Storyboard Notes

8/18/2019 Storyboard Notes

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othcr

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l .3 sholvs

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ThePlayerswhodo

not

have

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nraybe ncluded n

the

shot.

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camera

Position

s

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vorking

area

on one

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ine

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F i q u r e 1 . 3


7/117

CARL-TOONS

l6l Spadina vc.

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7

classes Hrseach

Nov6-Dec18

Thc firsr

drought Qer esigning

hamcters,

ayouts

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SIOBXIQIRDS,

Story

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the

anguage

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logether sequencefactions hat

arc

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layouts

o hal a scrics f saenes

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@aneo

create tlow

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motion,

iming and

ension.

Carl.

Wewill

cre3le sequencef Slory

Boardsn this order:

BIk& Wht

'

Colour

record

o taDe

Classes

I

The

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oflnats

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srory o€rds.

r

Lf-ls

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erminology f rnotion

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r

Framing

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r

Camerasavehelped

s o

g'(plore

ifferent rews f seeing cenes,

et examine

amer:t

motions

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r

We

will alsocxplore heS(ory

and ts compositiono theStoryBoads.

f

The

mechanicsfaction lom s@ne

o

scene-

I

w€ will explorcmasses

lat

move ttention ndclg e

mohon.

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StoryBoard

paDel

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r

uderstanding

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I proponions

fpan€ls hal relale

o

ilm t)?e andmedia.

lr's withgrcitanricipationhar awaityourard trons.

=4e-==--

,'

Carlos

F R Nunes

I|rstnrctoJ.


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PA*)

-?A'.\

?as;tioi

@/

t4

bs.


27/117

Read

This First

This is basically

a test draft

ofa

package

of notes that may

help

you

find

there's more fun to

doing storyboard

cleanup than

tracing stuff and

getting

bored.

These are

generally

a scramble

of different notee

presenteil

by

different

people.

I tried

to keep it down

to

practical

information,

but

some of

it s based in

broader

guidelijles

y-tr

have

b distill down a little

bit to be

applicable.

The idea is

that ifthere is

something in

particular

you

want to

develop

and improve while

you

work

(

e.g.

stagilg,

posing,

line

techrriques),

you

ve

got

more information

to do it with

and can use it

to

Folve

some common

cleanup

problems.

Stick it with

yout

other reference

notes, and use it

when

you

like.

Things

may be added o

this ifissues

pop

up, and it is

not a definitive

gu-ide.

There

are also bound to be notes

n it right now

that

you

already have

and use

(it

may be

also a starter kit),

so bear with me.


28/117

Posing

When looking

over the

storyboards,

ook for the interesting,

fairly

expressiveposes hat make it easy o understand your character's

personality.

Make a mental

note

ofwhat make6 those

poses

work and

rry ro

kpep

hose hings n

your

cleanup

ersion.

We

can try to make

small decisions

o help make

some eally

loose,

unclear,

or weiker

poses

better.

Sometimesnot

all

poses

n a

storyboard are

going

to be well thought

out and

clear. This

can be

your

chance

o

practice

up if

you like.

Look for little

ways to

push

those

poses

when

you

find

them, clari&ing

the emotion

and intention

of that

character. Look for

clues n the face,

hands

(if

they

don't have hands,

use ears,

tails or whatever),

overall

silhouette and

line

of action in

the

pose.

Mo6t ofthe time an unclear emotion can be clarfied nicely with only

one or

two little adjustments.

It's

oftenjust a slight

tilt ofthe head;

or

focused

eye direction;

or the

general

shape

ofthe eye;or a milor

change o the line

of

action. Clarifying

the silhouette

can mean

simply raising

a hand a bit higher

or lower

so

you

can

seewhat it's doi-rrg.

However,beware

ofaltering the INFLECTION

of

the

pose,

or making it

look like

the characters

are reacting in

a manner that isn

t

in line

with who

they are. Sometimes

hose changes

can affect

the implied emotion

and

undermine

both the director's

and the

story artist's intention.

Tly to suppor,

what

is already

there, not olter it.

Basically it's

just

about checking

o see f

the thinking

of the character

s clearly

defrned.


29/117

Have you beengivena very clearexpressionor what your character s

thinking?

Are

all the

parts

of the face

relat€d to this

lilea?

ALWAYS

bear in

mind the

context

of the

pose

n the whole story,

a:rd

who is aloing

t.

Remember,

each

character

is alive and

reacting to

their surroundings

and

sitlrations.

How a charas 9r

eactc1q4

9r uq i9 -bBlps

efipe

qlfg

9y 41".

The following

pages

cover

some ips

on what

practical

aspects o

look

for ifyou feel

like improving

your poses,

as well

as some

heory bits

I ilug

up. I

apologize

fyodve

alreaclyseen

someofthese

notes

years

ago,

included

them

as a

refresher

for myseu. Some

stu.fr s

referring to

animation

theory, but

can

stilt

be applicable

to hitting

original

poses

n character.

Good

Luck


30/117

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31/117

Look

at the

head

angle;

almost

non

srde

and

they

match

the

feeting

of

;e

fthem

are

simply

up

or

down,

side

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32/117

Check

out

how

the

tiniest

shift

in

eye shape

changes

he

feel

ofthe

look

that,s

being

iven /VdT61?l4r:

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33/117

Note

how rarely

the

pupil

is

adrift in the

middle

ofthe eye...

u-

OF

, io

4€^sa

€l€s-,

PI/t

brlJ

r@''


34/117

Think ofthe pupil as an

oval

sitting

on

an orb

when

doing

eyes...

and

foreshorten

accordingly.,,

WWe

DOIN4

./

c.E€-eF,S.

.

A

€/

It

also

helps

to

nail

your

eye

direction

down

by

trying

this

method...

clAFAClt(N'

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35/117

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36/117

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37/117

S LHOUETTE

Bere

are some

nore

examples

of

excellent

silhouette

pabterns

'

tlate that even t{ithout the helP of the eyes and mouths or othe

detail,

the

Eoods

o

ttre

chalacters

are

instantly

evident:

pleading, cauLion.

delight.

rejection'

conleftPlation'

sadDess'

playfulness,

etc.

'

AII

the

nooals

are

defined

by

line'

yes'

but

tbe

esseDce

of,

each pose lies in the general shaPes it all iance

r,ith

sPecific

shapes.

in

the

Positj-ve

shapes

versus

the

Degative

shaPes'

All,

this

must be

dj.scovered

by

the

aninato

and

rediscovered

by

the

cleanuP

Person.

l'talt

stanchfield


38/117


39/117

S O U A S H

A N D

S T R E T C H

-

I

Notj-ce

hos

the

anilnator

direccs

you attention

to

tbe

objecc

of the

move.

In

the

first

dralr ing

there

is

a

stronq

tl iangular

shaPe,

l"r i .th

locs

of

tension

set up'

narlorir ing

right

do$n

ro

the

brief

case

handle.

ahe

glgbEgrg

ai g.de

orE-

t4e

righc

gg,

the

oPen

stance

of

th

til

tq""g

:I:

cgleat

aU hetp. Notice hele hoir evelything has been pulled auaY

irom

the l ine

of

vj 'sj 'on.

alLovting

lhe

look

to be

unobsttucte' l '

In the

second

dralting,

the

tl iangle

has

squashed

and

nearly

dissipated

itself

in

the

coDtact'

i ' lork

your eyes

from

diauing

to

draving

anil

watch

chis

haPPen'

Notice, too, ho . the anjrator has

oPened

uP the

negatlve

aleas

iD the

anticj-pation

or

"preparation

for

the

action"

dlawing'

and

the

sudden

djrinishing

o

disappearing

of thein

in the

"action

proper.n

Then

normal

negative

areas

ale

rees tab l i shed

in

the

" te rm ina t i on

o f

the

ac t ion ' "

wa l t

S anch f

ie ld


40/117

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45/117

Composition

When it comes o compositional hings in the boards, that's all worked

out by the time we

get

them. All of the directors have

picked

what they want

in conjunction with the board artists, and that's that.

Ifthere is a flat or

centrally composed hot, there ought to be a

need or that stor''wise.

But, there are still tiny bits to catch every

once in a while if

you

look

closely at the rough panelsyou're given.The board artist has so much more to

deal with all at once, t's impossible o do everything and

that's not their

job.

Sometimes

you

wind up with tangents, ines

leading to the corners ofthe

frame, a slightly busy background,and the occasional

prop

that look Uke t

grows

out ofa character'shead.

Neoer change the angle of the shot in order to adjust

these things, if

that's what

you

want to work on. Sometimes hey

want lines that hit corners

ofpanels for specifrcshots and angles.The

point

isnt to change angles,but

just

slide

props

or background elements a little bit

here

or

there to clarify the

stdging uithout dffectittg he blochingor continuity ofobjects

n the space.For

example, sliding a couch a ,o&ch o the

left to

give

more legibility to the

character,

pushing

a background element ike a

picture

on

the wall

(that's

already really close o the edgeof a panel) a u,'ee it out of the panel so t

becomesmore compositionally involved

in the staging. Slide a character

slightly left or right to help viewers'eye direction

for that scene.

The notes following are

pretty

broad

in

scope,

but it's

possible

o distill

them down to apply to the Cleanup Crew's microscopic

world. Also, much


46/117

more is covered

n "The Five C's

of Cinematography''s'hen

it com€s o refrning

some compositions

(bearing

in mind it's all live action

related). It's also

got

ext€nsive sections

on blocking anil axis.

If nothing else,

t's fun to look at and

might changehe wayyou ookat movies...


47/117

d

Composition-Rules

Composit ion

is the

harmonious

combinat ion

of

forms

and space.

- ,

TrU to create the r ight setect ionof

order,

rhgthm

and inte l l igent

balance n

Uour

irst

approach

o the composi l ion.

Rn

important

considerat ion

s the

r ight

balance

betueen

space

-

the

negat iue

area

that

is a l l

around

gour

objects and

def ines

heir shape

and the

ob ec

s, or

lhe

posi t iue

orm.

The design

of the

lauout should

ead

the ege to

the

area l jhere

he

act ion akes

place -

to

the stage.

Neuer

ouer load

he

picture

ui th

too

much

unnecessarg

etai l

ruheregsu

rui l l

become

rapped

and uon,t

be able

o fo l louJ

he

character

ct ion. /

*

a

g

0b iects

pos i t iue

shape

SDace

the

negat iu

form

around he obje

cl

s

l l


48/117

llstribution

of

Space

tqual

d istr ibut ion

ooks

' too

balanced, '

i t is monotone

and

bor ing.. .

. . .d iu id ing

pace

unequal lU,

ust

f rom

at oue

sl igh g,

makes

he

bg

mouing

he

same

ines

composi t

on more

n lerest ino. . .

l2

see

ru les

ike, . the

Gotden ect ion ' ,


49/117

The Harmonious

Center

Fol louing

hese rules

t is

qui te

simple o f ind the

harmonious enler

of

the

picture.

This should

be the

start ing

point

for

the

placement

f the

act ion and

the necessarg

nformal ion

in

Uour

auoutaround

t.

Trg to auoid an uninterest ing

placement

of objects

[oncentrated n

one area, on

one ine or in the center

of

Uour

ield

(

unless here

s a reason

for i t

J,

don't

shou al l of each object,

create depth

bU cutt ing lhem, moue

them

uithin

Uour

f ield sideruags

and

inlo the depthof

Uour

composit ion.

Besides

a more creat iue, n terest ing

ba anc d comp s i t ion

lBad the ege touJards the act ion

]r

111

t3

ai

and


50/117

Ruoid contact po in ts and

. . .and

auoid lead ing the

corners

of

gour

f rame

tangents.. .

eue into the

t4


51/117

Character

Placement

28


52/117

Composition

Examples


53/117


54/117

Ieading

the

Ege

-


55/117

etaK

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56/117

Recommendations

Forme t

uas a lu ,ags

elpfu l

o studg he o ld

eHpression ist ic

i lms

l ike

"Cabinet

of

Dr .Cal igar i "

nd

, ,Nosferatu ' , ,

la ter

then

, ,Dr .Mabuse" ,

"Die

Nibelungen' l

nd

"The

Golem' ,

s

u,e l las he Sergej

Eisenste in i le-

stones

n f i lm

historU

, luan

the

Terr ib le , ,

, ,Rlexander

Neuskg"

and

"Potemkin" .

lnd of course

most

of the

0rson l je l les i tms

ike" .

, ,The

Tr ia l " ,

"Macbeth " , "Fatsta f f , , , , ,0 thet t o ' , , , ,Mr .Rrk adin, ' . , .The

Stranger" ,

Touch

f

Eui l "and

of course

,Ci t izen

Kane' , .

f l l l these

i lms

are b lack+uhi te

nd

t is mucheasier herefore

o

concentrate

n the

comDosi t ion

, i thoul be ing ouerurhelmed

U

the

color .

I l i ke

especia l lU

he

graphic

ook of

tnese i tms, he i r

design

s

uergstron9,

he stag ing

s absolute lg

learandnear lgeuerg

sing le

hot

is a

masterDiece

n composi t ion,

But

ruor thstudging

re

as

uel l mosl o f the f i lms of

Ber to lucc i ,

Bunuel , ergmann,

habro l ,

osta

Gauras,

amiani ,

e

Sica, e l l in i ,

ohn

Ford,Mi los Forman,

i tchcock,

ohn

Huston, urosatua,au id

ean,Ser-

g io

Leone,Richard

ester ,

oseph

Loseg,SidneUumel ,

Rid leg

+

Tong

Scot t ,Rntonion i ,

o l lack,

Michael

ou je l l ,

0 t to

preminger ,

TheTautanis,

Jacques

ourneur ,

rancois

ruf faut ,

lndrze j Uajda ndBi l lgUr i tder ,

55


57/117

The story

artist

be made

merely

must be

by how

FRAMING

aware of the

tremendous ariations

that

can

the subject s placed

n the frame.

FromComposing

Pictures

y Don

Graham

fur,fi.M

39


58/117

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59/117

GRAPHIC DEVICES

Light against dark

Dark

against

ight-light

against

dark

Dark

against

ight

Si lhouette

with in

l ine

to

supsesr

o,-

Emphasis

on

head


60/117

CONTROLLING HEBACKGROUND

Intersecting

ines

cause

distractins

graphic

activity

Intgrsection

relieved

passages

where

the

by

allowing

lines

intersected

Passalbs

rlliei,e

the

disiiacting

act iv i ty

The

story

control

the

viewing

person

must

audience's

4l

Too

much graphic

activity

Background

ubordinated

o

character


61/117

CAPTURING

THE

ILLUSION

OF

SPACE

Head-on

flat

front view

Flat

front view

Flat

side

view

Turned slightly

gives

more

and becomes ess

flat

to draw

f'a

Tumed

slightly

Turned

slightly

gives

dimension

-116

I4i

(e.,h

€l/

/lrK

Wrry

N

-w

(cont.)


62/117

CAPTURING

THE

ILLUSION

OF

SPACE

(cont.)

Showing

angles

makes

space

Less

flat

Head-on

=

flat

Flat

Flat

Less

flat

OPEN

UP TO

CREATE

SPACE

43


63/117

USIN(;

SCAl, I i

I . '0 I t

CI,( )SI iNIJSS

Don Graham

efers

to

e4 9

as

"the

intangible

subject."

See

Composing

Picrures

by

Donald

W. Graham.

Van Nosfand

Reinhold

Co"

p.

350

for

an extensive

xplanation

f

scale.

Basically,

scale

de-

imphasizes

unimportant

areas

of

a drawing

while focusing

the

vi&ers eye

onto

the

important

areas,

The

viewer

is encouraged

o

see what the artist wants him to see.

Remote

Photographic.

remote

Samc

suitcase,

same

sizc'

but

closer,

more

focused

Samc size

but by minimizing

uninteresting

blank spaces, he

image seems

closer, more inli mxte

I

s*

lb

l,_

m

A

A^Sl

+-J_

w

44


64/117

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66/117

L ine ,

o f

course '

i s

wha t

d raw ings,

S i thoue t te

i s

a

have

success

u l lY

deP

ct

ed

A

var ie tY

o f

l ine

persuas iveness.

Fo

aga ins t

long

,

heavy

L INE

AND

SILHOUETTE

ve nust

use

to

de l inea te

our

tes t

o f

whe ther

o r

no t

the

l ines

the

pose .

w111

add

to

a

shaPers

in te res t

and

i .ns tance ,

cu rved

aga ins t

s t ra igh t '

sho i t

aga ins t

f ine .

To

drav

a

shaPe

i th

a

s ing le

l ine

w i th

no

shad ing

or

tex tu te

means

we

nust

te l l

the

who le

s to ry

x i th

l ine

a lone '

Th"

it""

h.*

to

exPlain

the

ac-iod'

as

well

as

wh-t

i3

hapPeDing

to

the

st ruc tu re

as

i t

pe r fo rns

tha t

ac t ion - - i rha t

is

benea th

the

c lo th ing

or

the

fu r

or

the

sk in '

A l inedrav i lgnayhavea l l thenecessarypar tsandprops

b$ t

no t

Pass

the

s i lhoue t le

tes t '

Th is

s i 'nP ty

neans

the

drax-

ing

shou ld

have

been

staged

to

read

mole

c lea r ly '

even

i f

i t

r ,e e

to

be

conP l 'e te lY

b lacked

in '

A

" l ine ' ,

d raw ing

actuaL ly

is

a

"shape"

d rav ing '

as

the

s i lhoue t te

tes t

shows '

One

does

no t

an ina te

l ines '

bu t

shapes

L inesnere lynake i tPoss ib le todeP ic tshapesand toconver

those

shaPes

in to

squashes

a t td

s t re tches '

la te ra l

and

fo te -

shor tened

draw ings,

S t ra igh ts

a I ld

curves '

eEc '

It


67/117

A

jud ic ious

use

o f

th i ck

and

th in

w i l l

add

tex tu re

to tne

draw i l lg

snd

fu r the r

the

i l lus ion

of

th i rd

d imens ion- -heavy

l

l ines

to

iDp ly

shadous;

th icke r

l ines

to

suggest

eye

lashes

in

con t ras t

to

the

de l ica te

l ine

o f

the

eye

orb '

Th ick

I ' ines

on

Par ts

c lgses t

the

v iewer . tend

to

nake them seen c lose r ' aSa in

add ing

to

the

nuch

des i red

th i ld

d i tnens iona l

e f fec t '

WaI t S tanch f i

e1d


68/117

S(APLtf

vJHeR. ossBLE

k?-


69/117

s'rQAt6fi\s

,1 Q CufUeS

UsoArLY

He

Aer

oe

TRe

FooV

tlHrcH f

CUPvED

5

TnF

rlruscutAR

R

ftisttv

P/Rf

uxtcu

36N05

6R

ouD> rlw4RD

1He

strtAtdltt

'ls

(Js(/ArLY

$t

BoNeV

?er?r

$4frcll

SfFEtI65

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bur

ut{avA

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70/117

SI*tfctt

X

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st?g{41

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71/117

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72/117

:

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t)

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PARAILELS

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73/117

soAg.

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74/117

t

The

abtlLty

to

see

trl .$1rd

d

o

_-he

l tst

o f

requlae.ents

l , -Belrslon

ls

fal :Ly

'c r

the

t '6

Anr-loaror

an.r

che

r.nberree"..:'

;:.Tl:""::f;"il:

knorledge

only

after

yeals

of

observation

n


75/117

next d:avlng

there

s coDplete

:evelsal . In :he : l :st

l rote

hov deflnaCe

the overl . .p 16 deplcred:

-* \e

:1nger6

. ln

of

--.he

jak

- ...he

t'hulb Sehlnd;

--.\e

lefi

--hu-E-b

1n ::onr

of

el lJor{

-

Ure : lngers

behlnd. Aelng aeflnl te

. t i1

overlae

the dlawlDq

' ead"

clealfy.

abairlng,

helps

one o:

-re

uo:s:

_-:e,D6

--tra

.a:3:1es us unll,.ares

:s uhen

oqerrap

and

ia:rsen:

gang.

uD on.us. l, s:-lapie exdngle

:s : ro Eou-E--ea:1

sbaDes i:al'rr H::h

llc owe: a i1:3:: .u:oEa:1.alfv

c:e --es a

DlobIeI0

:s

--o

add ovel lap:

nalang

1:

very

clea-r i.hlch

h1Ll

1s 1n flonr

o:

1:

you

force

'-he

pelspactl-ve

by add.l-nq

su:face

cllav1nq

:

pt]-t

be more ateftnare

and :e d i[uch

The

brpolrance

ana usefulne6s

of the sur :ace

1 nes:ule

can only

be hlnled ar. In a lendered dravtnq or paj-n- , lng, the . r t s E

has unEold

nuances

o: color ,

Ehadfng

ana

render lng

ro e.Dopha6j.ze

t l te depth

-

' . } le

anl-dato

has only Ltne. PIus, of

course tJ|e

rules

of

persDect i"" .

Ar fo 6u :ace l tnes. rnele are

usual ly

very

lee

1n a I l .De dlaslng.

Uslng

a

c19a

wlth

tr .6

sut . face

11nes,

{ the

band)

che

l .EoorEsnce

of uslng rhe6

for dl- recr lon

_-he

otheE.

Then

plus

sl-ze to t } |e

'((

aJld depch

car oasi ly

*

=""",

A

Y

r-)


76/117

fhere ale

fes

area6

on

cartoon

boale6

band.

If nol lc

at

ir l l , the

ocher

orl-y one

s;alle than

that can

be u8ed

l i -ke

tvo object6 lrould

Look

so Ebe art l 'Et

for

l 'ns-,ance:

wrl-n

rl-es

in

uhatevei

6u9gesr6

i .+esel : .

ti'

In

- . ie

ca6e of

a

s u r f a c e

l l n e .

I'o

the

head

is

ur 8een,

but

l-bpll.ed

€yes

and nouth a d

t l l ed:

Along

u1L.h

rhe6e

-unseen"

ourfdce l ine6,

chcrc

1s owerlrD

6uch as

{h

rhts

ca6el the

ba1r.

f tr6t bej-nq

seen sooevhrt

beh1na

tne foleheail

then

reversLng to be

n

frolrt of the

folehead

tn the s€conll

draving.

Ihs ea .sploys

dlotlte

rule:

Foreshortenlng.

rhe

oth€ lulea surface

pluEr

61ze

dnd

p€rEpectlwe

eould

have

co e tnEo

pl.ay

hnd

the

head

a

t u r D e d c o t h e s l d e : C

s

or a

pani

cui f :

t\/

t.

or

a be] : ,

col lar,

hem

on

- i1e

Eate: la] o:

....:,,iw*.


77/117

anal

-.n."rh

;;

rs

no€

;een

ib

can

'i'ot

be

dohP 'red

the

one

seen

-

t

- tl-}r

"have

g'to*'' itt

5 ze

a:' rhe

heac

--u:ns

_-be

ea

colrards

]'ou

and

closer

to

vou'

iheleby

glvl.nq

even

a bet:e

illuEion

of depth :tr |Dotlon

"han

you uoulC

get froD

seelng

a

Etll

alaltltrg

o'

_'t e

iwo

ea s:

\,";-Q.

,

. . .Tha'-

nc:eese

1n si te

-3ius

al

sial lge

n

si laDe

l:ng e)

pLus

Iol iolr:ng

an

a:c

(as

: ial-he,"ea:

r{e:e

o: r

I rhc head) lroqr'd';:fiii

'

Fev-l

o:

a spi le:e

{the.head)

e"C-l i .f-

lEu;

ii::i.

el.raersl.oneL

' l

-""""

" - -n"=

: i t .r i

i --ol l "Jl

?ersPec:1ve

:n

e

s:-E9l l : ed

:o:E'

,'j.

t.

,"r

uEed

ex--enstvelv

ln

lnl-rna"lon

-

bY

sj'lplY

ii-ta '1ns

'l

t

*rrr""

Ialqe

1r

the

:olegrouDc

"han

those

of

Llke

6 ze

n

the

baci


78/117

o

.rjhen

olle 1.1-ne ends

r

sorte

poilt

then.see.bs

io contlnue

on at anothe

Doint . :

Tangerls

a:e

lhe eneny

ol

tbe i . IJ-uslon

of

depri

lJ ld

ro

rvolded

at aII

cos .

Tangents occul

uhed

ruo or

bo;e

Llnes c6nverqe:

--.-

I--

,--7'

/

Av)IDITG

T1lf TAA6?NT..

:nsian.e o:

--ang

e$i ::ou-bi

e ani

S:ea:

deal af

depth

anc

cla:::].

I

If

you

ca-n

a:rlnge

1:

60

aLL of

the

u1es

of

pe:specrlve

ale

used

n one dralrlng, you

viU

have rhe

naj(ljouh

-.trt d

dLllenslo

Pos6lbl,e

l-n a llne dral.tng.

The

dllec:lona.l

s.r.D.L,oLs Eenr1oned

above vele

sl_Bple

alrows

polnt l -ng

h a nurbcr of

al l rect j .orrs. Each

a ro{

dd

t rg

dlrec: loD

had a code

nul |ber . Thc u6e uas

relareal

ro

the

Ddnner

1n

whlch

aruce tdughr

d. lavlng.

I had

never

lnvolyed

Eysel f wl th

ht i use

of rher bur

rhe

prtncLpl ;

of

1r

coEplotcl

capl lvated

bc.

I t has lnf luenced

every drawlnq

lni t patnc. lng

f

've

l laale

6Lnce

belng exposed to

1t . I t has

DAde

ne

t

consclous

of

rhe

fact

that

gyg E si. .ls

polltrtnq

1n so, e

dlrect lon;

Flolnt tnq

avay

froE u3 o

stdevlys

Co

us

or

t i ree-

C'u r t . t r

u6- t t \

. . r . r l

n

iAF

H€^D

N€

a€€atN6-io

cornllJ

DZ

ttJTt)

i?:

E€^K

de.

i ie le

:s en obvlgus

solu:lor1 $he:e n

..

qffi*),.


79/117

t l re left or r19ht o, down.

t4

co

1nc

.de

..1th perspecL-. ve

r.,'

::'"::

T:"1:":":::.".::H,:j'",

Polnt.

In

t ie

case

of

d:avtDg

a

:lqure

*re

I fne

df:ec: ions

ale

not

landor

b\rt

have

c6 do

wtth

lhe

pose

or

acrlon.

To

be

consctous

of

the

dl-reclton

t}I,

ale

pornr.rns,

s

rhe

key.".r":

il:"T:-::::.::i::::il:

"::

i s . E n e

t i l ' n g

h a t ' . E e v e a L s

t o u s : h e s t v F i r - - ^ _ , -

eo:

lnscarce

r

1n

dr.wlDe

.**l:::".1i::.:IjT::T;::"

or 'e

?o1nr1n9

rovald

you

and

:he

o: l re

po1nr1h9

aeal, :

,4

/ \

/

4,fl

J/ ri

wa

Ycr:

i :row

-*1a:

:he

6u::ace

::nes

*"r.-",:yer$ffi

a:.e:--:ons

ani

al ,so

su::a.e.: s

p r a : e . o e n :

e n d

s : z e

o l

- j e : e e - _ .

s h o l r : h e : e a :

i e g

t s : n : : c D :

o :

u: : :

ie

su:: ie

bu:

--:re

:e:: :e_

:e.eies

::oF

hlp

:o

an]., le:

w:l :

5e

ctc : ec

b: .

- jose

s :e

v:::

:n::ue rce

-le

cve: iap

vi t :

be

necessa:v

:o

:c9

.

__ resho::en n(

; : : : a:_h: : l :sh : : r s :ze . s t :

D1::rcuf i

:oreshorter lng

in a.

?ose

can

De

nrole

j ' :

one

:s

ava:e

bf

t } Ie

alLlec: ion

.* te

object

ts

So:

ins:ance

i : theEe

ts

a

:19u:e

benci1ng

ower

easl ty

hdndted

.Dol-rrtj.ng

1n-

-

cowald you,

e h l c h r s a d l j f t c u l t v 1 e e . T t

by

--he

.,waleness

r wha,

ls

"l:"::I:'

;1,::":.":":;: i :;:"


80/117

; i

1

. i , r

Lorl

jar5

- -he

: -u les

o :

D€ lsPecs lve

} la :

a :e

Deeded

FroE

the

slde

l.c

uould

be

a Duch bore

dlalJa_ble

v cv'

ffi

he:ely

belng

a . ,e:e o:

- :he

side

vle ' rJ l l l

help

cong\re

:h1s

fo:esho::enlng

Cj-1eEura.

:he su: ia.e

Llnes

o:

-- :e

shes:

ani s:ooac.

v l : l

5e El t [os_-

-

. : - : - : ia: ;

- re

a: . l .s, he: i

s: :ch: : '

back

$' : : : : iave

a

:ess

. : : :u:a:

s ' i : jace

: : : ret

cne 1eg

:a:ewa: i

a l l i

one 5a: i i

v l : f

:ec, ::.:e

o??osr--e

sr:::a3e

::;tes

.

ghe

leg

o::

--:re

::+-_

rou:i. i:-.E::::s:1

silq.:: :::

slze

es 1--

goes

aua ' ::oE

you

*h:ie

--:te

o_-5e: :-n::eases;

e.Epiol':-ng

'-he

:::9:il9=99: E

= : I . - ? : e : r e a i

5 e L : r q : : : : : c n :

o i

- l e

c h e s :

a p p l l e s 5 e

:-::e

9=::3:,

wh:ie

--5e

:'r:"e

5i

9 ::3sfll :-l:;9

:s

enployec : : t : :1e

:ee: . 1=.re,

' -hese

-- i t lncs

( :uies)

a:e

p r e s e n :

E : : a : o u n i : s .

s o , s o

w h a - ' ? T h e

v i a _ - : s

-

b e 1 r 9

ava:e o:

::ren

r-s

a

-rosl_-1ve

aii an

aLralrlng,

a:"IotJing

you

:o

proE:ess

elrec' - :Y

to the

- iose,

rathe:

_- t \an

:e ly

oo a

o.

o: doo


81/117

Th:s

svsEetr ul . I I

also heLp

.1"-h

5u::ace

Llnes,

Su::ace

:Df l l ?9,

nen:ronei

above 50:esho-. :en1no

-

aII

_.je

o_.}Ie:

:r-Ies I

9tg: 99,

anc

..6

i

ffi

ffi

ffi

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rsE


82/117

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84/117

HANDS

l-tANDS

ARE

ALwAYS

TouGl-{To

APPBolcu

rRY

lHr>-

DPAW.

FOR

A

SIMPLE

5IART

WTTH

AN

OVAL

ANorure

ELOCKING

r

BULI'UP

FINGEPS

AIID

THUMB

A\LD

FlNl91,:

^N lF oF : THE

*ii/s1.'"3

i4 TO

DRAW

ioue

owN

${H#*

,

MONOTON>/

l _,_/

,^,PPPOACH

S

BY

tNI N Ir)-TE:

q'TFE)q

| | \ ,

r \ v l

II

Ncrre

HANDs

N

gEc.f,L-r

SlP"l?PEHKEli"'

"'iiiE

INDIVIDLJAL'

NO-IE

PPOPORTIONS

lrr;

R.)NE

Sl? iil- EE


85/117

HANDS

(coNT)

))

t

' - - .

(

)


86/117

I

I

' |

1 .

I

:

;

I

I

PIATE

78.

Block

ormc

ftho

hqnd

Thc

boq6

and t.ndoB

acaos

rhc bacl

ot

rl'c han


87/117

f'

I

'l

I

I

I

i i)

lt

\ I

2

PTATE

9'

ProPorlio$

ofth'

hand

tr,t;H'iffiT*::,"J:l**'if,i;l{

lil"Jrft

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"r

th"

i1,$:

L'ftJs:*"1iLfii:#:T

l;,he,nuc*6,@ard

*in'l'#'fi

'"r-o""*rl-"g:-i:"::l'"lli-1il::i:1",L-ril

:1;:itrr1ffi

T'l':Ti:d;:*:\fl

r'"it*:'*l,t:

's",T:{i1"JT:li'".fi

:,::,.fr*"i:lti.l*lil*:

bout

cqud

lo

rh'

inder

fing'r

in

t'ngn

r

thc loo

iaucllc

ot

thc

thld

Gnger'

1rfl

. , . , )


88/117

\{l

A\

v/'

>/

Yii

f-?

il

l

:

, .

) .

FTATE

80.

Contkection

of

lho

hond

138


89/117

)

i

I

t,

T

t )

PTATE81.

Ito

hollow

of

tho

Polm

In

thc &rwln(i

.bov., not.

how

tllc ltollow

of

th' hand

hs bccn

orc'

fullv

dcG"cd-

Lo nor.

rl,c

6ulriog

ow. of

thc

L'cl ot lhc

h n'l

lfunds

a*'cr

t@f

"atun

o,

op.l'lc

ol grltPiog

unlil

lh'

r'tii

undc6lsn&

lhi3

t.riu,. o(

thc hand.

^llihe

h3;d'

i@k u

if tl'cv

@(ld

(a*<

hold o(

rn

obidr.

Th.

Ioud toond

ol .trt'Ping

@ocs from

tlc n'Jd'n comPrdlion

otil.

bct**.

thc'.

r*o oPr

or

Pc*'rr

of th"

nrlm'

A

hend

thzt dcr

not

l@k

dDtblc

o{ cLrpin;k

bdly

drtm- studv

vou'

om

had&'

|;

l t


90/117

PIAIE

82.

For€thodening

140

in

drowing

hond:


91/117

I

I

I

I

I

i

I

i

I

I

PIATE

83'

Tho

hond

n

oction

r4r


92/117

:' J,

PTATE85.

urowrng your own nono

143


93/117

/ . t

I

i

L

t

I

{

I

I

II

I

I

i

I

I

I

I

. - : i - '

PTATE

92'

ThG

Propodiont

cmoin

foirly

conttont

gm****l*ifrt*';.''

'

150


94/117

i';- , I

?[ATE

84.

Knucklor

L12

i

1 . . . .

I

I

I

I

i


95/117

(

r \ .

l r

']

PTATE

3.

Tho qnd gcr

Oncc you herc miJt.rcd

ihc on'truction ol handr old

poplc'r hrndr

arc e dclight to d.aw. lctullly

they trc @icr than

yotog

P.oPL'',

iine th. rDaiomy .trd c.nrtn ction

arc

mor.

obviou:

and rhow clcrrly

on

thc

iufrcc. Wiil. thc bsic conitrucilon

tr thc emc, thc

Gn8€.5

gct

thick i, thc

ioi.tJ

leg6, snd th. &luclLJ

prtrud.. Thc

.kin b.c.md

wrinldcd,

but thk Dc.d mt

b. .mphlsizcd ctctPt

In . clo..-{P

ela.

,t

15t


96/117

(coNT)

, \

,"-P)

HA.NDS


97/117

l.

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1:.-€* .a.

i '

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98/117

\3ETn*:"f,x*;.

\ 1 f

of.r+

nl,

* .Ped.

A.U,

\-a-J

6)Jt

\-2?

.

tl"*"$:1tgi;=.'n*

L

Ed

.nrc

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d.no

qd

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mGon

.l tdo

dc

tr

him

c

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6rt

.t

prlsv.

El

.r.Fho

d.t

Dd.&


99/117

rf-*.

rtu)

\.^-=.)_.

F--


100/117

wr@


101/117

4

The

several

/

changes

of

planes do{it

the

top

of

the

foot

ate

6uggested

by

the

dot-

ted

the

at

; the

left.

"FOOTNOTES"

Righl

The three

bottom

areas

in the

order

of

their

coverage-

TheY

serve

as elastic

Pads

protecting

three

layers

of

unseen

muscles

be_

neath

the

foof

6 bone

structure.

,/,,

The litUe

toe

may

come

back

as

much

as

L,3

he

lenglh

of the

entire

foot'

In

most

cases,

hoveverr

it

is located

back arourd

t/4 the

length.

The outer

ridge

of

the

sole

Pad

(between

dotted

ines)

tends

to

bulge

a little

-

especially

is

this

true

as

age

comeg

on

plu6

excessive

\teight.

It's more

notice-

able

among

peoples vho

go

balefoot.

5

Unlike the

finger-bone

Phalanges

the

toe-bone

Phaladges

cannot

move about

as

dextefously.

On

'tip-toe'

they'll

spread

when

forced

agairFt

the

iloot

5>

Toes

turned

under

mean

the

bottom

_

flexor louscles

of

the

to€s

gather ano

ne"rii

a So

aegte"

angle.

Thls

does

not

9

apply'to

he

uig

toe;

l \"-lllY^3"

*

,a.

Whenoot

rs

pointect

i,ii"ia

set

atf,€r

han

do$nw-aru

,{ ;,ffi'.';#;"',ffi;

s/hen

orcedout_of

in-e.^.Thls

--f

iiiiil,GJ"-

"*ia"

ntreme angle f:fj:,t dr" ,"/ out (as p;r dotted

to

the

torturous

desr*

n/

"..,

line).

TNs

i6 be-

of

certain

hoes.

,f{ '

ix

..,.

l 'rl,r' i;;;,;;

by

knob extremlty

of t}Ie

big leg

bone

(tibia).

Black

dot

is

ankle

bone.

.T

rurnDle

the

fleshy

6ole

pads aEd

thln-

ner

ikin of

the

arch.

Eow€ver,

Pad

of heel always reEalus 6luoot unoer

any

circu66tance.

7In

walktng,

the

drt6ide

back

of

the

heel

marked

")C'

Etrikes

fir6t'

then

the

rest

of

the

I foot

setues

into

cootact

rtrtth

Ure

gr;nd.

The Ieet

do

not track

parallel

wlth each

I

"o,1.

-i*

iii*

ttte

eet

of a

valklng

uan

pointing ut

€llghtly'

\ \

8

sooe

oes

vhen

el'*eg

**l:19-1"-T-it

t 0 2


102/117

DRAW'NG

WO/}IENs SHOES

l't

L]

I

41

l. Start wtth elongated

rapezoid

shape.

(Remember,

in all block-

ing

such as t-hi6,

sketch

ltghUyl)

Ihls

is f.ont

loot thrust for{,ard

tn tFlcal

stance where

back

foot

carries

bulk of

bodY

v,elgit.

It

leg

ltnes

6latrt tnto

foot as

is the

. case here. and arch 6lde of foot

ls exposed;

then ankle

line \f,ill

be

oore

6everely

tilted.

2-

Sketch

tn

ankles.

Added toe

Iines will

for6

a

triangular

shape

beneath

tralezold.

3.

Iodicate shoers

nstep

line \thtch

is

paitly dependenton

style.

This

usually occurs

lust

behind

root oI

toes.

Draw

6ldes of

shoes

across

batl of

foot.

These

will

appear

iust

beyodd rapezoid's sldes. Back of

heel

day balelY

6hor

.

If heel ls

centeied,

rea

Part

of

shoerpill

be

out oI

sight.

4.

You Eay or

Eay not

have

aome

evidence

oI break

where

top

Plane

of toe 6ecUon

starts

up oo

instep.

Eere it ls suggested-

Too, there

ls

a small verucal

llne

at

Point

where

pla[es

retreat on

either

side oI

shoe.

t

",THE

EAsrc

FoRitl

- i r , 1 ' .

The aatist

is called

upon o

diaw

more

high_heeled

hoes

than

any other

ki[d.

T'heabove

diagrams,

both

left and

right, tre

of the

same type

of shoe.

The

soles of these

fe

arenotllati.itlLtbe eye-lqve

o,f l1q-obqervgl..,T\9y-r9q-

resent the

posltion dost needed

by

the artist

iir

portraying

the

model;s

shq appears

n rDost

settidgs,

i. e.

'

rdth

her

eye-level

oo

yom6.

Ibe

front view

at the

far lett i5

a left

foot set out to balance the body being

supported

by the abo

fight foot

-

iuside vlerf,.

With the exception

of the ankle

placement

belng different

(loqer

outside),

tbe outside

viev

is

the

same. In the high

heel the

alch itsell appears

ess

tiaLly the sane froro both

sides.

l. Skeich the leg

Unes

cutting

through

the

tlapezoid

and t

modilied

triansG

beneati.

The back

leg

line

(when

imb

i

in vertical

posltion)

alsays

points direcUy to

cap of

shoe'

heel. Fronl

leg tine

poi[ts to spot

Ethere

6ole

leaves the

floor.

Because loot

is tilted

dowt ,

heel

protrudes

tart-her

out

in a bigh+eeled

shoe than

in a lower

heeled

shoe.

Nouce

plade

ol toe

section

ls ln

line rpith extrede

rearba

of heel.

2.

Draw

shoe arch

as rride

as leg

is thick.

ioe front

de-

pends

enurely

on

style, but

allow

rood tor

toe6 inside

sh

hound heel

tnto back

triangle

oI

trapezoid,

and add

back

for heel

coluEn.

3.

Sketch n sides of

6hoe

and inside oI

heel column.

Se

how root of heel coluEd

Eerges

lnto

high

pol[t

of

arch.

Round sole slighuy,

as lt

is somev.'hat elow

eye-level.

4. Observe

hos, top

plane

of toe

section

disappears

aroun

wheie

instep enters

shoe.

This

again

is because

eye-Iev

i6 above arld

you

are

looking

down, as

it were,

into 6hoe'

oDening. lI foot looks wrong, check it out with the forego

ing sequences.

Draw

several

until they

look

right.

'\For

foot

ptotection

and

warmth most

of

humanity

,

-\

wear

6ome

kind oi

6oles on

theia feet.

oneof

the

problems

in

shoe design

is to hold

this

\

soLe o the

foot ltselJ.

Consequeqtly,

the

-, \

shoeuppers must

conform

ln

some $tay

/ \1-

to the

cross-sectional

shape of {}Ie

i.

, '

- \

root.

studyand

keep n mind

the

1{ i j

uasic orm of

the bare

foot.

A tertr

erms

that help

iden-

ti ly

areas:

to3


103/117

AEOVE AND

8EI.OW SHOES

3

Looking

into the

shoe on

the

leftsbovs

how

the foot

flares

outward

from

the

bottom

o(

the leg.

Refer

to

the

shoe's

opentng

n relation

to the

sole

beneath.

In

the

above

drawing

a

portion

of

the

sole is

stlowing'

Extract

the

heel of each

oot and

you

can

picture

the

anatomy

beneath

n a more

or less

shoeless

state'

'Ihe

dotted

line

is

"dra\tn

through"

to

reveal

how the

The second

sketch

depicts

the

shoe rom

heel

is attaeh€4

under[eath.

:

Two heels

ale

6ugge6ted:

a

hall

block

aod a

more

pointed

heel.

In

botr

cdses

yotl

are

seeing the

front of the

heel.column ntich deans the toe i6 6ome_

vhat

closer

to

you.

In the

next

sketch

you

see

more of

the back

of

the heel

col-

umn which

deans

the

toe

is falther

away.

Also,

6ioce the

heel

tip ls to

the

right

of

centlt,

the whole

foot

is

seen oore

faom

/

the

inside ttlaB

the

outside.

f0 In

drawing

women's

"tlats"

(extreme

right)

the basic

rules

are

quite

similar to

those used

n blocking

in men's

footwear'

lfhe

styles ale

more variable,

paiticularly across

the

uppers.

Ilere

is the

right

toot

from

the

under6lde.

More

of the

heel

1s

seen

tharl

at

left.

Foof

s side

barely

6ho\Fs.

Front leg

line disaPpea.rs

behlod

trstep.

Eeel

cap

is

on level

with

the

sole

of

the

ballj

"Imaghe"

foot

ioslde.

r04


104/117

{-'--


105/117

A,IAK'NG

SHOE ORAW'NG

EAS'ER

2

I

F.

The spring-Iike

arch of the

foot is more apparent

n the

shoe rom

the inside view. Figure

III is a typicaf angle often

drawr by

the

arust.

Reveruog to figure I,

study the spring-like

core oI the arch

da-rked

A. See hov

lines B and

C tend to run

parallel

wtth lL

In

fact, the \rhole center

sectloo

Gee trsloJeach

dowu to theJloor.

In figure

tr nottce the

culved

6weep ot the6e same

tro lines

B and

Llne

c

ia the

loslde oI

ttre

sole

vitch

has been

Eade vigable

here.

Llne B ls the tustep

wbich

ts roughly

t/3

of

the ohoers

upPer.

Feel

out the center arch 6ecdoo wblle sketcbilg figure m.

The topmost

rim ol a

6anrs

Shoe

s concave

under

the ankles.

Thi6

line

qqrg96 iDto

a con-

vex lllle ovet

the

instep.

Potnt

2

(the

concave)

Eust clear

the outslde

aokle booe when toe

ls

be[t

dorrrl\patd. Point

1 16

predeteleided

by

foof s belng lo this

posl-

tlon also

-

it Eustclear

the

back

Ieg line. Point

3 Eust uot iaterfere

rf,tth

leg

wheo brought

forsard as

per

dotted

llne. The functlon of

the 11616

design

will

help ooe

reEeBber its

shape.

3

Lefe Tbele are tso arcg

Itr the cut of the .6hoe

6ole,

The-taside atc'A. lB always

/

mord

prooounced

o accoE-

Eodate

the Datural

aicb of

the IooL

Arc B io

some

6oles is barely disceroible.

Black dots

are whele the

arcs baeak and ttre 6ole edge

clrves ln tosard toe. Shaded

area contact8

grqrud-

Con-

tact along dotted litre may

vary vlth heel heighL

styl.e

chatrges

alter

cootqrr 6ome-

$'haL

5

Above: Sole contacts

gr@nd

at

point

(black

dot) fartier

forward

o

lnside

of 6hoe tlan

ou

side

(see

arrovs). Ltn

A aod B 6how relatlon

between contact

points

and breat of lnstep.

6

The

ankle Eay bend lef

or right to neally a

45'

angle.

The 6hoerEup

Eay

give

a Uttle to co

ply.

Huop

A ls bone a

B is 6hoe, There are

changesof

dlrection a

numbered.

Imagine

tI ,

trapezoid 6hape

(discur

6ed

ea.rlier) blocked o

foot beneathaokle

lloe.

Since

most medts shoes

are

dark colored

and ale supposed o 6hine, it is well to con-

6lder

where the highlights are loost likely

to

appear'. U6ually there is a vertical 6trlp

of reflected

ltght

on the back of the heel

6ec-

tlon.

The

coEparatlve flat of the center

6ldes

car.rle6

a dlonoto[e except rrhere it

beod6

under

to meet the sole. Probably the

changhg

plane6

of the exposed

toe

wlll have

several

flecks

of llght. A shoe

vheo

it has

Deen

voln

haa

a

slight

rocker eflect

on

the

bottom

and is

not flat

with the floor-

l07


106/117

I

r[ET

FIRST

"

, f

' : .

, - r-ro.est ins

to

note

that

ln

he

H;$s;d:"fffi+1"

:"4.*;i

":*:.';

*"' 'r

I

\

(vl

2

troo

the

ffff

lT

,.n

a

*.rting

toot

---,:in'i$''

lu**gu'rlu'r

ilJ'rsli

u,t

uottoto

t.ttt'

5hov.

i#)

eive

how

the

slde

o(

the

uppers

) (

4='--.1-\]

\ i ' \ ) iai';:i:+t.';:ri7',

';::

:"

i

-i::i

l o t

\\.-r.

: 1 <

' t

l\)-.r\

*j$

\C:>

)


107/117

As clothes

confor.

to the

body'they

of neces.rty

.ou6t fold rn

place6.

rte llnd

of fold

the clot

takes depends

upoo

rts tocation

and texture. rt

is

important 6 kno$

s'hat

body shape

rs beneat

the

material, hence

the foregoing'study

on

anatomy.

_

Always

there is

a

certain

amoqnt

oI bon

and muscle

strucfure revealed

tlrough tlre

cloth.

SI/HPI"EFOT.DS

FRO/U

BODY

PROTRUSIONS

The

hump

of

the knee

(coodyles

of

the fetllur)

causes the

trouser fab-

ric

to

yield

ln

a maoner

simlar

to

this 6ketch.

3

Since

any covering

oust

go

arcirod

or

fall

over the

blg 6hou.lder

Storyboard Notes

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Transcript of Storyboard Notes