Steve ✦ Lowtwait Profile picture
Sep 1, 2020 12 tweets 4 min read Read on X
How to use a camera movement to reimagine a scene in animation background design.

A step-by-step thread: ImageImage
What the storyboard intended was to move the camera from the top of a skyscraper to street level with a short diagonal pan.

But the scale of the buildings doesn't work well in the storyboard.

To fix this... Image
I reframed the pan with more vertical height in order to give me enough space to design.

But I didn't add so much as to drastically alter the timing. I let the timing director know. Image
Now for the creative solution:

I reimagined the scene not as the camera moving down through vertical space, but remaining in place and tilting from up to down.

I made a quick rough of the new design while maintaining the space below for our characters to cross the street. Image
Then I start roughing in the actual architecture.

The circular building is purposely left without specific elements of scale, like individual windows. This fools the eye into believing scale is grander than it is. Image
The cleanup stage refines the perspective change with more detail.

The space between the start and stop positions can have perspectives that don't match each other because the camera moves past it. That's a simple trick instead of working out the actual perspective distortion. Image
Here's the final background design with some shading.

Choosing to design a modern cylindrical building also helps mask the scale. How big is it? Doesn't matter as long as it looks big.

Plus it goes with the name of the location and title of the episode: Times Circle. Image
Now look back at the original storyboard again.

For the opening shot of an episode about a grand urban location, this doesn't feel epic enough. Image
It was worth the effort to reimagine the scene by thinking about how the camera moves.

Welcome to Times Circle (not Times Square) in #BigCityGreens. Image
Someone asked about the gray border around the art.

In the case of a pan, it is the job of the designer to layout the camera movement with clear framing of the artwork.

The position 'background designer' is sometimes called 'background layout' because camera framing matters.
It’s common that background painters create better clouds than what’s in the black & white design.

You’ll notice in my design, I hint at clouds circling the tower.

In color, that concept got even more dynamic. The sky, those clouds, came out really great!
I have another example of using a similar camera move to enhance a scene.

I'll put together another thread soon.

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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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