There is no better way of ensuring accuracy of production than by creating thoroughly developed storyboards. Generally, they resemble comic strips in newspapers, but they are quite different in many ways - in most storyboards, the frame dimensions are always standardized to the proportion of the screen.
A traditional storyboard frame usually includes a numbered sketch of the shot, with a block of written information beneath it containing script elements (characters, action/dialogue), camera movements and the time allotted for each frame. Drawn in a series, these images produce a sequence that is usually presented in a linear, frame by frame arrangement, to be mounted on a table, wall or pin-board. If you don't draw well, get some "How to Draw…" books and practice, practice, practice.
To begin, decide on which screen ratio format is appropriate; e.g. Academy Standard 1.33:1 (NTSC TV), Academy Flat 1.85:1, Anamorphic Scope 2.35:1 (or widescreen letterbox).
The artist simply draws a page of empty frames and photocopies blank storyboard frames, then sketches the illustrations by hand. This can be very labour intensive; the artist’s method can seem like a stream of consciousness activity, producing sequences that can represent long travelling shots or quick, staccato editing.
Start drawing in pencil first. Do some simple thumbsketches to lay out the basic frames needed to described the script action. After approval, begin drawing larger, more highly finished sketches that capture the scenes in detail. Even if you can only draw stick figures and simple locales, try to indicate the light source with a shadow in each frame - this will give greater dimension to your drawings and connect the frames visually.
CLARITY: To improve your representation of solid forms, practice by sketching only the shadows cast by an object or figure. This automatically gives the image a more tangible quality than stick figures. Try to indicate changing emotions with simple facial expressions. Practice drawing simple, expressive hand shapes; e.g. pointing, waving, grabbing, punching. If you're trying to draw complex action scenes, get one of those little wooden life-drawing figures and use it and your eye as an actor and camera to experiment with dynamic poses and perspective.
When drawing any storyboard, a variety of angles or viewpoints can be used to capture the scene, so another major element in image composition is PERSPECTIVE. One or two-point perspective are commonly used by showing a horizon with one or two distant VANISHING POINTS. All forms within the image should be oriented to recede toward a vanishing point. To establish the angle of a shot, decide on the position of your EYE-LINE in relation to the horizon:
• The most common 'normal' eye-line is at 'head height', which means the viewer is seeing
what the characters are seeing - the character's eyes will be level with the horizon.
• A low eye-line gives a lower angle, showing more sky - character's eyes are above the horizon.
• A higher than normal eye-line will create a high angle - character's eyes are below the horizon.
Below : A thumbsketch and final frame - note shadows, perspective and FGD/BGD dynamics.
If an action is happening very quickly, indicate the motion with an arrow within the frame.
At least two shots in a scene should have a recognizable background, providing clarity and a frame of reference for the sequence. Clear flow of action or a THROUGH-LINE in the boards is achieved by visually reinforcing the position of objects and characters within the frame. The flow must be natural, believable and consistent. Provide a solid path for all the characters within their environment and avoid any unseen moves that may interfere with our ability to follow that path.
Because GESTURE is so important to storytelling, try to capture the direction of the character's movement in the first quick sketches. They will indicate through their gestures and body stance where they're going and what they're doing. Ask yourself, "What is my motivation?", as if you were in the story. The characters will begin to have a THROUGH-LINE or a mode of behaviour within the frame - adding to the LINE OF ACTION that carries over between the frames.
It's best to avoid drawing water sources dripping off the bottom of the frame, so if there's a body of water, frame the base of the shot with a river bank, a beach or a ship's handrail - if possible.
Storyboards often describe camera movement, so the SIZE AND SHAPE OF THE FRAME can be adjusted and expanded to represent complicated movements that include long pans, tilts, dollies and zooms (see preceding pages; note the extended tilt and pan camera movements).
If the camera moves anywhere during a shot, use at least two storyboard frames and indicate the motion with an arrow labeled 'camera', or create a completely new frame shape that represents the entire camera movement. Indicate camera START and STOP points at the beginning and end of each movement, adding arrows to show direction.
A basic compositional mistake occurs when the artist is not aware of THE GOLDEN MEAN. The ancient Greeks proposed that cutting any composition in half is boring to the eye. Put simply, any image should be divided into thirds. Horizontally, a sky consumes the upper two-thirds, leaving one-third for the ground. Vertically speaking, natural forms, architecture and objects can present 'upright' areas of patterning within the composition.
It is the job of a good storyboarding artist to design each frame so that the centre of interest in each scene is maintained, using strong compositional devices that keep the viewer's eye only on what you want it to focus on. During storyboarding, there is a lot of COMPARISON between frames - comparing the relative position and proportion of figures so they suggest movement effectively, keeping continuity with light sources, costumes and props, etc.
After all the frames in a sequence are done, you should be able to recognize a LINE OF ACTION through the storyboard. This is your instinctive 'storytelling' eye, joining the pictures together to create meaning and taking you on a journey through the storyboard.
Always make photocopy templates of each blank storyboard frame format that you draw, so you don’t have to redraw a special camera move again later. Keep track of what's used where. Commit to inking and colouring only after all the designs are finalised and if you have time. When out of time and presenting to a client, refer to the style guides, select a frame with lots of impact and colour it carefully - it's better to have some colour as opposed to none.
Unless the presentation is in the style of a comic book, dialogue and internal thoughts in a storyboard should not appear inside speech balloons, but as short paragraph notations positioned in a set of boxes or labels under each frame. Each frame and label should cover an average of five seconds, ranging from three to seven seconds, depending on the action and how much dialogue or other information is being delivered.
STORYBOARD LABELS: These can contain descriptions of character action and dialogue, the client’s name and project title, scene and frame numbers, a module title and number, all reference numbers and relevant notes on the style guides, navigation design and flowcharts, plus notes on any other nodes or links of importance. Detailed preparation and maintenance of the labeling system is very important. Most multimedia projects have whole Art Department’s working on the storyboards, so you’ll have some help.
At the very least number each frame and include a description of the images, sounds and activities involved. Add this and other info in your label areas, and keep an index that compliments the separate script/flowchart material.
Remember, be diligent with your labels, notes and numbering, and stay in control of the boards.
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