Online storyboard course,3d eyebrow shaping,star signs virgo and taurus compatibility - PDF 2016

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Animation Resources depends on your contributions to support its services to the worldwide animation community. John Kricfalusi, Mike Van Eaton, Rita Street, Jorge Garrido, Andreas Deja, John Canemaker, Jerry Beck, Leonard Maltin, June Foray, Paul and John Vinci, B. Provides resorces for self-study for animation professionals, students, educators and researchers. When I was beginning to draft this series of articles, I remembered a folder of thumbnails that Grim Natwick’s family gave me. Here are some of the gags that the staff of the Iwerks Studio came up with for this premise. William Hamner suggests a gag where the King is swallowed by a whale and is shot out his blow hole. An artist named Hudson elaborates on Hamner’s basic idea, adding a tail flip to the end. Ed Friedman suggests a gag where the Giant breaks a limb off a tree and uses it as a boomerang. Another variant on the broken tree branch- The Giant uses it as a straw to drink the lake dry. Several unrelated gags: The King runs out of the lake with streams of water from his crown. Grim suggests a gag where the Giant takes a header into the dirt, plowing the ground in a furrow.
The sequence went from here to the storyboard stage, where the action was defined better and the gags were plussed. The next article in this series will show how the structure of cartoons became more sophisticated in the mid-1930s, and the development of organizational tools that made that possible.
The specifics of the process of writing cartoons in the classic era varied a bit from studio to studio and from time period to time period. The idea for a cartoon would start with a simple premise- a few sentences that described the general theme of the cartoon. Once the premise was chosen, a group of artists would be called together for an initial gag session to come up with ideas. The artists would sit with pads and pencils or lap boards, jotting down notes and doodling up thumbnail sketches of what the ideas might look like.
The notes taken at early story meetings were usually for the artists’ own reference, so the sketches were loose and the notes were scribbled down quickly. It appears that a little bit of development had occurred by the time this document was created, but not much. The notes say that the second shot on this page should be focused on the cat, and he should jump from this scene cut to the next scene for the bouncing ball sequence. Here we have all the lyrics of the song, and a quick outline of the sorts of gags the artists should come up with for the bouncing ball section of the film.
There aren’t a lot of doodles on this next document, which dates back to the Charles Mintz Studio around 1934.
The Third Section includes a giraffe whose neck extends to eat the fake fruit off the hat of a lady in the crowd; a fat lady riding a hippopotamus wagon, and a gorilla who plays the harp on his cage bars, then escapes and kidnaps a girl.
In Part Five, an elephant shoots peanuts at the ape like a machine gun as an organ grinder’s monkey dances on the rooftops.
Part Six: The ape scares a flagpole sitter away from his perch and replaces him on the top of the pole.
In the next installment of this series on Cartoon Writing, I will show you a batch of sketches that document a story session at the Iwerks Studio in 1934.
The other day, a discussion on cartoon writing erupted in response to recent posts on the subject in John Kricfalusi’s blog.
The scriptwriters in the comments dismissed John K’s points as old fashioned and irrelevant to the current scene, while expressing respect of a general sort for the classic cartoons of the past. But none of the scriptwriters participating in the discussion could name a single golden age cartoon writer. There has been a tendency recently for artists to automatically assume they cannot write their own stories because they see so many double by-lines. This posting is part of the online Encyclopedia of Cartooning under the subject heading, Animation.
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.
In the mid-1930s, Disney story sessions were transcribed by secretaries and widely distributed among the staff.
Clark is beginning to see an individual gag as a series of actions that relate to each other. As soon as the gags started to come into focus as a basic plotline, the story supervisor would begin arranging them into a logical progression, formatting the embryonic scenario as a written document in outline form. In preparing the notes for the storyboard artist to work from, the story supervisor began by establishing a structure to the gags. Here we have an outline from Altruists prepared by Ren & Stimpy story man, Richard Pursel. Notice that the document begins with the statement of the premise, and is broken into sections defining the beginning, middle and end, as well as the sequences which fall within those sections. The line breaks make it easy for the storyboard artist to cut up the outline with scissors and pin the individual story beats up on his cork board as a placeholder for action he hadn’t boarded yet. The second element that the outline defined was the continuity- the basic flow and logical order of the action.
If one looked at notes like these out of context, without the knowledge of the visual devolopment that preceded it and the purpose this document serves to the steps that follow, one might mistakenly assume that the story is being written in words.

The third, and perhaps most important thing that a storyboard artist required from the notes prepared by the story supervisor was the intent of the action. You won’t want to miss the amazing examples of thumbnail boards that I’ve unearthed!
Liquid Story Binder does a table timeline, but if you don’t have the program you can do one in your word processor. Writing the LGBT community can be hard, especially if you don’t know what you’re talking about. All writing advice is subjective, but there are some mistakes in writing that WILL ensure your novel’s failure, not only to your readers but to those who might be your potential agent or publisher. As some of you already know, I just finished a book a few days ago titled The Glorious In-Between that contains two asexual, aromantic characters. Now first, I have to say, that the plot you’re able to come up with in one day is not going to be without its flaws, but coming up with it all at once, the entire story unfolds right in front of you and makes you want to keep going with it. You can create two storyboards per week for free, or upgrade any time for more advanced features. After your storyboard is created easily export it to high resolution storyboard cells, PDF or PowerPoint File. At the end is a Quicktime movie of the complete cartoon, so you can see how these plans were realized in the finished film. Here are Grim Natwick’s thumbnails showing how he takes the random gags and works them into a rough continuity.
Imagine getting the chance to witness how your favorite cartoons were written and see the twists and turns they took from initial idea to finished story. Like every other part of the production line, there was an evolution as experimentation led to the development of more effective techniques.
The sketches might be pinned up on a cork board so the other artists could work gags off if it.
The organ grinder monkey cuts down the pole, gives the ape a big kick in the ass and marches him away. One of John’s main points is that the golden age cartoons that we all regard as the greatest cartoons ever created were written by cartoonists as storyboards, not written in words as scripts.
They claimed that it was just a matter of John’s personal tastes, not a reflection on the effectiveness of the process itself.
The only names they could mention were other current scriptwriters, or novelists, journalists and live action screenwriters who worked in totally different media. This is a model of clarity and simplicity, designed to meet the stringent economics imposed on TV animation at the time.
I made an extra effort to make the large size images big enough for you to read clearly, so please click on the pages and take the time to sit down and read this from beginning to end.
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. Today, we’ll explore how the cartoon writers brought structure to the story and began to flesh out the continuity in preparation for the storyboard artist to begin work.
All of the employees, from the directors all the way down to the janitors, were invited to submit gags to the cartoon being developed. His thumbnail sketches suggest enough for a storyboard artist to begin to tighten up his poses, focus the action and define the staging. It was important to clearly define how the story broke down into sequences and how each sequence broke down into individual gags, because the storyboard artist most likely would not be boarding it in chronological order.
Although this document is from very late in Maltese’s career, it clearly shows his creative process.
Every individual gag had to serve the purposes of the sequence it was a part of- all of the parts worked together to tell the story.
The process of writing for animated cartoons grew out of the way slapstick comedy shorts were written. You can also tack a long string against the wall and clip the index cards to the string using clothespins. So to start off this post, here’s just a few things that are easily confused both with writers and with society in general. These are the most common ways to structure a line, although I haven’t seen 7 in a very long time. I thumbed through the drawings several times over the years, but I only looked at the drawings individually- I didn’t look at them as a group.
The Giant steps over the crest of the hill and takes a few steps over them.(35) The Giant scares the soldiers away.
But the general outline of the progress of a story from raw idea to boards ready to put into production didn’t vary all that much. At this stage, the gags were generally isolated variations on the basic theme of the premise, with no attempt to put them into any sort of continuity or plot. One person would be responsible for taking notes for the group, so after the meeting was over, the story man could go back and refresh his memory of a specific gag.
The character of the piano player is to be in live action, while the moon and the cat are animated. In the early days of animation, the story process was very informal, and the individual animator was often expected to flesh out the specifics of the action in his scenes on his own, co-ordinating with the animator of the preceding and following sequence on the hookup between sequences.
This probably means that these notes were accompanied a pile of drawings, which the story man was trying to order into a basic continuity. In support of his argument, he presented video clips of Walt Disney and Walter Lantz discussing the qualifications of the people who wrote their cartoons. They never seemed to address the fact that prior to 1960 stories for cartoons weren’t created and developed with words in script form- they were drawn.
They had no idea who pioneered their profession and the process these people used to create cartoons for nearly half a century. In the TV era, Foster wrote episodes of Huckleberry Hound, Yogi Bear, Quick Draw McGraw, The Jetsons and The Flintstones. In fact, it should be easier for the artist to pilot his own action because he is not likely to write himself into one of those undrawable dilemmas in manuscripts about which illustrators have complained for years. 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. But it didn’t include dialogue and descriptions of actions the way live action scripts do. The artist often drew up the payoffs to the storyline first- it was easier to create a strong setup when he knew where he was going to end up. In fact, several animators and cartoonists served as gag writers for famous comedians in their younger days.
I created a step-by-step guide that can help you put your story down on paper and get it out in the world. This has been true for every book I’ve ever written, from When Stars Die to The Stars Are Infinite.
It isn’t with grammar or anything, but it is struggle with showing how to express deep emotion into my writing. After losing my work so many times, I have been great at rewriting because I’d never backed anything up. I pulled the folder out this week and upon closer examination, I discovered that the drawings formed a clear record of a gag session from 1934.
But we can find out an awful lot about the process used to write classic cartoons by looking at the scraps of paper left behind by the great artists who wrote them. I’m going to show you some specific examples that illustrate these general concepts in the hopes that you might come away with a better understanding of how cartoons were created. The goal was to come up with funny situations that could be expanded upon and reworked into something more specific further down the line. The first page refers to the location of the beginning of the song on the bar sheet and indicates that a scene of the moon on the second page should be moved forward to this page, to allow the cat to be the focus of the shot the second time up. The action has been divided into seven segments, each one representing approximately a minute of screen time.
The parade marches off into the distance as the ape rubs his sore ass from where the monkey kicked him.
In listening to these arguments by current cartoon scriptwriters, I began to wonder how much they really knew about the process used to make the classic cartoons they expressed respect for.
To be fair, this sort of ignorance of the history of our craft isn’t just limited to writers. But this board keeps things interesting through clever staging and cutting.This is truly a model for television storyboard artists to follow. 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. Walt and the story men sifted through the doodles and stick figure drawings to find inspiration for little bits of business that they might not have thought of themselves.
The outline helped determine the breaks in the story, so the artist could work in an order that made sense for him.
Story artists were accustomed to working from thumbnail sketches, and they could extrapolate the essense of a gag better from a quick sketch than a whole script full of fancy prose. If an event in the beginning set up a payoff later in the story, the storyboard artist would need to be made aware of that.
This DVD breaks down Chaplin’s creative process and shows you exactly how his films were written. This set of sketches is particularly important because it shows how the gags were created, how they evolved and grew as the artists discussed them at the story meeting, and how they found their way into the continuity of a finished cartoon. I’ve heard the same sort of admissions of ignorance from producers and directors, as well as artists and animators.
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 first eight sequences and sequences 18, 19 and 20 appear to include dialogue transcribed from the finished storyboard. The program that deals with Chaplin’s masterpiece, City Lights should be required viewing for storyboard students at every animation school. Salkin was the Associate Producer on the series and handled a lot of the story duties, working side by side with Bagdasarian to develop both the Chipmunk and Clyde Crashcup cartoons.
The station announcer mentions that Krazy Kat is on the dance floor, and the wife stomps down to the nightclub to confront him. The middle section, however is in raw outline form, with very basic descriptions only intended to remind him of which thumbnail gag drawing went where in the continuity. 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. As the storyboard developed, these notes would be updated with dialogue, transforming the outline from being a structural document to being a dialogue script, ready for the voice actors to perform.
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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