro can draw a character from a written description, and you can then change one detail at a time by starting each new prompt from the design you like.

What is the difference between a character design and a character sheet?

A character design is the look of the character, often a single image or a board. A character sheet, or turnaround, shows that same design from the front, side and back on a plain background so it can be drawn or generated the same way in every shot.

How do I keep my character design consistent in AI video?

Turn the final design into a turnaround sheet with front, side and back views, then attach the sheet to every image and video prompt and name it there, so the model copies the character instead of inventing it again.

Can I use these character designs in my own work?

The prompts on this page are free to copy as a starting point, but the characters themselves, their names and their images belong to the filmmakers who made them, so change the idea into your own.

Is it free to design characters in Flick?

Yes, you can start free: a new account gets 100 credits at sign-up and 200 more for joining the Flick Discord, and the image models used for the designs on this page run on the Free plan.

More on making characters in Flick

Films in this collection

Design your own character

Write the idea, generate the design, fix one detail at a time, then carry the character into every shot on one Flick canvas.

Design your character in Flick

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