Posted on August 18, 2015 by J Caswell
From Richardson’s book on Emerson teaching writing;”First We Read, Then We Write.” It says art but say boarding instead.
“Art is the path of the creator to his work. “One cannot repeat it enough; art is not the finished work, art is the getting there. This is why good schools believe in art education, in doing art as well as art history. This is why we give children finger paints; it is the process of expressing that we value, along with-or even more than-the finished work, which as Emerson believes observes, passes at once into the mortuary state once completed and detached from its creator, unless, like a seed, it be good for starting the process all over again. “The painter, the sculptor, the composer the epic rhapsodist, the orator, all partake one desire to express themselves symmetrically and abundantly, not and fragmentarily.”
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Posted on July 9, 2015 by J Caswell
Posted on July 9, 2015 by J Caswell
I’ve recently been reading more about Stoic philosophy. I find it applies to living the freelance life and helps with the anxiety of that life.
Stoic philosophy tells us to always think what could be the negative aspect in any situation. If a thing doesn’t go as planned, what are the consequences and how will that affect my tranquility? This will inform our daily practice by acknowledging the impermanence of things. If an assignment seems to be all encompassing, we realize it will over soon, so we must enjoy the process. Stoicism tells us not get tied up in the outcomes of work- audience acceptance or success- but more the truth to intention.
I used to imagine what would happen if I failed a storyboard test or a job interview. I’d never work again? This proved unreasonable. By going through negative scenarios, I eased my anxiety and learned the value to putting one’s best effort in and abandoning “hope” of praise.
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Posted on August 13, 2014 by J Caswell
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Posted on May 20, 2014 by J Caswell
Gordon Willis, my favourite cinematographer, died the other day. He earned the sobriquet “The Prince of Darkness’ with his control of light. He emulated Rembrandt. But he also controlled composition like an Old Master.
I plan to re-watch some of his classics, Manhattan, All The President’s Men, And The Godfathers, as a celebration of his inspiring images.
All board artists are well advised to study his work.
And from Mr. A:
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Posted on February 22, 2014 by J Caswell
“Bob Fawcett always simplified form in his drawings. He once said, “Economy in drawing is essentially the shorthand which develops in the excitement of the fleeting moment. It is the thing seen subjected to editorial exclusion.” However, he tried to avoid slipping into superficiality: “One’s study can be admired for it’s beautiful line, but if that line is not expressing an understanding of the form itself it remains mildly interesting, but empty of content.””
From Drawing the Nude – The Figure Drawing Techniques of Noted American Illustrator Robert Fawcett” by Howard Munce.
Storyboarding is about economy of drawing. Fawcett would have been a great board artist.
Reference to Fawcett’s drawing methods, HERE
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Posted on February 14, 2014 by J Caswell
JW: When there’s an action sequence in Indy and your other movies, you always have clarity. You never wonder, “Who’s that guy punching that guy?” But in recent action movies, there’s more confusion on purpose, on the part of the director, to create a feeling of chaos on-screen. You don’t seem to go for that.
SS: No, I don’t go for that. I go for geography. I want the audience to know not only which side the good guy’s on and the bad guy’s on, but which side of the screen they’re in, and I want the audience to be able to edit as quickly as they want in a shot that I am loath to cut away from. And that’s been my style with all four of these Indiana Jones pictures. Quick-cutting is very effective in some movies, like the Bourne pictures, but you sacrifice geography when you go for quick-cutting. Which is fine, because audiences get a huge adrenaline rush from a cut every second and a half on The Bourne Ultimatum, and there’s just enough geography for the audience never to be lost, especially in the last Bourne film, which I thought was the best of the three. But, by the same token, Indy is a little more old-fashioned than the modern-day action adventure. I tried very hard, and I hope I succeeded, in not re-inventing the genre, because that would not make it an Indy movie. I just didn’t want to re-invent Indy in a way that would deny that these movies are more based on 1930s Hollywood pictures than anything else.
Remember your geography.
Speilberg Interview: Jim Windolf
Vanity Fair, January 8, 2008
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