1.

Importance of Storyboards
I. Scenes

This is important section of the film which involves a single camera angle or view and it
specifies the character’s action as a form. In the film, you are watching a single view of
something, then your view point changes angles abruptly. A scene that has pan in it is
where the audience’s point of view is moved from one point to the other in a transitional
form, is all one scene.

While creating a pan, looking straight ahead and without closing eyes, turning a head and
look around the area; this is called a ‘PAN’ in film terms.

To create a cut, repeat the same thing, looking straight ahead, now close your eyes and
turn your head, then open your eyes again. This produces the illusion of a ‘CUT’.

II. Cuts

The point at which the change of scene takes place is called the ‘CUT’. You may recognize
this term from live action films where the director orders “Cut!” at the end of the action,
later after the film has been developed, the editor will physically cut the film and precede
technical requirements. The word ‘cut’ does not have to be used on the storyboard at all.
Don’t write cut anywhere on the storyboard. A cut is one of the things that is simply
understood when you look at the scene number and see different numbers, you know
there’s a cut between 2 scene panels.

III. Fades

A ‘fade’ is used either at the end of the scene, called “Fade to Black” or “Fade in”. A fade is
used primarily at the beginning of the film after the opening titles, ‘fade in’ or at the end just
before the end credits, “Fade out”

A fade is made possible during the actual shooting of the scene under the camera. The camera
under natural condition has the aperture open to a 100 percentages. This allows the light to
expose the image onto the film. If the camera’s aperture is closed to 0 percentages and the scene
is shot, the film will not be exposed at all and the developed image will be black. A fade is a
transition between the 2 percentages.

A fade out is created by shooting the scene with the aperture open to 100 percentages then over
the series of the frames, closing the aperture to zero percents. A fade in is done the same way
 starting at 0 percentage and opening to 100 percentages. A fade can be as many frames as you
want it to be depending on the mood you want to convey.

A fade can also be used in the middle of the film to indicate a passage of time, usually more than
12 hours period. It’s sort of like the sun is going down at the end of the day or the sun is rising in
the morning.

IV. Dissolves (Cross Dissolves)

Cross dissolve is a transitional device used instead of a cut. A cross dissolve is made, created
the same way that a fade is. Infact, a cross dissolve is actuallya fade out and a fade in overlapping
each other.The resulting image will be, one mage is fading away while another image fades in at
the same time. A cross dissolve also shows passage of time but it is usually a short period of time,
either something is happening somewhere else at the same time or something that is happening 6
hours from now on the same day. It can also be used for a flashback sequence.

V. Shot Selection

The storyboard artist is responsible for selecting the camera angles throughout the film. The
proper selection of these angles can make the film or break it. The shot selection controls what you,
the viewer, are allowed to see at any point within the film. This is a great responsibility, not to be
taken lightly. A great deal of film sense is necessary to carry out this job. Poor shot selection can make
even the most exciting action very boring.

It is imperative that the storyboard artist be well versed in the language of the film like when to use a
close up or long shot and why. The best way to learn this is to study films. View as many as you can,
both good and bad. Don’t watch them for their entertainment value but rather study them to see how
the scenes have been put together and why. This is a difficult thing to do because it must be a
conscious effort to really study the structure of the film.

The shots that are useful in film making are:

A. Character shots-
1. One shot
2. Two shot
3. Three shot
4.Group shot
5. Over the shoulder shot
6. Establishing shot
B. Camera Angles
1. Up shot
2. Low angle shot
3. Down shot
4. An oblique shot
 C. Camera moves
1.Trucks
2.Tracks
3. Pans
4. Rotations

D. Field shots
1. Extreme close-up
2. Close-up
3. Medium close-up
4. Medium shot
5. Medium long shot
6. Long shot
7. Extreme long shot

VI. Action Posing

The amount of posing that is shown in storyboard is kept to the bare minimum. Only show
enough to get the general idea across. This storyboard is simply an indication of the camera
angles and suggestion as to the characters’ position within the field and what they are doing.

The characters and locations should be kept as close to “ON MODEL” as possible. Proportions are
the most important things to be considered as this will determine the characters’ relation to the
background elements. Eye directions are also very important.

VII. Backgrounds

This storyboard is an indication for the artist as to what kind of camera angle is required. The
quality of background drawings should be done according to productions style requirements. Some
storyboards are so good; you could just blow the panels up, and trace it off. The important thing is to
clearly indicate the camera angle on location designed for the particular scene. The background only
needs to be drawn on the first panel of each scene.

VIII. Trucks

When indicating a truck on the storyboard you can just draw the panel with the outside
border representing the first field size and on the appropriate panel, draw a smaller field to
indicate the truck in. The remaining panels can be drawn at the small size or you can enlarge the
image to the full panel size. The truck out can be done the same way. Write the technical
information in the dialogue area.
IX. Tracks

A track requires an odd shaped storyboard panel; it all depends on the length and direction of
the move. Indicate with arrows direction of the move.

X. Pans

Like a track, a pan move requires extended, odd shaped storyboard panels, depending on the
type of pan involved. If it is a horizontal repeat pan with the character walking on a platform, use
a standard storyboard panel and simply indicate the direction of the pan either in the action or
notes area or in an open area in the visual panel.

XI. Perspective

It is important in the storyboard as it is the reference the layout artist uses to determine the
camera angle for the scene. The perspective should be as accurate as possible, using one, two,
three, or multiple vanishing points. Details are not important at this stage; just a rough but
accurate indication of the forms is all that is necessary.

XII. Leica reel or Animatic

Animatic or leica reel is the filmed version of the storyboard. This is shot in black and white,
depending on the studio. The soundtrack might be recorded once the script has been approved.
After the recording sessions are completed, the acceptable takes are transferred to film formats; it
is then edited together and broken down by the sound technicians. This information is transferred
to bar sheets which are also used by the animator to match the sounds to the drawings so that it
looks like the characters are actually talking. The info from these bar sheets is used to time each of
the scenes. The timing is then used to shoot the leica reel or an animatic. When viewed with the
soundtrack, the director decides about the overall flow of the film. If the scenes need to be
omitted or added, it is at this point that these decisions are to be made.
2. Character Design

I. Purpose

For the preparation of ideal model chart of character is desired in a story. It can be developed by
written description provided by the writer “MODEL SHEET” should reflect char physical limitation and
capability at the same time .Model Sheet should be useful for the animation artist through various
position angles different drawing .it should specify char using simple shapes either circle, cylinders
.this shapes can be modified like stretch and squash. Even a series of facial expression that the
character may use in the film. Position of mouth will be indicated for the lip-synchronization purpose.
As per rotation and views char to be drawn front, ¾, Profile, ¾ Back, Back etc. Continuity 10 to 12
poses per sheet can be used as reference to fallow the character in drawing. This MODEL SHEET or
CHARACTER DESIGN sheet helps animation artist in the studio to establish a consistency in the studio
to establish a consistency of each specific character which maintain the character ON MODEL

II. Character Selection:-

While focusing on the character specific characteristic in the story to develop a character from
written description from the script it should suggest some general idea of the type of personality. In
this term emotional moods are also important like , happy , sad , shy , bold , smirk ,stupid , pathetic ,
energetic , jealous , suspicious , lazy crying , shouting, hungry , thirsty , surprised , dreaming , winking ,
smiling ,astonished , pain , afraid , painful , angry , mysterious , curious , busy , tired , shocked ,
quizzical, frustrated ,sleepy , confused , grin , menacing , coy , honest , cheating , dumb , sympathy ,
serious , excited , enthusiastic , killing etc. . Character should perform honestly to its nature within the
film to its nature. Within the film Character costuming and physical attributes to be considered
manually by the character designer.

III. STYLES

When we draw character which is in our mind it must show its physical look though its drawing.
It should be designed through its drawing it should be designed considering the character.
There are two types of Animation Style:
1. Classical
2. Limited
these two styles are classified as animation types used.
In classical animation character should be full, fluid, life like and movement oriented in every action
drawing.

E.g. Classical animation drawings are like Tom & jerry, Beauty & the Beast, Micky Mouse, Tarzan, Lion
King, Bambi.

Limited animation should be designed in limited, static and rigid form in animation of the character
body the arm gesture and nothing else moves when character talks the mouth moves and remaining
character doesn’t.

Eg.Powerpuff Girls, Pokémon, Shinchan, Flintstone.

IV. Variety:-

After designing character styles according to story its overall look has to be maintained every
time. It has to be suitable for different types of cartoon animation technique, means it can be
generated on computer or on paper etc. When character comes to variety it is important among your
character to have contrasting and the proportion this is not the specific times, but rather the physical
structure of the character.

V. Limitation:-

When a character is born through designer hands by creativity and humorous inertia it appears
with different posture approaches, that awareness limit to be considered by the character design.

VI. Proportion

Anatomy of the character to design in measuring character body parts like THE HEAD ,TORSO ,
LEGS , ARMS , HANDS , FEETS , a good example of micky mouse character they usually have heads that
are larger than their body ,or Popeye is having small heads large body and torso, thick arms and large
hands etc. To fulfill humor and performance you can stretch and squash the various elements of the
character.
E.g. Mickey Mouse drawings and different views from its model chart.

VII. STEREOTYPES:-

For immediate recognization of character image to audience it should prepare stereotypes by

using character identity reference and is understood easily. Villainous character will be large for
binding with evil feature probably sharp. The HERO may also be large chest ,mascular arms , story
jawline and smaller hips . The reason for using this term is so that your film can be viewed and
understood universally.
 VIII. STRUCTURE AND SHAPES:-

Basically when we design the character in two parts The HEAD andTHE BODYThe head is made up of
two basic parts the skull, the jawbone and body is made up of these basics parts such as Ribcage or
chest, hips or pelvis region and the spinal cords connects this together the arm and legs attached to
the body and shoulder and hips,hand , feet’s attached to the appropriate appendage each part of the
body can be made from basic form the circle and the cylinders . The shapes can be stretched or
squashed or pinched in any way to create the shape required
For construction of skull, circle is used primarily .The Ribcage, the pelvis region, hands, feet’s use
half circle. Cylindrical shapes are used for necks, spinal column, arms, and legs fingers. Connecting all
this shapes require Joints without Joints the character will be stiff and rigid at the joint parts
theyshouldn’t be solid otherwise character will look dislocated or very awkward in drawing.

IX. Volume

Character consists of volume. It is an important factor in animation drawing that animation artist
has to be made aware about not to draw “ OFF MODEL” look of the character by avoiding volume
change without reason character Proportion to be presented from drawing actually.

X. Appeal &Humor

According the story and impact of characters role in the film to be considered very carefully in
writing your story think about the audience that your film is being viewed or shown too
If you want your project to be a success we will want a large percentage of the public to like what
you have done , find a need and fill it with the appropriate product for which age group the character
should be presented that has to be developed through Research & Development the image of the
character to be maintained at a good level through the presentation because audience compare at
certain stages themselves as a character .
Humor is very personal thing and you must be careful not to offend any group of people try to
avoid ethnic, racial, gender or religious jokes because it can create bad image of the particular
character which people are expecting as a good and ideal personality.

XI. Theme (Emotion& Action)

Film should present and dictate the style and type of design you create for your character, it’s
classified in various types

1. Action
2. Suspense
3. Mystery
4. Thriller
5. Horror
6. Factual
7. Sci-Fi
8. Comedy
 9. Fantasy
10. Parody
11. Historical
12. Jan(western Kung-Fu, monsters)

Each of this carries with them a specific “ TYPE OF LOOK” work within the individual parameter of
the classification it creates bad or silly impetration.

XII. Complementary Shapes:-

Exact look of the character in your mind which you want to reflect in your creation you should be
mindful of the various shapes while designing character use of complementary shapes works best
when putting together head and body.

XIII. Expression (Body & Face)

Emotion and feelings of the characters reflects powerful by both the face and body posture the face
is having collective and combine structure made by Eyes, Eyebrow, Nose, Mouth, Cheeks, Chin by
altering and distorting the look of various parts. Animation Artist can create hundreds of different
Emotion the major expression of feature are Eyes, Eyebrows and the mouth, Nose, Cheeks and chin
help compliment look
Animator is Actor through pencil and so animator’s must approach a job in such a way as movie
actor. As a Animator Artist we have to store and implement a much greater range of character than
any stage actor this term of emotion in a position way importance of acting theoretically has to be
from every animation artist and has to take experience on a stage in front of camera and in again
considering “NATYASHASTRA” important term animation artist has to apply it to express character
emotion and moods effectively through drawing format.

XIV. Gesture:-

This term is the pulse of animation drawing which describe the type of drawing in lines usually one
minute is sufficient to develop this term. Gestural sketch describe simplified format of overall action in
movement of the character .It doesn’t need details such as clothing sometime facial expression are
enough by using basic shapes like circle and cylinders it should reflect very structural nature of
character action. It is quick notification of character pose which should show suitable mood in the
scene

XV. Silhouette’s:-

This term is used to describe the exact pose of the character how it would look if we fill it in black
reading the pose is main purpose of silhouette. This means that if you observe character pose filled in
completely black which specify what the character is doing clearly

XVI. Rotation & Views:-

Character design sheet which preparing for animation should show the character from all angle to
the team in the studio show the character look like script reference. Characters posses can be
developed which will actually use within the story this helps storyboard and layout artist when they
draw character required poses to the developing overall scene in the film.

XVII. Size Comparison:-

Size comparison which are used to give the animator artist within the studio an idea of how big the
characters are in relation to each other Its specify on separate sheets which shows all character from
the film on the same ground line.

XVIII. Will It Animate or Not?

As a character designer his responsibility is not to create a complicate character means it should not
design or draw with too much thing in it because when we see a character eyes its expression and
finally the action needs less. Details will distract our eyes
Whatever the form is shown textural complexity in the character we have to show most simplified
structure which helps to maintain proper likeness of the characters.

XIX. Reference Materials:

Developing period of characters which have to follow references by magazines with photos of
people in it. A good source for animators are local places like shops and malls, and market, railway
stations, bus stops, gardens, etc. Prepare small sketches by watching people going by. This is
particularly an endless source of material. Observe the persons they walk towards us, and then make
a quick sketch by memory. This will help you to develop your imagination.
Clothing and properties, contemporary style, will be basically gotten through available information
from informative websites, TV channels and magazines etc.

XX. Coloring:

Character designer should be aware of designed characters color scheme, because which color will
look appropriate with the character and its personality has to be considered carefully. Image of the
character according to its mood in the story should not be destroyed. Symbolic approach of the color
to be applied properly to develop an animated character’s feeling. Universally accepted color images
as a symbol should be maintained by the coloring of the character considering scenes, mood,
environment, time, season, and light source carefully for coloring of the character.
At the same time, which types of background colors will look supportive with the painted character
that also is to be decided.
 3. Prop sheet

Purpose of prop design is similar to character design the only difference being that a prop is an
inanimate object within the cartoon that at some point in time which move

A prop can be anything like ball that character throws to a door that opens within a second a
prop is anything that moves but doesn’t have a character prop can’t move by itself

The prop usually is hold cell or became hold cell when it becomes animate it is animated with
the character on the animation table

These are only 3 or more views of the prop on the design scene you don’t need to show various
expression just enough to indicate the complete structure of the object

I. Structure:-

Structure is all important when designing prop the object must appear to be solid and 3D.
Perspective is a must when drawing the prop

II. Views and Rotation :-

Since you are showing the object in 3 or 4 drawings your selection of views are important
depending on the prop being used try to show the shape as clearly as possible ¾ view are
the best. Place your Horizon lines a bit above the object so that you are presenting three
side of the prop this type of view is require two vanishing point (REMEMBER NOT TO
PLACE VANISHING POINT TOO CLOSE THIS WILL PRODUCE ILLUSION OF BEING VERY CLOSE
TO OBJECT)

III. Size Comparison:-

It is helpful to draw a character on the prop sheet to give the proper scale for the object
depending on the size of the object place the character beside the prop in the instance a
new drawing of the character isn’t necessary just select appropriate pose from the
character model sheet reduce it on Xerox and paste it on the prop sheet if the prop is small
just draw the character by hand
4. Layout Introduction

Within the animation studio layout falls between storyboarding and animation in the
simplest terms the layout artist translates this storyboard panel into group of drawing that can then
be used by both the animator as a guide for character placement and motion the background painter
to create the rendered background.

Another part of the layout artist is to be a problem solver the storyboard is the visual
representation of the written script indicating character action and cover placement the layout artist
has to make it work in physical term under the animation camera deciding and everything from
character placement size & action thru the background environment or the number of cell level on the
table.

Layout covers 3 general areas

i) Technical information in the form of fixed guide for the camera person (technical)
ii) Animation posing for the animator
iii) The background for background painter

The layout artist main function is to become “Eyes” of the director and understand what the
camera is capable of seeing composition, design, mood, environment, action, camera mechanics and
overall look of the film are area of concern of layout artist.

As a layout artist you must be skilled and competent craftsman understand mechanics as well as
“Eyes” born perspective he must have General Knowledge of such things as architecture, Furniture,
Everyday household items, Elements of landscaping, Fabrics and many other things this is why layout
artist is one of the highest paying position in the studio research is very important take of layout artist
the success or failure of layout artist contributes to establish the look of the film will lay to a great
degree not only upon the ability of the artist but how things have been primarily researched into
authentically recreating the Time, Place, Period, Established by the story and storyboard research can
take lot of time but it must be done and it must be thorough.

 Principle of Layout

Just like each of the other department the artist and technician have their own area of
specialization the layout artist is no different the following is a list of things the layout artist
must be competent in
 i) A Knowledge of film language :-

Being able to read and interpret a storyboard, understanding what a bad out in
opposed to a good out not crossing the access line proper fielding and character
placement etc.

ii) A strong understanding of perspective

When and how to use one point, two point, three point and wrap perspective how to
create eclipse calculate point of measurement make an inclined plane and proper use
of grids

iii) Knowing all technical animation camera its capability and limitation

iv) Mental Visualization

The ability to visualize an area from any angle and drawing it is also ability to
character on model improper proportion and in a possible position

v) Depth of vision
To be able to create a 3rd dimension on a Non-dimensional sheet of paper using
light and shade

vi) The ability to interpret a storyboard without destroying an idea or losing because all
the major artistic decision are being made at this stage in the overall production it is
very important that the artist involved be as proficient as possible in all of the above
area the main area of importance is off course artistic ability this is the supplemented
by technical knowledge

 Layout artist thought process

After the layout artist receive the character location and prop design as well as the
storyboard there are series of question that they must ask before they begin to draw and
during the process
The pre-layout question are broken down into 2 categories

a) The story
b) The composition of the layout

All of this is to a greater or lesser extent answered by the location design and storyboard but still
 a) The story
1) Its mood: - Is it – Romantic?

Dramatic?

Cute?

Mysterious?

Fantasy?

2) Its location: - is it – Interior?

Exterior?
Foreign country?
Local?
In city?
In country?
Fictional?
3) The time:- off day – Season

Period (contemporary or historical)

4) Cutting :- what are the procedure

The following scene
Is it personality or pictorial scene?
What is the character size and length of shot?

b) Composition of the layout

1) Screen direction:-
a) floor plan
b) footage of scene
c) speed of the scene
2) camera angle view:-
a) Looking up?
b) Looking down?
c) (on diagonal)
d) Where is the horizon line?
e) The perspective-is it “Forced” or “Natural”
f) Where is the center of interest

3) Humor in the scene:-

 a) Selection of prop to add to the humor
b) Proportion of object

The layout artist initial priority is to be a problem solver. In order to solve a problem you first must
identify it. To identify the problem, you have to question things.

Although the above points are mostly answered by to location design and storyboard there is
always the possibility that the individual artist or even the director may have missed something the
layout artist cannot allow the mistake to go through the layout department if the layout artist doesn’t
correct the error and is passed on to animator you can be sure animatorprocess if you’re not thinking
about what you are doing you won’t be producing your best work concentrate on everything from
construction to volume to line

4) Legibility of all element:-

a) Check character clearance in themselves
b) Check simplicity design
c) Check the placing of interest
d) Portrait principle for accenting the character action
e) Using an “OFF- Centerfield” all a margin for safety
f) Check the thickness of character, object, props etc
g) Check the sizes of design element with the animator so the character work well
5) Design
a) Balance
b) Asymmetry (Lack of symmetry)
c) Symmetry
d) Stability
e) Subordination of element
f) Contrast
g) Rhythm
h) Variety
i) Radiation
j) Graduation
k) Tangential growth ( Object are toughing edge to edge)
6) Miscellaneous design consider
a) Line design
b) Tone design
c) Light effect
d) Shadow’s
e) Department scale contrast on overlapping object
 f) Perspective
g) Parallel

c) Mechanics:-
1) Be sure to check – field, trucks, tracks, rotation, pan moves, labeling of folder,
background, overlay, reuse stamp ,level sketch , field guides ,animation position
,hold cell, underlay, copies, Background, copies
2) Inclusion of prop and effect sheet

Also to be considered are COLOUR MODELS. Keep in mind the character coloring for weight
and legibility their relation to background and its coloring.
Another important element that is the concern of all the layout artist as team and that is to be
sure that there is consistent attention to the details of the various designs. Everyone must confirm to
the design of the film. There can’t be any rogue artist using their individual style. The highest
compliment an artist working on an animated cartoon can receive is that they are an “Artistic
Chameleon” able to mimic any given style.
 5. Location design

Purpose:- Location design are used by storyboard and layout artist as an environmental guide to
showexactly what the area looks like that the character have to perform within the location design
will show furniture placement spatial relationship for interior or if an exterior design, building or plant
placement

 ¾ views: There are two traditional versions:

1) The ¾ down shot (open cutout shoe box version)
2) The master background

There are advantages and disadvantages to the 3/4th view. Two advantages of ¾ view is that it gives
better information about the location, the disadvantages is that it’s a completely separate state
within the production. There are usually two views of opposing cover area and are only used as
reference pieces.

Master background:-

The advantages of the master background solves ¾ views disadvantages, in

that it is actually used physically within the film. The disadvantages is that if the horizontal is low ( at
the character eye level), a proper sense of at element placement is lost. It also allows only view of the
area this is partially resolved if the master background has high horizon line thus producing a ¾ down
shot view this is sometime also known as establishing shot.

Architecture:-

It would seem to be obvious that if you are going to design location

involving horizontal structure whether its brown stone house, bungalow, teepee, or high rise
skyscraper that a thorough knowledge of an architecture is absolutely necessary

Construction of window and doors are common assignment for the location designer in many
cases element such as these are overly simplified to the point where they would be able to physically
function realism

Sometime a story will require some historical reference and I will be the location designer to include
various element that will tell the audience when the film is taking place therefore not only modern
architectural knowledge is required but also a wide range of history is needed.
Research:-

Unless the location designer has studied historical architecture a certain amount of
research is necessary this is where reference material can be invaluable building up library can be as
simple acutting picture from magazine such as notational geographic the magazine is particular is the
endless sources for both interior and exterior photos because of the values of the magazine it is also
good interest reference by simple as follows you can have a very handy reference library begin with
two main categories

1) Interior & Exterior

Within this two main fill setup file based roughly on the following title Rural, City, Country , then
with this you have them broken down geographically , North American, Central American, south
American, Europe, Africa, Middle east, Arabian, Asian etc.

Location:-

Location can take place anything your mind can imagine there are really no limit if you can think
it and draw it well there it is

The location is always decided by its story as its specific require the main role being that the
character must have enough space to do what is require by them

Care must also be taken not to needlessly over clutter the background don’t add a thing that will
make it difficult for the layout artist to draw the background the designer should take into
consideration what the character is doing and where they have to do it as well as ………………..camera
angles the designer has to subconsciously predict possible composition

Perspective:-

The location designer also has to care create different perspective for the layout artist ( not every
layout artist has the advance knowledge of complex perspective) it would be easiest to have element
that are parallel to the room(if we are dealing with are interior design) by introducing element that
are at off angles to the walls can add variety but also adds consistency and accuracy problem ellipsis,
stairway, especially spiral staircase can be challenging to even the most experienced of layout artist

Furniture:-

Furniture can assist in establishing a time frame for the audience again research would be required
for authenticity the designer has to considered with the function of furniture piece in relation to
character and its purpose within the context of the story

Composition:-

Composition of element within the background cant be predicted by designer but some simple rule can
be observed balance and function are very important remember the element should serve a purpose
of some sort either ornamental or functional try to have elements add something to the story

Staging:-

Staging fallows the same track as composition by understanding where the character are within the
location proper staging can help the storyboard artist to place the camera within the location and
create a sense of portion for viewer if the audience loses track where the character are in relation to
both each other as well as within the environment you can be sure they wont be able to think what’s
taking place within the story in most cases this is more suitable than conscious

Spatial Relationship:-

The space within the location environment must be clearly defined the character need to have in a
room to move about and do what is required of them is a character has to do a back-flip but only has 3
feet to do it in well you can see the problem a good idea is to make a floor plan of the area then plot
out all the position the character will have to be in for the sequence this will help you to decide the
furniture and prop placement

By doing this you can also plot rough camera angle and further adjustment to the element the
background which will immensely be helpful to layout artist there is nothing worse than getting
location design that doesn’t work it means wasted time trying to get correction could take a day or
more this is distratious on a limited time schedule and could result in unwanted overtime

The interior location design is usually easier to create than the exterior because you are working
with definable space with walls an extreme amount of care must be taken to be sure that the proper
dimension are represented if the floor to ceiling height 8 feet be sure the floor space dimension are
realistic and proportional be sure when constructing the ¾ view of interior to place the horizon line
high enough to properly show all the spatial relationship of elements a good height would be twice
the wall height place the vanishing point far enough apart to represent the viewers distance from the
room.
Exterior:-

The exterior location design is slightly more difficult to create because you are dealing with a much
more open area which could in some cases extend off to the horizon line are infinity that a pretty big
area to design you could in some instances when you are dealing with the exterior of a building have a
more definable area in the case of open area a view of the horizon can be included on the design in a
box in one of the open corners.

Landscapes:-

Landscapes involves the coloring of the surface of the area you are designing adding hills and valleys
can greatly enhance the design you still begin with the two point perspective floor plane this will
define a area that location requires next you need to create the surface contour the use of mapping
grid helps a lot this grid will indicate clearly how the ground is shaped.

Landscaping also means that you need to fill the area with appropriate amount and types of trees
bushes, rocks etc. Again research is necessary to actually environment too many people rely on their
own memory to try to create trees and there are overly simplified to a point where they look boring.

Take a trip sometime into the undeveloped are around your house look closely at the tree trunk
where it comes of the ground and notice how the roots are shaped familiarize yourself with the
structure of each of the different types of trees.

Methods:-

There are two ways you can develop the construction of your location design

1) you can take the technical approach

2) the eye balling technique

The technical approach is slightly more time consuming and given location design a very realistic look
the measurement will be very accurate but there is a certain amount of artistic license that is allowed
here the name for the technical approach is called perspective projection

The eye balling approach require a fair amount of perspective head knowledge you basically begin
your drawing using standard two point perspective from there on your use of your eyes to make depth
judgment the rule here is “IF IT LOOKS GOOD THAT’S YOU NEED “ this method means you have to do
lots of visual prospection meaning – “OBSERVATION”
6. Background
Purpose:-

The background from layout artist serves two primary purpose the first is to act as a line drawing of
the environment that is used by the background painter to create a final color background element
used in the final shoot with individual animation cells the background will transfer the layout artist
“Original” background too water color paper in the bracket or whatever type of paper is suitable for
the medium being used within the filling by either hand tracing in pencil or by Xeroxing or photocopy
in where it is then painted or colored according to art director color sketches.

The second use of the background is as reference guide for the animator during the animation
process it lets the animator know where the character is supposed to be acting it also provides the
animator with the ground plane that the character or characters are standing on without this the
character should appear floating in the air and not standing on solid surface

The background also provides a clear sense of the camera angle to the audience

Backgrond Basics:-

There are some simple principal that you should keep in mind when laying out your background

“DETERMINE WHAT THE DOMINANT ELEMENT WITHIN THE SCENE “ depend the type of shot you are
dealing with it will either be the animation pose or the background in most cases it will be the
animation that is dominant if this is the case the background should be drawn to the animators pose
remember the character is most important element in the scene as the viewers your eyes first go to
the character eyes then the face then the action of the character then the background and finally back
to characters action these all takes place in 1 to 2 seconds try to draw the character and there action
first then the background

Simple, Strongly design background works best

Study the location design thorough to get a complete understand of the environment the character
are moving around in this storyboard artist will provide the layout artist with rough idea as camera
angle require for the scene it is then layout artist job to refine this into final look of background

The layout artist always has option to change the camera angle within the scene if it improves the
mood and look of the scene the director will always have the final call on every changes

Avoid cluttering the background with unnecessary details unless they absolutely have to be there you
don’t have to draw wood grain on hard wood floor or label all books on the book shelf

In an establishing shot background there is more room for details basic design still be strong and
simple “ soft focus backgrounds work best behind close-up’s “
 A soft focus background is used to create an illusion of depth on what is in reality a flat surface if you
are talking to someone and looking at their face your focus is on the feature of their face the area
behind is within your peripheral vision and will be out of focus by painting the background out of focus
or in “soft focus” you can create the same illusion

The soft focus background should be kept as simple as possible don’t add any details the end result
will be basically look like abstract shapes of color indicate the shape of the object which are behind
the character and label whatever it is necessary the labeling of the object depends on the method the
background artist uses to transfer the layout drawing to the water color

“Be clear and thoughtful in your drawing “

When drawing your background make sure that you don’t just suggest things finish off your drawing
to indicate where things end if the background artist can’t figure out what something is on the
background how can they paint it?

The final point depends upon type of production, if you are working on feature film and they want
you to shade the background layouts then go for it if it’s not “KEEP SHADING TO A MINIMUM”

You can use shading to indicate simplified area of shadow are to help separate the overlapping object
in the background

Indicating shadow is very difficult and time consuming process simply figuring out all the proper
perspective can more than double your drawing time

Staging:-

The staging of the background element is largelyup to the story board artist if you can come up with
better scene setup the go ahead and try it out you want to create thumbnail sketch for approach first
before working it out to full size this will save a lot of pain and suffering in the long run if the director
or your supervisor don’t like your idea the layout artist should ask self before beginning the physical
and mental job of drawing the layout if would be good idea to refresh your memory at this point
before continuing.

In staging we are considering both the aspect of laying out a scene, animation and background
since many of the things are intertwined “Creating a basic idea “ in process of creating a layout the
basic idea is very important an excellent exercise to develop this skill is to write down about 20 or
descriptive words such as “storm,calm,happy,isolated,sadness,rage” etc.on several small places them
in container then take a piece of paper and pencil or piece of chalk and take on of the words of the
container then within a one minute time limit illustrate that work with one thing that pops into your
head this allows you to create before logic has a chance to take over.
 The ideal way to do this is to get someone else to write down a series of words for you otherwise as
you write them down you may also be spending that extra time thinking about the type of images
that would go with it.

Thumbnail Sketches:-

Approach your layout in this manner look at the storyboard and the first idea that comes to mind
quickly sketch it out using the one minute time limit make this sketch about 2/3 inch to save your time
keep this thumbnail sketches simple and to the point using just shape blocking out there position don’t
waste your time on any details after you have completed the sketch look at it carefully and dissect it
mentally to see if you can come up with an elaborate approach and then sketch it out using the same
approach and time frame.

By drawing all your scenes in thumbnail sketch form, you can easily see any major staging mistake
that might be problem later on. The one minute sketches are easy to throw away when major revision
has to be made opposed to the full size layout that may have taken your 15 min or more each to draw
it will save your lots of time in long run.

Reference material:-

It is imp to use as many sources of material as possible but be sure that it is used properly.