Storyboard Research

        Looking at a selection of storyboards for well known films, I was surprised to discover that the majority are not finely finished, exquisitely painted works of art. Instead, although well drawn, there is a sense  of speed and energy behind them, as though the artist has ideas tumbling out of their minds. Most importantly, these drawings don't seem laboured over; what is important is conveying a the essence of what is happening on screen.

David Lowery for Jurassic Park.

Sylvain Despretz for Gladiator.

         What the above two segments of storyboard share is a sense of dynamism. By not sticking to the confines of the box/frame, the movement within is so much stronger and somehow more exciting. It also provides a clearer sense of where a character is going to or coming from as the frame provides a definite start/end point. The simple black and white lines manage to paint the scene without distracting from the content of the scene; important given the point of a storyboard in the first place (to clearly map out a scene for everyone involved in the film).   

Zack Snyder for Watchmen.

        This storyboard for Watchmen, I feel, is a little underdeveloped. Certainly, the drawing doesn't detract from the action, but the lines are so simple and the character so vaguely draw that I find it harder than with the others to follow what is happening. It just isn't that exciting...but it appears that frames from the original graphic novel have been used as a reference, so perhaps the purpose of the storyboard in this case is to fill in the blanks, as the graphic novel has already depicted the characters, settings and main action.