Peter Davies, London UK based freelance storyboard artist/visualiser/illustrator. Call 07956 247630 to book.
More Hugo Boss frames, I had a really great time time drawing production frames featuring the great Lewis Hamilton.
I enjoy working on content storyboards, it’s a lot more involved and I can often place a lot of creative input in to the filming.
I’m just as comfortable being briefed by a project manager as a producer, art director, or the actual director themselves. We’ll agree everything in the form of rough doodles before we end up getting more committed to the final storyboard.
Call me direct to discuss what I can add to your project, and I’m also more than willing to discuss anything you’re not familiar with.
A little while ago I was working on storyboards for Hugo Boss, producing clean simple production frames for client approval and to assist the crew.
It was very educational working with the director, his brief was very well worked out. It was a really interesting experience.
A lot of the work I do now is content, and often runs a lot longer than the traditional thirty second TV spot. It’s also very considered and they are really more like short films than commercials. This project involved input from location scouts and other crew to get it nailed down really tight.
I think that accurate storyboarding is important in production terms to guarantee that everybody is aware of what the finished film will look like, for obvious reasons. I also really enjoy working in line, it can look very dynamic and it’s quick to complete once you get in the flow.
I’ve been completing a lot of work for digital agencies and production companies of late, and it’s amazing how much of my work is now for online content more so than traditional TV adverts. I now regularly see short films and ads I’ve helped visualise on You Tube, and I imagine that I’ll be doing more and more of this. I love creating bespoke storyboards, knowing that the digitally drawn conceptual nature of my work gives the director the artistic freedom and scope to interpret the frames really freely at the film shoot.
It’s really interesting seeing how Christmas ads develop throughout the year. The earliest I’ve worked on one has been in January. Many of the ads I draw up are just for pitches, and never get made. Working for both content/social media/ad agencies and production companies, I’ve developed a style which I believe is somewhere between an agency and a production style storyboard.
A recent conceptual piece for a game ad, I love drawing cars and combined with really tight art direction this became a very enjoyable project to become involved with.
Working at both agency and production ends of the storyboarding process gives me a very thorough understanding of the requirements of my role. For example, a pitch storyboard has to do something completely different to a production one. Often, you have to combine elements of both to save time.
As a footnote to this post, I’m adding screenshots (below) from the finished ad to show how the storyboard worked at the shoot. I always find it very interesting to see this.
I have always loved drawing cars, ever since childhood. I remember as a child having a book about the making of the Superman movie, and loved the way the storyboard artists had depicted them on the streets of Metropolis. Back then the artists used pencils, but using my Wacom pen I can create perfect black and white contrast to hint at the required ambience of the shoot and any VFX.
I employ tried and trusted techniques for drawing cars gained through years of experience in ad agencies, and have often had to make the drawings so specific that you could differentiate between versions of the same vehicle.