Tuesday, 28 February 2017


Just to recap on the rule of thirds, discussed in class, here are some more notes.
Basically, the rule of thirds uses a grid divided into 9 equal parts . The intersections in the middle are considered the best points to place the main point of interest, to created a more visually interesting balance of composition.

It is most often applied to photography. Infact most have the grid as an optionin the viewer

I sometimes apply the rule of thrids to my work, sometimes it happens  just by coincidence, and sometimes I ignore it completley.

The following is taken from Wikipedia, it goes into more depth and back ground. Also I have posted some more links of interest.
The rule of thirds is a "rule of thumb" or guideline which applies to the process of composing visual images such as designs, films, paintings, and photographs. The guideline proposes that an image should be imagined as divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections. Proponents of the technique claim that aligning a subject with these points creates more tension, energy and interest in the composition than simply centering the subject.

The rule of thirds was first written down by John Thomas Smith in 1797. In his book Remarks on Rural Scenery, Smith quotes a 1783 work by Sir Joshua Reynolds, in which Reynolds discusses, in unquantified terms, the balance of dark and light in a painting. Smith then continues with an expansion on the idea, naming it the "Rule of thirds":

Two distinct, equal lights, should never appear in the same picture : One should be principal, and the rest sub-ordinate, both in dimension and degree : Unequal parts and gradations lead the attention easily from part to part, while parts of equal appearance hold it awkwardly suspended, as if unable to determine which of those parts is to be considered as the subordinate. "And to give the utmost force and solidity to your work, some part of the picture should be as light, and some as dark as possible : These two extremes are then to be harmonized and reconciled to each other." (Reynolds' Annot. on Du Fresnoy.)

Analogous to this "Rule of thirds", (if I may be allowed so to call it) I have presumed to think that, in connecting or in breaking the various lines of a picture, it would likewise be a good rule to do it, in general, by a similar scheme of proportion; for example, in a design of landscape, to determine the sky at about two-thirds ; or else at about one-third, so that the material objects might occupy the other two : Again, two thirds of one element, (as of water) to one third of another element (as of land); and then both together to make but one third of the picture, of which the two other thirds should go for the sky and aerial perspectives. This rule would likewise apply in breaking a length of wall, or any other too great continuation of line that it may be found necessary to break by crossing or hiding it with some other object : In short, in applying this invention, generally speaking, or to any other case, whether of light, shade, form, or color, I have found the ratio of about two thirds to one third, or of one to two, a much better and more harmonizing proportion, than the precise formal half, the too-far-extending four-fifths—and, in short, than any other proportion whatever. I should think myself honored by the opinion of any gentleman on this point; but until I shall by better informed, shall conclude this general proportion of two and one to be the most pictoresque medium in all cases of breaking or otherwise qualifying straight lines and masses and groupes, as Hogarth's line is agreed to be the most beautiful, (or, in other words, the most pictoresque) medium of curves.

However,...as good a guide as the rule of thirds is, I do not always adhere to it and niether do many professionals. It is to bu used as a guide only, and not as a rigid set of rules. It is nice to trust one's own eye or judgement.
Tke Frank Frazetta's work for example. Som of his most famous work does not apply the rule of thirds.

But some do,...

Also, consider the images created by, Tatsuyuki Tanaka, below. Do they lack anything for not following the rule of thirds?

 A recent work by Ai Granov, also does not apply to the rule of thirds, but does it need to?

Sunday, 26 February 2017


Continuing our look at perspective and layout, the following flip chart sketches , although drawn without any planning, purely spur of the moment, were created to make you think about perspective, layout, ballance and camera angle/point of view (pov).

Clearly all three layouts are using single point perspective but each one has it's own camera angle (point of view) and dynamic.

The forst image uses a high angle , looking down upon the street, showing a lot more of the scene than the other two layouts.
Do you think the layout is alittle unballanced witht he pilot and the alien creature all on the same side?
What would you do to improve it?
Think about eye flow and balance of content.

The second layout is pretty much a straight on , eye level view, showing slightly less scenery and a different ballance of content.

The third layout is a low angle, looking up , with less scenery  and a completely different dynamic.
Do you think this dynamic imporoves the image?

Going back to the rule of thirds grid, discussed in class, lets have a look at how these layouts sit within that format. I have added some loose tone to Identifiy the levels of content.

 How does your eye flow across the image?
What do you notice first?
Does your eye flow from top to bottom , or bottom to top?

.Below are the other two layouts, whith lose tone and how the layout sits within the grid.

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