Wednesday, 15 February 2017

Humans series 2 storyboards part 2

As season 2 has not yet aired in the US, I should mention,.....
The storyboards and notes give plot details away.

As mentioned in the previous Humans series 2 post, I am given the script and the director  (Mark Brozel) and I discuss the plotting the frames. These discussions can take any place. Sometimes the pub, a restaurant, a studio or over the phone, depending on the nature of the shooting schedule.
The parts highlighted in yellow relate to the storyboards below

Here is my initial response to the script during a phone conversation with Mark Brozel

 and then the feedback notes...

and then the final frames

A random sheet of  sketches of Hester, while waiting for feedback
 More storyboard samples can be found at 

Tuesday, 14 February 2017


As some of you are interested in the storyboarding process for tv and cinema, I thought I would post some of the storyboards I produced for HUMANS, Season 2.
I had not watched season 1. I saw the trailer and thought it looked interesting, but as usual, work got in the way. Well, not so much got in the way , but more like, I become so engrossed in what I am doing, I forget what is going on outside of the job at hand. I miss  loads of tv and films and gigs  due to this way of working.
Before I was handed the script, I crammed in the first season, to get up to speed with the series. I was then e-mailed the script by the director, Mark Brozel, and we then worked through the script via phone calls. While I was on the phone, I produced these intial breakdowns for a scene.

which eventually transformed into this

Then another phone conversation with Mark , revising the intial breakdowns

leading to this
and then the final draft

 More storyboard work can be found at 

Wednesday, 4 January 2017

January term begins on the 10th

A new 10 week term of Fantasy Art begings Tuesday 10th January. 
Swarthmore are taking bookings

Monday, 2 January 2017


the art of representing three-dimensional objects on a two-dimensional surface so as to give the right impression of their height, width, depth, and position in relation to each other.

"the theory and practice of perspective"
We see perspective in use every day of our lives, probably without taking any real notice, yet when it comes to putting perspective into practice on paper, it can be a stumbling block for many who are learning to art of visual communication. But it needn't be.

In it's simplest form, to use perspective, you need to identify your horizon line and your vanishing point, from which  your picture's perspective lines will all point to.
This would be a single point perspective.
If you were standing in the middle of a road, or rail track (I am not suggesting you do), you would notice the road or rail tracks disappear off into the distance. The point where the track or road disappears is called a vanishing point and it sits on the horizon.

Here is an everyday scene of a road with building either side.

Here is the same scene  and how single point perspective applies to it.

Put more simply, if you were to take  a simple cube, 

this is how it would look  in single point perspective (looking from above/high angle)

Asingle point perspective was used to create the exercise from week 4

reference material
Anyone who has done Design Technology at school will have come across perspective. If that is not the case here is some more useful  information with regards perspective.

SEPT-DEC 2016. WEEK 6 layout and composition - Jock

Continuing our exploration of composition , Here are some of the images by, Jock, that we discussed.

If you want to find out more about Jock, visit his site
 and buy this book