Frequently Asked Questions
Q: Would you describe your method?
A: In the last couple of years, I've progressively moved to a digital working method; generally I now work directly in Adobe Photoshop using a Wacom Cintiq tablet. I haven't used markers for color for almost 2 years, and I have only occasionally used traditional media in the last several months. I build my work in layered Photoshop files, working from thumbnail to finish in the same file. This allows quick integration of photographs, 3D generated images, and manual painting and drawing. Scanning 2d flat artwork is virtually eliminated, changes and modifications are quickly acheived, and up-to-date images are easily shared with clients.
Lexus RX image for outdoor comp / Team One Advertising, El Segundo, California
Q: Where did you go to school, and what kind of degree did you get?
A: I went to UCLA for a little over a year; then to Pierce College (a junior college) while working as an art director (for a year); then I took a full course of study at Art Center College of Design in Pasadena, California, from which I received a Bachelor of Fine Arts degree (B.F.A.)
Q: Can you recommend some good books on storyboarding?
A: Well, yes and no. I wouldn't buy a book just because it has "storyboard" or "markers" in the title; I would get it because I admire the artwork on its pages. Guided by this principle, buy as many books as you can afford. I would recommend any books by Andrew Loomis (hard to find anything but a reprint, now) for learning how to draw humans out of your imagination. Also, the series of slim soft-bound drawing books by Jack Hamm are valuable, especially "Drawing the Head & Figure" and "How to Draw Animals." Other than that, I just look for examples of the work of illustrators and artists that I admire. Some current favorites are (links to amazon.com):
Designing Disney's Theme Parks / Flammarion/CCA
The Illustrated Star Wars Universe (great production illustration by McQuarrie) /Bantam
Elvgren, His Life and Art / Collector's Press (pin-up art- and great insight into an illustrator's methods)
The Art of Tom Lovell / Greenwich Workshop
High Tech Illustration / North Light Books
Dean Cornwell: Dean of Illustrators / Collector's Press
Q: What courses should I take in school?
A: Hard to say, because even at a professional art trade school, only a handful of teachers will be talented enough to do you much good. Completing a course of study will not make you an accomplished artist. This is only achieved by endless practice, both inside and outside the classroom, over many years. Most classes in "storyboarding" are abysmally bad, since they are generally taught by artists who are not good enough to be actually working full time.
Q: What skills do I need to be a storyboard artist?
(Actually, no one has ever asked me this, though they should have)
A: You need to be able draw any person, place or thing, which exists or can be conceived of, from any angle, out of your head, fast. (I'm exaggerating, but not by much).A clarification elicited by a letter from Nicole: "By "fast" I mean 12-20 frames drawn (not too tight) in a day. I have drawn AND coloured 12+ frames (5"X7") in a day, on occasions, but I think that's pushing the limits for quality work. That's just me, though."
Q: Have you ever storyboarded a feature film?
A: No. I storyboarded the trailers for "Witness" and "Rocky IV" years ago. My understanding is that storyboarding in the motion picture industry pays somewhat less than advertising work, and often means joining a union (and getting someone to "sponsor" your membership). Also, the work is usually B&W, and quite rough. I stick with advertising and design work (which includes movie poster work, though there is less of that these days).
Q: I just graduated from college; would you send me detailed instructions on how you do what you do, and if I decide to move to L.A., will you introduce me to your best clients so that I can have some of your work?
A: No, sorry. Some roads you must travel alone.
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