Graphics Reference
In-Depth Information
One thing to avoid is “stock” expressions. Unless your project calls for it, stay away
from 1930s hammy acting. Act out your sequence before you draw it. Have a mirror
sitting on your drawing table. Natural expressions are an amazing tool to have in your
belt. The trick to drawing natural expressions: Less is usually more.
Q: Are there special characteristics that you fi nd professional story
artists have in common? What makes the successful ones successful?
Nathan:
A successful storyboard artist is one that is open to ideas. You
can't
fall in
love with your boards. Be willing to change. Your boards are not the fi nal fi lm. Don't
spend too much time on your boards—they will likely be thrown out at some point. If
that sounds too depressing, you best fi nd another discipline to work in. Story is subjec-
tive. Your director is going to ask for changes. To be a great story artist, you will have
to be ready to throw your work away. Even if you disagree and you think the director
is crazy. At the end of the day, you must respect your position. It's your job to make
the project as great as it can be. But it's not “your” project.
Q: Have you looked at any student storyboards? What do you think is
most often lacking in them?
Nathan:
Recently we had a student portfolio review. Many had a similar problem: it
was hard to follow their boards. Many students don't like to draw backgrounds. They
don't set their characters in an understandable environment. You should be able to follow
boards without reading the dialog. Try this: watch a movie with the sound off. Usually
you will still be able to tell what is going on because of the environment, staging, and
lighting—and expressions! Your boards should work this way. At a portfolio review there
will not be enough time to look through every single panel of your boards and read
every single line of your dialog. Within a dozen drawings a reviewer should be able
to know what is going on in your boards.
There's a series of graphic novels that I can't recommend enough:
Bone
by Jeff Smith.
They have started coloring them—but they were originally printed in black and white.
Buy the black and white editions. It's amazing how much mood Smith can get without
the use of color or grey tones. His acting is incredible—learn from what he's doing.
Q: Can you describe your process?
Nathan:
There is no “right way” to storyboard a sequence. I always start with thumb-
nails. Sometimes I “straight ahead” my sequences and sometimes I board a bunch of
key shots (that usually helps me with a big action sequence). What works best for you
is the way to go.
