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Provides resorces for self-study for animation professionals, students, educators and researchers. When we left off last time in our series on cartoon writing, the gag sessions had led to the establishment of an overall structure and continuity. In the photo above, you see story man Bill Peet rough-housing with designer Ken Anderson and directors Woolie Reitherman and Ham Luske.
Disney employed a special crew of artists whose sole duty was to visualize the ideas being tossed out for consideration during the story meetings.
All of the designs from the conceptual artists would filter back to the story department, where they were pinned up on the boards and incorporated into the story sketches as the project progressed.
The technique of drawing out stories in sketches goes back to the earliest days of animation.
Krazy Kat is spending a quiet evening at home with his wife, who is listening to the radio.
Grim told me that the earliest form of storyboard he ever saw was at Hearst’s International Film Service studio.
In the early 30s at Disney, the technique was perfected by Webb Smith, who suggested drawing the panels on individual sheets of paper and pinning them up on cork boards.
At Disney, the boards evolved as the sequences developed, but at Warner Bros, there were two iterations of storyboards for each cartoon- the first draft thumbnail board and the final director’s board. Bob Kurtz was a story man at Format, and he tells me that this board was most likely drawn by one of the directors as a quick reference to help him organize the scenes.
It appears that page five required some revision, but the pre-printed paper made it difficult to juggle the order and number of panels. Neither the service provider nor the domain owner maintain any relationship with the advertisers.
The random threads of ideas had meshed into the framework of a story with a beginning, middle and end.

Unlike today, when a cartoon scriptwriter rarely if ever ventures into the artists’ domain, golden age cartoon writers interfaced with a large chunk of the animation staff on a daily basis.
They established the space the characters inhabited clearly, so the storyboard artists didn’t create the space randomly one scene at a time. The director, Gregory LaCava would doodle out the story in rough thumbnail form straight ahead as a comic strip.
This made it simple to insert or delete panels, and allowed the storyboard artist to see the visual flow of an entire sequence at once.
The artist was forced to completely redraw every panel on the page, wasting time and losing some of the spark of life in his thumbnails in the process. The Director planned out the shots very carefully to allow background paintings to be reused in multiple shots. Instead of using Webb Smith’s more flexible cork board and push pin system, story artists went back to drawing out the action on stock printed paper with three to six boxes printed on it. In case of trademark issues please contact the domain owner directly (contact information can be found in whois). Today, we are going to look at how that bare skeleton outline was fleshed out for the first time in rough storyboard form. As we discussed in the first couple of articles in this series, animators were on hand at all story meetings to suggest sequences of action that would lend themselves to funny animation. Here we have a thumbnail storyboard from around 1927 by Grim Natwick from Bill Nolan’s Krazy Kat studio. They dance to the music of the hot jazz band, and as the tempo speeds up, the whole room joins in a wild dancing frenzy.
Then he would mark the scene cuts, assign an approximate length to each scene, and take a pair of scissors and cut the panels up into sequences to hand out to the animators. Also note the pasteover at the bottom of page seven and the numerous erasures throughout the board.
This saved money and allowed the background painters more time to paint the establishing shots. The individual shots in the Disney cartoons all fit within a specific space, while in many of the Tom & Jerry cartoons, the house is just a random assemblage of baseboards, potted plants and pictures hanging on the walls. This technique probably had its origins even earlier at the Raoul Barre studio, where LaCava trained to animate.

At this stage, dialogue was just a general suggestion- it wasn’t locked down until the director had input on the board. He then went back and expanded the introductions to the sequences and the transitions in and out of the commercials. At the time this sketch was created, the character designs hadn’t yet been finalized, however Hurter was called upon to determine the best way to stage the scene. Nailing down the setups before the storyboard is done helps the artist envision the space from different angles. His crew would establish the design of the characters and provide the artists with model sheets of the characters in various attitudes and from various angles.
It is revealed that the music is being broadcast on the radio and Krazy’s wife is listening in. The interesting thing about the Krazy Kat storyboard pictured above is that by 1927, the technique was well enough established that stock storyboard paper was printed up with the boxes ready to be filled in.
That way the dialogue would be a natural outgrowth of the action, instead of the action being driven by the dialogue.
The station announcer mentions that Krazy Kat is on the dance floor, and the wife stomps down to the nightclub to confront him.
Just as the song reaches its climax, the wife enters and bops Krazy over the head with a bass fiddle. At this stage, only the dialogue needed to sell the gag was necessary, and even that could change as the board developed.
It’s likely that more development was done on the final gags before the board was ready to go into production.
At this early stage, the scene numbering for production tracking had not yet been established.

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