Locations should be researched or planned carefully before the board is started. What
locations are already in stock? Can the number of new locations be cut down without hurting
the story to save money? Many board artists keep an extensive home library of clippings of
people, places, and things. They stockpile magazines, catalogues, and books. Some visual
research can be done on the Internet. Artists may go to the library. Maps, rough blueprints,
or floor plans should be drawn for each new location. The storyboard artist places doors,
windows, furniture, and props in each room, and plans the placement of characters and the
camera.
Next the board artist considers what’s important in each scene and how it fits overall
into the show. He blocks the scene just as a live-action director would do, so that he’s sure
there’s enough room for the action and he can visualize the scene well. For really compli-
cated action, the board man may write out a shot list first. He emphasizes what’s important
in the story and downplays the rest, making only one point at a time. The board artist will
exaggerate and isolate to make that point, giving no more information to the audience than
is necessary. A confused audience won’t laugh or empathize with the characters, so staging
gags requires basic, no frills camerawork and action. Simplicity is very important! The idea
should be communicated instantly. Often it’s the obvious staging that communicates the best.
The board artist might draw thumbnail sketches first. When he roughs out a scene on the
storyboard template, he may draw it first in blue, because light blue pencil doesn’t photo-
copy. All the relationships, perspective, props, and other details are spelled out and made
clear for the executives and production people that follow. Some studios require detailed
boards that can be blown up and used as layouts. Others use boards that are rough. Extra
pencil mileage is avoided where possible, but the board artist does put in as many notes and
details as possible to make the board clear for the production staff that follows.
The board person will carefully build the gags. Timing and pace are suggested in the way
that gags, action, and scenes are set up. Budgets can be stretched by staging unimportant
action off-screen. A reaction after the action might be funnier and more important than the
action itself. Viewer emotions can be influenced by point of view, direction (left to right, or
right to left), and composition. Walking, involved fights, and other extraneous action may be
cut or restaged to cut expense. The board person probably has access to lists of stock back-
grounds and stock animation and will sometimes change unimportant action or locations to
accommodate these. He also watches continuity and transitions between scenes. Clarity and
continuity are very important.
Characters
Visual creativity and freshness assist in developing character and telling an interesting story.
The right character dominates each frame. Who is this character, and what does he repre-
sent in the story? Mannerisms, body language, attitude/pose, stage business, and reaction
shots all help define character. The essence is distilled. Characters on a storyboard show off
their acting ability. The faces on the characters reveal real emotions, not just blank stares.
In a comedy the board artist might think caricature. He considers what the character is think-
ing and feeling and expresses that in the body language. He considers what pose will help
the audience to identify with that character. Many artists act out the story, using a mirror.
A board artist that can get inside a character will draw a character that the audience can
156 Animation Writing and Development