XAV: A step by step on my last illustration

Time to time, readers of my blog ask me how I work, so I've decided to make a simple step by step of my last illustration. I hope everything is clear, if you have questions I'll try to answer in the comments.
By the way, as you probably notice, I'm french and my english is not very good so sorry if I don't explain the proper way (and also my photoshop is in french.)


So, first of all, I only work in Photoshop. Time to time I make drawings on paper then scan them but all my last illustrations and designs were made with my wacom intuos and this last one with my all new Cintiq 21UX.

1. The drawing, with a simple home made brush, very rough.

2. I turn over the drawing and make a cleaner drawing.
3. I rebuild the tricky parts to be sure of the construction.
4. I make the final drawing with a clean line and I fix some parts (here the face).
5. I start the colors with the line above.
6. Every part (face, jacket, hair, etc) on a separated level.
7. The face.
8. cheeks and nose.
9. I add the lines and other details.
10. With the gradient tool, I make a subtle color effect.
11. I set the layer in screen mode and lower the opacity.
12. I start the background with the basic color.
13. I add the snow with a brush that looks like snow flakes.
14. A white gradiant to suggest the snow on the floor.
15. A quick shadow on the ground to set the character in space.
16. A quick skyline of Paris.
17. I add a layer of noise.
18. I lower the opacity and set it to color burn.
19. I had a paper texture layer that I colored in light blue before.
20. I set it to screen and lower the opacity.
21. I finally add my signature...
22. And voila !

Florian Satzinger: Process Breakdowns Plus Work In Progress Film Clip

Please find the a short clip of the drawing process of this rough test design right below. This huge small-headed bird character was quasi the preliminary draft to the character at the end of this post. BTW, I had some sort of a bushy Christmas tree in mind (and a wee bit Seinfeld's Newman) in connection with the shape of the characters.

Work In Progress 5 from Florian Satzinger on Vimeo.

Here's the final version of the character plus the process breakdown sheet:

For a larger version of the breakdown sheet JUST CLICK HERE

Mark McDonnell: "MAC Sketchbook Sessions" 03

Here is an all new video which is the THIRD of my How To Draw In Your Sketchbook that I'm calling the "MAC Sketchbook Sessions" for the Animation and Entertainment Industry. It's an over the shoulder view of my flipping through my third of many personal sketchbooks and giving commentary. This book's goal was the use of black and white to control values as well as the eye's interest in the contrast between the two. The pen's used were the Gelly-Roll/Pentel Stylo and a Pentel "Water Brush" for the thicker lines and darkest darks.

I hope it's enjoyable.

Best,

MAC

Hat Lieberman: Stuff I've Learned About Storyboarding Part 2

Motivating the camera is a simple technique of using visual cues to set up a cut or camera-move and in doing so, ease the audience into a new shot or new information.

Below is a simple example of how utilizing the above theory can have a huge influence on the overall feel/continuity of a sequence.

I think I may have made it a bit over-complicated. Essentially you should be able to look through each of the examples and feel the difference.

Basically: Use a character's eye line to motivate a cut. It helps ease the audience through the cut and into new information. (While also putting us directly in the character's shoes)

There are many other ways to motivate the camera. Below is a short sequence I've boarded out with various examples all strung together. The idea is to create as much continuity within the sequence as possible, making everything clear and easy to follow.

Below I have pointed out the specific methods used to motivate the camera.

So as per the above sequence, ways to motivate the camera;
- Using a Character's eyeline/P.O.V.
- Having a character move on screen and adjusting the camera accordingly.
- Having a character exit frame.

There are other ways not represented in the above example, for instance;
- Having a character enter frame. (illustrated in a tip sheet below.)

I think ultimately what it comes down to, specifically for 'cutting', is the fact that a 'cut' is not natural, it doesn't happen in real life (unless you take really long blinks). Obviously we have all seen enough film/television to accept a 'cut', nevertheless, anything you can do to smooth out the transition will only help create and maintain the continuity of your sequence.

These next examples revolve too around motivating the camera, however explores more "what they are saying visually".

The next three examples are all slight variations of the same scene, each exploring a different approach in regards to the progression of information that is revealed to the audience, and consequently the effect it has on them. Please note that none of these examples are any more "right" than any other. They are merely different takes on the same scene. Their purpose is to show how slight variations in storyboards (and ultimately film) can produce vastly differing ideas/moods/responses. Ultimately, it would all depend on what the script calls for or what is necessary of the scene to determine which of the following (if any) would be suitable.


I think the most important thing to take away from this concept of 'motivating the camera', is just to try and be conscious of the decisions you are making in your storyboards. Try to understand what you are actually saying visually, what information you are revealing to the audience (and when) and what effect it will have on them. Thinking about these things as you board can significantly enhance a sequence and really help 'sell' an idea in the storyboard stage.

On a side note: None of these tips/theories/methods I've discussed (in this post or the previous) are "rules". They are by no means absolute. There are no 'right' or 'wrongs' with storyboarding, as I've stated before, simply ways that work better than others at achieving desired responses. As much as I use these principles and incorporate them into my own sequences, I find myself quite frequently deviating, or cheating, or bending these ideas. I rely much more on the 'feeling' of a sequence as I board. Boarding panels and flipping through them to see how I 'feel' watching it, to see if the cuts are smooth, or if something doesn't 'feel' right. So take these tips for what they are, simply tips, tricks and principles I have found to be successful.

Hope it helps.

-Hat

Martin Wittig: Animal drawing

Here are a few tips that help me while animal sketching :)

Wouter Tulp : Weight

Hat Lieberman: Stuff I've Learned About Storyboarding

Here are a few quick little tip sheets I put together for some of my friends who are currently doing storyboard tests and looking to get into boarding.

1. Be Careful of Theater Staging




There are no "right" or "wrongs" with storyboarding, only ways that work better than others. Figure out what you want to convey in a scene, and find the best way to present those ideas to your audience.

2. Maintaining Screen Side
Note: there would obviously be more panels if this was flushed out, to play up the acting and also hook up the action. And on the last panel, I would probably frame it more centered while the female is farther away and then adjust right as she walks towards camera.

This is a simple theory of cutting that can easily help create a sense of continuity within a sequence and or exchange. The idea is not exclusive to 1 character interacting with another. The same principle can be used between 2 different groups of characters, or even a character and an object (Ie. A telephone. A man waits anxiously for a very important phone call).

The example above is a bit rudimentary for the sake of demonstrating the concept. More realistically, you will have characters moving around as they interact. In this case what we can do is create multiple patterns to track the exchange. The important thing to focus on when trying to handle multiple staging set ups is making sure the audience clearly sees our new staging occur. The simplest way to achieve that is by having characters physically cross paths on screen;
As long as you continue to establish any new screen spacing, the sequence should maintain a certain level of continuity that will allow the audience to follow along quite easily.

3. Maintaining Screen Direction

This is a similar theory to #2 however involves more characters and objects moving in and out of frame.



I think the most important thing to remember with storyboarding is that; anything and everything we can do visually will invoke a specific response from the audience. The key is to determine what exactly you want the audience to feel and then find the best way visually to achieve that reaction.

I hear a lot of people say "You can't do that cut" or "You are breaking the 180 line, you can't do that".... well obviously you can do it, because if you can board it, you can shoot it. It's not that you "Can't" do something, it's that that "something" is confusing the audience, or isn't visually pleasing, or isn't achieving what is necessary of the scene. All of which are appropriate critiques of a jump-cut or breaking the line, however not so much if that is the desired effect you hope to have on your audience.

Please note, I could be completely wrong. I do not claim to be right, and as I stated above, there are no "right" or "wrongs" in storyboarding (and most art forms for that matter), only ways that work better than others. These are simply tips, tricks and principles I have picked up along the way that I've been able to apply directly to my own work and found to be successful.

Hope it helps.

-Hat

Louie del Carmen: Clothing Folds & Creases

I wanted to share some quick philosophies about drawing folds and creases on clothing.  This is something that can be deceivingly simple.  We know the concepts in our head but when we have to draw folds they end up looking awkward and misplaced.  What I point out below is pretty obvious.  The main things to consider are:  1.) Clothing/Drapery behavior is not random, and 2.) Observing is drawing.  Look for clothing behavior in daily life and make mental notes, then sketch them until they look natural. ( Click on images to enlarge )

What I actually draw vs what I think about

When I draw I focus on the shape design and think about the construction.