Steve ✦ Lowtwait Profile picture
Aug 12, 2020 15 tweets 5 min read Read on X
How to give story to a location through details.

Let's look closer at this background from #BigCityGreens.

A thread: Image
As a base, let's look at the storyboard. What are the broad story strokes?

Trailer park.
Rural.
Tight quarters.
Weathered and worn.
Littered.
Ironic name. Image
I built the location with those things in mind, never veering from them and only enhancing them.

This is the rough I drew over the storyboard. Image
The final cleaned up design pushes the details of those story points even further - a cramped trailer park built with high hopes of which time and circumstances have not been kind. Image
Design a culture.

I imagined that residents like to sit out front their trailers enjoying barbecue and bonfires on warm summer evenings, chatting with each other as a community.

The implication gives the ratty trailer park a sense of charm, that people still like it there. Image
Also notice the BBQ tool stuck in the ground. Just a bit of humor.

The dead plants in the pink trailer's planter are another example of lofty ideals unable to grow to fruition.
- A worn railing of mismatched parts.
- A bucket sitting within easy reach from the door.
- A light fixture with an exposed bulb.
- Scrap wood kept for some reason.

What does this say about who lives here, the way they live their life, keep their home? Image
Those questions don't have to be answered in the design or anywhere else.

But part of giving story to a design is in the asking of questions.

Doesn't matter why the bucket is there, just that it's there asking why.

Story.
Typography matters.

A happy soft typeface of "Sunny Days" contrasts the standard looking seriousness of "Estates" in all-caps, neither of which reflect the reality of the trailer park.

The warm yellow is worn away to reveal the cold blue beneath. Image
Behind the sign is a propane tank.
Propane tanks need to be refilled periodically.
The cap on the tank has to be removed for this.
Someone has to walk past this sun sticking out.
After years of this, the outermost sun ray is broken and worn.

Story. Image
I imagined someone no longer wanted this headboard and put it out front for someone else's use. But one too many bends kept it abandoned. Perhaps bored local teens beat it even further. So there it sits rusting away because everyone got used to it being there.

Story. Image
Color:

The pastels and warm hues give the place an overall happy mood. It's charming.

But the details in the color - the dirt, the rust, the sun-bleached fading, the evidence of human wear - all tell the same story as the design details.

Painted by @spookybri. Image
Also, it's fun to draw creepy faces on the sun.
Another thing that showed up in my research of trailer parks was the satellite dishes.

One company would supply satellite TV to each home so they'd all have matching dishes mounted outside facing the same direction.
This was on screen for just over 2 seconds.

All that thought and work for a couple seconds.

Thing is, your brain picks up on all the visual cues way quicker than that.

That’s why the effort is worth it.

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More from @Lowtwait

Mar 15, 2022
Let's discuss pushing the boundaries of distortion and style for cinematic and emotional impact.

An environment design thread: Image
Spoiler alert. We have this #BigCityGreens episode called Big Trouble where Tilly "goes bad" and wrestles with her internal demons.

That emotional conflict is what this thread is about. Image
There's this shot in the storyboard (by @Hug_bees) where Tilly faces her guilt over some bad decisions.

The background is drawn in a distorted manner to reflect the turbulent emotional struggle within her.

How do I push that feeling in the final background design? Image
Read 13 tweets
Mar 9, 2022
Designing a TV animation background of a biker bar, and how to add snow.

A step-by-step thread: Image
Here I start with the storyboard panel. It's quite rough and basic, a simple box building with a funny name.

This allows for a lot of creative freedom but I like that it's somewhat plain and windowless. Image
I rough the design over the storyboard making most of my creative choices.

Thinking about lighting in color, I add the pole on the left for an off-screen light source.

The type I hand drew for a specific style.

The motorcycles I backed in because bikers often do that. Image
Read 14 tweets
Oct 13, 2020
From storyboard to background design.

Drawing a pirate ship dinner theater. Heck yeah!

A TV animation step-by-step thread: ImageImage
First, define perspective.

I lay some pre-made grids over the storyboard panel and adjust them with Photoshop's perspective tool. I eyeball it this time instead of using vanishing points.

The horizon line (dark blue) is near the top of the frame so we look down into the room. Image
Then using the storyboard as a guide, I rough in the architecture and major elements.

Though I used reference for the pirate ship, it's a theater stage, not a seafaring vessel, so I cheated a lot of the logistics of a ship.

That's fine. It's a cartoon. Image
Read 11 tweets
Oct 1, 2020
Let's combine 2 drawing tricks I recently covered:

- Drawing half a scene for symmetrical design.
- Applying dynamic perspective in Photoshop.

Another step-by-step thread: Image
Since it's October, I chose this shot of a Halloween superstore from #BigCityGreens.

I drew a vertical line through the exact center of the canvas as a guide.

Placing my vanishing point low in the scene will create the perspective of looking upward. Image
Because this is a symmetrical scene, I only needed to draw half the rough up to my vertical centerline.

This is my first trick.

Even the pumpkin with its clever infinity symbol eyes are symmetrical. Image
Read 15 tweets
Sep 29, 2020
Let's study this masterful scene from Bambi to learn about framing characters using foreground elements.

What looks like random branches is carefully planned out to work for multiple character actions.

A breakdown thread: Image
The scene opens with Bambi's mother fully in frame behind some foliage.

A character's face is the most important feature audiences connect with.

So even in this brief action of a single step forward, her eyes and nose are visible, framed by branches. Image
Designing multiple "windows" between the branches (negative space) helps control the audience's focus.

As Mother stops and pulls back, her face now obscured, we are directed toward Bambi entering into his own window. Image
Read 13 tweets
Sep 28, 2020
My rule of thumb for #CharacterDesign is that you should be able to recognize your characters by their silhouettes.

This boils down to shape.

For human characters, hair is a defining facet of shape.

A step-by-step thread of how I use shape: Image
I start out with bald heads.

In this case, it's my own character. In the story, there's a reason for her to have several different hairstyles.

Her bald head is like a blank canvas, a template to draw upon. Image
I draw various simplified shapes, even if they're weird, like (B).

I decided she'll have wavy hair so that's my base. What can I do with that?

The character style here isn't too outrageous so I don't go crazy. Image
Read 9 tweets

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