gravitated toward art at the age of 8. His Art talent that eventually
led to two full lifetime careers in Fine Arts and Films, wasn't
supported by his family, neither emotionally, intellectually nor
financially. What moral support and encouragement he did receive
came from three teachers.
night his father died, when he was 10, his sympathetic grade school
teacher assisted the family and invited Mentor to stay at her
home for the weekend. To distract him she gave him paper and pencils.
She immediately noticed his artistic ability. Although she wasn't
the art instructor his talent became her mission and she discussed
it with everyone. She talked to Mentor about the fact that 'Art
existed' and informed him that one could pursue it as a career.
in High School, an art teacher, actively directed him toward illustrating
for the High School Newspaper, researched possibilities that might
be available to him, entered him in art contests and applied for
scholarships for him. Which of course he was promptly awarded,
and in multiples.
of the scholarship awards was for the best art school in the country,
Chouinard Art Institute, now Disney's CAL ARTS in Valencia, California.
There, Mentor's instructor was an artist, who he admired and who
soon became his hero and benefactor. When Mentor could no longer
continue to attend the classes the scholarship awards offered
~ due to his extreme lack of survival money, the artist/instructor
suggested to the school's owner, Nelbert Chouinard, that she hire
Mentor to teach the very classes he was attending. And that is
exactly what happened.
taught at Chouinard Art Institute for 25 years. First he taught
multiple classes out of necessity ~ as he needed the money. Later
he taught for fun. A long time after his movie work was generating
over ten times the money he was earning as an Art Instructor ~
Mentor continued to teach. He enjoyed it.
was only when Motion Picture Studios began sending him around
the world on Film Production Locations that his heavy schedule
then prevented him from continuing this 'sub-career' in teaching.
However, he did do seminars, and lectures and made Guest Appearances
for personal satisfaction. He liked seeing the work of young artists.
And he enjoyed discussing art. He knew about all of it from the
earliest artisans who lived in caves...to the Masters...to an
exhibit in a small neighborhood center. It was his thing.
due to his difficult start, in life and in art, Mentor was always
motivated to help young artists. And so in honor of Mentor I invite
young artists to participate in displaying a 'drawing'.
requirement is that the drawing must be a Story Board.
visit Mentor's Filmography Pages. (See Menu) Look over the list
of his Movie Titles. It doesn't matter if you've seen the film
or not. Pick one that appeals to you.
in mind that Mentor never saw a film before he created the drawings
for it. His drawings created the film. He used his imagination.
I want you to use yours.
on an 8 1/2 X 11 sheet of paper (your choice) with a charcoal
pencil (or a very dark one) draw a rectangular shape about 6 X
9. This 'square' represents the perimeter of the camera's eye.
You must draw the Story Board more or less within this 'camera's
eye'. It's a point of view. A view point. Yours.
Board Drawing is to be done in a horizontal and not a perpendicular
space. The 6 X 9 inner rectangular space must also be horizontal
and not perpendicular. The camera angle is 'fixed'. It is not
open to an Artist's creative self expression.
hundreds of Story Boards are done for one film. The Producer and
Director want to easily go through huge amounts of drawings with
all of them facing in one direction. (For the Longest Day Mentor
did around 4000 drawings.)
what you believe would be a scene or a part of a scene that might
be in this film. Your guess is OK. You won't be judged according
to the scene you decide upon. Sometimes, Mentor worked on a movie
before the script was written. Occasionally, no one knew what
the scene would be about until after Mentor drew it. Sometimes
the Producers would tell the writers to write the scene according
to Mentor's drawings. His vision. Sometimes one of Mentor's visual
conceptions would be needed to enhance the plot and to bridge
a gap. So feel free to improvise.
be timid. Let the title lead you.
don't draw the scene floating through space. It's a movie scene
not an isolated psychic experience. When a scene is shot ~ some
of it is inside the camera's eye and some of it is outside the
'camera's' focus. Keep that in mind.
the part of the scene that you are depicting -- in focus, and
inside the rectangular shape. Draw the part that isn't to be in
focus but that common sense tells you is there -- outside the
boundary. The scene and the drawing doesn't cut off abruptly.
No sharp line contains the image. It's like the human eye. No
empty space should be surrounding a lonely centered object. If
an eye did that -- something would be very very wrong. Some of
what you are looking at is clearly defined and some of it fades
out into the outer edges. Your eye and the camera's eye is the
suggest that if you want your drawing to be part of this Guest
Feature, you should do your best to send it to me as soon as possible.
"Toot Sweet". I don't know how long I will continue
this segment. It's a whim.
please be mindful that I don't want attachments or downloads emailed
to me and none will be opened. In fact sadly emails with attachments
or downloads will be deleted.
the image. An easy method is to first email the drawing to yourself
and then when you receive it, you can Copy & Paste it into
a new email for me. And please nothing that borders on porn will
make it through the Delete click. This may not pertain to Young
Artists, but could be the result of some Old Artists misplaced
sense of proportion.
your Drawing and details to: YoungArtists@MentorHuebnerArt.com
the SUBJECT window Input: Young Artists: A Story Board
the MESSAGE window: Copy & Paste the Drawing
Film Title * Artist's Full Name * Artist's Age * Artist's City
Email -- the Drawing & the Data give permission to feature
can't tell where something like this could lead. A lot of Movie
Producers and Directors visit this site. Maybe you will be discovered.
I have stated elsewhere on this site, when Mentor taught LIFE
DRAWING, as the students signed into the college accredited class,
he told them they didn't have to worry about failing. He wanted
them to draw for love not just for credits.
not teaching Calculus. Don't worry. Everyone will get an 'A' .
'A' for Art."
Artist: Gregory Huebner Jr.
Media: Charcoal on Typing Paper
Size: 8 1/2 X 11
Production Designer and Art Lecturer
Displays production drawings.
Film: BLADE RUNNER
Huebner. (c) 2003
Design by Wolfden