Saturday, September 27, 2008

Spectator - pt5

I copied these after MY edition, which has a character with a slightly different face. I altered them slightly to resemble the original character, as see below.

Thursday, September 25, 2008

Wednesday, September 24, 2008

Tuesday, September 23, 2008

Friday, September 19, 2008

Wednesday, September 17, 2008

Monday, September 15, 2008

Gator Boards

Just 2 of 66 panels I have completed.


Sunday, September 14, 2008

Wednesday, September 10, 2008

Boy from "Rescuers Down Under"

Some sketches of Rescuers Down Under storyboard, mostly by Brenda Chapman.
Thanks to "Paper Dreams" by John Canemaker.
All this and more is going into my final boards.

Tuesday, September 9, 2008

Monday, September 8, 2008

Sunday, September 7, 2008

Original StoryBoards

So I have finished about 70 (gasp!) rug thumbnaily board panels for my new exercise, entitled, "Jimmy Helps an Old Lady Cross the Street and is intercepted by a bunch of sewer gators..."

Here are some clean versions of our heroes:

And here's the script outline, shot for shot.


Storyboard tips from Eric Goldberg, via the Lady and the Tramp DVD:
Above all else, a storyboard artist has to be a good COMMUNICATOR
He puts down as few lines and details as possible to tell the story clearly.


Storyboard tips from Burny Mattinson, via the Animation Podcast:
thumbnail everything out first very roughly on separate paper. Get the poses down, feel it out. Then commit to drawing it on a storyboard panel.

Saturday, September 6, 2008

Song of the South Storyboard

i did about 25 drawings in about a half hour.
After the board by Bill Peet uploaded earlier today.

In a tight scene like this with characters of different sizes acting off each other, I thought up another key word:
i.e. the characters RELATE to each other in a believable way, either in physical contact or eye contact or hand gestures.

Storyboard Tips from John K.


On Tuesday, April 29, 2008:

The drawings don't need to be finished, totally on-model drawings of the characters. The cartoon story writer has to be more concerned with the story- continuity, acting, staging, gags clarity.

If the story man has to worry about doing cleaned up perfectly on-model characters and finished background drawings, then his mind is not free to think about story.

The storyman wants to show the continuity through the characters. The characters need to appear spontaneous and alive and motivated from within. A really good story man can draw fast and confidently, which automatically gives the continuity a spontaneous - this is really happening now - quality to the work.


Friday, May 02, 2008
You don't need to be totally "on-model" to storyboard my cartoons, but you need to capture the essence of the characters. The basic proportions and the attitudes. You can leave out details, as long as you have clear posing and acting and continuity. See how clear the silhouettes are too.


Friday, July 04, 2008
What I expect from the storyboard artist is to sketch the continuity. The drawings don't have to be cleaned up, but you do need to be able to draw the characters well -understand their basic shapes and their proportions.
You also need to understand the story and the personalities of the characters, so you can draw the acting.
The drawings have to have life, be specific and put the point of each gag and story point across without ambiguity.
Your storyboard should provide a strong framework for the pose/layout artist who will do tighter versions of the storyboard roughs and add some breakdown poses.
I'm not looking for wild abstract crazy drawings. I need strong acting that is in context of the scenes and story. And of course is funny. Funny and CUTE to steal a great trademarked phrase.


Tuesday, January 29, 2008
Note that the drawings don't always have to be tight or even too on model. The important thing a storyboard artist should concentrate on is creating and telling the story. Continuity, staging, pacing and entertainment. There are other departments to refine visually what the story artists write.


Sunday, May 06, 2007
[Mentoring Rex]
1) Get used to drawing the characters
Every function has a process and the first step of any cartoon job is to learn to draw the characters. Especially if you want to write for them.

2) Do Setups [shot-by-shot do's and don'ts]
I asked Rex to draw a master shot of where the scene takes place.
And after that to draw the same scene from different angles and with the camera at different distances from the characters.
Not at random either. All these decisions are made by reading the story and deciding from what angles and distances the gags will best be presented.

3) Start the Continuity
Know your characters' motivations and personal quirks


Monday, April 23, 2007
I have a few different drawing styles and I use them for different thought processes. When I am writing ideas, I draw them, but I draw really fast, with no regard to construction, perspective, line quality or any finished techniques. I am purely drawing feeling. I am trying to draw in real time as the events play out. I look like a complete spaz when I'm doing it and people make fun of me and imitate it.

The drawings are very scribbly but have the germs of all the visual ideas in continuity. Once these scribbles are complete, then I switch my brain to style mode and draw bigger versions of the same drawings that use more solid principles. This step (layout) requires slower, more carefully choreographed drawings and uses a completely different part of the brain to do. If I was trying to storyboard a scene in this finished style, it wouldn't work. I would be thinking of pretty drawings rather than story and emotion and continuity.

Eddie has a great storyboard drawing style. It's simple but full of amazing life, fantastic strong clear poses and staging and composition.


Storyboard artists don't need to draw the characters perfectly "on-model"
or clean, but they do have to understand the core of the characters' look
and personality.
Storyboard poses can be kinda rough, like these funny Rex drawings. They
don't have to be "on-model" but the artists have to understand his
construction and personality. (the other characters too)

Each pose has to be :
Clear and distinct
In Character
In context of the scene and story

You have to be able to do rough BGs and good composition too.

John's Storyboard Label will get you to a lot of posts, including his Bill Peet info and his original George Liquor sketches.

Friday, September 5, 2008

Thursday, September 4, 2008

101 Dalmatians Boards

Hi all
Today I sat for an hour working on 101 Dalmatians Storyboards, copying from Bill Peet's art from Michael Sporn's scans.
60 panels. Thin black sharpie (i couldn't find my medium sharpie). Maybe a little more than an hour...

Today's keywords:
1)Readability over on-model-ness. Be clear from across the room.
2)Storytelling. What best pluses the story?

According to the Animation Archive:
Intent (character motivation)

Screwballs - pt3

Wednesday, September 3, 2008

Tuesday, September 2, 2008

Gators, by Preston Blair

His drawings on a page:

His drawings animated (by yours truly)

Preston's Drawings animated.

Screwballs - pt1

2-legged clean up

I drew the Goose again:

Now Lets see how this one stacks up to Preston's: