There are dozens of paths to follow when it comes to entertainment art. But story art might be the most varied (and possibly the most complex).
在娱乐艺术方面，有几十条路径可以遵循。但故事艺术可能是最多样化的（也可能是最复杂的）。

It feels like a mix between writing, character design, and directing all rolled into one. It’s certainly a coveted role across the entire animation industry, and David Trumble is a name to keep an eye on in the story art space.

In this interview we cover a lot of ground (and it’s a long one so strap in!)
这感觉就像是写作，角色设计和导演之间的混合体。这无疑是整个动画行业梦寐以求的角色，而大卫·特朗布尔（David Trumble）是故事艺术领域值得关注的名字。

在这次采访中，我们涵盖了很多领域（这是一个很长的领域，所以请绑上去！

We’re going over his history with art, how he got into story art professionally, plus a lot of nitty-gritty details about the day-to-day life of a professional story artist working in the industry. Lots of gems in here if you want insider advice on the best traits to cultivate for work in this industry.

If story art is something you’re interested in, whether as a fan or as a career, definitely check this one out.

And if you’re interested to learn more about David’s work you can check out his portfolio here.
我们将回顾他的艺术历史，他如何专业地进入故事艺术领域，以及许多关于在这个行业工作的专业故事艺术家日常生活的细节。这里有很多宝石，如果你想得到关于在这个行业工作中培养的最佳特质的内部建议。

如果故事艺术是你感兴趣的东西，无论是作为粉丝还是作为职业，一定要看看这个。

如果您有兴趣了解有关David工作的更多信息，可以在此处查看他的作品集。

How did you first get into art? Did you have any formal training before getting into entertainment art?
My parents tell me I’ve been drawing since I was two years old. So I literally can’t remember a time I wasn’t obsessed with storytelling.
你是如何开始接触艺术的？在进入娱乐艺术领域之前，你接受过任何正式的培训吗？
我的父母告诉我，我从两岁起就开始画画。所以我真的不记得有哪一次我不痴迷于讲故事。

But as with a lot of people in my industry, the path to animation was winding and unexpected. I have a twin brother who is also a talented artist, and we spent most of our childhood making up stories together and drawing a voluminous amount of pictures to go along with them. Our love of creating and acting out stories together was so intense that for a long period we were oblivious to the world around us, in a creative bubble no-one knew how to burst.

He was my first Story collaborator, kind of a hive mind situation (he is currently a standup comedian in the UK, but has worked as a storyboard artist for commercials and other media). By the time we’d graduated high school both of our attentions had turned to film-making and we studied Film Production at the Arts University Bournemouth (AUB), one of the only practical courses in the United Kingdom, where we got to work with 16mm film and both directed graduation shorts.
但就像我这个行业的很多人一样，动画之路是曲折和意想不到的。我有一个孪生兄弟，他也是一位才华横溢的艺术家，我们童年的大部分时间都在一起编造故事，并画了大量的图片来配合他们。我们对共同创作和表演故事的热爱是如此强烈，以至于在很长一段时间内，我们都忘记了周围的世界，在一个没有人知道如何破裂的创意泡沫中。

他是我的第一个Story合作者，有点像蜂巢式的心理情况（他目前是英国的单口喜剧演员，但曾担任商业广告和其他媒体的故事板艺术家）。当我们高中毕业时，我们的注意力都转向了电影制作，我们在伯恩茅斯艺术大学（AUB）学习电影制作，这是英国仅有的实践课程之一，在那里我们开始使用16mm电影和导演毕业短片。

It was there that we found a larger group of collaborators, and continued to make independent shorts well into our twenties. That, too, turned out to be a bit of a bubble, and I ultimately became disenchanted with the rigors of low budget filming and fell back into freelance illustration, working as a political cartoonist for the Sun Newspaper and writing and illustrating children’s books here and there.

It wasn’t until the latter half of my twenties that I realized all the various career paths I had pursued all intersected in the realm of animation.

I had been generally aware of how storyboarding functioned, but it wasn’t until I read Ed Catmull’s book “Creativity, Inc.” that I truly understood the collaborative, integral nature of the Story department and fell in love with it.
正是在那里，我们找到了一个更大的合作者群体，并继续制作独立短片，直到我们二十多岁。结果也出现了一个泡沫，我最终对低预算拍摄的严谨性感到失望，重新回到自由插画行业，在《太阳报》担任政治漫画家，到处撰写儿童读物并为其绘制插图。

直到我二十多岁后半段，我才意识到我所追求的所有职业道路都在动画领域交叉。

我一直很清楚故事板是如何运作的，但直到我读了埃德·卡特穆尔（Ed Catmull）的书《创造力公司》（Creativity， Inc.），我才真正理解了故事部门的协作、整体性质，并爱上了它。



My whole life, I had kind of discounted animated features as a medium I adored but felt unqualified to pursue.

But it was in reading that book that I realized that, after having tried my hand at so many other storytelling mediums, I had been training for this skillset my whole life without even knowing it; as a draftsman, as a satirist, as a practical film-maker, all of these disciplines combined in Story.

So for the first time, I felt like I had stumbled upon an artistic pursuit to which I was uniquely suited. I just came to it the long way round.
在我的一生中，我都有一些打折的动画片作为我崇拜的媒介，但觉得没有资格追求。

但正是在阅读这本书时，我意识到，在尝试了这么多其他讲故事的媒介之后，我一生都在为这种技能进行训练，甚至不知道它。作为一名制图员，作为一名讽刺作家，作为一名实用的电影制作人，所有这些学科都结合在了《故事》中。

因此，我第一次觉得自己偶然发现了一种我特别适合的艺术追求。我只是走了很长一段路。

How did you get your first gig doing story art & what did that look like?
There is truly no one way to get into this business, and my story is a prime example.
你是怎么开始第一次做故事艺术的，那是什么样子的？
真的没有一种方法可以进入这个行业，我的故事就是一个很好的例子。

In 2015 I applied for the Pixar Story internship and didn’t get it. But in the course of not getting it I received what felt like a mixed message from the head of that internship, who had requested to see more of my work before sending a follow-up email to inform me they had filled all their spots.

I had a very supportive American girlfriend (with whom I was in a long distance relationship from the United Kingdom) who strongly believed that this guy had wanted to give me a shot.

My portfolio, while filled with illustration and cartooning examples, had been sorely lacking in terms of actual storyboards. So naturally I hadn’t made the cut, but she urged me to continue pulling on this thread.
2015年，我申请了皮克斯故事实习，但没有得到。但在没有得到它的过程中，我收到了来自实习负责人的混合信息，他要求在发送后续电子邮件通知我之前看到我更多的工作，通知我他们已经填补了所有的位置。

我有一个非常支持我的美国女朋友（我和她有一段来自英国的异地恋），她坚信这个家伙想给我一个机会。

我的作品集虽然充满了插图和卡通示例，但在实际的故事板方面却非常缺乏。所以很自然地，我没有成功，但她敦促我继续拉动这条线。

I had gone to the lengths of getting a visa to work in the U.S., on the off-chance that I got the internship. I basically took a leap of faith in both my life and my career by packing myself up in a suitcase and going straight to this Pixar veteran’s Story masterclass in New York.

On the final day, terrified of being rejected in person but having been badgered by my ever-supportive girlfriend, I took the chance to show him my portfolio again at the close of the two-day workshop.
我竭尽全力获得在美国工作的签证，因为我得到了实习的机会。我基本上对自己的生活和事业都抱有一丝信心，把自己装在一个行李箱里，直接去纽约的皮克斯老手故事大师班。

在最后一天，我害怕被拒绝，但被我一直支持我的女朋友所困扰，我借此机会在为期两天的研讨会结束时再次向他展示了我的作品集。

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To my absolute astonishment, he saw the first page of my portfolio pop up on my laptop and said “Oh…you’re that guy!”
令我惊讶的是，他看到我的投资组合的第一页出现在我的笔记本电脑上，并说：“哦......你就是那个家伙！

After hearing my story and chatting through everything I needed to improve upon, he told me he would make it his mission to get me a job in animation.

After one year of sending him more of my work for feedback, taking online courses, and a few false starts for potential jobs, he got me a job drawing beat boards on my first animated feature, which would turn out to be “Uglydolls” by STX Entertainment.
在听了我的故事并聊了聊我需要改进的一切之后，他告诉我，他会把给我找一份动画工作作为自己的使命。

经过一年的时间，他向我发送了更多的工作来征求反馈，参加了在线课程，并为潜在的工作提供了一些错误的开端，他给我找了一份在我的第一部动画长片上画节拍板的工作，结果发现这是STX Entertainment的“Uglydolls”。

I drew beat boards and visual development for multiple story pitches to the studio, then was hired on the film as a full-time Story Artist in 2016.

Though “Uglydolls” did not make a big splash in the marketplace, it introduced me to collaborators who continued to hire me on even more exciting projects. I’ve boarded pre-viz sequences for Robert Rodriguez’s live action superhero film “We Can Be Heroes” for Netflix, have just completed work on “Wendell & Wild” by stop-motion legend Henry Selick in collaboration with director Jordan Peele, and this month I’m about to begin work on Netflix Animation’s “Charlie & The Chocolate Factory” series with Taika Waititi.
我为工作室的多个故事推介绘制了节拍板和视觉开发，然后在2016年被聘为全职故事艺术家。

虽然“Uglydolls”在市场上没有引起轰动，但它向我介绍了合作者，他们继续雇用我从事更令人兴奋的项目。我已经为罗伯特·罗德里格斯（Robert Rodriguez）的真人超级英雄电影《我们可以成为英雄》（We Can Be Heroes）登上了前可视化序列，刚刚完成了定格动画传奇人物亨利·塞利克（Henry Selick）与导演乔丹·皮尔（Jordan Peele）合作的《温德尔与野性》（Wendell & Wild）的制作，本月我即将开始与泰卡·怀蒂蒂（Taika Waititi）合作制作Netflix动画的《查理与巧克力工厂》（Charlie & The Chocolate Factory）系列。

It’s been a crazy-lucky run of projects. And they all happened because of referrals from a film that didn’t do well, and that first pivotal foot in the door only happened because I failed to get into an internship.

So yeah, it’s a funny, funny business. Because had I actually gotten what I was going for, I wouldn’t be where I am now.

But that bad luck was flipped on its head because I had people around me who believed in me and advocated on my behalf, my girlfriend, my mentor, and for that tireless support and inexplicable optimism I will always be endlessly grateful.
这是一个疯狂幸运的项目。这一切都是因为一部表现不佳的电影的推荐而发生的，而第一次关键的一次踏入大门只是因为我未能进入实习而发生的。

所以，是的，这是一个有趣的，有趣的行业。因为如果我真的得到了我想要的东西，我就不会有现在的成就。

但这种厄运被掀翻了，因为我身边有人相信我，代表我、我的女朋友、我的导师倡导我，对于这种不懈的支持和莫名其妙的乐观主义，我将永远感激不尽。


For the storyboarding process, how do you approach drafting scenes from a script? Do you get any directorial guidance, or are you expected to just “understand” how to visualize it yourself?
对于故事板制作过程，您如何从脚本中绘制场景？你是否得到了任何导演的指导，或者你是否期望自己“理解”如何想象它？

Put it this way, if you’ve been hired as a Story Artist on a feature and are being launched on a sequence, it means you’ve already demonstrated an understanding of cinematic techniques in your audition process.

There’s a reason they call it “Story Artist” rather than just “Storyboard Artist”.

They’re hiring a storyteller, period.

So the amount of direction you receive in a launch depends very much on the director in question and their specific vision for the scene, but you are going into that process with a reasonable expectation of your fluency in visual language. As far as guidance is concerned, every director is different.

I’ve had directors who’ve drawn a series of quick thumbnails to map out how they see the shots progressing. And I’ve also had directors who will be upfront about genuinely not knowing how they want the scene to unfold.
这样说吧，如果你被聘为一个故事片的故事艺术家，并且正在一个序列上推出，这意味着你已经在试镜过程中展示了对电影技术的理解。

他们称之为“故事艺术家”而不仅仅是“故事板艺术家”是有原因的。

他们正在雇佣一个讲故事的人，时期。

因此，你在发布会上获得多少指导在很大程度上取决于所讨论的导演和他们对场景的具体愿景，但你进入这个过程时，对你流畅的视觉语言有一个合理的期望。就指导而言，每个导演都是不同的。

我有一些导演画了一系列快速缩略图，以绘制出他们如何看待镜头的进展。我也有一些导演会坦率地说，他们真的不知道他们想要的场景如何展开。

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Sometimes they’ll encourage you to stick faithfully to the script, and sometimes they’ll encourage you to disregard it entirely and try out new ideas. Many times, rather than receive a specific piece of direction, I’ll be given a reference point, a scene from a film or a moment of performance that strikes a similar tone.

On my last feature “Wendell & Wild”, director Henry Selick asked us all to watch Charles Laughton’s 1955 film “Night of the Hunter” in order to get a sense of the composition and shot progression he was after.
有时他们会鼓励你忠实地坚持剧本，有时他们会鼓励你完全忽略它，尝试新的想法。很多时候，我不会得到一个特定的方向，而是会得到一个参考点，一个电影中的场景或一个类似基调的表演时刻。

在我的最后一部长片《温德尔与荒野》（Wendell & Wild）中，导演亨利·塞利克（Henry Selick）邀请我们所有人观看查尔斯·劳顿（Charles Laughton）1955年的电影《猎人之夜》（Night of the Hunter），以便了解他所追求的构图和拍摄进展。

Other times he would go outside of cinema and refer to paintings, photography, fashion, anything that would give us a sense of the “feel” of what he was after. Sometimes it comes down to just a conversation about the themes or emotions the scene explores. But in other instances, I’ve been launched by my Head of Story without the director present at all, and their first chance to actually direct me would be in response to my first pass of the boards. Which is pretty nerve-wracking to say the least.
其他时候，他会走出电影，提到绘画，摄影，时尚，任何能让我们感受到他所追求的“感觉”的东西。有时，它归结为关于场景探索的主题或情感的对话。但在其他情况下，我是由我的故事主管发起的，根本没有导演在场，他们第一次真正指导我的机会将是对我第一次通过董事会的回应。至少可以说，这是非常伤脑筋的。

This broad variety of approaches, while all having merit, can create a lot of anxiety in a Story Artist. Especially when you’re starting a project and have yet to fully slip into the groove with a director. So it’s important in the first few pitches to exercise great mindfulness and give yourself permission to “fail” a bit.

Central to this is coming up with your own personal method that can be adapted to fit each assignment.

For me personally, I like to spend the first day thinking broadly, “globally”, about the scene. And by that, I mean answering the simple question of “What is this scene fundamentally about?”

Obviously you have to go through the script and make note of all the elements that must be juggled in terms of characters, actions and events, but pretty much any scene of a script can be broken down to one essential beat that moves the story forward. Something that can ideally be articulated in one sentence.

“This character want this”, or “these characters discover this”, or “this character loses this”, etc.

So I spend a lot of that first day just thinking about that. I sketch very fast thumbnails in my notebooks, collect reference materials, watch similar scenes or sequences (helpful for action), listen to movie soundtracks, and play/act the sequence over and over in my head while I’m doing other things like having a coffee or taking a walk, without putting pressure on myself to put it into boards immediately.
这种种类繁多的方法虽然都有其优点，但会给故事艺术家带来很多焦虑。特别是当你开始一个项目，还没有完全滑入导演的凹槽时。因此，在最初的几个演讲中，重要的是要锻炼出极大的正念，并允许自己“失败”一点。

其核心是提出自己的个人方法，可以适应每个任务。

就我个人而言，我喜欢在第一天就广泛地思考这个场景，“全球”。我的意思是回答一个简单的问题“这个场景从根本上讲是什么？

显然，你必须仔细阅读剧本，并记下在角色、动作和事件方面必须兼顾的所有元素，但几乎剧本的任何场景都可以分解成一个推动故事向前发展的基本节拍。理想情况下，可以用一句话来表达。

“这个角色想要这个”，或者“这些角色发现了这个”，或者“这个角色失去了这个”，等等。

所以我第一天花了很多时间思考这个问题。我在笔记本上快速绘制缩略图，收集参考资料，观看类似的场景或序列（有助于动作），听电影配乐，并在做其他事情（如喝咖啡或散步）时在脑海中一遍又一遍地播放/表演序列，而不会给自己施加压力，要求自己立即将其放入板中。

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I start properly drawing on day two, usually the shots for which I’ve developed a clear vision regardless of where they sit in the scene chronologically, and then use them as my true north as I work out how the rest of it fits into the puzzle. Provided I have the time, I try to allow one day in my schedule for freaking out, looking at what I’ve done and giving myself permission to completely rework it.

But as you fill in the gaps the sequence starts to tell you more and more the shape it’s meant to be so you ultimately end the process in service of, rather than dictating, the boards.
我从第二天开始正确绘制，通常是我已经发展出清晰视野的镜头，无论它们按时间顺序在场景中的哪个位置，然后将它们用作我真正的北方，因为我弄清楚其余部分如何适应拼图。只要我有时间，我试着在我的日程安排中有一天吓坏了，看看我做了什么，并允许自己完全返工。

但是，当你填补空白时，序列开始越来越多地告诉你它意味着什么，所以你最终会结束这个过程，为董事会服务，而不是口述。

So if I’ve been doing it right, I begin my assignment on a global level, and end it on a purely technical one, ticking off my shot-list and making sure the draftsmanship meets the standard for pitching.

The average turnaround for a draft of a sequence tends to be within a week, but closer to the end of the schedule. It can be two or three days if not a one day turnaround, so it’s helpful to have an approach that is collapsible into different time-frames at a pinch.
因此，如果我做得对，我会在全球范围内开始我的任务，并以纯粹的技术任务结束，勾选我的投篮清单，并确保选秀技巧符合投球标准。

序列草稿的平均周转时间往往在一周内，但更接近时间表的结束。如果不是一天的周转时间，也可能是两到三天，所以有一种方法可以在紧要关头折叠成不同的时间框架是有帮助的。

Ultimately, your anchor will always be the blueprint of the script. So if you lose your way just refer back to that.

And crucially, never put too much pressure on the first pass. My first passes tend to be mainly for me, my own cinematic sensibilities, then it gets pulled apart in the pitch and the second pass is about putting that preciousness away and bringing it closer to the director’s vision.
最终，您的锚点将始终是脚本的蓝图。因此，如果您迷失了方向，请回过头来参考。

至关重要的是，永远不要在第一次传球时施加太大的压力。我的第一次传球往往主要是为了我自己，我自己的电影感性，然后它在球场上被拉开，第二次传球是关于把这种珍贵的东西收起来，让它更接近导演的视野。

By the third pass, hopefully the scene has started to show us what works and what doesn’t so it just becomes a matter of refinement.

Even if your boards end up revealing fundamental flaws in this blueprint, it’s all good data for the director. The Story pipeline in animation is very much an iterative process of trial and error, so understand that even when things don’t work, you’re actually making progress, ruling out wrong paths in order to hone in on the right one.

Know that going in, and create an approach to the boarding that works for you.
到第三遍时，希望这个场景已经开始向我们展示什么有效，什么无效，所以它只是一个精致的问题。

即使你的董事会最终揭示了这个蓝图中的根本缺陷，这对导演来说都是好数据。动画中的故事管道在很大程度上是一个反复试验的过程，所以要明白，即使事情不起作用，你实际上也在取得进展，排除了错误的路径，以便磨练正确的路径。

知道要进去，并创建一种适合您的登机方法。

What does your typical day-to-day look like in the animation pipeline?
This varies depending on whether you’re remote or in-house, but unless the day in question is a launch or a pitch day, you tend to be in charge of your own time management.

The Head of Story or a Production Assistant may schedule check-ins midway through an assignment in case further brainstorming is required, and there’s always the chance, especially close to a screening, for a stream of additional shots and pickups to be requested alongside the sequence you’re working on.

We often get requests from Editing, who are cutting scenes in tandem with Story, and if you’re on a stop-motion you may get requests from the animation stage to clarify a shot or re-draw an environment so that it aligns with the latest designs from Art or Props.
在动画流程中，您典型的日常工作是什么样的？
这取决于你是远程还是内部，但除非有问题的一天是发布日还是推销日，否则你往往负责自己的时间管理。

故事主管或制作助理可能会在任务中途安排签到，以防需要进一步的头脑风暴，并且总是有机会，特别是在放映附近，在你正在制作的序列旁边请求一系列额外的镜头和拾取。

我们经常收到来自编辑的请求，他们正在与故事一起剪切场景，如果你在定格动画上，你可能会收到动画阶段的请求，以澄清一个镜头或重新绘制一个环境，以便它与艺术或道具的最新设计保持一致。

Conversely, Story/Edit Coordinators prove invaluable for reaching out on your behalf to other departments for the latest scripts, designs, and assets you might need for reference in your sequences. Story is the intersection point for a lot of departments, so having a good relationship with these teams is paramount.
相反，故事/编辑协调员可以代表您向其他部门寻求序列中可能需要参考的最新脚本，设计和资产，这被证明是无价的。故事是许多部门的交汇点，因此与这些团队建立良好的关系至关重要。

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Also because you’re constantly reworking the film through the various reels, you can get the odd moment where you draw either a prop or character that then ends up in the finished product pretty much as you had designed it, which can be a thrill to see.

But for a few brief exceptions, I’ve been a remote artist for every animated feature I’ve worked on. So when the pandemic hit it wasn’t much of an adjustment for me at all.

That being said, there are pros and cons to being remote.
此外，因为你通过各种卷轴不断地重制电影，你可以得到一个奇怪的时刻，你画一个道具或角色，然后最终出现在成品中，就像你设计的那样，这可能是一个令人兴奋的看到。

但对于一些短暂的例外，我一直是我参与过的每个动画长片的远程艺术家。因此，当大流行来袭时，对我来说根本不是一个很大的调整。

话虽如此，远程办公有利有弊。

On the one hand, your director and HODs trust you to schedule your workload so long as you deliver your work on time. You have flexibility, within reason, to give yourself breaks, exercise, and generally balance your work with your mental health.

But on the other hand, you also don’t get the same community feeling you’d get going into the studio every day, having lunch with peers, being inspired by unexpected conversations, etc.

That’s why it’s incumbent upon remote artists such as myself to be proactive in creating and maintaining that collegiate atmosphere from home.
一方面，只要您按时交付工作，您的主管和HOD就信任您安排工作量。在合理范围内，你可以灵活地给自己休息，锻炼，并通常平衡你的工作和你的心理健康。

但另一方面，你也不会得到同样的社区感觉，你会每天进入工作室，与同龄人共进午餐，受到意想不到的对话的启发，等等。

这就是为什么像我这样的远程艺术家有责任积极主动地在家创造和维护这种大学氛围。

I regularly text back and forth with my fellow Story Artists to either kick a few ideas around or offer moral support, and my last feature was the first I’ve boarded on that had a dedicated Slack channel for all departments.

I’ve been very fortunate to have experienced the best of both worlds, in that every production I’ve worked on has flown me to their respective studios in Burbank, Austin, and Portland for a week here and there when deadlines became crushing.

That has allowed me the chance to make stronger connections with my colleagues, across departments, relationships that have endured long after I’ve gone back to my office back home.

For all the additional stressors of being in the belly of the production beast, a few hairy days in the studio can be an incredibly cathartic bonding experience for a crew. And you’ll never forget someone who went through those wars with you.

So if you are a remote artist and you get offered the chance to spend a few weeks in-house I also highly recommend that.
我经常与其他故事艺术家来回发短信，要么提出一些想法，要么提供道义上的支持，我的最后一个功能是我加入的第一个为所有部门提供专用的Slack频道的功能。

我很幸运能够体验到两全其美的体验，因为我参与过的每一部作品都把我带到了他们各自的伯班克、奥斯汀和波特兰的工作室一个星期，当时最后期限变得紧迫。

这使我有机会与同事，跨部门建立更牢固的联系，这些关系在我回到家乡的办公室后已经持续了很长时间。

对于制作野兽肚子里的所有额外压力源来说，在工作室里度过几天毛茸茸的日子对于剧组来说可能是一种令人难以置信的宣泄性结合体验。你永远不会忘记一个和你一起经历过那些战争的人。

因此，如果您是远程艺术家，并且有机会在内部度过几周，我也强烈推荐。

What do you personally think is the trickiest part of nailing a scene?
Every scene is tricky in its own unique way. Which is why Story Artists need such a broad bag of tricks to draw from.
您个人认为确定场景最棘手的部分是什么？
每个场景都以自己独特的方式变得棘手。这就是为什么故事艺术家需要如此广泛的技巧来借鉴。

But I’d say the trickiest part is figuring out which tricks not to bring to the table.

When you’re essentially the first draft of a scene’s layout, it can be very tempting to go overboard with the cinematic devices; throw in every cool camera move you can think of, belabor every subtle tick of a performance, or indulge in half a dozen inserts when a master wide would have done the trick. Especially in computer animation where you can achieve any shot, within reason.

The best storyboarding tip I ever received was from Valerie LaPointe of Pixar, a Story Artist on “Inside Out” and “Toy Story 4” among others.

She said the simplest thing to me, which was:
但我想说，最棘手的部分是弄清楚哪些技巧不能摆在桌面上。

当您基本上是场景布局的初稿时，使用电影设备可能会非常诱人。投入你能想到的每一个很酷的相机动作，仔细研究表演的每一个微妙的滴答声，或者沉迷于六个插入，而一个大师宽会完成这个技巧。特别是在计算机动画中，您可以在合理的范围内实现任何镜头。

我收到过的最好的故事板技巧来自皮克斯的Valerie LaPointe，她是“Inside Out”和“Toy Story 4”等故事艺术家。

她对我说了最简单的话，那就是：

“Board as though you’re on a live action film set and the crew is running out of light.”
“登上舞台，就好像你在真人电影片场，剧组的光线已经耗尽了。

This is because, though animation is seemingly limitless in what it can render, it is nevertheless built on rules developed by a medium defined by its practical limitations.

On a live action set, for example, you can only use this actor for an afternoon. You can only break this prop once, or you only have the location for one day and there’s a storm on the horizon.

Limitations, on the face of it, are negative things. But they really encourage (or rather, force) creativity and prioritizing of story mechanics over stylistic indulgence. And what’s more, the audience will thank you for it. Because they’ve been raised on the visual language created out of those limitations.
这是因为，尽管动画在渲染方面似乎是无限的，但它仍然建立在由其实际局限性定义的媒介开发的规则之上。

例如，在实景拍摄中，您只能在一个下午使用此演员。你只能打破这个道具一次，或者你只有一天的位置，地平线上有一场风暴。

从表面上看，限制是消极的东西。但它们确实鼓励（或者更确切地说，是力量）创造力，并将故事机制置于风格放纵之上。更重要的是，观众会为此感谢你。因为它们是在出于这些限制而创建的视觉语言上提出的。

Throw in too many virtuoso shots and you risk losing the audience, because they’re too cine-literate, they subconsciously expect judiciousness and clarity.

So the number one thing I’ve had to learn (the hard way) in animation is imposing stricter limitations on myself, in order to achieve more with less.

Early on in the storyboarding process for “Wendell & Wild”, which is a stop-motion feature, I boarded an ambitious long take that followed a character as it crawled under a larger creature’s legs. It was a real “show-off” shot. But when I visited the production in Portland I realized that the geniuses in the workshop had had to build an entirely new rig with larger scale versions of the models just to pull that shot off.
投入太多的精湛镜头，你可能会失去观众，因为他们太懂电影，他们下意识地期望明智和清晰。

因此，在动画中，我必须学习的首要事情（艰难的方式）是对自己施加更严格的限制，以便用更少的资源实现更多目标。

在《温德尔与狂野》（Wendell & Wild）的故事板制作过程的早期，我登上了一个雄心勃勃的长镜头，跟随一个角色爬到一个更大的生物的腿下。这是一次真正的“炫耀”镜头。但是，当我参观波特兰的生产时，我意识到车间里的天才们不得不建造一个全新的装备，用更大规模的模型版本来拉开这个镜头。

It ended up in the movie and I’m very proud of it, but it really brought home to me just how much extra work I can create with a flick of my tablet pen, and how important it is to “earn” a shot like that if it requires the building of new assets.

So it’s important to know when to reign yourself in.
它最终出现在电影中，我为此感到非常自豪，但它真的让我意识到，只要轻拂一下平板电脑笔，我就能创造出多少额外的工作，以及如果“赢得”这样的镜头需要建立新的资产是多么重要。

因此，重要的是要知道何时统治自己。

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As much as the film fanatic in me wants to create the most audacious, cinematic visuals possible, there are times when the simplest most understated techniques work the best.

That doesn’t mean you can’t go all out on a crazy camera move or play with an unconventional composition if it feels right. But you have to choose your moments.

The good news is the edit never lies. So if a scene you’ve delivered isn’t landing, it doesn’t matter how precious you feel about it. It goes in the bin.
尽管我内心的电影狂热者想要创造最大胆的电影视觉效果，但有时最简单，最低调的技术效果最好。

这并不意味着你不能全力以赴地进行疯狂的相机移动，或者如果感觉正确的话，玩一个非常规的构图。但你必须选择你的时刻。

好消息是编辑从不说谎。因此，如果您交付的场景没有落地，那么您对它的感觉有多珍贵并不重要。它进入垃圾箱。


Since a lot of story art tends to be more “cartoony”, how often do you practice drawing from life? Do you feel realism is still necessary as a story artist?
I’ve done my share of life drawing in the past (it is a must for a Story portfolio) but I wouldn’t say I’ve made it a big focus in my job. Probably because I don’t subscribe to the notion that there’s a huge difference between “realism” and “cartoony” in animation beyond the superficial.
既然很多故事艺术往往更“卡通化”，那么你多久练习一次生活中的绘画？你觉得作为一个故事艺术家，现实主义仍然是必要的吗？
我过去做过我的生活绘画（对于故事作品集来说，这是必须的），但我不会说我已经把它作为我工作的重点。可能是因为我不同意这样一种观点，即动画中的“现实主义”和“卡通化”之间存在着超越肤浅的巨大差异。

When people say that an animation style is “cartoony” I think what they really mean is “pushed”.

So much of animation is about push/pull, in terms of lighting values, color temperatures, shape language, and character models.

So there are certainly character designs that are more stylized. But even the animations that feature more proportional body shapes are not what I would call “realistic”. Their poses and movements are still “pushed” somewhere beyond reality, in order to be instantly recognizable to the viewer. And that’s especially true in the Story process where we have to convey movement, behavior, and emotion in as fast and clear a way as possible.

Unlike animators who do incredible work going granular into the subtle nuances of performance, Story Artists have to get their sequences through a ruthless series of screenings. So unless our characters and poses register immediately, we have to redraw.
当人们说动画风格是“卡通化”时，我认为他们真正的意思是“推动”。

如此多的动画都是关于推/拉的，在光照值、色温、形状语言和角色模型方面。

因此，肯定有一些角色设计更加风格化。但是，即使是具有更成比例的身体形状的动画也不是我所说的“逼真”。他们的姿势和动作仍然被“推”到超越现实的地方，以便观众立即识别。在故事过程中尤其如此，我们必须以尽可能快速和清晰的方式传达运动，行为和情感。

与动画师在表演的细微差别中做令人难以置信的工作不同，故事艺术家必须通过一系列无情的放映来获得他们的序列。因此，除非我们的角色和姿势立即注册，否则我们必须重新绘制。

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To that end, when I’m boarding a sequence, it doesn’t matter if the character has believable body dimensions or not. The underlying techniques we employ to convey their soul remains the same.

So to aspiring Story Artists, I would say: being proficient at drawing bodies and poses from life is obviously an asset in this line of work, absolutely. But just be aware that life drawings are static.

You can draw a figure hugging their legs next to a plate of fruit and it’ll teach you a fair amount about how muscles sit on a skeleton. But if you want to know how to make that skeleton feel like it’s alive, take movement classes. Study theatrical acting, screen-grab dance and fight choreography, and understand how our body language is conveyed in flight.

Because that will ultimately be what makes your characters feel vibrant in a story reel.
为此，当我登上一个序列时，角色是否有可信的身体尺寸并不重要。我们用来传达他们灵魂的基本技术保持不变。

因此，对于有抱负的故事艺术家，我会说：精通从生活中绘制身体和姿势显然是这一行的资产，绝对是。但请注意，生活图纸是静态的。

你可以画一个人物抱着他们的腿在一盘水果旁边，它会教你很多关于肌肉如何坐在骨架上的知识。但是，如果你想知道如何让那具骷髅感觉像是活着的，那就上运动课吧。学习戏剧表演，屏幕抓舞和战斗编排，并了解我们的肢体语言在飞行中是如何传达的。

因为这最终会让你的角色在故事卷轴中感到充满活力。


I noticed you’ve taken some classes with CGMA. How do you feel about those courses in general? And do you think online courses can offer a replacement for more expensive college classes?
我注意到你已经用CGMA上了一些课。您如何看待这些课程？你认为在线课程可以取代更昂贵的大学课程吗？

For CGMA I studied Storyboarding for Animation, The Art of Color and Light, Character Design, Character Production, and Anatomical Drawing at CGMA 2D Academy over a period of years as I was breaking in.

The Story class, with a veteran Story Artist from DreamWorks and Illumination, made a huge difference to the way I boarded. Because he hammered into me each week that I had to strip my illustrative style way, way back.

That single piece of advice fundamentally changed my whole approach. But I got a lot from all the courses.
在CGMA，我在CGMA 2D学院学习了动画，色彩和光的艺术，角色设计，角色制作和解剖绘画的故事板，这是我闯入的几年。

故事课上有一位来自梦工厂和照明的资深故事艺术家，这对我的登机方式产生了巨大的影响。因为他每周都会抨击我，我不得不剥离我的说明风格，很久以前。

这个建议从根本上改变了我的整个方法。但我从所有的课程中都得到了很多东西。

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The best part of a learning tool like CGMA is getting to interact with actual working professionals from the industry. And every one of my tutors has stayed in touch and offered professional advice long after the courses were over, giving me tips on artist rates and even writing me recommendation letters for visa and green card applications.

It’s been an invaluable support to my journey.
像CGMA这样的学习工具最好的部分是与业内实际工作的专业人士互动。我的每一位导师在课程结束后很长一段时间内都保持联系并提供专业建议，给我关于艺术家价格的提示，甚至给我写签证和绿卡申请的推荐信。

这对我的旅程来说是一个无价的支持。

I certainly don’t believe it’s an either/or between online courses or expensive college classes. One could not possibly replace the other, for the simple reason that neither are a guarantee of a job in animation.

It sounds maddening, but the truth is you could go to Cal Arts and not get the job you wanted at your chosen studio. And you could do every course in CGMA’s curriculum and not be what a recruitment officer was looking for on that particular day.

Getting a job in animation is 100% a moon-shot, dependent on so many variables. And we’re starting to see more and more how difficult it is for many groups to get their foot in the door compared with others.

So if you’re a member of a group that has less access to these opportunities through no fault of your own, if you come from a country that has no major animation schools, if you don’t have the money or the ability to attend Cal Arts, or even if you landed on your career path later in life, then online courses like CGMA are wonderful resources to have available.
我当然不相信这是在线课程或昂贵的大学课程之间的非此即彼。一个不可能取代另一个，原因很简单，两者都不能保证动画工作。

这听起来很疯狂，但事实是，你可以去Cal Arts，却无法在你选择的工作室找到你想要的工作。你可以做CGMA课程中的每门课程，而不是成为招聘官在那一天想要的东西。

在动画领域找到一份工作是100%的登月，取决于很多变量。我们开始越来越多地看到，与其他群体相比，许多群体踏入大门是多么困难。

因此，如果你是一个团体的成员，这个团体很少有机会获得这些机会，这不是你自己的过错，如果你来自一个没有主要动画学校的国家，如果你没有钱或能力参加Cal Arts，或者即使你在以后的生活中走上了你的职业道路， 那么像CGMA这样的在线课程是很好的资源。

And I should stress that the Internet has fully democratized our ability to study our vocations beyond even paid courses like CGMA.

Khan Academy, Pixar In A Box, Industry professionals running their own YouTube channels, and even just being able to devour DVD/BluRay extras and commentaries in a matter of clicks, right down to websites like Concept Art Empire itself.
我应该强调，互联网已经完全民主化了我们研究职业的能力，甚至超越了像CGMA这样的付费课程。

可汗学院，皮克斯在盒子里，行业专业人士运行自己的YouTube频道，甚至只是能够在点击的情况下吞噬DVD / BluRay附加内容和评论，直到像Concept Art Empire本身这样的网站。

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In terms of education, aspiring animators have never had such a wealth of resources at their fingertips before. And that is surely a thing to celebrate.

Just be aware that no certificate or tutorial contains the silver bullet that will land you a job. That will be decided by what you take from it, how well you apply it, and a boat-load of luck.
在教育方面，有抱负的动画师以前从未有过如此丰富的资源。这当然是值得庆祝的事情。

请注意，没有任何证书或教程包含会为您找到工作的银弹。这将取决于你从中得到什么，你应用它的程度，以及一大堆运气。

If someone was putting together a portfolio to apply as a story artist, what should absolutely be in that portfolio? (or conversely, what should be left out?)
This one’s good and easy: Storyboards.

Lots of storyboards.
如果有人正在整理一个作品集来申请成为一名故事艺术家，那么这个作品集中绝对应该有什么？（或者相反，应该省略什么？
这个很好，很简单：故事板。
很多故事板。

It’s incredible how many portfolios are out there from talented people trying to get into Story jobs that don’t have enough actual storyboards in them. It’s such a common mistake, because most of us come from a variety of artistic backgrounds before getting into film. And we feel the need to use it to bolster whatever deficits we might have starting out.

But no matter how great that other artwork is, a Story portfolio needs to be at least 70/30 (if not more) Story-related work.

Unless you’re showcasing your ability to tell a story sequentially, cinematically and in terms of writing and conception, then you’re wasting the employers’ time.

The mentor who got me my first animated feature job advised me for almost a year before my portfolio was up to scratch.
令人难以置信的是，有多少有才华的人的作品集试图进入故事工作，而他们没有足够的实际故事板。这是一个常见的错误，因为我们大多数人在进入电影领域之前都来自不同的艺术背景。我们觉得有必要利用它来加强我们可能开始的任何赤字。

但是，无论其他艺术品有多棒，故事作品集至少需要70/30（如果不是更多）与故事相关的作品。

除非你展示你按顺序、电影、写作和构思讲述故事的能力，否则你是在浪费雇主的时间。

那位为我找到第一份动画长片工作的导师在我的作品集达到标准之前，为我推荐了将近一年的时间。

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That meant culling most of the illustration and cartoonist work from my previous life, studying sequences from my favorite films, throwing out my first few boards and refreshing my portfolio with all-new sequences every few months.
这意味着从我以前的生活中剔除大部分插图和漫画家的作品，研究我最喜欢的电影中的序列，扔掉我的前几块板，每隔几个月用全新的序列刷新我的投资组合。

With each pass I was losing more artwork and adding more Story.

In particular, I phased out my more illustrative boards and replaced them with looser, scratchier panels more appropriate for the fast-paced sprint of production.

In the boards themselves, they don’t want to see that you can draw (that will be apparent from your other pages). They want to know you can communicate a story as quickly and directly as possible. If you don’t have that, it doesn’t matter how good your drawing is.
随着每一次通过，我都失去了更多的艺术品，并增加了更多的故事。

特别是，我逐步淘汰了更具说明性的电路板，取而代之的是更宽松，更粗糙的面板，更适合快节奏的生产冲刺。

在板本身中，他们不希望看到您可以绘制（这将从您的其他页面中明显看出）。他们想知道您可以尽可能快速，直接地传达故事。如果你没有这个，那么你的画有多好并不重要。

As for a general guideline, the strongest Story portfolios present the artist as an “all-rounder”, which means demonstrating three essential types of sequence: Drama, Comedy, and Action.

There’s no reason you can’t combine these three in one sequence. But for the benefit of the reviewer try to create three different boarded sequences that emphasize each one.

Also devote at least two pages to supplementary “Gag” cartoons, to demonstrate your ability to take part in brainstorming “gag sessions” within a Story room, which is its own separate skill.
至于一般准则，最强大的故事组合将艺术家呈现为“全能者”，这意味着展示三种基本类型的序列：戏剧，喜剧和动作。

没有理由不能将这三者组合成一个序列。但为了审稿人的利益，尝试创建三个不同的板序列，强调每个序列。

还要花至少两页篇幅来补充“Gag”漫画，以展示您在故事室中参与头脑风暴“gag会议”的能力，这是它自己的独立技能。

Ultimately, someone reviewing your portfolio is looking for evidence of a firm grasp of film-making. Proof that you understand camera moves, values, and editing techniques, and that you can use this language to tell a story compellingly and sparingly.

Take a couple of your favorite scenes from animation or live action and break them down into thumbnails, analyze them, put them back together, and then apply what you’ve learned to your own sequences.

Do speed-draws where you time yourself in order to develop a discipline for not over-drawing your boards, and un-learn any habits you developed in other mediums or roles. And do this over and over and over. Because you won’t get to the level you need right away.
最终，审查您的作品集的人正在寻找牢牢掌握电影制作的证据。证明您了解摄像机的移动、值和编辑技术，并且您可以使用这种语言令人信服且谨慎地讲述故事。

从动画或真人动作中获取几个您最喜欢的场景，并将它们分解为缩略图，分析它们，将它们重新组合在一起，然后将您学到的知识应用于您自己的序列。

做速度绘制，你给自己计时，以发展一种纪律，不要过度绘制你的板，并取消学习你在其他媒介或角色中养成的任何习惯。一遍又一遍地这样做。因为你不会马上达到你需要的水平。

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The magic sweet-spot that makes your portfolio exactly what the employer is looking for is something I can’t say for sure, but those are the elements your portfolio definitely can’t do without.

One other common mistake: if you have artwork that’s awesome but better applies to other departments within the field(such as character design, concept art, backgrounds etc) include as little as possible so it doesn’t compete with your Story samples, or send the recruiter a mixed message about the role you are fishing for.

Keep it focused.
使你的投资组合完全符合雇主正在寻找的神奇甜蜜点是我不能肯定的，但这些是你的投资组合绝对不能缺少的元素。

另一个常见的错误是：如果你有一个很棒的艺术品，但更好地适用于该领域的其他部门（如角色设计，概念艺术，背景等），尽可能少地包括，这样它就不会与你的故事样本竞争，或者向招聘人员发送关于你正在钓鱼的角色的混合信息。

保持专注。

You may feel more vulnerable dropping all your prettiest pictures and relying solely on your rough boards, but you are applying to work in Story. You’re telling them you live, breathe, eat story.

And that means: boards, boards, and MORE BOARDS.
你可能会觉得更容易放弃所有最漂亮的照片，只依靠你的粗糙板，但你正在申请在Story工作。你是在告诉他们你生活，呼吸，吃饭的故事。

这意味着：板，板和更多板。

Where do you personally look for inspiration & ideas? Do you have any favorite cartoons, comics, or anything that really impacted your style?
It may sound trite to say, but you really have to look for inspiration everywhere, both in art and in life.

Obviously, I make it a point to watch films regularly to keep my cinematic skills honed (and they tend to fall far more into the live action category than animation in my case) but some of my all-time favorite Story contributions have been inspired by conversations or experiences with my loved ones.
您个人在哪里寻找灵感和想法？你有没有最喜欢的卡通，漫画或任何真正影响你风格的东西？
这听起来很老套，但你真的必须在任何地方寻找灵感，无论是在艺术还是在生活中。

显然，我特别注意定期观看电影以保持我的电影技能（就我而言，它们往往比动画更属于真人表演类别），但我一直以来最喜欢的一些故事贡献都是受到与我所爱的人的对话或经历的启发。

I can bang my head against the wall on a sequence all day, then take twenty minutes talking about life in general with a family member or my girlfriend and unlock the whole thing.

Having people around you with whom you share great conversational chemistry is a major asset in this profession. You don’t even have to discuss the specifics of a scene, but rather interrogate its themes or emotions on a human level with someone you trust, and it can make all the difference.
我可以整天把头撞在墙上，然后花二十分钟与家人或女朋友谈论生活，然后解锁整个事情。

在你周围有与你分享伟大的对话化学的人是这个职业的主要资产。你甚至不必讨论一个场景的细节，而是在人类层面上与你信任的人一起询问它的主题或情感，它可以让一切变得不同。

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Also, be a religious hoarder of notions and ideas.

If you find something interesting, regardless of whether it applies to anything in your immediate workload, write it down, sketch it, screen grab it, record it, and save it for later.
此外，成为观念和思想的宗教囤积者。

如果您发现一些有趣的内容，无论它是否适用于您直接工作负载中的任何内容，请将其写下来，绘制草图，屏幕抓取，记录并保存以供以后使用。

Read books, listen to music, go to art galleries, take lots of photographs, and if possible do it with someone who’s as passionate about them as you are. It all helps to stir the pot creatively, and that’s a process that’s forever ongoing.

In regards to a more direct influence on the work in front of me, I am a strong believer in creating extensive libraries of visual references, inspiration, and research for whatever project I am working on. If for no other reason than I really enjoy that initial discovery process.

Becoming familiar with a director’s style, creating a playlist of other examples from the genre, and collating images that speak to the subject matter, all of these have proven helpful to me from job to job.
读书，听音乐，去艺术画廊，拍很多照片，如果可能的话，和像你一样对它们充满热情的人一起做。这一切都有助于创造性地搅拌锅，这是一个永远持续的过程。

关于对我面前的工作产生更直接的影响，我坚信无论我正在从事什么项目，我都希望创建广泛的视觉参考，灵感和研究库。如果没有其他原因，我真的很喜欢最初的发现过程。

熟悉导演的风格，创建该类型的其他示例的播放列表，并整理与主题相关的图像，所有这些都被证明对我从一个工作到另一个工作都有帮助。

Pretty soon I’ll begin work on Taika Waititi’s “Charlie & The Chocolate Factory” series at Netflix Animation. And I’ve had a wonderful time just reading back through all of Roald Dahl’s back-catalogue, looking back on other Dahl adaptations, watching all of Taika’s movies and shows, and generally building up a foundational shorthand for their style, humor and sensibilities.

Now I should stress that all of this research could be thrown out the window once I have a script and direction in front of me. So I never think of research as a rigid template. But you never know when a tiny piece of it might come back around in a sequence or brainstorm.
很快，我就会开始在Netflix Animation上制作Taika Waititi的“Charlie & The Chocolate Factory”系列。我度过了一段美好的时光，只是回顾了罗尔德·达尔（Roald Dahl）的所有后备目录，回顾了达尔的其他改编作品，观看了塔伊卡的所有电影和节目，并通常为他们的风格，幽默和情感建立了一个基本的速记。

现在我应该强调，一旦我面前有一个剧本和方向，所有这些研究都可以被扔出窗外。因此，我从不认为研究是一个僵化的模板。但你永远不知道它中的一小部分什么时候会以序列或头脑风暴的形式回来。

This is what I meant earlier when I talked about thinking “globally” at the start of a project or assignment; it’s like the analogy of having Scout mentality vs Soldier mentality.

As a Story Artist, your job will eventually become intensely technical and logistical, charging through the schedule with very little bandwidth to do anything but focus on the task immediately ahead of you.

You’ll essentially become Gromit in “The Wrong Trousers” laying the pieces of track in front of the train so the whole thing doesn’t crash. So that’s why I do everything I can at the beginning of the process to get as broad and expansive an overview as I can before the train picks up speed.

That, and it’s just a lot of fun being a scholar of what you love.
这就是我早些时候在项目或任务开始时谈到“全球”思考时的意思;这就像侦察兵心态与士兵心态的类比。

作为一名故事艺术家，你的工作最终将变得非常注重技术和后勤，在日程安排中充电，而带宽很少，除了专注于你面前的任务之外，还可以做任何事情。

在“错误的裤子”中，你基本上会变成Gromit，在火车前铺设轨道，这样整个事情就不会崩溃。这就是为什么我在流程开始时尽我所能，在火车加速之前尽可能广泛和广泛的概述。

那，作为一个研究你所爱的东西的学者，这很有趣。

For someone looking to get into storyboarding or any kind of entertainment art, what parting advice would you have for them?
This one is very important to me, because I worked extremely hard to get to where I am today. But if I hadn’t focused on this one thing it would have all been for naught.
对于想要进入故事板或任何类型的娱乐艺术的人来说，你会给他们什么临别建议？
这个对我来说非常重要，因为我非常努力地工作，才走到今天的位置。但是，如果我没有专注于这一件事，那一切都会化为乌有。

And that one thing is: Work on yourself.

Of all the advice I received from my tutors at CGMA, the thing that stayed with me the most was their insistence that in order to survive in this business, you have to exercise great “in-the-room skills”.
有一件事是：对自己下功夫。

在我从CGMA的导师那里得到的所有建议中，最让我印象深刻的是他们坚持认为，为了在这个行业生存，你必须锻炼出色的“室内技能”。

In other words, how to take harsh criticism, accept creative input, respond respectfully, and maintain a positive attitude to the work at all times.

This was echoed by the Head of Story for my first two animated features, who told me in our first ever meeting that “the one thing in this industry you can never get back is your reputation”.

And he’s so right.

Animation is a small, team-based community where word travels fast. If you do your job well and maintain good relationships, you’ll continue to find work. If you prove yourself to be difficult to direct, unreceptive to candor, untrustworthy or disrespectful in any way, then your career will never get off the ground.

It may seem like such an obvious thing, but before I got my first job I was absolutely not ready to be “in the room”.
换句话说，如何接受严厉的批评，接受创造性的投入，尊重地回应，并始终保持对工作的积极态度。

我的前两部动画长片的故事主管回应了这一点，他在我们第一次见面时告诉我，“在这个行业中，你永远无法挽回的一件事就是你的声誉”。

他是对的。

动画是一个小型的、基于团队的社区，单词传播得很快。如果你做好你的工作并保持良好的人际关系，你就会继续找工作。如果你证明自己很难指导，不接受坦率，不值得信任或以任何方式不尊重，那么你的职业生涯将永远不会起步。

这似乎是一件显而易见的事情，但在我得到第一份工作之前，我绝对没有准备好“在房间里”。

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Like a lot of the young artists applying for jobs in the industry, I had cut my teeth on other mediums: illustration, comics, cartooning, which are by their nature mostly solo endeavors.

I’d been my own director, my own editor, rarely collaborating with others. And the times I had collaborated revealed glaring deficits in my attitude and temperament that had to be done away with before I entered the industry.

In that way, I’m incredibly relieved that it took me so long to get my first job. Because it provided me enough time to evolve into a true team player.
像许多申请该行业工作的年轻艺术家一样，我对其他媒介进行了磨牙：插图，漫画，漫画，漫画，这些本质上主要是个人努力。

我曾经做过自己的导演，我自己的编辑，很少与其他人合作。我合作的时光揭示了我的态度和气质上的明显缺陷，在我进入这个行业之前，这些缺陷必须被消除。

通过这种方式，我感到非常欣慰的是，我花了这么长时间才找到第一份工作。因为它为我提供了足够的时间，让我成长为一个真正的团队合作者。


So yeah, work on yourself. Not just for the health of your career, but the general health of your relationships overall.

Animation is an exceptionally stressful profession, and the Story department can be a highly pressurized environment, especially for a young artist. Because we’re constantly feeding the other departments all the way through the process Story can, at times, feel like the eye of the production hurricane.

Deadlines can become overwhelming, directors and producers can hit creative walls, sequences can stop working, screenings can be demoralizing, but the assembly line can never afford to break down.
所以，是的，在自己身上工作。这不仅是为了你职业生涯的健康，也是为了你人际关系的整体健康。

动画是一个压力特别大的职业，故事部门可能是一个高度压力的环境，特别是对于一个年轻的艺术家来说。因为我们在整个过程中不断为其他部门提供食物，故事有时会让人感觉像是生产飓风的眼睛。

截止日期可能会变得势不可挡，导演和制片人可能会撞到创意墙，序列可能会停止工作，放映可能会令人沮丧，但装配线永远不会崩溃。

As a consequence, it is incumbent upon all of us to take great care to preserve our mental health and not become toxic or bully-ish in reaction to this environment, both for ourselves, and our fellow collaborators.

So my parting advice: getting this job requires faith/belief that borders on delusion, and that’s okay. But you must also understand going in…you are going to be part of a team, and your ideas are not more important than those around you.

You will have to watch scenes you’ve poured your heart and soul into get torn apart, revised by another artist, or cut from the film entirely. You will inevitably go from having all of the power while you’re working on it to having none of the power once you’ve pitched it, and that’s okay. It’s baked into the process, and you can’t take any of it personally.
因此，我们所有人都有责任非常小心地保护我们的心理健康，而不是在这种环境中变得有毒或欺负人，无论是为了我们自己，还是为了我们的合作者。

所以我的临别建议是：得到这份工作需要信仰/信念，接近妄想，这没关系。但你也必须明白进去...你将成为团队的一员，你的想法并不比你周围的人更重要。

你将不得不看着你倾注了心血和灵魂的场景被撕裂，被另一位艺术家修改，或者完全从电影中剪下来。你将不可避免地从在你努力工作时拥有所有权力，到一旦你投入它就没有权力，这没关系。它被融入了这个过程，你不能把它中的任何一个个人。

Your professional and emotional well-being depends upon it. There are so many resources out there detailing the technical craft of what’s required to be a Story Artist. But a lot less material about how to live in it once you get there.

Safeguard your emotional well-being a little bit each day. Cultivate good relationships in and out of work, practice mindfulness and self-examination, meditate, exercise perspective and openness, and never lose sight of it.

Work on yourself.
您的职业和情感健康取决于此。有很多资源详细介绍了成为故事艺术家所需的技术工艺。但是，一旦你到达那里，关于如何生活在其中的材料要少得多。

每天稍微保护一下你的情绪健康。在工作内外培养良好的人际关系，练习正念和自我反省，冥想，锻炼观点和开放性，永远不要忽视它。

对自己动手。

There are dozens of paths to follow when it comes to entertainment art. But story art might be the most varied (and possibly the most complex).
在娱乐艺术方面，有几十条路径可以遵循。但故事艺术可能是最多样化的（也可能是最复杂的）。

It feels like a mix between writing, character design, and directing all rolled into one. It’s certainly a coveted role across the entire animation industry, and David Trumble is a name to keep an eye on in the story art space.

In this interview we cover a lot of ground (and it’s a long one so strap in!)
这感觉就像是写作，角色设计和导演之间的混合体。这无疑是整个动画行业梦寐以求的角色，而大卫·特朗布尔（David Trumble）是故事艺术领域值得关注的名字。

在这次采访中，我们涵盖了很多领域（这是一个很长的领域，所以请绑上去！

We’re going over his history with art, how he got into story art professionally, plus a lot of nitty-gritty details about the day-to-day life of a professional story artist working in the industry. Lots of gems in here if you want insider advice on the best traits to cultivate for work in this industry.

If story art is something you’re interested in, whether as a fan or as a career, definitely check this one out.

And if you’re interested to learn more about David’s work you can check out his portfolio here.
我们将回顾他的艺术历史，他如何专业地进入故事艺术领域，以及许多关于在这个行业工作的专业故事艺术家日常生活的细节。这里有很多宝石，如果你想得到关于在这个行业工作中培养的最佳特质的内部建议。

如果故事艺术是你感兴趣的东西，无论是作为粉丝还是作为职业，一定要看看这个。

如果您有兴趣了解有关David工作的更多信息，可以在此处查看他的作品集。

How did you first get into art? Did you have any formal training before getting into entertainment art?
My parents tell me I’ve been drawing since I was two years old. So I literally can’t remember a time I wasn’t obsessed with storytelling.
你是如何开始接触艺术的？在进入娱乐艺术领域之前，你接受过任何正式的培训吗？
我的父母告诉我，我从两岁起就开始画画。所以我真的不记得有哪一次我不痴迷于讲故事。

But as with a lot of people in my industry, the path to animation was winding and unexpected. I have a twin brother who is also a talented artist, and we spent most of our childhood making up stories together and drawing a voluminous amount of pictures to go along with them. Our love of creating and acting out stories together was so intense that for a long period we were oblivious to the world around us, in a creative bubble no-one knew how to burst.

He was my first Story collaborator, kind of a hive mind situation (he is currently a standup comedian in the UK, but has worked as a storyboard artist for commercials and other media). By the time we’d graduated high school both of our attentions had turned to film-making and we studied Film Production at the Arts University Bournemouth (AUB), one of the only practical courses in the United Kingdom, where we got to work with 16mm film and both directed graduation shorts.
但就像我这个行业的很多人一样，动画之路是曲折和意想不到的。我有一个孪生兄弟，他也是一位才华横溢的艺术家，我们童年的大部分时间都在一起编造故事，并画了大量的图片来配合他们。我们对共同创作和表演故事的热爱是如此强烈，以至于在很长一段时间内，我们都忘记了周围的世界，在一个没有人知道如何破裂的创意泡沫中。

他是我的第一个Story合作者，有点像蜂巢式的心理情况（他目前是英国的单口喜剧演员，但曾担任商业广告和其他媒体的故事板艺术家）。当我们高中毕业时，我们的注意力都转向了电影制作，我们在伯恩茅斯艺术大学（AUB）学习电影制作，这是英国仅有的实践课程之一，在那里我们开始使用16mm电影和导演毕业短片。

It was there that we found a larger group of collaborators, and continued to make independent shorts well into our twenties. That, too, turned out to be a bit of a bubble, and I ultimately became disenchanted with the rigors of low budget filming and fell back into freelance illustration, working as a political cartoonist for the Sun Newspaper and writing and illustrating children’s books here and there.

It wasn’t until the latter half of my twenties that I realized all the various career paths I had pursued all intersected in the realm of animation.

I had been generally aware of how storyboarding functioned, but it wasn’t until I read Ed Catmull’s book “Creativity, Inc.” that I truly understood the collaborative, integral nature of the Story department and fell in love with it.
正是在那里，我们找到了一个更大的合作者群体，并继续制作独立短片，直到我们二十多岁。结果也出现了一个泡沫，我最终对低预算拍摄的严谨性感到失望，重新回到自由插画行业，在《太阳报》担任政治漫画家，到处撰写儿童读物并为其绘制插图。

直到我二十多岁后半段，我才意识到我所追求的所有职业道路都在动画领域交叉。

我一直很清楚故事板是如何运作的，但直到我读了埃德·卡特穆尔（Ed Catmull）的书《创造力公司》（Creativity， Inc.），我才真正理解了故事部门的协作、整体性质，并爱上了它。



My whole life, I had kind of discounted animated features as a medium I adored but felt unqualified to pursue.

But it was in reading that book that I realized that, after having tried my hand at so many other storytelling mediums, I had been training for this skillset my whole life without even knowing it; as a draftsman, as a satirist, as a practical film-maker, all of these disciplines combined in Story.

So for the first time, I felt like I had stumbled upon an artistic pursuit to which I was uniquely suited. I just came to it the long way round.
在我的一生中，我都有一些打折的动画片作为我崇拜的媒介，但觉得没有资格追求。

但正是在阅读这本书时，我意识到，在尝试了这么多其他讲故事的媒介之后，我一生都在为这种技能进行训练，甚至不知道它。作为一名制图员，作为一名讽刺作家，作为一名实用的电影制作人，所有这些学科都结合在了《故事》中。

因此，我第一次觉得自己偶然发现了一种我特别适合的艺术追求。我只是走了很长一段路。

How did you get your first gig doing story art & what did that look like?
There is truly no one way to get into this business, and my story is a prime example.
你是怎么开始第一次做故事艺术的，那是什么样子的？
真的没有一种方法可以进入这个行业，我的故事就是一个很好的例子。

In 2015 I applied for the Pixar Story internship and didn’t get it. But in the course of not getting it I received what felt like a mixed message from the head of that internship, who had requested to see more of my work before sending a follow-up email to inform me they had filled all their spots.

I had a very supportive American girlfriend (with whom I was in a long distance relationship from the United Kingdom) who strongly believed that this guy had wanted to give me a shot.

My portfolio, while filled with illustration and cartooning examples, had been sorely lacking in terms of actual storyboards. So naturally I hadn’t made the cut, but she urged me to continue pulling on this thread.
2015年，我申请了皮克斯故事实习，但没有得到。但在没有得到它的过程中，我收到了来自实习负责人的混合信息，他要求在发送后续电子邮件通知我之前看到我更多的工作，通知我他们已经填补了所有的位置。

我有一个非常支持我的美国女朋友（我和她有一段来自英国的异地恋），她坚信这个家伙想给我一个机会。

我的作品集虽然充满了插图和卡通示例，但在实际的故事板方面却非常缺乏。所以很自然地，我没有成功，但她敦促我继续拉动这条线。

I had gone to the lengths of getting a visa to work in the U.S., on the off-chance that I got the internship. I basically took a leap of faith in both my life and my career by packing myself up in a suitcase and going straight to this Pixar veteran’s Story masterclass in New York.

On the final day, terrified of being rejected in person but having been badgered by my ever-supportive girlfriend, I took the chance to show him my portfolio again at the close of the two-day workshop.
我竭尽全力获得在美国工作的签证，因为我得到了实习的机会。我基本上对自己的生活和事业都抱有一丝信心，把自己装在一个行李箱里，直接去纽约的皮克斯老手故事大师班。

在最后一天，我害怕被拒绝，但被我一直支持我的女朋友所困扰，我借此机会在为期两天的研讨会结束时再次向他展示了我的作品集。

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To my absolute astonishment, he saw the first page of my portfolio pop up on my laptop and said “Oh…you’re that guy!”
令我惊讶的是，他看到我的投资组合的第一页出现在我的笔记本电脑上，并说：“哦......你就是那个家伙！

After hearing my story and chatting through everything I needed to improve upon, he told me he would make it his mission to get me a job in animation.

After one year of sending him more of my work for feedback, taking online courses, and a few false starts for potential jobs, he got me a job drawing beat boards on my first animated feature, which would turn out to be “Uglydolls” by STX Entertainment.
在听了我的故事并聊了聊我需要改进的一切之后，他告诉我，他会把给我找一份动画工作作为自己的使命。

经过一年的时间，他向我发送了更多的工作来征求反馈，参加了在线课程，并为潜在的工作提供了一些错误的开端，他给我找了一份在我的第一部动画长片上画节拍板的工作，结果发现这是STX Entertainment的“Uglydolls”。

I drew beat boards and visual development for multiple story pitches to the studio, then was hired on the film as a full-time Story Artist in 2016.

Though “Uglydolls” did not make a big splash in the marketplace, it introduced me to collaborators who continued to hire me on even more exciting projects. I’ve boarded pre-viz sequences for Robert Rodriguez’s live action superhero film “We Can Be Heroes” for Netflix, have just completed work on “Wendell & Wild” by stop-motion legend Henry Selick in collaboration with director Jordan Peele, and this month I’m about to begin work on Netflix Animation’s “Charlie & The Chocolate Factory” series with Taika Waititi.
我为工作室的多个故事推介绘制了节拍板和视觉开发，然后在2016年被聘为全职故事艺术家。

虽然“Uglydolls”在市场上没有引起轰动，但它向我介绍了合作者，他们继续雇用我从事更令人兴奋的项目。我已经为罗伯特·罗德里格斯（Robert Rodriguez）的真人超级英雄电影《我们可以成为英雄》（We Can Be Heroes）登上了前可视化序列，刚刚完成了定格动画传奇人物亨利·塞利克（Henry Selick）与导演乔丹·皮尔（Jordan Peele）合作的《温德尔与野性》（Wendell & Wild）的制作，本月我即将开始与泰卡·怀蒂蒂（Taika Waititi）合作制作Netflix动画的《查理与巧克力工厂》（Charlie & The Chocolate Factory）系列。

It’s been a crazy-lucky run of projects. And they all happened because of referrals from a film that didn’t do well, and that first pivotal foot in the door only happened because I failed to get into an internship.

So yeah, it’s a funny, funny business. Because had I actually gotten what I was going for, I wouldn’t be where I am now.

But that bad luck was flipped on its head because I had people around me who believed in me and advocated on my behalf, my girlfriend, my mentor, and for that tireless support and inexplicable optimism I will always be endlessly grateful.
这是一个疯狂幸运的项目。这一切都是因为一部表现不佳的电影的推荐而发生的，而第一次关键的一次踏入大门只是因为我未能进入实习而发生的。

所以，是的，这是一个有趣的，有趣的行业。因为如果我真的得到了我想要的东西，我就不会有现在的成就。

但这种厄运被掀翻了，因为我身边有人相信我，代表我、我的女朋友、我的导师倡导我，对于这种不懈的支持和莫名其妙的乐观主义，我将永远感激不尽。


For the storyboarding process, how do you approach drafting scenes from a script? Do you get any directorial guidance, or are you expected to just “understand” how to visualize it yourself?
对于故事板制作过程，您如何从脚本中绘制场景？你是否得到了任何导演的指导，或者你是否期望自己“理解”如何想象它？

Put it this way, if you’ve been hired as a Story Artist on a feature and are being launched on a sequence, it means you’ve already demonstrated an understanding of cinematic techniques in your audition process.

There’s a reason they call it “Story Artist” rather than just “Storyboard Artist”.

They’re hiring a storyteller, period.

So the amount of direction you receive in a launch depends very much on the director in question and their specific vision for the scene, but you are going into that process with a reasonable expectation of your fluency in visual language. As far as guidance is concerned, every director is different.

I’ve had directors who’ve drawn a series of quick thumbnails to map out how they see the shots progressing. And I’ve also had directors who will be upfront about genuinely not knowing how they want the scene to unfold.
这样说吧，如果你被聘为一个故事片的故事艺术家，并且正在一个序列上推出，这意味着你已经在试镜过程中展示了对电影技术的理解。

他们称之为“故事艺术家”而不仅仅是“故事板艺术家”是有原因的。

他们正在雇佣一个讲故事的人，时期。

因此，你在发布会上获得多少指导在很大程度上取决于所讨论的导演和他们对场景的具体愿景，但你进入这个过程时，对你流畅的视觉语言有一个合理的期望。就指导而言，每个导演都是不同的。

我有一些导演画了一系列快速缩略图，以绘制出他们如何看待镜头的进展。我也有一些导演会坦率地说，他们真的不知道他们想要的场景如何展开。

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Sometimes they’ll encourage you to stick faithfully to the script, and sometimes they’ll encourage you to disregard it entirely and try out new ideas. Many times, rather than receive a specific piece of direction, I’ll be given a reference point, a scene from a film or a moment of performance that strikes a similar tone.

On my last feature “Wendell & Wild”, director Henry Selick asked us all to watch Charles Laughton’s 1955 film “Night of the Hunter” in order to get a sense of the composition and shot progression he was after.
有时他们会鼓励你忠实地坚持剧本，有时他们会鼓励你完全忽略它，尝试新的想法。很多时候，我不会得到一个特定的方向，而是会得到一个参考点，一个电影中的场景或一个类似基调的表演时刻。

在我的最后一部长片《温德尔与荒野》（Wendell & Wild）中，导演亨利·塞利克（Henry Selick）邀请我们所有人观看查尔斯·劳顿（Charles Laughton）1955年的电影《猎人之夜》（Night of the Hunter），以便了解他所追求的构图和拍摄进展。

Other times he would go outside of cinema and refer to paintings, photography, fashion, anything that would give us a sense of the “feel” of what he was after. Sometimes it comes down to just a conversation about the themes or emotions the scene explores. But in other instances, I’ve been launched by my Head of Story without the director present at all, and their first chance to actually direct me would be in response to my first pass of the boards. Which is pretty nerve-wracking to say the least.
其他时候，他会走出电影，提到绘画，摄影，时尚，任何能让我们感受到他所追求的“感觉”的东西。有时，它归结为关于场景探索的主题或情感的对话。但在其他情况下，我是由我的故事主管发起的，根本没有导演在场，他们第一次真正指导我的机会将是对我第一次通过董事会的回应。至少可以说，这是非常伤脑筋的。

This broad variety of approaches, while all having merit, can create a lot of anxiety in a Story Artist. Especially when you’re starting a project and have yet to fully slip into the groove with a director. So it’s important in the first few pitches to exercise great mindfulness and give yourself permission to “fail” a bit.

Central to this is coming up with your own personal method that can be adapted to fit each assignment.

For me personally, I like to spend the first day thinking broadly, “globally”, about the scene. And by that, I mean answering the simple question of “What is this scene fundamentally about?”

Obviously you have to go through the script and make note of all the elements that must be juggled in terms of characters, actions and events, but pretty much any scene of a script can be broken down to one essential beat that moves the story forward. Something that can ideally be articulated in one sentence.

“This character want this”, or “these characters discover this”, or “this character loses this”, etc.

So I spend a lot of that first day just thinking about that. I sketch very fast thumbnails in my notebooks, collect reference materials, watch similar scenes or sequences (helpful for action), listen to movie soundtracks, and play/act the sequence over and over in my head while I’m doing other things like having a coffee or taking a walk, without putting pressure on myself to put it into boards immediately.
这种种类繁多的方法虽然都有其优点，但会给故事艺术家带来很多焦虑。特别是当你开始一个项目，还没有完全滑入导演的凹槽时。因此，在最初的几个演讲中，重要的是要锻炼出极大的正念，并允许自己“失败”一点。

其核心是提出自己的个人方法，可以适应每个任务。

就我个人而言，我喜欢在第一天就广泛地思考这个场景，“全球”。我的意思是回答一个简单的问题“这个场景从根本上讲是什么？

显然，你必须仔细阅读剧本，并记下在角色、动作和事件方面必须兼顾的所有元素，但几乎剧本的任何场景都可以分解成一个推动故事向前发展的基本节拍。理想情况下，可以用一句话来表达。

“这个角色想要这个”，或者“这些角色发现了这个”，或者“这个角色失去了这个”，等等。

所以我第一天花了很多时间思考这个问题。我在笔记本上快速绘制缩略图，收集参考资料，观看类似的场景或序列（有助于动作），听电影配乐，并在做其他事情（如喝咖啡或散步）时在脑海中一遍又一遍地播放/表演序列，而不会给自己施加压力，要求自己立即将其放入板中。

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I start properly drawing on day two, usually the shots for which I’ve developed a clear vision regardless of where they sit in the scene chronologically, and then use them as my true north as I work out how the rest of it fits into the puzzle. Provided I have the time, I try to allow one day in my schedule for freaking out, looking at what I’ve done and giving myself permission to completely rework it.

But as you fill in the gaps the sequence starts to tell you more and more the shape it’s meant to be so you ultimately end the process in service of, rather than dictating, the boards.
我从第二天开始正确绘制，通常是我已经发展出清晰视野的镜头，无论它们按时间顺序在场景中的哪个位置，然后将它们用作我真正的北方，因为我弄清楚其余部分如何适应拼图。只要我有时间，我试着在我的日程安排中有一天吓坏了，看看我做了什么，并允许自己完全返工。

但是，当你填补空白时，序列开始越来越多地告诉你它意味着什么，所以你最终会结束这个过程，为董事会服务，而不是口述。

So if I’ve been doing it right, I begin my assignment on a global level, and end it on a purely technical one, ticking off my shot-list and making sure the draftsmanship meets the standard for pitching.

The average turnaround for a draft of a sequence tends to be within a week, but closer to the end of the schedule. It can be two or three days if not a one day turnaround, so it’s helpful to have an approach that is collapsible into different time-frames at a pinch.
因此，如果我做得对，我会在全球范围内开始我的任务，并以纯粹的技术任务结束，勾选我的投篮清单，并确保选秀技巧符合投球标准。

序列草稿的平均周转时间往往在一周内，但更接近时间表的结束。如果不是一天的周转时间，也可能是两到三天，所以有一种方法可以在紧要关头折叠成不同的时间框架是有帮助的。

Ultimately, your anchor will always be the blueprint of the script. So if you lose your way just refer back to that.

And crucially, never put too much pressure on the first pass. My first passes tend to be mainly for me, my own cinematic sensibilities, then it gets pulled apart in the pitch and the second pass is about putting that preciousness away and bringing it closer to the director’s vision.
最终，您的锚点将始终是脚本的蓝图。因此，如果您迷失了方向，请回过头来参考。

至关重要的是，永远不要在第一次传球时施加太大的压力。我的第一次传球往往主要是为了我自己，我自己的电影感性，然后它在球场上被拉开，第二次传球是关于把这种珍贵的东西收起来，让它更接近导演的视野。

By the third pass, hopefully the scene has started to show us what works and what doesn’t so it just becomes a matter of refinement.

Even if your boards end up revealing fundamental flaws in this blueprint, it’s all good data for the director. The Story pipeline in animation is very much an iterative process of trial and error, so understand that even when things don’t work, you’re actually making progress, ruling out wrong paths in order to hone in on the right one.

Know that going in, and create an approach to the boarding that works for you.
到第三遍时，希望这个场景已经开始向我们展示什么有效，什么无效，所以它只是一个精致的问题。

即使你的董事会最终揭示了这个蓝图中的根本缺陷，这对导演来说都是好数据。动画中的故事管道在很大程度上是一个反复试验的过程，所以要明白，即使事情不起作用，你实际上也在取得进展，排除了错误的路径，以便磨练正确的路径。

知道要进去，并创建一种适合您的登机方法。

What does your typical day-to-day look like in the animation pipeline?
This varies depending on whether you’re remote or in-house, but unless the day in question is a launch or a pitch day, you tend to be in charge of your own time management.

The Head of Story or a Production Assistant may schedule check-ins midway through an assignment in case further brainstorming is required, and there’s always the chance, especially close to a screening, for a stream of additional shots and pickups to be requested alongside the sequence you’re working on.

We often get requests from Editing, who are cutting scenes in tandem with Story, and if you’re on a stop-motion you may get requests from the animation stage to clarify a shot or re-draw an environment so that it aligns with the latest designs from Art or Props.
在动画流程中，您典型的日常工作是什么样的？
这取决于你是远程还是内部，但除非有问题的一天是发布日还是推销日，否则你往往负责自己的时间管理。

故事主管或制作助理可能会在任务中途安排签到，以防需要进一步的头脑风暴，并且总是有机会，特别是在放映附近，在你正在制作的序列旁边请求一系列额外的镜头和拾取。

我们经常收到来自编辑的请求，他们正在与故事一起剪切场景，如果你在定格动画上，你可能会收到动画阶段的请求，以澄清一个镜头或重新绘制一个环境，以便它与艺术或道具的最新设计保持一致。

Conversely, Story/Edit Coordinators prove invaluable for reaching out on your behalf to other departments for the latest scripts, designs, and assets you might need for reference in your sequences. Story is the intersection point for a lot of departments, so having a good relationship with these teams is paramount.
相反，故事/编辑协调员可以代表您向其他部门寻求序列中可能需要参考的最新脚本，设计和资产，这被证明是无价的。故事是许多部门的交汇点，因此与这些团队建立良好的关系至关重要。

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Also because you’re constantly reworking the film through the various reels, you can get the odd moment where you draw either a prop or character that then ends up in the finished product pretty much as you had designed it, which can be a thrill to see.

But for a few brief exceptions, I’ve been a remote artist for every animated feature I’ve worked on. So when the pandemic hit it wasn’t much of an adjustment for me at all.

That being said, there are pros and cons to being remote.
此外，因为你通过各种卷轴不断地重制电影，你可以得到一个奇怪的时刻，你画一个道具或角色，然后最终出现在成品中，就像你设计的那样，这可能是一个令人兴奋的看到。

但对于一些短暂的例外，我一直是我参与过的每个动画长片的远程艺术家。因此，当大流行来袭时，对我来说根本不是一个很大的调整。

话虽如此，远程办公有利有弊。

On the one hand, your director and HODs trust you to schedule your workload so long as you deliver your work on time. You have flexibility, within reason, to give yourself breaks, exercise, and generally balance your work with your mental health.

But on the other hand, you also don’t get the same community feeling you’d get going into the studio every day, having lunch with peers, being inspired by unexpected conversations, etc.

That’s why it’s incumbent upon remote artists such as myself to be proactive in creating and maintaining that collegiate atmosphere from home.
一方面，只要您按时交付工作，您的主管和HOD就信任您安排工作量。在合理范围内，你可以灵活地给自己休息，锻炼，并通常平衡你的工作和你的心理健康。

但另一方面，你也不会得到同样的社区感觉，你会每天进入工作室，与同龄人共进午餐，受到意想不到的对话的启发，等等。

这就是为什么像我这样的远程艺术家有责任积极主动地在家创造和维护这种大学氛围。

I regularly text back and forth with my fellow Story Artists to either kick a few ideas around or offer moral support, and my last feature was the first I’ve boarded on that had a dedicated Slack channel for all departments.

I’ve been very fortunate to have experienced the best of both worlds, in that every production I’ve worked on has flown me to their respective studios in Burbank, Austin, and Portland for a week here and there when deadlines became crushing.

That has allowed me the chance to make stronger connections with my colleagues, across departments, relationships that have endured long after I’ve gone back to my office back home.

For all the additional stressors of being in the belly of the production beast, a few hairy days in the studio can be an incredibly cathartic bonding experience for a crew. And you’ll never forget someone who went through those wars with you.

So if you are a remote artist and you get offered the chance to spend a few weeks in-house I also highly recommend that.
我经常与其他故事艺术家来回发短信，要么提出一些想法，要么提供道义上的支持，我的最后一个功能是我加入的第一个为所有部门提供专用的Slack频道的功能。

我很幸运能够体验到两全其美的体验，因为我参与过的每一部作品都把我带到了他们各自的伯班克、奥斯汀和波特兰的工作室一个星期，当时最后期限变得紧迫。

这使我有机会与同事，跨部门建立更牢固的联系，这些关系在我回到家乡的办公室后已经持续了很长时间。

对于制作野兽肚子里的所有额外压力源来说，在工作室里度过几天毛茸茸的日子对于剧组来说可能是一种令人难以置信的宣泄性结合体验。你永远不会忘记一个和你一起经历过那些战争的人。

因此，如果您是远程艺术家，并且有机会在内部度过几周，我也强烈推荐。

What do you personally think is the trickiest part of nailing a scene?
Every scene is tricky in its own unique way. Which is why Story Artists need such a broad bag of tricks to draw from.
您个人认为确定场景最棘手的部分是什么？
每个场景都以自己独特的方式变得棘手。这就是为什么故事艺术家需要如此广泛的技巧来借鉴。

But I’d say the trickiest part is figuring out which tricks not to bring to the table.

When you’re essentially the first draft of a scene’s layout, it can be very tempting to go overboard with the cinematic devices; throw in every cool camera move you can think of, belabor every subtle tick of a performance, or indulge in half a dozen inserts when a master wide would have done the trick. Especially in computer animation where you can achieve any shot, within reason.

The best storyboarding tip I ever received was from Valerie LaPointe of Pixar, a Story Artist on “Inside Out” and “Toy Story 4” among others.

She said the simplest thing to me, which was:
但我想说，最棘手的部分是弄清楚哪些技巧不能摆在桌面上。

当您基本上是场景布局的初稿时，使用电影设备可能会非常诱人。投入你能想到的每一个很酷的相机动作，仔细研究表演的每一个微妙的滴答声，或者沉迷于六个插入，而一个大师宽会完成这个技巧。特别是在计算机动画中，您可以在合理的范围内实现任何镜头。

我收到过的最好的故事板技巧来自皮克斯的Valerie LaPointe，她是“Inside Out”和“Toy Story 4”等故事艺术家。

她对我说了最简单的话，那就是：

“Board as though you’re on a live action film set and the crew is running out of light.”
“登上舞台，就好像你在真人电影片场，剧组的光线已经耗尽了。

This is because, though animation is seemingly limitless in what it can render, it is nevertheless built on rules developed by a medium defined by its practical limitations.

On a live action set, for example, you can only use this actor for an afternoon. You can only break this prop once, or you only have the location for one day and there’s a storm on the horizon.

Limitations, on the face of it, are negative things. But they really encourage (or rather, force) creativity and prioritizing of story mechanics over stylistic indulgence. And what’s more, the audience will thank you for it. Because they’ve been raised on the visual language created out of those limitations.
这是因为，尽管动画在渲染方面似乎是无限的，但它仍然建立在由其实际局限性定义的媒介开发的规则之上。

例如，在实景拍摄中，您只能在一个下午使用此演员。你只能打破这个道具一次，或者你只有一天的位置，地平线上有一场风暴。

从表面上看，限制是消极的东西。但它们确实鼓励（或者更确切地说，是力量）创造力，并将故事机制置于风格放纵之上。更重要的是，观众会为此感谢你。因为它们是在出于这些限制而创建的视觉语言上提出的。

Throw in too many virtuoso shots and you risk losing the audience, because they’re too cine-literate, they subconsciously expect judiciousness and clarity.

So the number one thing I’ve had to learn (the hard way) in animation is imposing stricter limitations on myself, in order to achieve more with less.

Early on in the storyboarding process for “Wendell & Wild”, which is a stop-motion feature, I boarded an ambitious long take that followed a character as it crawled under a larger creature’s legs. It was a real “show-off” shot. But when I visited the production in Portland I realized that the geniuses in the workshop had had to build an entirely new rig with larger scale versions of the models just to pull that shot off.
投入太多的精湛镜头，你可能会失去观众，因为他们太懂电影，他们下意识地期望明智和清晰。

因此，在动画中，我必须学习的首要事情（艰难的方式）是对自己施加更严格的限制，以便用更少的资源实现更多目标。

在《温德尔与狂野》（Wendell & Wild）的故事板制作过程的早期，我登上了一个雄心勃勃的长镜头，跟随一个角色爬到一个更大的生物的腿下。这是一次真正的“炫耀”镜头。但是，当我参观波特兰的生产时，我意识到车间里的天才们不得不建造一个全新的装备，用更大规模的模型版本来拉开这个镜头。

It ended up in the movie and I’m very proud of it, but it really brought home to me just how much extra work I can create with a flick of my tablet pen, and how important it is to “earn” a shot like that if it requires the building of new assets.

So it’s important to know when to reign yourself in.
它最终出现在电影中，我为此感到非常自豪，但它真的让我意识到，只要轻拂一下平板电脑笔，我就能创造出多少额外的工作，以及如果“赢得”这样的镜头需要建立新的资产是多么重要。

因此，重要的是要知道何时统治自己。

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As much as the film fanatic in me wants to create the most audacious, cinematic visuals possible, there are times when the simplest most understated techniques work the best.

That doesn’t mean you can’t go all out on a crazy camera move or play with an unconventional composition if it feels right. But you have to choose your moments.

The good news is the edit never lies. So if a scene you’ve delivered isn’t landing, it doesn’t matter how precious you feel about it. It goes in the bin.
尽管我内心的电影狂热者想要创造最大胆的电影视觉效果，但有时最简单，最低调的技术效果最好。

这并不意味着你不能全力以赴地进行疯狂的相机移动，或者如果感觉正确的话，玩一个非常规的构图。但你必须选择你的时刻。

好消息是编辑从不说谎。因此，如果您交付的场景没有落地，那么您对它的感觉有多珍贵并不重要。它进入垃圾箱。


Since a lot of story art tends to be more “cartoony”, how often do you practice drawing from life? Do you feel realism is still necessary as a story artist?
I’ve done my share of life drawing in the past (it is a must for a Story portfolio) but I wouldn’t say I’ve made it a big focus in my job. Probably because I don’t subscribe to the notion that there’s a huge difference between “realism” and “cartoony” in animation beyond the superficial.
既然很多故事艺术往往更“卡通化”，那么你多久练习一次生活中的绘画？你觉得作为一个故事艺术家，现实主义仍然是必要的吗？
我过去做过我的生活绘画（对于故事作品集来说，这是必须的），但我不会说我已经把它作为我工作的重点。可能是因为我不同意这样一种观点，即动画中的“现实主义”和“卡通化”之间存在着超越肤浅的巨大差异。

When people say that an animation style is “cartoony” I think what they really mean is “pushed”.

So much of animation is about push/pull, in terms of lighting values, color temperatures, shape language, and character models.

So there are certainly character designs that are more stylized. But even the animations that feature more proportional body shapes are not what I would call “realistic”. Their poses and movements are still “pushed” somewhere beyond reality, in order to be instantly recognizable to the viewer. And that’s especially true in the Story process where we have to convey movement, behavior, and emotion in as fast and clear a way as possible.

Unlike animators who do incredible work going granular into the subtle nuances of performance, Story Artists have to get their sequences through a ruthless series of screenings. So unless our characters and poses register immediately, we have to redraw.
当人们说动画风格是“卡通化”时，我认为他们真正的意思是“推动”。

如此多的动画都是关于推/拉的，在光照值、色温、形状语言和角色模型方面。

因此，肯定有一些角色设计更加风格化。但是，即使是具有更成比例的身体形状的动画也不是我所说的“逼真”。他们的姿势和动作仍然被“推”到超越现实的地方，以便观众立即识别。在故事过程中尤其如此，我们必须以尽可能快速和清晰的方式传达运动，行为和情感。

与动画师在表演的细微差别中做令人难以置信的工作不同，故事艺术家必须通过一系列无情的放映来获得他们的序列。因此，除非我们的角色和姿势立即注册，否则我们必须重新绘制。

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To that end, when I’m boarding a sequence, it doesn’t matter if the character has believable body dimensions or not. The underlying techniques we employ to convey their soul remains the same.

So to aspiring Story Artists, I would say: being proficient at drawing bodies and poses from life is obviously an asset in this line of work, absolutely. But just be aware that life drawings are static.

You can draw a figure hugging their legs next to a plate of fruit and it’ll teach you a fair amount about how muscles sit on a skeleton. But if you want to know how to make that skeleton feel like it’s alive, take movement classes. Study theatrical acting, screen-grab dance and fight choreography, and understand how our body language is conveyed in flight.

Because that will ultimately be what makes your characters feel vibrant in a story reel.
为此，当我登上一个序列时，角色是否有可信的身体尺寸并不重要。我们用来传达他们灵魂的基本技术保持不变。

因此，对于有抱负的故事艺术家，我会说：精通从生活中绘制身体和姿势显然是这一行的资产，绝对是。但请注意，生活图纸是静态的。

你可以画一个人物抱着他们的腿在一盘水果旁边，它会教你很多关于肌肉如何坐在骨架上的知识。但是，如果你想知道如何让那具骷髅感觉像是活着的，那就上运动课吧。学习戏剧表演，屏幕抓舞和战斗编排，并了解我们的肢体语言在飞行中是如何传达的。

因为这最终会让你的角色在故事卷轴中感到充满活力。


I noticed you’ve taken some classes with CGMA. How do you feel about those courses in general? And do you think online courses can offer a replacement for more expensive college classes?
我注意到你已经用CGMA上了一些课。您如何看待这些课程？你认为在线课程可以取代更昂贵的大学课程吗？

For CGMA I studied Storyboarding for Animation, The Art of Color and Light, Character Design, Character Production, and Anatomical Drawing at CGMA 2D Academy over a period of years as I was breaking in.

The Story class, with a veteran Story Artist from DreamWorks and Illumination, made a huge difference to the way I boarded. Because he hammered into me each week that I had to strip my illustrative style way, way back.

That single piece of advice fundamentally changed my whole approach. But I got a lot from all the courses.
在CGMA，我在CGMA 2D学院学习了动画，色彩和光的艺术，角色设计，角色制作和解剖绘画的故事板，这是我闯入的几年。

故事课上有一位来自梦工厂和照明的资深故事艺术家，这对我的登机方式产生了巨大的影响。因为他每周都会抨击我，我不得不剥离我的说明风格，很久以前。

这个建议从根本上改变了我的整个方法。但我从所有的课程中都得到了很多东西。

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The best part of a learning tool like CGMA is getting to interact with actual working professionals from the industry. And every one of my tutors has stayed in touch and offered professional advice long after the courses were over, giving me tips on artist rates and even writing me recommendation letters for visa and green card applications.

It’s been an invaluable support to my journey.
像CGMA这样的学习工具最好的部分是与业内实际工作的专业人士互动。我的每一位导师在课程结束后很长一段时间内都保持联系并提供专业建议，给我关于艺术家价格的提示，甚至给我写签证和绿卡申请的推荐信。

这对我的旅程来说是一个无价的支持。

I certainly don’t believe it’s an either/or between online courses or expensive college classes. One could not possibly replace the other, for the simple reason that neither are a guarantee of a job in animation.

It sounds maddening, but the truth is you could go to Cal Arts and not get the job you wanted at your chosen studio. And you could do every course in CGMA’s curriculum and not be what a recruitment officer was looking for on that particular day.

Getting a job in animation is 100% a moon-shot, dependent on so many variables. And we’re starting to see more and more how difficult it is for many groups to get their foot in the door compared with others.

So if you’re a member of a group that has less access to these opportunities through no fault of your own, if you come from a country that has no major animation schools, if you don’t have the money or the ability to attend Cal Arts, or even if you landed on your career path later in life, then online courses like CGMA are wonderful resources to have available.
我当然不相信这是在线课程或昂贵的大学课程之间的非此即彼。一个不可能取代另一个，原因很简单，两者都不能保证动画工作。

这听起来很疯狂，但事实是，你可以去Cal Arts，却无法在你选择的工作室找到你想要的工作。你可以做CGMA课程中的每门课程，而不是成为招聘官在那一天想要的东西。

在动画领域找到一份工作是100%的登月，取决于很多变量。我们开始越来越多地看到，与其他群体相比，许多群体踏入大门是多么困难。

因此，如果你是一个团体的成员，这个团体很少有机会获得这些机会，这不是你自己的过错，如果你来自一个没有主要动画学校的国家，如果你没有钱或能力参加Cal Arts，或者即使你在以后的生活中走上了你的职业道路， 那么像CGMA这样的在线课程是很好的资源。

And I should stress that the Internet has fully democratized our ability to study our vocations beyond even paid courses like CGMA.

Khan Academy, Pixar In A Box, Industry professionals running their own YouTube channels, and even just being able to devour DVD/BluRay extras and commentaries in a matter of clicks, right down to websites like Concept Art Empire itself.
我应该强调，互联网已经完全民主化了我们研究职业的能力，甚至超越了像CGMA这样的付费课程。

可汗学院，皮克斯在盒子里，行业专业人士运行自己的YouTube频道，甚至只是能够在点击的情况下吞噬DVD / BluRay附加内容和评论，直到像Concept Art Empire本身这样的网站。

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In terms of education, aspiring animators have never had such a wealth of resources at their fingertips before. And that is surely a thing to celebrate.

Just be aware that no certificate or tutorial contains the silver bullet that will land you a job. That will be decided by what you take from it, how well you apply it, and a boat-load of luck.
在教育方面，有抱负的动画师以前从未有过如此丰富的资源。这当然是值得庆祝的事情。

请注意，没有任何证书或教程包含会为您找到工作的银弹。这将取决于你从中得到什么，你应用它的程度，以及一大堆运气。

If someone was putting together a portfolio to apply as a story artist, what should absolutely be in that portfolio? (or conversely, what should be left out?)
This one’s good and easy: Storyboards.

Lots of storyboards.
如果有人正在整理一个作品集来申请成为一名故事艺术家，那么这个作品集中绝对应该有什么？（或者相反，应该省略什么？
这个很好，很简单：故事板。
很多故事板。

It’s incredible how many portfolios are out there from talented people trying to get into Story jobs that don’t have enough actual storyboards in them. It’s such a common mistake, because most of us come from a variety of artistic backgrounds before getting into film. And we feel the need to use it to bolster whatever deficits we might have starting out.

But no matter how great that other artwork is, a Story portfolio needs to be at least 70/30 (if not more) Story-related work.

Unless you’re showcasing your ability to tell a story sequentially, cinematically and in terms of writing and conception, then you’re wasting the employers’ time.

The mentor who got me my first animated feature job advised me for almost a year before my portfolio was up to scratch.
令人难以置信的是，有多少有才华的人的作品集试图进入故事工作，而他们没有足够的实际故事板。这是一个常见的错误，因为我们大多数人在进入电影领域之前都来自不同的艺术背景。我们觉得有必要利用它来加强我们可能开始的任何赤字。

但是，无论其他艺术品有多棒，故事作品集至少需要70/30（如果不是更多）与故事相关的作品。

除非你展示你按顺序、电影、写作和构思讲述故事的能力，否则你是在浪费雇主的时间。

那位为我找到第一份动画长片工作的导师在我的作品集达到标准之前，为我推荐了将近一年的时间。

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That meant culling most of the illustration and cartoonist work from my previous life, studying sequences from my favorite films, throwing out my first few boards and refreshing my portfolio with all-new sequences every few months.
这意味着从我以前的生活中剔除大部分插图和漫画家的作品，研究我最喜欢的电影中的序列，扔掉我的前几块板，每隔几个月用全新的序列刷新我的投资组合。

With each pass I was losing more artwork and adding more Story.

In particular, I phased out my more illustrative boards and replaced them with looser, scratchier panels more appropriate for the fast-paced sprint of production.

In the boards themselves, they don’t want to see that you can draw (that will be apparent from your other pages). They want to know you can communicate a story as quickly and directly as possible. If you don’t have that, it doesn’t matter how good your drawing is.
随着每一次通过，我都失去了更多的艺术品，并增加了更多的故事。

特别是，我逐步淘汰了更具说明性的电路板，取而代之的是更宽松，更粗糙的面板，更适合快节奏的生产冲刺。

在板本身中，他们不希望看到您可以绘制（这将从您的其他页面中明显看出）。他们想知道您可以尽可能快速，直接地传达故事。如果你没有这个，那么你的画有多好并不重要。

As for a general guideline, the strongest Story portfolios present the artist as an “all-rounder”, which means demonstrating three essential types of sequence: Drama, Comedy, and Action.

There’s no reason you can’t combine these three in one sequence. But for the benefit of the reviewer try to create three different boarded sequences that emphasize each one.

Also devote at least two pages to supplementary “Gag” cartoons, to demonstrate your ability to take part in brainstorming “gag sessions” within a Story room, which is its own separate skill.
至于一般准则，最强大的故事组合将艺术家呈现为“全能者”，这意味着展示三种基本类型的序列：戏剧，喜剧和动作。

没有理由不能将这三者组合成一个序列。但为了审稿人的利益，尝试创建三个不同的板序列，强调每个序列。

还要花至少两页篇幅来补充“Gag”漫画，以展示您在故事室中参与头脑风暴“gag会议”的能力，这是它自己的独立技能。

Ultimately, someone reviewing your portfolio is looking for evidence of a firm grasp of film-making. Proof that you understand camera moves, values, and editing techniques, and that you can use this language to tell a story compellingly and sparingly.

Take a couple of your favorite scenes from animation or live action and break them down into thumbnails, analyze them, put them back together, and then apply what you’ve learned to your own sequences.

Do speed-draws where you time yourself in order to develop a discipline for not over-drawing your boards, and un-learn any habits you developed in other mediums or roles. And do this over and over and over. Because you won’t get to the level you need right away.
最终，审查您的作品集的人正在寻找牢牢掌握电影制作的证据。证明您了解摄像机的移动、值和编辑技术，并且您可以使用这种语言令人信服且谨慎地讲述故事。

从动画或真人动作中获取几个您最喜欢的场景，并将它们分解为缩略图，分析它们，将它们重新组合在一起，然后将您学到的知识应用于您自己的序列。

做速度绘制，你给自己计时，以发展一种纪律，不要过度绘制你的板，并取消学习你在其他媒介或角色中养成的任何习惯。一遍又一遍地这样做。因为你不会马上达到你需要的水平。

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The magic sweet-spot that makes your portfolio exactly what the employer is looking for is something I can’t say for sure, but those are the elements your portfolio definitely can’t do without.

One other common mistake: if you have artwork that’s awesome but better applies to other departments within the field(such as character design, concept art, backgrounds etc) include as little as possible so it doesn’t compete with your Story samples, or send the recruiter a mixed message about the role you are fishing for.

Keep it focused.
使你的投资组合完全符合雇主正在寻找的神奇甜蜜点是我不能肯定的，但这些是你的投资组合绝对不能缺少的元素。

另一个常见的错误是：如果你有一个很棒的艺术品，但更好地适用于该领域的其他部门（如角色设计，概念艺术，背景等），尽可能少地包括，这样它就不会与你的故事样本竞争，或者向招聘人员发送关于你正在钓鱼的角色的混合信息。

保持专注。

You may feel more vulnerable dropping all your prettiest pictures and relying solely on your rough boards, but you are applying to work in Story. You’re telling them you live, breathe, eat story.

And that means: boards, boards, and MORE BOARDS.
你可能会觉得更容易放弃所有最漂亮的照片，只依靠你的粗糙板，但你正在申请在Story工作。你是在告诉他们你生活，呼吸，吃饭的故事。

这意味着：板，板和更多板。

Where do you personally look for inspiration & ideas? Do you have any favorite cartoons, comics, or anything that really impacted your style?
It may sound trite to say, but you really have to look for inspiration everywhere, both in art and in life.

Obviously, I make it a point to watch films regularly to keep my cinematic skills honed (and they tend to fall far more into the live action category than animation in my case) but some of my all-time favorite Story contributions have been inspired by conversations or experiences with my loved ones.
您个人在哪里寻找灵感和想法？你有没有最喜欢的卡通，漫画或任何真正影响你风格的东西？
这听起来很老套，但你真的必须在任何地方寻找灵感，无论是在艺术还是在生活中。

显然，我特别注意定期观看电影以保持我的电影技能（就我而言，它们往往比动画更属于真人表演类别），但我一直以来最喜欢的一些故事贡献都是受到与我所爱的人的对话或经历的启发。

I can bang my head against the wall on a sequence all day, then take twenty minutes talking about life in general with a family member or my girlfriend and unlock the whole thing.

Having people around you with whom you share great conversational chemistry is a major asset in this profession. You don’t even have to discuss the specifics of a scene, but rather interrogate its themes or emotions on a human level with someone you trust, and it can make all the difference.
我可以整天把头撞在墙上，然后花二十分钟与家人或女朋友谈论生活，然后解锁整个事情。

在你周围有与你分享伟大的对话化学的人是这个职业的主要资产。你甚至不必讨论一个场景的细节，而是在人类层面上与你信任的人一起询问它的主题或情感，它可以让一切变得不同。

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Also, be a religious hoarder of notions and ideas.

If you find something interesting, regardless of whether it applies to anything in your immediate workload, write it down, sketch it, screen grab it, record it, and save it for later.
此外，成为观念和思想的宗教囤积者。

如果您发现一些有趣的内容，无论它是否适用于您直接工作负载中的任何内容，请将其写下来，绘制草图，屏幕抓取，记录并保存以供以后使用。

Read books, listen to music, go to art galleries, take lots of photographs, and if possible do it with someone who’s as passionate about them as you are. It all helps to stir the pot creatively, and that’s a process that’s forever ongoing.

In regards to a more direct influence on the work in front of me, I am a strong believer in creating extensive libraries of visual references, inspiration, and research for whatever project I am working on. If for no other reason than I really enjoy that initial discovery process.

Becoming familiar with a director’s style, creating a playlist of other examples from the genre, and collating images that speak to the subject matter, all of these have proven helpful to me from job to job.
读书，听音乐，去艺术画廊，拍很多照片，如果可能的话，和像你一样对它们充满热情的人一起做。这一切都有助于创造性地搅拌锅，这是一个永远持续的过程。

关于对我面前的工作产生更直接的影响，我坚信无论我正在从事什么项目，我都希望创建广泛的视觉参考，灵感和研究库。如果没有其他原因，我真的很喜欢最初的发现过程。

熟悉导演的风格，创建该类型的其他示例的播放列表，并整理与主题相关的图像，所有这些都被证明对我从一个工作到另一个工作都有帮助。

Pretty soon I’ll begin work on Taika Waititi’s “Charlie & The Chocolate Factory” series at Netflix Animation. And I’ve had a wonderful time just reading back through all of Roald Dahl’s back-catalogue, looking back on other Dahl adaptations, watching all of Taika’s movies and shows, and generally building up a foundational shorthand for their style, humor and sensibilities.

Now I should stress that all of this research could be thrown out the window once I have a script and direction in front of me. So I never think of research as a rigid template. But you never know when a tiny piece of it might come back around in a sequence or brainstorm.
很快，我就会开始在Netflix Animation上制作Taika Waititi的“Charlie & The Chocolate Factory”系列。我度过了一段美好的时光，只是回顾了罗尔德·达尔（Roald Dahl）的所有后备目录，回顾了达尔的其他改编作品，观看了塔伊卡的所有电影和节目，并通常为他们的风格，幽默和情感建立了一个基本的速记。

现在我应该强调，一旦我面前有一个剧本和方向，所有这些研究都可以被扔出窗外。因此，我从不认为研究是一个僵化的模板。但你永远不知道它中的一小部分什么时候会以序列或头脑风暴的形式回来。

This is what I meant earlier when I talked about thinking “globally” at the start of a project or assignment; it’s like the analogy of having Scout mentality vs Soldier mentality.

As a Story Artist, your job will eventually become intensely technical and logistical, charging through the schedule with very little bandwidth to do anything but focus on the task immediately ahead of you.

You’ll essentially become Gromit in “The Wrong Trousers” laying the pieces of track in front of the train so the whole thing doesn’t crash. So that’s why I do everything I can at the beginning of the process to get as broad and expansive an overview as I can before the train picks up speed.

That, and it’s just a lot of fun being a scholar of what you love.
这就是我早些时候在项目或任务开始时谈到“全球”思考时的意思;这就像侦察兵心态与士兵心态的类比。

作为一名故事艺术家，你的工作最终将变得非常注重技术和后勤，在日程安排中充电，而带宽很少，除了专注于你面前的任务之外，还可以做任何事情。

在“错误的裤子”中，你基本上会变成Gromit，在火车前铺设轨道，这样整个事情就不会崩溃。这就是为什么我在流程开始时尽我所能，在火车加速之前尽可能广泛和广泛的概述。

那，作为一个研究你所爱的东西的学者，这很有趣。

For someone looking to get into storyboarding or any kind of entertainment art, what parting advice would you have for them?
This one is very important to me, because I worked extremely hard to get to where I am today. But if I hadn’t focused on this one thing it would have all been for naught.
对于想要进入故事板或任何类型的娱乐艺术的人来说，你会给他们什么临别建议？
这个对我来说非常重要，因为我非常努力地工作，才走到今天的位置。但是，如果我没有专注于这一件事，那一切都会化为乌有。

And that one thing is: Work on yourself.

Of all the advice I received from my tutors at CGMA, the thing that stayed with me the most was their insistence that in order to survive in this business, you have to exercise great “in-the-room skills”.
有一件事是：对自己下功夫。

在我从CGMA的导师那里得到的所有建议中，最让我印象深刻的是他们坚持认为，为了在这个行业生存，你必须锻炼出色的“室内技能”。

In other words, how to take harsh criticism, accept creative input, respond respectfully, and maintain a positive attitude to the work at all times.

This was echoed by the Head of Story for my first two animated features, who told me in our first ever meeting that “the one thing in this industry you can never get back is your reputation”.

And he’s so right.

Animation is a small, team-based community where word travels fast. If you do your job well and maintain good relationships, you’ll continue to find work. If you prove yourself to be difficult to direct, unreceptive to candor, untrustworthy or disrespectful in any way, then your career will never get off the ground.

It may seem like such an obvious thing, but before I got my first job I was absolutely not ready to be “in the room”.
换句话说，如何接受严厉的批评，接受创造性的投入，尊重地回应，并始终保持对工作的积极态度。

我的前两部动画长片的故事主管回应了这一点，他在我们第一次见面时告诉我，“在这个行业中，你永远无法挽回的一件事就是你的声誉”。

他是对的。

动画是一个小型的、基于团队的社区，单词传播得很快。如果你做好你的工作并保持良好的人际关系，你就会继续找工作。如果你证明自己很难指导，不接受坦率，不值得信任或以任何方式不尊重，那么你的职业生涯将永远不会起步。

这似乎是一件显而易见的事情，但在我得到第一份工作之前，我绝对没有准备好“在房间里”。

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Like a lot of the young artists applying for jobs in the industry, I had cut my teeth on other mediums: illustration, comics, cartooning, which are by their nature mostly solo endeavors.

I’d been my own director, my own editor, rarely collaborating with others. And the times I had collaborated revealed glaring deficits in my attitude and temperament that had to be done away with before I entered the industry.

In that way, I’m incredibly relieved that it took me so long to get my first job. Because it provided me enough time to evolve into a true team player.
像许多申请该行业工作的年轻艺术家一样，我对其他媒介进行了磨牙：插图，漫画，漫画，漫画，这些本质上主要是个人努力。

我曾经做过自己的导演，我自己的编辑，很少与其他人合作。我合作的时光揭示了我的态度和气质上的明显缺陷，在我进入这个行业之前，这些缺陷必须被消除。

通过这种方式，我感到非常欣慰的是，我花了这么长时间才找到第一份工作。因为它为我提供了足够的时间，让我成长为一个真正的团队合作者。


So yeah, work on yourself. Not just for the health of your career, but the general health of your relationships overall.

Animation is an exceptionally stressful profession, and the Story department can be a highly pressurized environment, especially for a young artist. Because we’re constantly feeding the other departments all the way through the process Story can, at times, feel like the eye of the production hurricane.

Deadlines can become overwhelming, directors and producers can hit creative walls, sequences can stop working, screenings can be demoralizing, but the assembly line can never afford to break down.
所以，是的，在自己身上工作。这不仅是为了你职业生涯的健康，也是为了你人际关系的整体健康。

动画是一个压力特别大的职业，故事部门可能是一个高度压力的环境，特别是对于一个年轻的艺术家来说。因为我们在整个过程中不断为其他部门提供食物，故事有时会让人感觉像是生产飓风的眼睛。

截止日期可能会变得势不可挡，导演和制片人可能会撞到创意墙，序列可能会停止工作，放映可能会令人沮丧，但装配线永远不会崩溃。

As a consequence, it is incumbent upon all of us to take great care to preserve our mental health and not become toxic or bully-ish in reaction to this environment, both for ourselves, and our fellow collaborators.

So my parting advice: getting this job requires faith/belief that borders on delusion, and that’s okay. But you must also understand going in…you are going to be part of a team, and your ideas are not more important than those around you.

You will have to watch scenes you’ve poured your heart and soul into get torn apart, revised by another artist, or cut from the film entirely. You will inevitably go from having all of the power while you’re working on it to having none of the power once you’ve pitched it, and that’s okay. It’s baked into the process, and you can’t take any of it personally.
因此，我们所有人都有责任非常小心地保护我们的心理健康，而不是在这种环境中变得有毒或欺负人，无论是为了我们自己，还是为了我们的合作者。

所以我的临别建议是：得到这份工作需要信仰/信念，接近妄想，这没关系。但你也必须明白进去...你将成为团队的一员，你的想法并不比你周围的人更重要。

你将不得不看着你倾注了心血和灵魂的场景被撕裂，被另一位艺术家修改，或者完全从电影中剪下来。你将不可避免地从在你努力工作时拥有所有权力，到一旦你投入它就没有权力，这没关系。它被融入了这个过程，你不能把它中的任何一个个人。

Your professional and emotional well-being depends upon it. There are so many resources out there detailing the technical craft of what’s required to be a Story Artist. But a lot less material about how to live in it once you get there.

Safeguard your emotional well-being a little bit each day. Cultivate good relationships in and out of work, practice mindfulness and self-examination, meditate, exercise perspective and openness, and never lose sight of it.

Work on yourself.
您的职业和情感健康取决于此。有很多资源详细介绍了成为故事艺术家所需的技术工艺。但是，一旦你到达那里，关于如何生活在其中的材料要少得多。

每天稍微保护一下你的情绪健康。在工作内外培养良好的人际关系，练习正念和自我反省，冥想，锻炼观点和开放性，永远不要忽视它。

对自己动手。