“First learn to be a craftsman, it won't keep you from being a genius” Eugene Delacroix

The fundamentals of boarding are easy.

The practice is hard.

STORYBOARDSA Method

The job of a board artist on is to serve the director’s

idea of how the story should be told.

The job of a board artist on is to serve the director’s

idea of how the story should be told.

And to make deadline.

The board is the first visual slash at getting

the story told.

Boards get better in revisions

with specific instructions from the

director.

4 B’s

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Back & Forth

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Read the bible.

Mark up the script.

Study the models.

Talk to the director.

Breakdown the script.

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Read the bible.

Always ask for one.

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Read the script.

(Mark it up)

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Study the character models and locations

GET SIZE RELATIONS

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PLAN

REUSE

NOW

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Talk to the director.

Get thumbnails on

specific ideas/shots.

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LISTEN TO THE TRACK

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Breakdown the script.

Think.

Don’t draw.

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This is the hard part.

Don’t thumbnail.

Focus on the story.

Watch for staging/composition within the fld.

Watch cutting continuity.

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Don’t thumbnail.

Work size as.

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Focus on the story.LISTEN TO THE TRACK

AGAIN

Is the gesture and expression furthering the story?

Does it link to action/acting that happens later in the script.

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Watch for staging/composition within the

fld.

(Cropping)

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Watch cutting continuity.

Eye trace.Character position. Look for jump cuts.

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Present to director. Always get feedback.

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This is the fun part.

Focus on clear gesture/silhouette.

Be specific about your expressions.

Watch for clichés.

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Focus on clear gesture/silhouette.

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Be specific about your expressions.

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Watch for clichés.

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Back & Forth

REVISIONS

Usually handled in house by asst director or SB supervisor.

Rarely get handed back to board artist.

Back & Forth