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Current time:0:00Total duration:4:50

Video transcript

movement is obviously a big part of films however since storyboards and concept paintings are still images they have to suggest movement to help tell a story in this video we'll look how to create the illusion of movement in still images focusing on two specific techniques motion lines and line of action motion lines extend from an object along its pathway of motion to make it appear like it's moving if I was drawing a car on a racetrack I might add some lines like this the line of action is a little bit different think of this as an imaginary line that runs down the spine of a character which indicates the force and movement in that moment we use this line to imply movement by guiding the pose of the character or in some cases other objects check this out notice we can feel movement even though the drawing is static now let's look at the up storyboards and concept art with motion in mind the previous panel we've been looking at from up where we see the house taking off for the first time through a city there's a lot of things about this composition that really help us feel like even though these are static shapes that typically in our world wouldn't move on their own suggests a sense of movement with this house that directional of the balloons standing up helps pull the house upwards the shape of the house itself with with a triangle pointing upwards helps move the house upwards the framing devices that are happening in the background actually help move the house through the through the panel as well as the trees go from medium to large-sized they pull our eye forward and then if you look at the house it's not quite vertical it's slightly askew which shows that it's different than all the other surroundings because the fact that it's flying but also it's it's like a character in itself so there's like a slightly implied movement of going upwards and to the right one of the fun things we are sort of experimenting with with Elly is even though you see her here she's John with hands on hips firmly planted on the ground he wanted her energy to just feel like it was pointing upwards so we use these curves which are sort of pointy you upwards we wanted it to sort of play in contrast to Carl who has become even more square and even more hunkered down we wanted you to feel like age is just taking his toll on him he's become this sort of grumpy old man who's now burdened and sort of locked in and just anchored to the floor I really like the movement in this image because it's very simple it's like a really easy thing to do but sometimes it gets over complicated if you look at McQueen here you see how these tires are slightly diagonal which makes him feel like he's leaning to the right as well as like this bottom here and then the overall line of action is a diagonal line going that way and then this car is back here is line is going that way as well and it just makes it feel like they're actually moving forward in space as well as the speed lines which are always like a really quick and easy way to indicate movement in storyboarding and if you look at this guy back here he's a little bit slower than these other two he's not quite as competitive in this moment as they are he's more examining about like what's going on and admiring the competition between them so if you check him at his line of action is more of a vertical line like even the tires are very straight which really contrasts what they're doing here so this set of images from brave are great the character designer was exploring how mum bear would move as soon as she turns into bear and of course she was a woman who doesn't know how big she is now she's this gigantic bear and this is something really important when we create characters the line of action is this through line that goes from the top of the bottom of the character that kind of tells you what the gesture and implies the movement that the character might have mum bear is not very graceful yet she doesn't quite know how what to do with her body she doesn't know how to move and she's a little bit off-balance now a little bit later when mum bear finds her footing she becomes really graceful you look at these pictures and you can just see this beautiful line of action through the body of mum bear she she seems like she moves in a very graceful way and I really love that kind of simplicity of design that we see in those pictures as we've just seen we can create a sense of motion with motionless images by thinking about the direction and the quality of our lines as well as the pose of the character and the objects within the frame in the next exercise you'll have a chance to explore motion in more depth