168 Animation Writing and Development
The character’s mouth should be kept shut when there’s no dialogue. Overseas, infor-
mation can get lost in translation, and the animator may animate the wrong character talking
if there’s more than one mouth open.
The storyboard artist adds any deviations or additions to the board between the script
and the dialogue track. These are often things like “mmms” or “aahs.” During storyboard
revisions, if a dialogue track that was not available earlier is suddenly available, the board
artist changes any drawings that don’t match the track.
Using the Medium
The board goes in tight on important information. Signs are usually avoided, but if they
absolutely must be used, the lettering had better be professional looking and spelled cor-
rectly. Shading is used only to convey atmosphere. Left-to-right staging lacks depth and is
usually avoided if there’s enough in the budget to stage in a more interesting way. Televi-
sion shows animated on a computer can use characters walking toward or away from the
camera, growing or shrinking in size. But this is usually too expensive for traditionally ani-
mated children’s television cartoons because repeat cycles cannot be used. Use of compli-
cated perspective may be feasible on a computer, but it’s more difficult and expensive by
hand. Complicated camera movements and effects easily done in live-action can be done in
animation only on big-budget features or on CGI shows that use a lot of computer com-
positing, never on traditionally animated TV shows.
A good board artist thinks like an animator, letting the characters act and show off their
personalities. An artist can introduce a character by letting him walk on stage. Anticipation
will catch the audience’s attention before important action or camera moves. The audience
wants to see the characters react to what’s going on around them. A moment of reflection
can be more dramatic, seem more natural, and actually save money. Each scene demands at
least a start pose and an end pose. Any changes in action will normally be drawn as well.
The more poses that are shown, the more control there is over the action.
The Opening
First off, the board orients the audience to the story. Where are we? If this is a whole new
world that’s established in a long shot, then we set up the rules of that world. In any case,
the audience is oriented as to where they are and what’s happening there. We give the
viewers a good look at the characters and their faces, let them see the characters’ personal-
ities, and learn any other important visual information. Establishing shots often include pans,
or they may truck in.
Timing
Pace is varied throughout. Shots normally get shorter, cuts faster for action sequences and
as the climax nears. Comedy usually zips along at a faster pace than drama or mystery. Dia-