Part two of a series of animatic drawings done for a cross media project on display at the Battle of Atoleiros Interpretation Centre, Fronteira.
These drawings complement the battle reconstitution film within a larger cross media installation. The Portuguese Interregnum, or the 1383-85 Crisis, is a story of royal tangle, intrigue and treason. To translate it into visual narrative for a larger public, we imagined a virtual chessboard set. It shows each character’s role in their fight over Portugal’s throne, like in a theatre scene. Exhibition design by Maverick ICS.
The story depicts the events surrounding the 1384 Atoleiros battle during the Portuguese Interregnum. We started with an overview of the scenes roughed in a sketchbook. This step ran in parallel with the writing phase of the adaptation. We tested mood boards in colour, mixing sketches, illuminations and voice-over to get a sense of timing. This part of the story is about the 1383-85 Crisis, and focus on the Marriage of King D. Fernando I the Handsome with Queen D. Leonor the Treacherous. It is a story of betrayal and court secrets, that portraits a kingdom at the verge of civil war.
Editing animated drawings with live footage allowed to spend more of the budget on re-enacting the battle.
Drawings are tell key moments about the political and historical context that led to the battle. The film is part of the permanent exhibition, projected on a drawing board in a reconstructed painter workshop.
The Battle of Atoleiros Interpretation Centre hosts the permanent exhibition in Fronteira, Portugal. In photographs by Fernando Guerra.
If you enjoyed this post and like Portugal’s rich medieval history, check more works:
– More production drawings from this project in the drawers blog
Animatics — illustrations series made for audio guides depicting the 1385 Aljubarrota battle for the Battle of Aljubarrota Interpretation Centre, Portugal.
The sequences take the visitor through different phases of the famous Portuguese defensive battle, one of the first of its kind in Europe, exploring the trenching tactic used, troops movements and other historical aspects while interactive features draw on some of the injuries inflicted on soldiers whose remains were later found on the battlefield, studied by archeologists and visible in the interpretation centre.
If you liked this post, check the Aljubarrota battle storyboards.
Since 1999, I draw storyboards and concept illustrations for feature films, advertising commercials, TV shows, animation, events, spectacles historical films and documentaries.
Here you can view some of these different storyboards styles in a single pdf document. If you are looking for a storyboard artist able to work in different styles, check these to see how it might suit your project.
Storyboards can usually be delivered in a rapid turnaround time, either in digital form or hand-drawn on paper, or both.
More illustration and concept art works at alternatyves outc.
The result of extended teamwork with producer & content designer Johan Schelfhout, Maverick ICS, this storyboard was initially used as a visual screenplay to pitch the show to Fundação Batalha de Aljubarrota but also proved a very good tool to help write the adaptation itself in sequences.
The script is an adaptation of Fernão Lopes chronicles, depicting the 1383-1385 Portuguese crisis known as Interregno. A story for the modern viewer, seen through the lenses of an almost contemporary witness, revisited by todays scholars to be as historically accurate as possible. The fierce political fights for power over the kingdom followed the death of the King Fernando I, and a civil war ensued culminating with the Aljubarrota battle in 1385, which involved Portuguese troops and English longbowmen allies fighting against Castilian and French knights. In this early version, the audience follows Fernão Lopes as the narrator on the battlefield in the the battle aftermath and is told how it came to be, from court intrigues, murders and alliances to medieval warfare and military tactics.
If you are interested in medieval history in general and would like to know more about the Aljubarrota battle in particular, you should visit the museum, where you will be able to see the resulting show on wide screens.
As for the storyboards, we did many more for this adaptation, since there were adjustments made to the film, including re-shooting of a few scenes with additional budget.
Interior scenes were filmed with more people or in different locations than initially.
Even though we had a few film references, a big part of these scene actually work more like theatre.
In the end the show focus shifted towards a little bit more of spectacle and the battle itself. Subsequent storyboards reflect that.
If you liked this post, check more Aljubarrota battle reconstitution projects.