Drawing for Storyboards | Siobhan Twomey | Skillshare
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16 Lessons (2h 17m)
    • 1. Introduction

      3:10
    • 2. Drawing on Paper

      10:38
    • 3. Drawing on Paper Demo

      7:45
    • 4. Scanning your Artwork

      7:05
    • 5. Intro to Drawing Characters

      3:11
    • 6. Shape Language

      12:19
    • 7. Character Poses

      9:17
    • 8. Drawing Emotion

      7:01
    • 9. Creating a Character Pose Sheet

      7:45
    • 10. Blocking in Backgrounds

      13:09
    • 11. Fundamentals of Perspective

      14:51
    • 12. Depth, Scale and Tangents

      14:17
    • 13. Intro to Drawing Sequences

      2:10
    • 14. Review of Shots and Angles

      12:03
    • 15. Directors' Tips for Storyboard Artists

      8:51
    • 16. Class Project

      3:50
20 students are watching this class

About This Class

Hi! Thank you for checking out Drawing for Storyboarding. This is a fun, engaging course that will teach you how to draw for Animation Storyboards.

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First, you’ll learn how to draw characters - how to draw good expressions and poses

From there, you’ll learn the best approaches to drawing suggested backgrounds for your boards - from rough blocking, to adding perspective, and how to draw depth and space in your panels.

You’ll also learn the best practices for story artists - these are the top directors’ tips and I’ll share them with you so that you know what is expected of professional story artists.

I’ll also share with you some sample storyboards of other students in the course series - this is going to be an amazing opportunity for you to not only see diverse examples of different styles of drawing; but importantly, to see how fellow students are approaching their assigments, and working.

There is an opportunity in this course to complete assignments and exercises for each of the topics covered; plus at the end, the class project for this course is to take a page of script and storyboard it out entirely yourself. I’m going to give this project to you as though you were working for a studio - so you’ll get model sheets and layouts, as well as the script and then it’s over to you to put everything that we’ve covered in the course into practice.

This course is a supplement to my successful storyboarding courses:

Learn to Storyboard for Film & Animation

and

Advanced Storyboarding Techniques

Both those courses cover in depth everything you need to know to about storyboarding - the technical aspects, the filmic language and the nuts and bolts of communicating your ideas for a story visually.

This course takes all of those concepts and principles and dials down into the actual process of drawing.

This course is aimed at beginners, so you don’t have to have taken the other storyboarding courses in the series - you could use this as a starting point in fact. If you have taken the other courses in the series, this is going to bump you up to the next level and ensure that you are able to draw fast, fluid, efficiently.

Transcripts

1. Introduction: Hi there. Welcome to the class. I'm so glad that you enrolled, and I'm really excited that we're going to take this journey together to explore drawing for animation and storyboards in this introduction video. I'm going to explain how the clouds is laid out so that you know what to expect, and I'll also give you some pointers on how to get the best out of Bush. So in the first few videos, I'm going to talk a little bit about drawing on paper. A lot of students in my courses draw on paper, not in a digital format. And so I really wanted to take the opportunity here to share some tips and tricks that might help you in your drawing process, especially for story boarding. And also, I wanted to explain how to import your drawing into photo shop if you wanted to take your hand drawn art on, then work on it in a digital format. Sh then the rest of the classes in three main sections characters, backgrounds and drawing sequences. When it comes drawing characters, I'm going to show you the shorthand and the drawing conventions that are most widely used across the animation industry. I'll show you how to pose your characters and also how to draw emotion and strong character expressions. You don't need to be a character designer, but you will be able to take any character that's given to you and re George in a multitude of poses. Then, in the section on backgrounds, I'll show you how to quickly and easily visualize the scene. I'll also give you a storyboard artists overview of perspective. So what perspective is went to use it in your work? And also why in the last section, then we'll look at how to put all of these drawing techniques together when we're drawing sequences for storyboard. So that means what shots and angles you can use, what storyboard patterns are and when you can use them, and then ultimately, ways that you can understand the visual language of film so that you can come up with your own unique style. For visualizing stories were making films and for animation throughout the class. There are assignments for you to do. You get to draw character pose sheet as well as drawing backgrounds, and at the end there is going to be a big class project I'm going to give you what's called a fun pack and a script. So if you were working in an animation studio on a TV show, this is likely what you'd receive. A fun pack contains character designs as well as layouts on. I'll also give you a one page script that you will get to draw your very own storyboard from scratch. Okay, so there is a lot to cover. I'm really excited that you're here. I think this class is going to be an excellent addition to your existing visual and creative skill set on. This will open doors for you to further your work and even your career path. So thanks for joining me on this drawing journey. Let's dive in. 2. Drawing on Paper: so a very big portion of students in both my story boarding courses actually do their work on paper. So I wanted to encourage you that if you don't have software or equipment to draw digitally , then you can still make storyboards with pencil and paper. So for materials, you can use anything you like. Really. The basics would be playing all paper in your sketchbook on some pencils, but you can even use a pen or a marker or charcoal stick charcoal pencil. If that works for you, I have a kneaded eraser, but if you have a normal regular eraser, then that's fine as well. So I wanted to share a tip with you for drawing by hand. If you are drawing storyboards specifically, that is, instead of working in your sketchbook, you can use just a stack off cartridge paper or printing paper. This is paper from our poem printer. It's a standard size standard waste, and the thing about this is that you can use lots and lots of sheets of paper, and you're not working inexpensive sketchbook paper. Now, obviously, the thing about drawing digitally is that you do have a lot of scope for changing your drawing or deleting or even redoing it, and you don't really have that option with pencil and paper. So my advice is to sketch your rough construction lines very, very lightly, or draw your rough sketches separately and then redraw them with more precise detail. So I think the key is to work likely as much as you can so you could start out your construction lines. I don't even know if you can even see this extremely lightly. I understand where you're going, what you're going to do with your drawing, and then you can come back in on Put in a a more defined line. What we used to do way back in the day in animation school when when I was studying animation is that if we had to draw on paper, we used to use either a blue or a red pencil for the initial sketch, and then we would go over it with a lead pencil. Now, the brand we used back Dan was called call erase pencils. They had an eraser on the tip on. You could get them in different colors, and I'm not entirely sure I'm not 100% sure why we use colored pencils, but I think I could be wrong here. I think it has to do with that. Back in the old days, off hand drawn animation, they used to flows a copy drawings a large, and I think that if you draw the blue pencil, the lines don't get copied when you photocopy them. I'm not 100% sure. Don't quote me on that, but I think that's where the idea came from. So what you do is, let's say what drawing a storyboard panel? Got some panels? Just dash. Um, I don't have a collar. Race pencil. I've just got this red one, but it's the same principle. I'm going to quickly sketch in my composition. See what? What, what I want in this frame. Um, I'm doing the standard thing that I always do. Look, here's a landscape with a tree not going to be very interesting, but I just want you to get the idea. Andi then say maybe we've got the A close up off the cowboy from the previous story. Boarding course Got his close up there on. May be he's looking at the gun in his hands, so We've got an extreme close up here. Office gun. And then what do we see in the final one? Maybe. Let's just go back to the landscape. Okay? I've completely made that up. That's got nothing to do with anything. But I'm just showing you that so that you can see how you can work with a colored pencil and then go over. Sh I'm gonna take This is just a to b pencil. But let's say I've worked out what I wanted these drawings. All right. Okay. So now I can just pick up one line and work very cleanly very carefully, and we've got hills in the background, so it's a very nice way to work. You've got a guides in a underneath in a different color. And you know, you could even if you draw dark enough with your line work, you could probably come back in and erase out the red lines. Pretty much so. I won't do the whole, um, four panels. This is just to give you an idea. Maybe there's a rock in the front that's also one of those western type thing rock formations. Okay, so my last tip for drawing on paper is a bit of a strange one, but it's good to know, because in animation, what you're doing pretty much all the time is redrawing things over and over again. So we all know that that's the That's the process for animation, for story boarding anyway. And you might need to redraw background. Certainly, you're going to be redrawn characters in panels all the time. If we were in the studio and you were drawing on paper, then what you would do is use a light box. So you put your drawing down on on the light books, turned the light box on and place another sheet of paper on top. And then you could trace your drawing out and changes for the next panel. Or add more characters in whatever the case may be. Since we're not in a studio and if you do want to trace your line work, then I suggest you use this very strange tip. Okay, First of all, let me just make a drawing for the purposes of this exercise. I'll just redraw this panel here of the cowboy. I've just sped up the videos that I can get through it, enjoy the process. If I wanted to redraw this character or trace him, so I'll just quickly make asbestos sketches, I can. And by the way, this is it. Also an extremely good process. If you want to trace over your rough drawing. So I've got my drawing. I'm going to take it over to a window, believe it or not, and just tape it up onto the window. Or use what I'm using their, which is kristic on. Just stick a clean sheet of paper over top of it. Now, if I zoom in, you can actually see how clear that under drawing shines drew onto your, uh, your sheets of paper. And really, it's just a matter. Then off following the line work and tracing your drawing. Now, it's not the easiest method in the world because you're standing up and you're having to draw on on the window and can be a little bit tiring. It's not ideal, obviously, but it's a really good hack if you are at home. If you need to clean up your drawings or add, you know, more detail into an existing drawing or copier drawing, and this is just a really good work around if you don't have a life box, I'm trying to keep my line work super clean. Andi Crisp and Nash draw rough. That's the beauty of this way of drawing. And actually drawing on a pane of glass is very nice surface to work on. Four nice, clean lines. Actually, it's never going. My second drawing is never going to be well for me anyway. My second drawing is never going to be exactly as the 1st 1 I always tend to miss miss out on lines, but you get the idea anyway. That's pretty much ish. So if I take this drawing down and compared them side by side, you'll be able to see how effective this'd is. And it really just took me like, a couple of minutes. So those are my tips for drawing storyboards on paper. Now, some of you might prefer to make your drawings on paper and then scan them into the computer so that you could work on them with color. Color up your artwork in a program like voter shop 3. Drawing on Paper Demo: Okay, so this is really just a quick process Video for drawing characters on. I just wanted to show you how you would could approach it. If you're drawing on paper on later on, in the course, I will be going into much more detail about proper approach to character design, how to construct your characters, how to work with basic shapes. So if you want to work alongside with me in this video, maybe going check those sort of fundamentals, those principles at first on, then come back. But I wanted to have something some kind of drawing on paper that I could use to show you how discount you're working and how to prep your artwork from paper into a digital for MASH . So I'm going to do a quick sketch off a pirate character. I have been working on a lineup off pirate characters for my script, so I'm sketching very lightly. Very gesture. Lee. Very, very loose and rough. Got his hands on his hips. Okay, let me see. You might do another one as well. Maybe it contrasting character shape. I'm using a very light sort of CPR colored pencil, so I'm going to go over these rough drawings next with my lead pencil. But this is just a very rough way to sketch out to sketch out my initial ideas. Then we do were more the captain guy. I've done this character over and over again. So you might be completely bored off seeing me draw this character guy, uh, this pirate character, but it's just that it's an easy one for me to draw, So I think that's why I kind of four back on this quite often. Okay, so now that I've got a extra an extremely rough drawing down on my page, I'm going to switch over to my lead pencil and start to draw it again on day. Obviously, there's not a whole lot of detail for me to work on, but at least in my mind, I've put down a guide. I put down some basic shapes I'm gonna follow. I'm just using my pencil to now redraw that, Andi, I'm actually Morris making it up as I go, but I feel like I've got some kind of a basis on which to work. As I said, I'm going to talk it through a much more detailed process later on eso don't if you feel like there's, you know, some steps missing here, just bear with me and we'll get to that in the character design video later on. As you can see, I'm just kind of winging it a fish. Andi making it up. But I did want to point out that when I'm working with pencil and paper and I try to vary my line, work a little bit, so I'll draw a little bit lightly in some areas and then a little bit more defined and heavier in other areas. This goes This is good practice because it makes your lying work a little bit buried, and it helps you to practice good clean line work as well helps you to gain confidence in your line work. So this girl has his hands on his hips, and I'm just blocking in some shapes for the hand, following the shoulders through to the other side, drawing this arm who goes out to the elbow and then comes into the waste again like dash so simple basic shapes, blocks blocks of shape. Really, The idea for this process video is to show you how to scan your drawings in. So with that in mind, I don't necessarily need to make a fully finished, fully defined drawing on paper because I'm scared going to scan this in. There's an opportunity for me to rework this info to shop and to tidy it up at that stage. Okay. And he's gonna have a little sort of fish, maybe No shoes. Just We see his toes on his feet like that. Men, little skinny legs. Right. So I'm going to move on and do just one more drawing the girl only work up to characters on This is the, uh this is the pirate Captain. He's going to be his eyebrows. I like to try and get the features down the main features of the face so that the rest off the shapes the rest of the body can you know, the rest of the head conferred around dash once I got the face worked out. Then I feel like I know pretty much more or less for the rest of the drawing. Needs to go. So he's got a big moustache. He's got his big captain or pirate hat, then his very wild, long beard. I'm gonna indications shoulders draw his arms down coming down. This went on forward. But the overall proportions are going to keep his his feet quite small and he's wearing boots. So the idea is that, you know, the main shape of this character is this big round belly, and he's got sort of small legs underneath little tiny feet, and then his other arm just goes there like that. So just finish off the beard. My word, word too much more on this drawing. Just want to get it to as close to finish us possible. That's pretty much it. I'll leave it there for these two drawings. Andi. Then in the next video, I'm going to show you my process for scouting them in in order to be able to color them, or at least refined them in Photoshopped. So join me for that in the next video 4. Scanning your Artwork: So let me show you what I would do if I was to scan this drawing in. First of all, I would they face down on my scanner. So this is my particular scanner that I'm using. It's part of my printer. Then I go over to system preferences because I'm on a Mac and I open up printers and scanners. I'm going to click on scan and then open scanner. So once the scanner is warmed up, it gives you this overview here to the left on, just to be sure, I always click and drag around the image that I want to get scanned pretty much the same as the whole page. Um, you can leave it at color on. But this is where I would change from anything low like 75 to 300 d p. I. Then you've got a choice of where you want to send your scan to. You can choose other if you want to put it into a specific folder. But for me, documents is fine. The only thing I will change is this. I don't want it to be called scan, so I'll just type in the name of the file on a quick scan, So that's how it's going to be sent to my confusion. If you don't have a scanner, you can just take a photo with your phone or with a digital camera on. Send it to your computer that way. Okay, so now that the drawing a scanned in, I'm going to bring it into Photoshopped. Tweak it slightly so that it's ready to work with in digital drawing software it like Photoshopped so you can just drag it down into your application on the Pops Open like that . And now it's come in disorientation, so I'm gonna go to image image rotation. Andi rotation. 90 degrees clockwise. What I'm going to do is try and just increase the contrast, make it a little bit darker. Maybe delete out the this these lines, which I don't need, because ultimately you want to do one of two things you want to either read role. This sketch in photo shopping, mega digital drawing, using this as a guide or you want to keep your line work on color underneath. So with the background layer selected, I am going to just do a couple of very slight adjustments. Andi you can play around with these as much as you want a whole load of different ways off increasing the contrast on your drawing. This this is just the kind of work flow that I usually do. I increased the brightness sage about there. Maybe not so bright. Maybe increase the contrast. See what happens. Just click, OK, for now, What I might do is now try and do play with the levels off the image a little bit, so the levels affect the darkness and the brightness of your joints. You can increase the darkness and you can see there. My drawing is getting a little bit darker. I could also just the mid value by dragging that slider incrementally forwards. I wouldn't go in big steps with with your levels, because it's can. You can lose a lot of integrity and your drawing. Like for example, I pushed the whites all the way up there. You see, I'm losing a lot of it. So, um, just kind of experiment in gradual stages with dash click OK, for now, so it's looking a bit better. Another thing that you could do is bring up the curves editor to go to image adjustments on choose curves or command control em on your keyboard on. A very handy way to do this is just to drag the bottom left, graph down and pushed the button top right on up. Maybe ever so slightly. You get the idea. It does pretty much the same thing in this instance as the levels. So now what I'm gonna do is just hit em on my keyboard. Click and drag over this command or control. See to copy on command Control V to Paste. I could not get rid of this back on there, and I will fill a layer underneath it. You could choose the same tone as your page if you wanted G on your keyboard. It's not gonna be exactly the same because, um, the paper has different shades throughout that's close enough on. Then drag that into the middle, just it slightly. And now you're ready to, as I say, either paint underneath this or read George. So if you wanted to redraw this image, just create a new layer above your drawing. Bring the I would bring your pastie of the slayer down a little bit so you can see what you're doing on literally go in really super close on with a brush. Just start redrawing with a much cleaner, smoother line. But because you've got you're rough drawing underneath, it's gonna be very easy. So that's one way. If you didn't want to do that, if you wanted to keep your original pencil work and you want Teoh paint underneath fish, let's say we want to give him a skin tone. I'm gonna paint underneath this. But in order for the paint to actually show through underneath the nine work, I need to change the blending mode off my drawing layer to multiply. So basically the layer that you're scanned drawing is on. That needs to go to multiply, and that way you'll have your line drawing. Now. If you want to do that, you probably have to practice image a lot more so you could go to image adjustments on Bring up the hue saturation. I would bring the saturation way down on the lightness up a little bit, and then I would go back into my levels on very slowly. Just start to drag levels two twice levels to the left and there you've gotten rid off pretty much most of the the page. And now you can continue to work on the layer underneath this and paint away. Okay, so those are just some basic options for you, for scanning your or gain on preparing it in photo shop. 5. Intro to Drawing Characters: So for the next few videos, we're going to look asked conventions and techniques for drawing characters either for animation over story boarding. I'll just show you the way I set up my document and Photoshopped so I'll just open up photo shop on, go to create new, and then you can choose either previous presets or a set off saved presets or ones that are specific. Jeff, OSHA or print. I usually do something like I'll go to over here and I put in 10 80 by 1920 that's pixels. And that's simply because that kind of resolution matches the screen, according that I'm doing. But if you want to, another handy tip is to either choose, go over to print, choose leisure or a four and just flip the orientation to horizontal it creation. And then you got a nice, big wide canvas to work on. So the first thing that I always do is I create a new layer above this background there. As you can see, this background layer is locked. Now you can unlock us by simply tapping on the padlock, but it is already filled with white on what that means is if I do drawn us, you know I can't access that, uh, those marks at all the way I can if it's on the top layer. So if I just undo that on drawn the top layer, you can see that I can actually just access that line alone, which is actually very handy. So I do that and you can even delete that they are all together if you want, But it's nice to have back on layer to work on top of now. Some people do not like to work on the stark white background on what you could do is maybe change up the color. So I've got a color down here that's, you know, maybe somewhat, uh, paper ish color. Andi, if I go to the bucket to and tap into their that was be a nice toned background to work up work on. So a handy thing to do is to locked out here again just so that you don't accidentally drawn us on, just come up to the layer above us to start drawing. So in the next video, we're going to get into some conventions on some techniques for drawing characters. There's definitely a session conventions that you can follow on. A few are trying to increase your drawing skills and trying to ramp up your drawing skills . Then knowing about these simple techniques, these simple approaches to drawing figures and to drawing characters will really, really help you to get good at drawing animation characters, So I'll see you in the next video. 6. Shape Language: in this video, I'm going to explain some of the shorthand conventions for drawing characters on that you can apply to your story boarding work to your concept, design work on toe animation. So what I'm going to talk about is going to apply to stylized characters, not realistic looking characters. Because for the most part in animation, you were working with stylized designs, stylized characters and environments for a number of reasons. One reason is dash. Stylized characters are easier to draw over and over again on, therefore, they're easier to animate on their easier to pose out. So to start out, I'm going to explain what shape languages and how that is used in animation and story. Boarding shape Language is often referred to as being really important in your designs, because shapes communicate ideas. So that's crucial to character design. Because from the very outset, the actual shape or design of a character goes a really long way to telling the audience something about that character, giving them a bit of inside or some visual accused about their personality and even about their back story. So it's really crucial when you sit down to draw characters or to come up with characters for yourself to think about their shapes on what the shapes say about their specific personality. Here, I've got three basic shapes, probably the most basic shapes in design. You've got the circle to square on the triangle on shapes are actually more universally understood than colors. Now. Colors can mean different things in different cultures, but shapes pretty much communicate the same idea across cultural boundaries. For example, a circle, if you think about you know shapes in nature, ran fluffy clouds or round flowers or even the sun in the sky. All of these shapes, uh, convey ideas that are safe, comforting, friendly on that you can use to your advantage in character design equally, a square has a specific set off connotations. If you think of a square on, do you look around you, you immediately think of you know, strong, immovable, sturdy objects like buildings or great big granite blocks, and a triangle can imply edginess. It definitely in nature can imply danger like a spiky hedgehog, or even think about a cactus, you know, um so edginess and spiciness on da Dangerous. This is often associated with it, with triangular shapes. But there's another important aspect to the triangle that you can use in character design. And that is that it can convey, you know, unbalance where I should say imbalance. If you have a triangle that is balancing on one of the apex is then on. Do you know that is that shows you that this character is probably unstable, unpredictable? All right, so what I'm gonna do is take these three shapes. I'm gonna start showing you how to extrapolated how to draw ideas out of these shapes, two character designs and let's start out first of all faces. So for each of these three shapes, I'm gonna draw a face. Based on this particular shape, A round shape is very easy to draw character faces. You just draw circle on eyes and brown noses, and then for a square, you have to think known in terms of more blocking nous like a block a block head, um, things like cash, like square square head on, sort of sturdy shoulders. So you just start up drawing the shape and then build the face and the features up around out. These are very rough, by the way. I'm not making any character designs. I'm just warming up and loosening up and showing you how to just throw down one basic shape and build it up from there. So what I always do is just indicate the eye line on the nose and mouth so that I know whereabouts on the shape the features are and then start to build characteristics up from there. Okay, so for a triangular face, let's see if just jot down a triangle like this and throw nose and a couple of eyes onto their, and that's already quite a interesting looking character. So just practice with this, like through draw your basic shape first in a couple of different ways, and then just start to build it up by placing features on onto that shape and seeing what you can come up with. Okay, now you can take it one step further and start using these basic shapes to build out a whole character. So if you were to start with a circle again, just sketching out really rough and loosely will be round oval shape. Now, obviously, with brown circular shapes like this, the character that most immediately springs to mind is a rotund character. Jolly figure like Santa clothes or something rash. I just work with that. If you can had on legs, you really don't have to make any details at the stage. These are rough ideas, rough concept sketches. If you just indicate where the limbs are, you know, and try and get work trying to practice drawing in this way, drawing really loose and rough. You'll have loads of time afterwards to refine your ideas on to draw in the details. Okay, for the Slough circular character, I'll try and make a female character. So this could be pretty much the entire mass off the body, really? And I could just even stick a couple of tiny feet at the end here, and that would be fine. And then on top, circular re ish kind of face. Maybe she's wearing a scarf over her head and she has a apron on and carrying something in her hands just like that. Okay, so I'm going to do this for the rest off the shapes for the square and for the triangle. I'm going to select thes and reduce them down. I'm gonna hide that layer and add another one on top of us so that I can continue to draw large and then I'll scale them down. But I want to show you at the end of this how all of these characters look in a lineup. So I'm going to move on on, sketch out some ideas for square and the triangle, and you can follow along with me. That will be great. And hopefully you've got some much, much better ideas than I do. And you're able to make some really cool, interesting characters from these basic shapes. The idea is that you're just joshing down visual ideas, so it doesn't have to be perfect or amazing on. Certainly it doesn't have to be detailed. Those are my square shaped guys again. I'll just, um, I'll shrink them down, command or control T for the tree transform, too. Reduce them down, put them out of the way, and then I'm going to create another layer. Then I'm gonna hide those two layers and put another layer on top and just do three more drawings for the triangle shaped characters. - Okay , so now you can see that I got all of these characters done that didn't take me very long. It'll maybe 10 or 15 minutes. See, using a shape, a basic shape to start out your drawing or your concept. Ideas for characters is really easy. I hope you have seen that it's really easy. Um, so that's one important thing to note about using shapes. But there is another important thing that I want to explain on that is that if you do use shapes like this in your designs, you're able to add variation within your designs. And that's one of the key things. So if I were to show you now, if I just grab, say, three random characters from all of these, I'm gonna put them all onto one layer and get them into a bit of a line up. And then I want to. I might turn this guy so he's sort of looking over to the right, and then I'm gonna silhouette the marsh because I want you to see how, if they if they're still awaited out like this, they immediately register as distinct and separate characters. There's no confusion. They all look totally different, and that's what you want in your character designs. You want variations so that characters can be distinguished from each other. They don't all look the exact same. They've got variation when they compare one against the other, and ultimately you want tohave variation within a particular design. So think about using a circle and adding a triangular head or a square head. Think about using square and adding a circular head, or think about using a triangle with a square body in the next video. I'm going to talk about how you can now start to pose your characters and why posing is so important for drawing and animation and story boarding, plus some really easy and simple tips on how to get your poses to be really strong and dynamic. 7. Character Poses: in this video, I want to talk about how you can practice drawing dynamic poses. This is for good storyboard drawing as well as for animation on illustration in general, so oppose is the way that a character stands, or the way that he or she doesn't action. And the reason posing is so important in storyboards is because it tells the director Theano Major and anyone else involved in the process, how the character is moving within the scene. So you might think, while isn't that really the job of the director of the animator to determine how a character moves around? And the answer actually is not always, it's actually more often the job off the storyboard artist. If you draw compelling pose in your story boards, then hand it off to the animators. The animators will know exactly how to animate that character. If that makes sense, so you're drawing will indicate the action. It will indicate the emotion on. Sometimes it will indicate the acting off a scene, so being able to draw dynamic poses is really, really crucial. It's one of the most important aspect off an animation storyboard artist. What I'm going to do is take this idea off, using a basic shape as a starting point for a design on. I want to show you how you can understand this in terms of structure, because getting the structural eyes is what is going to be the one thing that will allow you to draw your design in any pose that you want. So right here I've got this basic round shape. I want to show you how to build a 3/4 view. So imagine that we're seeing this character from a 3/4 frontal view thinking of this in a three D since rather than as simply a flat circle, I can estimate that the shoulders off the character are here on Dhere. So just imagine for a moment that this is totally see through, so that one will be over there on that side. And then the hips are here on this one here of one there. Now I can draw on arm extended out like this because it's coming straight from the shoulder . Um, it's coming towards me a little bit, and I know on the other side exactly where the arm is going to be, because I've identified where that shoulders. So then I'll just draw in sketch and really quickly the head can go there. Now, In this case, the head kind of slopes down towards the shoulders so you don't really see the neck. But getting the shoulders mapped out is so important, Andi Equally. I know exactly where the legs go. Since they come straight down from the hips, You want to know where the hips are and where the shoulders are here and here. Okay, So, looking at this, I feel that the head might be slightly off if I draw a straight line down the middle of my design. I think that's the center line. You can see that it looks like the head is slightly back. It's actually probably fine in this case because I would think that his round barely sort of offsets Nash and balances him out a little bit. But I'll make a slight adjustment, move his head forwards. Okay, so that's how you work out your structure, how you understand where the hips and the shoulders are, and then get that violence within the overall figure. Now, remember that this is actually in perspective and I'll show you what I mean, if I draw a cube around this character, you can see that we actually are seeing part off the side view as well as the front few at the same time. You can see if I turn that layer off what I mean, so it's not perfectly drawn, but you get the idea now I can draw this guy in different poses because I know the structure. So let's say I wanted to draw him bending over to pick something up off the floor so I'll start off with the big grown shape and put the hips in where they would be. And from here I can draw the legs. So this leg is not going to be all that those books. It's on the other side of him, and I'll do the same thing with shoulders and then the arms. It's so easy. I don't think you can go wrong once you get those things identified. Hips and shoulders. So let's do another quick sketch that say, this time he's running at speed. His head is going to be flung back like this case, he runs forwards. His one hip is going to be going forwards like this, which means the corresponding shoulders and arm it's going to be going back in that four leg is going back. Let's say he's in mid air running. He's not even touching the ground. And then that far arm can go forwards like this. And there you go. Theory is running really, really fast, so you can apply this idea off structure to all of these basic shapes. Obviously, the square shape is the easiest one to understand because it's a very solid. It's an easy structure to see in three D. So let me show you how you can build it up. If you would just identify hips and shoulders first. So draw your hips and shoulders in just like this as round circles with the line. That's the shoulders. And then one thing to know is that shoulders and hips always contra pose each other. I don't know if I've just made up that word contra posed, but basically, if the shoulders are one angle, then the hips will always be at the opposite angle. It's kind of like you can think of an accordion. One side's going to be squeezed in, and the other side's going to be long. Once you get that down, you can then build up the body around us on this leg will be bent like this. Okay, so let's draw the same thing with triangle shapes. Let's say we're drawing a female character. And now if I choose a blue color, this is where her shoulders are here and here. Since the hips are here and here now, if you're struggling, you could always start up with the front on pose. If that helps you to understand the structure better. And now with that worked out, you can draw her in and much more dynamic post. So let's say that well, Drew, do another quick sketch. Say she's leaning on something like this so that one shoulder is higher up. That's gonna throw her hips outwards like this one hip is going to be higher than the other , and that means that, say, one leg comes forwards. The other leg is going back. Then, once you've got your rough sketch worked out, you can go over that and refine the drawing and add more detail on and, you know, make it more fleshed out. So join me in the next video, and I'm gonna show you how to get really good at making great facial expressions. 8. Drawing Emotion: by far the most important aspect off the characters pose is going to be the facial expression or the emotion. And in this video, I want to show you that it doesn't have to be difficult to draw emotion or your story boarding or animation. In fact, there's a really easy way to get facial expressions, right, And that is Teoh. First of all, keep it very, very simple and then to use some standard animation conventions or short hands. So what I'm going to do is that's first of all, I'm gonna write down a few emotions that you're most likely to be called upon to draw as a story artist. Obviously, things like Happy said angry, Maybe right on, and maybe fear something like that. So now the first thing to do if you're trying to draw characters emotion is to basically just make a rough sketch off the most immediate aspect off that emotion. Then later you can build up your character around us, so I've jotted down these words. What I'm going to do is quickly drawing the most basic indicators of each of these emotions . When you're doing this, think off like Emojis on your phone When you're texting, all you need to see is the eyes and the most, for example, happy. The absolute basic thing that conveys happy is a big smile and bright eyes for sad for the sad expression. The shorthand is going to be to angle the top of the eyes like this, to imagine that the Iraqis are pulling down at the ends and sort of angling up at the top on Baby, the eyes were looking down like this. If you think about the idea off, sad inside does everything kind of drags down the most included for angry. Think about how you feel when you're angry. Your eyes sort of get really laser focused so you could sort of have the pupils right in the middle like this on. Then what you're gonna do is angle the eyebrows downwards towards the middle and the most. If you really want to push, the design is, you can show the teeth because, you know, we sometimes tend to clench our teeth when we're really, really angry, and maybe only show 1/4 of the most again. It's just like the simplistic emerges at the stage. Your just keeping it to three elements. The eyes, nose and mouth. That's all you need to drop to draw right now for fright. Let's say the character got a right. Well, with that, you're kind of reeling back or pulling up in away from the thing that frightened you. So I'm even going toe angle the eyes a little bit like this. The eyebrows like that. And then the mouth is kind of drooping down, but open a little bit in a gasp or shock expression. Now I might actually change the pupils to be really tiny pinpoints, because even the pupils are contracting here in fresh okay and on to the last one. And I just realized that I put fear down for the last one, which is actually more or less the same as frightened. So let me just rather do a different emotion altogether. Say something, actually, like laughing out loud. That's a good one to do because it's mawr extreme than happy on. It's actually a different drawing. So let's do that. We're laughing. You could maybe actually closed the eyes altogether. Just have to lines like this, showing that they're closed, have them shut tight, and then a big open mouth may be showing just a line of teeth at the top, the inside of the most like dash. And these two Greece is showing that the cheeks are pushing upwards. Okay, so now a good A. So a good idea is to jot down these emotions, only working with the eyes, nose and mouth. And now, once you've done that, you can apply these expressions to your character. Let's say we're working with a very generic character of a boy. Um, this is going to be his neutral position right here just to start out with. I'll quickly sketch the basic shape of the head, place in the ear, the eyes, his hair is gonna go up in, around and over on. This is a jawline and cheek, so it's a very neutral position. Generic kid. That's easy enough. Now I'm going to draw the same face, but try and make him look happy, so I'll start out with the same overall shape, the underlying structure of the character, and then remember the characteristics off the simplified emotion of happy. Our big guys sort of looking up on a big smile with the cheeks being pushed slightly upwards. So you get the idea. Just work through all of these emotions by first drawing your character structure really lightly and then apply the shorthand or the conventions off that emotion onto the facial expression. Then you can go back in. Tighten up your drawing so that the character stays on model on so that it's clear that it's the same character. Remember, for each emotion, there is a kind of oppose or a posture to the drawing as well. Like angry could be coming towards you. Maybe you want to draw the shoulders hunching up around the ears. Fright is leading back, so maybe the characters entire poses sort of leaning backwards. And maybe the face itself is pulled down, so it's stretched a bish for laughter. Maybe the character the carriages faces a bit squashed up. Um, the cheeks can push up towards the eyes. All right, so it's over to you. I want you to to draw, write down a few emotions on a sheet of paper or in photo shop, and then spent some time to try and distill that emotion down just to the eyes and the mouth. And how could you describe that emotion. If you just had to use eyes, nose and mouth burst. And then once you've done that, see if you can apply that simplified version onto a character space and give pose on the whole character that sense of emotion. 9. Creating a Character Pose Sheet: after emotion. The next important thing to practice is drawing, posing. I've talked a lot about character poses, so in this video I want to show you how to work out a character's physical dynamics through different poses. So what I have here is this is just a rough lineup off character ideas for my pirate story called The Metal Queen. This is going to be part of your overall class project towards the end of this course, where you get to storyboard the script. But this lineup here is something that you often find in an animation production, So these drawings are still very rough. They're not cleaned up final line work yet, but what I want you to do is to pick out one of these characters now on and create, opposed to eat. So oppose sheet is where you draw the same character in a number of different poses. The reason you do that is to explore not only the range off motion and action that the character conduce you, but also to explore whether or not your character design is actually working. Whether the underlying construction is something that you can work with in order to put this character into different poses. So if you got your own original character that you'd like to work on, then I really encourage you to do that. Just take your character on, put him or her into completely new, dynamic, different poses on see how many you can do. But if you don't have your own character, then you can take one of these drawings here doesn't have to be the same one that I'm going to do. But take pick one on, Try to work it. I was the way that I will show you now. So for me, let's say I'm going to pick this the captain character. So what I'll do is just copy this drawing in creation new canvas over here. I'm going to paste amid so very much like the facial expressions in the previous video. This drawing now is his neutral pose. So put him over to the side, and now I'm going to freestyle some dynamic acting poses, and this means drawing very rough at first as usual. So let's say I'm going to draw him kind of rallying the troops or calling the crew together to sort of head off on go into battle or something like that. Uhm, I'm going to start at this pose with his head and again simplify the shape first and get the direction of the head with his eyes and his his nose. So that's all going to be looking this way. This is his beard. So in my mind, I see this pose. I see his head is facing this way, but he's going to be sort of turning on, sort of as if he's heading off towards the left. So I'll just simply draw the shape of the body and the leg like this like he's stepping upon to. Something on this arm is going to be up, so I'll draw that in there on. I'll have this other arm sort of motioning for the others to join them. And now the rest of the drawing is really just a matter of filling in the clothing, working out how it moves around the body. I think the overall motion off the pose is fine. I'm trying to keep the basic elements the same, the same volumes and the same construction and that's it. Um, I'll. What I'll do now is ah, leave it as it is not gonna work on this anymore. Just scale it down. I'm going to move it out of the way on work on a few more poses. So for this next one, I thought about wanting to draw him sort of in mid stride like he's walking along. His hands are up, Um, so as I draw, the overall direction of the pose is going to be leaning back like this. His arms will be up in the air. That shape off the big round belly is is so important to get down on. I can work out the details of the costume leisure, and then let's say he has one. They're going forwards and one like going back. Now I can zoom in and work on the eyes and the nose and get some expression going. It's really important not to zoom, and too much when you're drawing like this because you're more likely to get stuck into drawing details on what you want to do is just released a rough and loose on. To do that. It's always best to draw your poses while you're zoomed out and you could see the whole posed in one go. Then again, when I'm done with this, I just scale it down. Move it over to the side and I'm gonna work up maybe two or three more poses. So you get the idea. You can use emotions such as, say, surprise, anger, confusion or laughter. Things like that. You can use them as starting points or springboards for your ideas with oppose if you want , or you can simply is just start drawing your character and see whether drawing itself takes you. So I think that's really what I mostly did with these drawings I managed to get. I managed to let the pose emerge as I was drawing the character and does in itself was actually a really good exercise in drawing dynamic, interesting posts. You sort of started out really rough. You don't have any expectations of where you're going. But as the drawing starts to take shape, then you follow the follow that really and see if you can come up with an interesting pose by the end of a buys half on hour or an hour. I think I took a break in the middle of these drawings, but not that long of a time I was able to come up with a page of drawings for one character . So if you wanted, you could then clean these drawings up even color than maybe on then you'd have a great pro sheet ready for your portfolio. But the main reason that I wanted you to do this exercise is so that if you are ever given a model sheet to work with or a neutral character to sign, then this exercise is really good for helping you to draw your storyboards. It's something that you could do either to warm up before story boarding or as a way to actually build up a library off poses that you can work with. Dried the boarding process. You can come back to the sheet and see how the character moves and acts, and then apply those poses into your storyboard panels. 10. Blocking in Backgrounds: in this next section Videos I'm going to take you through the process of creation environments and backgrounds on this will not only help your story boarding skills, but it will also give you additional animation production skills because, like character design, background, art and layout are actually distinct skill sets that you can specialize in if you do go on to working in the industry. First of all, I'll just defined the terms of fish. So a layout is finished locked line drawing, and by locked I mean that it has been approved by the director. Very often, a layout artist will take a really rough drawing that the storyboard artist did and scale it up and make it into a proper finish line, drawing for the production art On. Then that line drawing will go to the background artist or the color stylist for coloring. But more often than not, the background artist is also the layout artist, so the background artist will take thes storyboard panel draw that aired and complete the final coloring or painting. So if you're interested in creating background art and paintings for animation, then what you need to focus on is getting really good at drawing in perspective, drawing details in environments and things like that. I'm going to make a separate, dedicated course on environment, art and background design on In their course, I walk you through the process, step by step. For this course, though, we're interested in learning how to draw scenes in order to get your story boarding to a much more professional level. So what I'm going to show you of the next few videos is going to help you achieve exactly that. The first thing that I want to talk about in this video is how to use blocking and shading to start your process to start your creative mind. Visualising the scene on helping you to work out of compositions instead of jumping right in with complex perspective grids and routers and flashing things, I always start out rough. Sometimes it's really hard to actually just visualize the scene if you start drawing straight lines straight away. Whenever I'm stuck, I literally close my eyes. Imagine the scene that I want to draw and then use very big blocks of tones to work out where the elements within that composition will go. I've made a new campus and photo Shop s Oh, this one is 1920 pixels by 10 80 pixels, so it's big enough to draw a large rough drawing. The next thing we'll do is hit em on my keyboard fourth e marquee selection tool, and I'm going to click and drag out a rectangle. Then I'm gonna go up to edit and choose stroke. And in this box here, I'll change the width off the stroke to about four pixels. The color is already black, so I'm gonna leave it that in his okay, and then I'll hit command or control de to de select. So basically, I've now got that rectangle has been created on my background layer, which is locked, and this is I do this simply to give myself a frame to work in. So I'm not just starting out on a completely blank canvas. It's very useful to always have a boundary of braving boundary. I'll create a new layer above the locked layer and then choose a big, soft brush. There are these air old Defour brushes within Photoshopped 2020 but I'm choosing this one that I actually downloaded the whole set of Russia's Rahm adobes website, and I'll leave these brushes for you so that you can have them as well in the download section. Now. When I was making this video, I tried to think off examples for background art that I could work on to show you the process. And I thought about using, like, a standard fairy tale as an example, something like Little Red Riding Hood. Because we all know that story. We're all familiar with us. So let's say that you've got a script off Little Red Riding Hood and you need your story boarding at the whole story on. You need to draw a scene for the grandmother's house that's in the woods. Okay, now what I would do is I take this brush and very crudely block in like suedes of tone. I'm not drawing any details, just blocking in patches of tone. I know I want something in the foreground. I'm going to put my I need cabin, obviously for the woods, some open space. A big tree in the foreground trees may be and Foresti elements in the background, and then I can just shaded in a block in tonal values. I know you're thinking this looks absolutely terrible, but bear with me. The next thing that I'm going to do is over here in the layers stack. Gonna drag the A pass ity off this layer down to about half 50% and then add a new layer above it. Now, back over on my campus, I can switch brushes to something that's a little bit more linear. Andi, start working out some of my ideas over the tones and the shading. I'm just going to sketch in those compositional elements that I was thinking about so very roughly drawing in a cabin. We're here. Maybe it's got a porch that comes out like that. I'm not gonna get into any details yet. Nothing at all. Just trying to keep it loose. The idea is that I'm using the's tonal values that I put down in blocks to guide me towards creating something more defined, like the trees, for example, or the rise of the hill in the foreground. Maybe I could put some rocks in as well. Andi, just populate the forest in the background with tree trunks and the free canopy. So eventually, when I get to a certain point on, then merged these two layers together, and I can repeat the process here if I want to bring the capacity down so that I could make another layer on top and then just refined the drawing a little bit better. Now that I'm understanding that the compositions working on I'm getting to know what details on what elements I want to pick out within the composition. Okay, at this stage, I don't want to make a proper final drawing. It's still explored. It's still exploratory, for example, that cabin. Maybe I could make this a bit taller. Maybe make it have more of a defined porch. Make it more structured. I'm not sure I mean to me at the stage. It's looking a bit too big within the composition, but I'll see how it goes and maybe change it later. Now, this tree and this rise in the foreground. This frames the middle section. Andi, I had some shading back in on Dhere. I'm really just switching between the big soft brush for areas of tone on the smaller charcoal brush for line and details. So, using blocking and shading to start out your background artists always a really good way just to get unstuck. You don't have to be tied down to any part of this drawing at all, because it's all moveable at the stage. It's all really rough. You're just experimenting with elements on with the composition. Okay, Now I am going to change the house because I don't really like the way it is. It also actually just delete it out altogether and read Horsch. I wanted this to be a kind of a typical woodsman cabin. Maybe with some steps going up to the front porch. Andi, I wanted to have a really big pitch roof like this. Okay, that's looking much better. Much more cartoony. Andi, that's the end of my rope phase on this on this drawing. And this in itself could be part of a storyboard. Um, you know, depending on the style of the show or the storyboard that you're drawing, it doesn't have to get more detail than this. But if I wanted to, I could take it one step further and draw a more cleaned up version. But let's just switch gears for a minute. Andi, I wanted to show you what it's like to draw an interior because sometimes landscapes. Foresti backgrounds are kind of easy enough. But what if you wanted or you were called upon to draw an interior? For example, I've got my pirate story going on with my pirate character, and there's an interior shot off the captain's room. Well, I could do the exact same thing. I'll start out with blocky shading. I know I want a desk in here, those kind of interior Schiphol structure things and a black and also a back window. And then, obviously, I want something in the foreground for framing. I'm not even sure what this is at the stage. It's just blocking in some tones. Write something in the foreground, on the left and on the right. And then again, I'm going to lower the capacity off this down on. I'm going to draw over this and try to figure out what each of these compositional elements could be. So the desk is good. It's straightforward. That's fine. There's things on top of the desk. Um, put a chair of the back on those kind of very ornate ship windows that you see at the front of a ship and then these rib like structural beams for the curve off the ship. And no, just that I'm not even considering perspective. Yes, I'm really just working out how things are gonna look and how they're gonna fit together. I put a nice wooden barrel. That's always a great compositional element. No matter what, the story is on the sea chest and obviously some rolled up maps, very piratey looking. So at the stage, that's a good enough rough drawing. And I think I'll leave it at that. So if you're stuck when it comes strolling backgrounds or scenes, try this method of starting out very loose, very scribble e even and work out your elements of broad strokes. It will really help you to free up your visualization as well as help you to draw really fast and dynamic in the next video. I'm going to look at the all important aspect of perspective. 11. Fundamentals of Perspective: in this video, it's time to talk about perspective now. I covered perspective in the other story boarding courses, so this really is going to be a simple refresher. But I did want to point out some important things that you need to bear in mind when it comes to learning how to draw in perspective. Because some of these points, um, have been raised by students in those other courses, and I thought this would be a really good opportunity to address them. But first of all, let's go over exactly what perspective is and what aspects of perspective drawing You need to master as a storyboard artist. So as a board artist, you are going to need to know how to draw in two main types off perspective. Drawing the 1st 1 is one point perspective. This is where you just have one vanishing point on the horizon line. You can think of this horizon line on the vanishing point as the direction that you're looking in, so in this case you're just looking straight ahead. You're in the middle of the frame or the viewfinder, and your eye line or camera is about slightly higher than the midpoint. From this point of view, objects in your frame will visually become smaller. The further away from you they are the close of the object is to you, the bigger it will appear in the frame. And in order to draw that scale off big to small weaken, just use a grid. So we make a grid by using radiation lines coming out of the vanishing point below the horizon line on brothers. These lines are going to be our guides for the scale. All the objects in our scene, the way I'm drawing these, I'm just tapping the brush in the center and then holding shift, holding down the shift key on my keyboard on topping the brush at the outer edge that will give me a straight line. Then, to complete the grij draw parallel lines going also from in front of the frame towards the horizon. You already start to get a sense of depth in your frame. Now, to draw these nine straight, you can simply hold the shift key as you draw from one side to the other. Now that you have your grid, you can start to fill in your drawing by following diagonal lines and parallel lines. So let's say we're drawing a city street. That's the easiest thing to visualize in this way. Just follow the grid, draw rectangles like this. These are going to be the buildings on. What you're seeing is you see one side of the building that sort of goes towards the vanishing point. The front side is parallel to us, to the viewer, to the picture plane or to the camera, so it doesn't measure how big or how small your buildings are. As long as they follow the grid, they'll be represented to scale correctly. Like for example, let's say there are some streetlights lining the road. All of these are the exact same height. On in perspective, the ones that are furthest away are smaller than the ones that are nearer to you, so that's straightforward enough. The second type of perspective that you'll be called upon most to draw as a story of or artist is two point perspective. So let's assume that we're looking at the exact same seen this street scene over here. But now, instead of standing in the middle of the street on looking straight down, let's imagine we're off to the side so that we see the buildings from an angle. Okay, I'm going to draw the exact same, her eyes in line. But this time, in order to draw the buildings from an angle I'm going to make to vanishing points one on the left and one on the right. And before I go any further, I want to make the point now that you should nearly always place these vanishing points outside of the picture frame when you're drawing in two point perspective, simply because if you don't, you're drawing will become really squashed and distorted. So it's nearly nearly every case. It's a good idea to place these two vanishing points as far apart as possible, and that often means placing them beyond the frame off the frame that you're drawing in. No, I've got okay, so I've got one here and here, and from each of these points, I'm going to draw my radiating lines on Now. There's actually no need to draw a parallel lines because each set of these radiating lines intersects on day. They formed the grid like that. Then I'm going to go ahead and start drawing the buildings. Imagine that the street is now running from the right hand side, vanishing point across the screen, coming towards us at an angle like this. So I'm really following the grid completely to draw these rectangles. Each side of the building now goes towards one of the vanishing points. There's no parallel side, as we had in one point perspective, but the same sense of scale is still working. As things move away into the distance on the right, they become smaller and smaller. And similarly, if we were able, if the left hand side was visible, then we would see that objects or in this case, rectangles will become smaller as they traveled towards the left vanishing point. So that's one point and two point perspective. The next thing, the next two things that you need to know about, um or whether or not your point of view is high, is a high angle or is a low angle. So this concept can be tricky at first, because if you think off ah, high angle, then you might think, or you might sort of visualize that you're looking up at something, but actually you have to visualize that the camera or yourself. You yourself are up really, really high, and your new point is looking down. So then you'd be looking down on something so the horizon line and the vanishing point is up high. Let's put the vanishing point off to the left slightly. I'm using one point perspective for this example. Now let's say the scene that we're drawing is a table in a room. I'm just going to follow the grid, draw the table like this, and I'll even use the grid to draw the floor. Andi indicate the floor plane on the walls. A good way to remember about how to draw high angle is that you always see the top of things when you're drawing that angle. So, for example, the top of a chair or the top of the table for a low angle. Think off yourself or the camera as being low down almost on the floor, and it's looking up, so your point of view this time is upwards. If you were to draw the table again from a low angle and followed the grid, as you can see in this angle, we're actually going to see the underneath off the table we don't see the top. So that's the way I always remember. How Jodrell Low Angles is that I'm not seeing the top surfaces of things on seeing things from underneath. So these four things one points perspective, two point perspective. Whether it's a high angle, whether it's a low angle, these represent, I think the most important concepts that you need to understand to practice and to apply to your drawings. I've had students now asked me how to draw. Why are we not drawing? You know, those extreme angles using three point perspective, looking completely down on something or looking way up like the shots that you see in Spider Man or action movies like that on this thing that, I would say, is that most off the time, students who are looking to try and draw extreme down shots with complex, multiple vanishing points haven't yet master or even understood a simple one point perspective drawing on. I'm mentioning that not to be critical, but just to point out that you really, really do need to be able to understand and draw a simple one point perspective, drawing before you can go for something that's extreme, complex three point perspective. If you really, really want to draw complex shots like Dash, but you don't know how to drill one point perspective, you'll never get it. Rice. So you have to understand one point in two point perspective first, and then when it comes to drawing three point perspective or extreme down shots, extreme up shots, you'll be able to draw them without having to be taught anything, because these four things first of the simple building blocks. So I really wanted to mention that, and I hope it makes sense, and I hope you understand where I'm coming from also, the other thing I want to talk about perspective is that you need to think of perspective in terms of story points. There's simply no needs to draw an extreme down shot with three point perspective if the story doesn't call fresh. So I know in something like Spider Man, obviously the guys swinging through the skyscrapers off New York and yes, you will definitely needs that kind of those kinds of shots. But think about when you're making a storyboard. Whose point of view are you showing? Always think of your story point when you're choosing your shots and think of your story point when you're cheating your perspective. So now that those fundamentals are covered, I want to know Jump back into that really rough drawing that I did in the last video. And I want to show you how you can work out your perspective in your rough drawings, so it's really easy process. First of all, when I look at this drawing, I'm going to determine where the horizon line and the vanishing points are now for me. In this drawing, I will look at the rough drawing and I can see very roughly that I was drawing from a point of view where the Horizon Line was just above the middle off the frame. And I know that because I can see a little bit off the top of the desk. I can see the top of the barrel on the chest, things like that. So then I control my grid, and even though I've got these lines on the floor that look as though they're following perspective, I'm actually going to ignore them completely and simply make a grid that is distinct from the drawing. I wanted to be distinct from the drawing at this point in all aspect, except for the point of view. So I'm not fishing the grid to the rough drawing. I'm going to draw my grid in and of itself, and then are fit the drawing to the grid. So once the screeds made a lower the capacity of the mayor, then I'm gonna lock the layer and create a brand new one of publish, then also lower the a pastie down off the roof drawing, which is in this group here, you can actually lower the capacity off a group as well as off just a layer. Okay, Now, over top of this, I'm going to draw the elements that I worked at in my composition. And this time I'm gonna follow the grid. Exactly. So the table, Aiken, work up like this. Now this drawing is still rough. It's by no means my final line work, but this is my next step. If I was drawing this out for a storyboard panel by following this method of working, the most important thing to get right is the floor plane. Once I get that in and I get the walls and the ceilings work on the ceiling worked out. Then I know that the drawings gonna be okay. In this instance, I do have curved walls, but I'm not really going to worry about that just yet. It's more important to get the basic cube shape of the room worked at first. Once that's done, all of the elements can also follow the grid by the chest, the barrels. That's really the basics of how to get perspective working into a rough drawing once you got the construction lines figured out. And, as I said, the basic cube shaped off the room. Everything else then can fall into place if you just redraw the elements with structure now . So this example was intended to show you how to apply a grid to your off drawing. It's not really intended to show you how to draw complex layout because, for one thing, if I was doing that, I should actually be using reference images on for this drawing. I just sort of winged it and made up all of the elements in the drawing. So bear that in mind used this example as a way to understand the process of working out Europe image for your composition first and then applying perspective on top of it. 12. Depth, Scale and Tangents: next topic that I want to talk about is how to tackle drawing with the sense of death and space without having to be tired to draw imprecise layouts. Aunt having to use a prospective grid every single time. Because very often, when you're drawing storyboard panels fast and furiously, you don't really have time to scale up a proper layers or a background design using a grid . But on at the same time, you do want to be able to draw realistically with a believable sense off scale and depth. So in this video, I'm going to talk a little bit about that and explain some conventions and from short hands that you could work with in order to do just that. So I've got a standards canvas here in photo shop on its about 1920 by 10 80 again, I'm going to go over to the marquee selection tool, appear rectangular Marquis and just click and drag out an area like this, go up to editors on Chu Stroke and then his commander control, indeed, to de select. Okay, so that's going to be my frame in which I'm going to draw our lockers and creation. You layer above that. So in the previous story boarding course, I gave an assignment out to students to test their ability. Your ability to draw with depth and scale on the challenge was to draw a farmyard scene, using some simple elements, such as a barn. So I'm just gonna quickly sketch in a barn over here. Let's say it's got door and that's about it on then, another element that you could use. It was rolling hills in the background. So what just makes him bill is going over like Dash. And then, obviously, if it's a farmyard, it's going to have feels. So I'll just drawing some fencing here. Let's say we see fences coming up to about there would say, This is a gauge and we can have just have the road going off like that. Okay, so in terms of overlap, I've used the hills in the background. I've used the barn on the fence on that all works very well to create a sense of layered perspective without having to, as I say, go or full on drawing a grid. You concede that this born is following a like very simple treat of a two point perspective without having to work up too much. We can see the front. You can see the side. I don't know if there's windows in a barn. I'm not sure it's just put a window in just to be on the safe side. Now, to take this one step further, I would also suggest that you can give a sense of scale by using two or three similar objects. So two or three things that that are exactly the same on an obvious example of that is using a tree. So over here, if I just quickly sketch in a tree like this, I'm gonna hit, eat on my keyboard, decrease the size of it by using the open square brackets and just take a dash, okay? And just take out that line there, going to switch, hit, be, switch back to the brush tool, finish off the tree. So let's say that tree is there. So we put one tree there, and now if I were to put an element in the foreground like this, the I, The way this works is that the eye is instantly going to read this as a tree, even though we just see a tiny bit of us because there's a tree already established in full view. Back there in the background, the audiences eyes going to know that this element here that we're seeing up close is the same sort of similar thing. It's a tree and that immediately goes a long way compositionally to develop to establishing depth and scale for the viewer. So it's a really easy compositional technique to use two or three elements that are pretty much the same on then, only using part of one because the full extent of the others is already shown on another thing that you can do is having elements like this close to the foreground helps to frame your composition. So in a way, this tree is if you like framing this area here, the branches and the leaves are pointing down towards us because the viewer's eye travels along this tree and into this area of interest. So you could do in this very simple scene you could even do the same thing would say, defense. You could start to scale up the fence and maybe put in. I'm not sure we haven't really quite worked at what that fence he's met. His made of let's say it's made off the's wooden polls and some wire going through. Maybe it's a bit of barbed wire, but there you get the idea. So again, it's just leading the I in as a framing device on its also relating itself. Toothy these far off elements here and telling the audience that this is near us and that's far away. It does sound a little bit simplistic, but I think compositionally it's an important concept to take on board and to try and work into your own, um, your into your own drawings as much as you can. Now some students have asked me where they're using. The concept off atmospheric perspective can also help to establish or describe depth and scale in your composition. Atmospheric perspective is when things that are further away appear sort of leisure, and things that are closer to the camera or closer to you appear darker. You could also think about it. The things that are closer to you have higher contrast, and the things that are further away have Anura contrast, and that's what makes them look sort of lighter in tone. So I personally would say to really only use this for painting for line work. It's not really going to read an exact same way. It will just actually look a little bit strange if you're lying. Work is leisure in certain areas of your drawing and then darker for the things that are closer to the to the camera. I'll just show you what I mean by if I select this section of the drawing so these kinds of elements are in the form in the background a little bit. So with that selected, I'm gonna hit command or control X on my keyboard. Too cautious Off that layer, I'll hit command shift V to paste it in place and an hours on a brand new layer above the top one. And if I lower the capacity down, say to but 60 or even 70% you can see what I mean. It looks a bit strange. It's, you know, I get that you're trying to give the impression that things are are further away. However, for me it doesn't really necessarily work. What I would think would be a much more much more effective use off, giving the impression off depth in your line work is to actually make the things that are closer to you have the sicker line. So elements that are in the foreground like this you could make these things have a bit more of a sicker line, and then the elements that are further away will have a thinner or leisure nine as they move away into the far distance. So for the street, we could just make this line a bit thicker. Not over doing it completely. I mean, you still want the image to have a bit of cohesiveness on readability throughout. But it is nice to emphasize thes foreground elements by using a bit of a thicker line in comparison to the line work that's in the rest of the composition. And this is especially true for things that are repeated. For example, say you had blades of grass in the foreground. You could use a sticker line for your blades of grass like this, and then dinner and obviously smaller lines, as if you wanted to indicate grass as it moves back into the picture plane. That's how I would treat you. I would make things that are further away, have a dinner line on the elements that are closer but more of a thicker and pronounced line. So the last thing that I want to talk about is tangents, and this is something that I didn't make a big point about in the previous story boarding course. But it did come up a couple of times, so I thought this would be a good opportunity to address us. I want to explain to you what tangents are, how you can avoid them in your artwork on. I also want to talk about whether or not they really are that important. So a tangent is a compositional element. Or I should say, it's, Ah, an error in your composition. It's where two lines meet and create a new sort of straight line. It's where they touch, but they don't intersect. So let me just explain this a bit more clearly. These lines here, you've got a line going like this and one going like Dash. Actually, I should put this on a new layer. This line meeting this line is an intersection, so it's not a tangent. Bush. If we were to grab, say, the mountain, the line that creates the mountain if I just grab that and if I want to move it up to they're so Seo Drew by image initially with the mountain a bit higher on this side where the line of the mounted meets the top of the barn that is a tangent would back up to the top layer so it doesn't intersect. The Barnet meets us and creates a new straight line. What this does it is that it has the effect of flattening out your composition. And that's why tangents are deemed to be so bad. You can also see a little bit of a tangent here where there's an up price. One of the uprights of the fence is meeting this line back there that will create a tangent . Anything that intersects is fine. So these lines are all fine. Not really seeing any other tangents here, but hopefully you get the idea. So that is what you want to avoid in your artwork at all times. So now I'm going to tell you something that you don't often hear. But I do want you to understand tangents are actually just very small, insignificant errors in your drawing. I'm not going to tell you if you've made a really good drawing that your composition is bad simply because there's one tangent, they're actually not that big of a deal in terms of your drawing, However, what you do need to know is that anybody else who knows to look out for tangents is going to spot them right away and will inevitably call you out on them. So that's actually the reason why you want to avoid them the most is because you could work all day long on a really lovely, extremely well composed, very detailed background on toe. Have just one tiny little tangent could actually mean that you'll work it sent back for revisions from your art director, your supervisor or your director. So the best possible sort of strategy is to know about tangents and to make sure they aren't in your drawing so that when you do hand it over, you can be safe and assured that you're not going to get any revisions because it's just, as I say, the easiest and the simplest thing to spot in somebody's artwork and send it back. So just avoid them for that reason alone 13. Intro to Drawing Sequences: so far in this course, I walked you through some of the common going conventions for characters and for backgrounds. As a board artist, you need to be able to draw both of these animals quickly, clearly on dynamically in your storyboards. I do want to address one point that often comes up about this, and that is, Do you have to be able to draw detailed full layouts and backgrounds for each storyboard panel? And likewise, do you have to be able to draw model sheets on fully finished character designs? So the answer is no. Generally speaking, you really only have to draw suggested backgrounds in your story wards. Or, if you're working on an animus TV show, it's actually likely that you will be given the layout that's already being designed and drawn up, and you'll also be given the characters and their model sheets. So then your job is going to be to use both those layouts on those model sheets in order to draw the storyboard. But remember that you will have to draw the layered that's given to you from different angles, and you're going to have to draw their characters. That's given to you in different poses. Plus, you'll have to be able to draw all of these things very fast and very correctly. So all of that means that even though you don't have to draw detailed layouts for your storyboards, you really should at least be able to do so. Now let's move on and look at how you can bring all of your drawing skills to bear on storyboards. How do you apply your drawing skills to a script in this section of videos on Go to recap, the basic camera angles and shots that are used in narrative filmed andan animation. And I'm also going to share with you some tips that directors often give two story artists . Plus, we'll look at how many panels should you aim to be drawing per scene, then finally will go over some sample boards and have a review off students work 14. Review of Shots and Angles: in this video, I'm going to give you a quick review of the different kinds of shops that you could use to tell your visual stories. So this is going to be a refresher on water covered in much more in depth in the first story boarding course. But I didn't want to take the opportunity to recap now, since it does relate very much to drawing because up until now you've been building up your drawing skills for characters and backgrounds, and you need to know apply them to visual storytelling. So you need to sort of honed those drawing skills towards telling a story in a compelling way. And to do that, you need to understand the different types of shots that are at your disposal. So these are pretty much thes. Six shots that I've got here are pretty much the main storytelling shots. They're used in film or animation on. I'll go through each one of them briefly on. Just explain when and how you use them. So the establishing shot is used. Obviously, at the very beginning off films, it's you know, that very wide, sweeping shot that you see at the start of a movie. It can also be used at the start off a sequence as well. If you've been having a load of action on, do you want to breathe? Orientate the viewer as to where they are? You can go back to establishing shots, so that's really what this does. It tells the viewer where the action is taking place. Okay, the next one up is the wide Shashi, and the wide is used in the same way as the establishing shot in that tells audience something about the landscape or something about the location. But this can be used more often throughout the sequence than the establishing shot. And you can think of this as there's a kind of a story or a visual storytelling passion that's known as progressing in words. So you can think of the UAE charters being the next step in towards the scene after the establishing shot. In fact, all of these are pretty much taking the viewer progressively inwards. Andi. You'll often see the wide Shashi used directly after the establishing shot to kind of now that we've established where the scene is, let's go into the scene a little bit further and start the story. In other words, I did mention in the in the last story boarding course that these two shots are pretty much associated with landscape and with the environment off the story where the action is taking place and that the following four shots are used for characters. It's not a hard and fast rule like you can have long shots or medium and close ups and extreme close ups off objects in the scene or, you know, parts off the landscape or parts of the room with the actions taking place. It doesn't have to relate only two characters, but it's a good way of to think about storytelling because you're always coming back to the fact that the character drives the story. So in every single film or every visual story that you can think of, it's usually the character that drives the story. So that's why these shots are important to understand in terms of character arcs and character stories, because they really reinforced that can be used to reinforce your theme and importantly, to establish audience identification with your main characters. So having said all that, the long shot, which is after the wide is relations to character. It shows the full length off the characters, so you will see the character from head to push. It's often called a full body shot, and this is used. If there's a lot of action in the scene or there's movement of the carriages walking around , you want to be able to show the full length of the character in order for the action to be readable. Then after that is the medium shot. So the medium shot is pretty much the standard, the absolute standard character shot. I would say it shows a character from just below the waist on up to the head on its years, because with this sort of set up, we can still read the emotion clearly on the character space. But it's still wide enough in order for the character to act if he needs to and importantly , to use his hands so anything, Any time there's a shot or a scene where the character has doing something with his hands, then you go for the medium shots. Okay, The close up is generally associated with just the head and shoulders on. This shot is the most important one to establish emotion on the character's face on to allow the audience to read that emotion and to start to identify with the character. I will say that a lot of people tend to go, but to close when there drawing close ups on, I would encourage you to be mindful of the fact that something like this is maybe too close . You want to give the character room, see the top of the head, see his shoulders on. Also give him space if he has to walk around in the shot, and then finally, the extreme close up. That's where you can go very close in. You could even go in as closest the eyes. If you really wanted to drive home the emotion or heighten the emotion in the scene, it's a very claustrophobic shot. That's why going so close on a regular close up doesn't work, because it tends to make the audience feel a little bit suffocating or, you know, disoriented if it comes in that close. So it's really used for emotional. To underscore the emotion of the scene and again just to repeat myself. It can be used on an object or a part of a scene or anything like that. It's not just for characters, so you often hear me and other people told my camera angles, camera shots and it seems like it's a bit of an interchangeable term. A camera shot describes the size of the view that we see, so think about. If it's wide view close up, you extreme close up to you on a camera angle describes the placement of the camera relative to what we see. So in every single one of these shots, the camera angle is just straight on. It's very generic. The horizon line is in the middle off my shot in nearly every single one. This is maybe a little bit of down. Shashi looks to me like I drew It is if we were looking down. But coming back to this one, this one, this one. These are old regular angles, as I explained in the earlier video about perspective, drawing Newtown have a high angle on a low angle, and just to recap, the high angle is when your camera is high up looking down on the scene. So if we had a high anger often establishing shot, my mountain range would be kind of appear my horizon be up there and I would see much more off the ground plane. I would still see my tree on. I can have the cactus in the foreground, but the ground is much more. There's much more view of the ground plane like gosh, then a low angle. If you had your camera down low, then we would see less off the ground so the ground plane would be hurry much lower down. Let's say, if I'm drawing this wide Shashi, I'd have my mountains way low down in the horizon on the tree. We're kind of looking up from underneath at the tree there, and then another angle that he can use is called the Dutch or tilted angle on. That's when the horizon, the horizon line is tilted somewhat like this. So, you know, if you really wanted to disorient state the viewer, you could do something like that on. Actually, this tilted angle is a really nice option to use when you want to just mix it up and not have everything looks so boring and so sort of dead on straight. You could just tilt the anger like that and immediately this gives much more of an interesting sense. It's much more dynamic, compositionally. It works really well and in fact, for people who want to use those very extreme high up shots or extreme low angle shots that I talked about previously, maybe instead, that could consider using a Dutch or tilted angle to convey that on steadiness and to convey that dynamic quality to their shots without having to get too caught up in complicated perspective grids. So that's something to bear in mind. I would definitely suggest doing that. I'm not sure why it's called a Dutch angle, but that's the film term. And just remember that it's the camera angle for the camera is tilted. Since you're taking this course, and it's likely that you've taken my other story boarding courses, then I know that you already have very keen visual sense on a really good understanding off filmic visual language. So you probably very instinctively know how to read a film and can visualize story in terms of shots. I've certainly seen that over the past few months with student assignments that even with people with very rudimentary drawing skills, they still have this incredible visual storytelling sense and are able to see shots and camera angles in a very sophisticated way. So it is important to know why the shots that you choose for your storyboards work and how they fit together. This is what's going to help you to quit good sequences, because once you are fluent in these kinds of visual motifs off shots and angles, and once you know why they work, then you can start to create patrons and develop your own particular style as a filmmaker, as an animator and as the story artist. So the most important thing to remember is that each shot fits into an oval sequence on each sequence, fits into a larger section or act within your script on each of those fits into the overall story. This is going to give you an idea of how to choose your shots for your story point. Like I said before, if you want an extreme down shot, just ask yourself, What's the story point off the scene like does it actually fits into the story point. Maybe there's another shot that actually more cleverly underscores that the ideas that you want to talk or the idea that you're explaining in the next video, going to talk about some top tips that are most often given to storyboard artists in order to improve their work, and it really does all come back to this idea of using your shots to tell the story point. 15. Directors' Tips for Storyboard Artists: So now I want to share a few tips with you on how you can approach your story. Boarding from a more professional level. Thes are tips that are very often given by directors to storyboard artists on. It's not a few. I think I've only got about four tips for you, but they're well worth knowing they apply across the board to whatever kind of storyboard you want to work on. I think a lot of beginner storyboard artists don't aren't fully aware of thes simple hacks that you can really use to improve your story boarding, so knowing about these is will help you drawing your storyboards. And it will also help to preempt any of your directors requirements. So, knowing ahead of time, what the director is gonna want out of you is also very good to know about. So my first tip is to really go for the over the shoulder shot when you're are boarding dialogue sequences. I see this a lot of times in beginner story boarding for beginner storyboard artists where they've got, say, for example, something like this. But I got here. Two people talking on Dale show the dialogue, or they'll board out the dialogue, showing just one character at a time. So obviously, if we look at the sequence, we can tell that this guy's doing all the speaking and this guy's just listening. But think carefully about the dynamic that is at play between any two characters. And one thing that will really help to establish the dynamic and the interaction is to show a little bit off the head and shoulders off the other guy. It just drives home to the audience. The relationship between these two on its a very good way to establish sort of relationship . Plus, it can also be used to underscore any tension between them. So if I was to fix this up, I would maybe move the sky over a little bit on ad in the head and shoulders off this other character immediately. It changes the the dynamic off this simple seen. It makes it a lot stronger. I think it really adds to this interaction that's happening. So this guy is Channing in This guy's listening, and even here he can still be talking away and have this guy just listening. Better understanding and a better connection between the two characters, which then helps the audience to read the scene a lot better. The other thing is that this dynamic that's established with an over the shoulder shot can really underscore any tension between characters. So, for example, if we look at this set of thumbnails that I did in the earlier story boarding course, this dialogue sequence here between the sheriff and the barman goes a long way to demonstrating that this shot here is probably more technically called a two shot. So both characters are in the shot equally. But then we move into a businessman over the shoulder shots. We cut back toe his reaction, and then we have this over the shoulder shot on. I like this because it does help to establish that this guy is in a bit of a weaker position. If I just create a new layer, I'm gonna grab another color. You'll see that ape. The barman, pretty much in every shot, occupies this area off the frame. Where is the sheriff room? In a bold color, Sheriff occupies the top left off the frame and in this instance, even more of us. So that's just a subtle visual cues. The audience that the dynamic at play here is weighted towards the sky. So the over the shoulder shots shows the audience what the character is looking at. Plus, it crucially shows the character in the act of looking, so just enhances character identification. Now the next tip is one that's often given up by directors to storyboard artists, and that is, to Kush wider on the action. And what I mean by that is that if there's action happening in the scene, for example, here, I think these two shots should be a little bit wider. It's very tight on almost claustrophobic. When you look at these two shots, you've got three characters in here. Something's going on. They're turning around because this guys walked in. But it doesn't really read very well. If we look at this example here now, this is much, much better. So we go from the succession or a series of close ups on in this Josh Tucker, the sheriff is going to step in front of Brescia and try and handle the situation by causing wider. You've just got way more room for the characters toe act and to move around, so that's what's meant by cutting wider on the action. And it's just something Teoh keep in mind. And, you know, a lot of people will go in for the close ups automatically. Maybe it's because they want to enhance the story or enhance of the emotion of the scene. But generally speaking for something like this, cutting wider will actually allow the action to play out in a much clearer away. Okay, and so my third tip is something that I mentioned in the last video, and that's to use the tilted angle or the Dutch angle again. Using straight on ordinary compositional angles. Where the camera is directly in front of characters can tend to be a little bit boring. This is quite a nice angle. It's a bit of a down shot. The thing about a tilted or a Dutch angle is that it creates diagonal lines, and those are the things. Those are the compositional elements dash interest a viewer or engaged the audience. So I've got a set of rough thumbnails here on. I just wanted to show you how effective this shot down here is, so we go from very standard shots, close ups, cameras all on the same level on then. Here he's tilted the camera slightly so that we see a bit off the floor and these lines here leading towards the door. And it just has the effect off, adding to the drama on creation, that sense of unbalance and tension. And as I say, thes diagonal lines are really good in any drawing in any composition. To help lead the viewers eyes to where the area of interest is, which in this case is the door. They are running out with the door, So remember to go for a tilted or Dutch angle. Whenever you want it, enhance your composition or add a bit more of an interest into your into your panels. The last tip that is pretty much standard across everybody's work is to remember to use elements of your composition to frame your characters. This is just always going to make for a much stronger image and a much stronger shot on. If you four grand something's or use objects within the shop to frame your character, then you'll be read doing really, really well. For example, in this shot here, this diagonal line off the railing on this character here perfectly frames this area of interest. It leads our eyes towards the character off the sheriff, then walks through into the scene and continues on to the next panel. So what? This is doing this on, as I say, her directional gaze is four grounding share of talker walking in. And so that's very nice visual storytelling, and it's just a simple example. But you've seen me do it over and over again, even appear where I used sort of elements in the corners to frame whatever is happening in the center again. In this section, this is or in this panel. Here's a banister up the stairs, creating that really nice diagonal line and framing Leading I Piers I in towards these two characters, it's a perfect set up for the dialogue sequence that follows. Those are my top tips for drawing storyboards and building at your sequences. In the next video, we're going to take a look at some student work on review some of the storyboards up in coming in in terms off building sequences and creating dynamic storytelling through your shot choices. So I'll see you in the next video 16. Class Project: okay, so well done for getting to the end of the course. I'm really proud of you for watching this all the way through. I hope you've enjoyed it, Andi. I hope that you blurring something useful. I want to introduce you now to the final class project on as I mentioned before. This is going to be a very fun project for you to take on Onda. Apply everything that we've covered so far in the course to story boarding a script from scratch. So what I've done is I've left you a folder in your download section and you'll be able to find all of these assets. So first of all, you'll find your script. I've left both a PdF on a word doc version. If you can't access either of does let me know, and I'll send you a different sort of file for MASH on. What you find is that it's pretty much one page of script. Now I want to just point out that you don't have to storyboard this entire page once you start dialing down is the details. You'll see that there's, you know, there's quite a lot that's involved in just a straightforward one pager. Feel free to take a part of this. If you feel that's enough, always take the whole script. That will be great. So essentially you've got your script and you've got some character designs. So I've drawn this character. This is Captain Barnaby, and I also put together a lineup off his crew, his pirate crew. So, as you'll see, I have made poses for Captain Barn of You. But I haven't drawn any poses from these guys. Hopefully, you've had a good practicing putting some of these characters into poses yourself, but you should be able to use any of these for your storyboard. You also have a sample layout. So this is the layer that goes with the first scene in descript by hop back over to the Metal Queen script, where it says Exterior docks night. That's that layout. The rest is up to you. I want you to come up with a suggested background for the ship deck, and you can revert to my rough drawing for the captain's cabin if you want. When you get down to the end of us, my advice is to read through the script, jot down your ideas. You're kind of thoughts. And what? How you visualize the story, make little notes on the script, and then some nail out those ideas. So you want to be thinking about angles, shots and how those shots will fit together to tell the story when you got your thumb nailing done, then you can go back in on Re George as a final finished storyboard. And I've also left you some storyboard templates that you can use to finish up your project . So there's a few files here. Both J pig and pdf, Um, this template has three panels on. I have another template that has six panels on one page, so it's totally up to you. If you've got any questions. Of course, you could just let me know some your message and I'll gladly help you out. But I hope you can have fun with this project on. I really do hope that you're able to apply things that you've learned in this course to your drawing for this project on going forward into the future. So let's stay in touch, and I look forward to seeing you in the next course