ORIGINAL REN AND STIMPY BOARDS AT ANIMATION ARCHIVE
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
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 STYLE VS. LAYOUT STYLE drawings
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
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 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.