If you have never hired a storyboard artist or visual development artist before, you are not alone. Most directors, producers, and creatives I talk to feel a little unsure the first time. They know they need boards, but they are not always sure what to bring to the table, how detailed things need to be, or what the process actually looks like once the project starts.
This post is meant to take the mystery out of it.
Whether you are developing a feature, a short film, a series, or an independent project, the process of working with me follows a clear structure. My job is not just to draw. It is to help you translate ideas into visuals that your team and your crew can understand and execute.
Here is what the process typically looks like, from the first conversation to final delivery.
Step One: The Initial Call
Every project starts with a conversation.
This is usually a video call or phone call where we talk through the project at a high level. You do not need everything figured out yet. That is part of what I help with.
During this call, we usually cover:
What the project is and where it is in development.
The scope of the story or sequence.
The type of visual work you think you need.
Your timeline and any deadlines that matter.
This conversation sets the foundation. It helps me understand how much guidance you need and where I can add the most value.
Step Two: The Brief
After the initial call, I ask for a brief. This does not need to be overly formal, but it does need to be clear.
A solid brief usually includes:
The script or scene breakdown.
The number of frames or designs you think you need.
Reference images, mood boards, or visual inspiration.
Any constraints related to budget, scale, or production realities.
If you do not have all of this yet, that is completely fine. Part of my role is helping you shape the brief into something workable. Many projects begin with loose ideas that need structure before they can move forward visually.
Step Three: Quote and Schedule
Once I understand the scope, I provide a quote and a schedule. This may take a few days depending on the size of the script or material provided.
The quote is based on:
Number of frames or designs.
Level of finish.
Complexity of environments, characters, or action.
Timeline expectations.
The schedule outlines:
When rough sketches will be delivered.
When feedback is due.
How many revision rounds are included.
When final delivery happens.
This step removes uncertainty. Everyone knows what is being made and when.
Step Four: Rough Sketches
This is where drawing begins.
Rough sketches are not meant to be polished. They exist to solve problems. Composition, staging, camera placement, and story clarity all get worked out here.
At this stage, I am focused on:
Readability.
Clear visual storytelling.
Logical camera flow
Making sure the idea works on screen.
This phase moves quickly and is designed to invite discussion. It is far easier to adjust a rough drawing than a finished one.
Step Five: Feedback and Revisions
Feedback is a core part of the process.
Once roughs are delivered, you review them and send notes. These notes may come from a director, producer, or an entire creative team.
I revise based on that feedback, and the process repeats 2 or 3 times until the direction is locked.
This back and forth is where clarity is built. The goal is not perfection. The goal is alignment.
Step Six: Refinement and Finish
Once structure and intent are approved, the work moves into refinement.
This phase takes significantly longer than the rough sketch phase. Whether the boards are black and white or color, refinement is where tone, clarity, and craft come together.
Refinement includes:
Cleaning up line work.
Clarifying lighting and spatial relationships.
Strengthening gesture and silhouette.
Ensuring consistency from frame to frame.
For color work, this also includes color harmony, light direction, and mood control.
This is the stage where the drawings become reliable tools for production.
Once refinement is complete, you’ll receive the final fi
Step Seven: Delivery and Payment
Once refinement is complete, you will receive the final files along with an invoice due within 30 days. It’s as simple as that!
At this stage, ownership of the files is fully transferred to you. You are free to use, adapt, or repurpose the artwork as needed across your production, pitch materials, or internal workflows, with no restrictions on usage.
Ready to Move Forward?
You do not need to have everything solved before reaching out. I promise.
What helps most at the start is a clear sense of what you are trying to make, openness to collaboration, and a willingness to give honest feedback as the work evolves.
If something feels confusing during the process, that is often a good sign. Initial sketches have a way of revealing storytelling problems early, when they are still easy to fix. Visual development and storyboards exist to surface those questions long before production pressure sets in.
I help with:
Translating scripts into clear visual plans
Clarifying tone and visual intent
Identifying storytelling problems before production
Creating visuals that serve the final film, not just the development stage
You do not need to speak in artistic or technical terms to begin. That is my responsibility. The work starts with understanding your story and shaping visuals that support it.
Art Services Available at Paul Temple Studios
Visual development services may include:
Character and creature design
Costume and prop exploration
Environment studies
World building and tonal exploration
These designs help define the visual language of a project early. They give directors and producers something concrete to respond to, refine, and build from as the project takes shape.
Storyboards and shooting boards are used to:
Plan sequences
Break down action scenes
Define blocking and camera movement
Give production teams clear visual direction
Shooting boards focus less on polish and more on function. They are designed to communicate how a scene is meant to be captured, helping directors, cinematographers, and crew stay aligned during production.
In both cases, the goal is the same: clarity. When everyone understands the visual intent, production runs more smoothly and creative decisions hold together on screen.
Why This Process Matters
Hiring a storyboard or visual development artist is about removing guesswork.
Clear visuals reduce confusion, prevent costly mistakes, and allow teams to communicate efficiently. They shift problem-solving to the page instead of the set, where time and resources are limited.
If you have never hired an artist before, the process should feel collaborative and grounded. My role is not to impose a style, but to help strengthen the story and make the path forward clearer for everyone involved.
That is the value of thoughtful visual development and storyboards.
If you are developing a film, television project, or pitch and want to talk through how visuals can support your story, let’s set up an initial call! I am always happy to discuss your project and see if working together makes sense.
📩 Reach out: paul@paultemplestudios.com
🎨 Explore more: www.paultemplestudios.com
Other blog posts you might be interested in:
1. Concept Art and Storyboards for Indie Film Crowdfunding
2. How Shooting Boards Help Indie Filmmakers Compete with Studio Productions
3. Composition and Control: The Cinematic Science Behind a Great Frame