3. Research and synthesise diverse visual materials to inform design solutions.

Storyboarding was a particular challenge. With these types of drawings one must be very selective in what they show, and what to spent their efforts on. To prepare myself for the task of creating storyboards, I looked at a number of references to find examples of elements specific to the script provided. I investigated the issue to an extent in Learning Outcome 1, showing how action and combat can be represented in a storyboard.

Another major part of the script is dialogue. Personally I experienced confusion in the way panels are represented with comic book panels. I needed to understand that storyboards are their own medium with a specific set of visual rules. I found two interesting examples to help me break down the conversation shots:

(Taxi Driver)

( Deadwood )

The storyboard from Taxi Driver establishes the composition more than anything else. It also has the transition from outdoors to indoors, which is included in the Excelsior script as well. While the storyboard from Deadwood are more about the dialogue and mannerisms of the actors. 

Interesting about them both is how roughly drawn they are. They just provide the basic compositional information. This suggests that the storyboards were done by a visually literate person for another. In the storyboards I wanted to make, I was looking for more visual clarity. Additionally I wanted to make myself more comfortable with sketching digitally the way I sketch with a pencil on paper. A great reference for a storyboard with the look I required is from Game of Thrones: 

(Game Of Thrones)

The way the storyboards above communicate complex panoramic scenes, dialogue and camera movement is very clear and aesthetic. In response to all these synthesised visual materials, I produced this series of storyboard panels:

All My storyboards can be found here: