Sunday, 11 December 2011

Design Production for Digital//Silent Movie//Storyboards.

Looking at existing examples of storyboards, and the way in which storyboards are most commonly sketched out and produced, as reference for my own work and professional outcome throughout this digital module.
At this stage of OUGD202, the Silent Movie brief, we have yet to go into the level of depth and detail that these storyboard hold, yet I know that I would like to practice and improve upon my hand-rendering and drawing skills in time where we progress on from simple typography. Below are a few examples (sourced through google images) of the storyboards I will be working from, and aspire to achieve a standard of.

Great detail and shading- although colour isn't used (along with the rest of the examples I have shown on this post) a sense of tone is established which help gives depth and character to the key frames. Great use of arrows and annotation also used to help where exact visual communication may not have been conveyed.

A little annotation/image heavy for my liking- but certainly serves a purpose- quickly drawn and quick to understand- would be good to use in a crit session or a business meeting for a quick sketch-up example- visual communication is always the most useful way to convey an idea.

Again, good use of shading to help express the visual communication throughout the key frames in the animation sequence- again, with a few annotated notes to help further explain the intentions of the designer- useful for both the client and the design themselves when taking the designs further into the necessary digital software (in our case, Adobe After Effects).

Interesting way of labelling and marking the key frames with the boxed off section at the top- would be interesting to find out whether this is relatively common practice or not. Again, good variation in weight of line in the sketching to help establish the character of the scene- plenty of detail, but still minimal- just enough to visually portray the important message and aesthetic detail required.

Again- minimal and sketchy, but still with enough information to help put over the necessary detail through the key frames and the animation sequence- for me, particularly fussy with detail and perfectionist by nature, it will take quite a lot of confidence to produce work that is this readily-made and sketchy, but I hope to practice over Christmas (I used to draw every day, boo hoo!) and get my confidence back with this fast, communicative style.

Great use of block colouring to establish shadow and shade in this image- makes the key frame look quite bold and dynamic- already giving a great sense of character to the design. 

Here, quite an in-depth example of sketched key frames- not only in the design details, but the time in which the sequence and key frames run- all quite closely aligned and detailed- I imagine this would have been produced at a late stage of the animation development when important details are an important factor for consideration.

Bold, annotated and clearly arrowed design- a great starting point in establishing key frames in an animation sequence- really helping to portray the message to the design team/client without being too busy- yet still visually clear and direct. 

 Again, another example of quick, simple, yet very effective shading techniques that for me works really well- helps to get an idea instantly onto the page at it's most primitive stage. Throughout this module I'm going to really try and get as much visual imagery down as possible to document my progression through this very new design output I am learning (digital media and animation).

Instantly recognisable as work from the television series, The Simpsons, a great example of the primal stages of hugely successful animation- really interesting to see how these initial stages are formed, and a great source of inspiration for my own work- best get sketching!

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