London UK based freelance storyboard artist/visualiser/illustrator. Call 07956 247630 to book.
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.
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.
As well as storyboarding, I am versed in illustrating bespoke marketing concept visuals to sell in ideas to clients. Whether it’s that branded outdoors event at a music festival, or another sampling stand at Waterloo, I can quickly draw the idea up in Photoshop where it can be easily amended if the client suddenly changes the colour of the Brand Ambassadors sweatshirt.
My drawing ability is only limited by your imagination, and I’ve worked on countless big advertising agency pitches that have pulled in a lot of new business. Work is supplied as a file to insert straight in to your presentation.
Drawing up a scamp from scratch on my wacom tablet creates something very special for the client. It means that their idea has been drawn up in a fast clear neutral fashion to succinctly determine whether the idea has any further mileage to explore before investing any further studio time in it.
Christmastime (in terms of production at least) in adland is bearing down upon us. Every summer I sit in a hot creative dept in Soho or Clerkenwell, a fan trained on me, as I draw snow falling on magical winter landscapes and children excitedly opening their presents in front of a roaring log fire.
It’s really interesting when I see how my frames compare to the finished commercial. Production company storyboard frames differ from advertising agency frames as they don’t have to be so ‘whizzy’ and ‘colourful’ because they are concerned with the practicality of filming for the director.
Drawing in Photoshop is also helpful because you can address things like depth of field more accurately, as well as adjusting the composition of shots. Frames constructed in layers can even be adjusted by the director after I’ve left the office, or sent them the layered files.