From Word To Image by Marice Begleiter
"There are a few types of storyboards (…) The film and television industries use the Editorial method to give visual expression to the flow of edited sequences from the screenplay." p 12
Editorial storyboards frequently consist of rough black and white sketches, these are either line drawings or demonstrations of light and shadow. When I come to create my own storyboards, I shouldn't see colour as a priority, rather composition, shadows, light sources and mood.
The process of an editorial storyboard typically stays the same, so I should experiment with this professional method..." Most artists will employ the classic techniques of a light, rough under-sketch and then a polish level of black lines and grey-tone shadows." p 17
The author emphasise experimentation, as different media have different effects and benefits "One technique I have enjoyed starts off with sketching a simple sketch with graphite pencil on white bond paper. I make all my overall decisions on composition and framing in this first step. then I will make a couple of copies of the drawing onto a heavier paper and use those versions to play around with light, shadow and maybe colour, if the situation calls for it." p 17
Key frames: a selection of shots, perhaps only crucial or complex camera moves, or the establishing shot at the beginning of a scene.
Production illustration: focuses on showing a set rather than a shot.
commercial board: a sales tool typically used by an advertising agency to present a concept to a client.
"Action sequences lend themselves to storyboarding because they are usually highly choreographed, and therefore need to be visualised in great detail." p 28
Simple yet important elements of an effective storyboard include arrows, colour/value, line weight and design, icons.
"I want it cheap, fast and ugly" p 116
Editorial storyboards frequently consist of rough black and white sketches, these are either line drawings or demonstrations of light and shadow. When I come to create my own storyboards, I shouldn't see colour as a priority, rather composition, shadows, light sources and mood.
The process of an editorial storyboard typically stays the same, so I should experiment with this professional method..." Most artists will employ the classic techniques of a light, rough under-sketch and then a polish level of black lines and grey-tone shadows." p 17
The author emphasise experimentation, as different media have different effects and benefits "One technique I have enjoyed starts off with sketching a simple sketch with graphite pencil on white bond paper. I make all my overall decisions on composition and framing in this first step. then I will make a couple of copies of the drawing onto a heavier paper and use those versions to play around with light, shadow and maybe colour, if the situation calls for it." p 17
Key frames: a selection of shots, perhaps only crucial or complex camera moves, or the establishing shot at the beginning of a scene.
Production illustration: focuses on showing a set rather than a shot.
commercial board: a sales tool typically used by an advertising agency to present a concept to a client.
"Action sequences lend themselves to storyboarding because they are usually highly choreographed, and therefore need to be visualised in great detail." p 28
Simple yet important elements of an effective storyboard include arrows, colour/value, line weight and design, icons.
"I want it cheap, fast and ugly" p 116
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