# data[].attributes.attachment_caption
Collab done between my friend Zephyr, Weston, and Me

# data[].attributes.body
Career goals and what it means to be in the industry. Take away points from the article.

Drawing: have excellent drawing skills and be able to produce artwork in a range of styles

Storytelling: be able to communicate a narrative well

Knowledge of animation: be literate in animation with a good understanding of layout, composition, sequential drawing and editing as well as a strong understanding of framing

Learning by watching and asking: observe what’s happening in your department and company, take initiative, ask questions at appropriate times

Watching animations: have a passion for the medium and a love of the industry

# data[].attributes.attachment_link.readable_text
What does a storyboard artist do?

Storyboard artists help the head of story create a visual representation of the animation's narrative. Storyboard artists translate the script and the director's vision into pictures. They produce a series of panels of images to plan the shots and ensure continuity between them. These form the basis for the animation in the next stage of production.

Storyboard artists may be asked to complete partly-drawn panels and ensure they are in the right style for the animation project. Depending on the production, the storyboard panels might need to be cleaned up (in terms of the lines and sharpness of the image), so that the drawings are tighter and more accurate. If the panels are being sent overseas to be animated this is particularly important.

Storyboard artists might also need to fill in background details or they may be asked to revise scenes already drawn by senior artist. They may be required to work using various different types of software to prepare panels for editorial.

Storyboard artists usually work in-house at the animation studio.

Watch

What's a storyboard artist good at?

Drawing: have excellent drawing skills and be able to produce artwork in a range of styles

Storytelling: be able to communicate a narrative well

Knowledge of animation: be literate in animation with a good understanding of layout, composition, sequential drawing and editing as well as a strong understanding of framing

Learning by watching and asking: observe what's happening in your department and company, take initiative, ask questions at appropriate times

Watching animations: have a passion for the medium and a love of the industry

Who does a storyboard artist work with?

Storyboard artists primarily help the head of story or a senior storyboard artist. This will sometimes also involve communicating with the director and writer, and with the art designer.

How do I become a storyboard artist?

How do I become a storyboard artist?

The most important thing when applying for roles in storyboarding is to demonstrate good drawing skills. You need to show storytelling skills and an understanding of film. Many storyboard artists have a degree but you don't necessarily need one as long as you have a strong portfolio and can show your experience. In some companies you can move into being a junior storyboard artist from being a runner.

At school or college:
You can take A-levels or Highers in fine art, art and design, graphic design, or film studies. Or you might want to take any of the following Level 3 vocational qualifications:

BTEC National Diploma/Extended Diploma in Art and Design

UAL Applied General Diploma/Extended Diploma in Art and Design

NCFE Applied General Certificate in Art and Design

BTEC National Extended Diploma in Creative Digital Media Production

If you want to go straight into a job or apprenticeship, the following Level 3 vocational qualifications will equip you:

BTEC National Diploma in Graphics

UAL Diploma/Extended Diploma in Art and Design

OCR Cambridge Technical Diploma in Art and Design (Graphic Design)

BTEC National Diploma in Film and Television Visual Effects

UAL Diploma/Extended Diploma in Creative Media Production and Technology

OCR Technical Diploma in Digital Media (Moving Image and Audio Production)

Get an apprenticeship:
An apprenticeship is a job with training, so it's a great opportunity to earn as you learn. See if you can find an apprenticeship as a junior storyboard artist. Check out What's an apprenticeship? to learn more about apprenticeships and to learn how to find one in your region, or approach companies directly. find an apprenticeship
Draw:
Regularly practise drawing and observing how people and things around you move and look. Carry a sketchbook with you.

Build a portfolio:
Learn how to show story sequences cut together in an animatic form. Start creating work that you can show to admissions tutors or employers. Go to build your animation portfolioto learn more. Have a look at these Tips for making a story portfolio for feature and TV animation.

Get a degree:
A degree in fine art or illustration will equip you well for this job. So will a degree in film or animation. Have a look at ScreenSkills' list of recommended courses and select one in animation or film. We recognise courses with our ScreenSkills Select award where they offer training in the relevant software, dedicated time to building a portfolio and have strong links with the animation industry.

Look outside the industry:
You might be able to get a job in an art department with a game design company. You could use the skills you would hone in this role to later transfer into animation.

Get to know people in the animation industry by attending events. Meet producers and filmmakers and ask them questions about their work, while demonstrating interest and knowledge in the industry. Offer to provide them with your professional contact details and try to stay in touch with them. Go to how to network well to learn how to do this.

Get a job as a runner:
Being a runner for an animation company will enable you to gain experience and to gain a better understanding of the whole animation production process. It's a good way to build contacts and get to know people working in storyboarding. Go to the runner job profile for details on how to do this.

Search for jobs:
Research animation companies you'd like to work for. Animation UK has a directory of animation companies. Go to their websites and check if they are advertising for junior roles. Even if they aren't, send in your CV and portfolio and ask them to bear you in mind for future roles. Keep looking on job websites too. ScreenSkills offers some advice from professionals on how to approach animation and VFX employers.

You might also be interested in...

Being a head of story or a director in the animation industry.

Further resources

# data[].attributes.attachment_link.title
Storyboard artist in the animation industry

# data[].attributes.attachment_link.description
How to become a storyboard artist (also known as storyboard assistant and storyboard revisionist).

# data[].attributes.body
Important information to creating story boarding.

# data[].attributes.attachment_link.title
Top Storyboard Artists And Illustrators Worth Following On Instagram - Storyboard Artists Guide

# data[].attributes.attachment_link.description
updated: 8/11/2022 Storyboarding is an art, a mix of drawing and illustration, that tells a story. It is an essential part of cartooning and animation, a skill that all illustrators should have for their trade. However, combining these things to create an elaborate story told by one or many characters is more challenging than people assume.

# data[].attributes.attachment_link.readable_text
Don't look so confused.

Sure, an article about storyboarding may not be the first thing you'd expect on a site about making comics. Art, writing, marketing - these clearly apply to comics as they do many other creative pursuits. But storyboarding? That's a movie-making technique.

While it's true that storyboarding is an efficient process for visualizing a movie or television show prior to filming, storyboards actually share many similarities with comic books. They both tell stories through a sequence of drawings, using the same composition and framing techniques to help the audience follow along. Another shared attribute, one few people realize, is that each medium is transitory. Storyboards are meant to be tools that facilitate a film. They aren't intended for public consumption, and exist only to serve the final form of the project. Comics are storytelling tools as well. No individual panel or drawing is meant to interfere with the story. The action exists in the imagination of the reader.

There are also differences. Storyboards are constrained by the proportions of the television/movie screen and maintain the same dimensions for every frame. Comic panels can be a variety of shapes and sizes! Storyboards need to translate the movements of actors and the camera to a static form, while comics can only suggest motion through panel layout and composition.

My approach to this two-part article will be to focus on the broad similarities between comics and storyboards, particularly the techniques that originated with film and were later adopted by comic book storytelling. This article will cover aspect ratio, shot classification, and camera techniques. Part two will cover the concept of continuity, specifically what it is and how it can be achieved to help an audience follow a story without feeling lost (visually).
Aspect Ratio (Storyboard Frame Size)
The dimensions of storyboard frames are fixed. The reason for this lies with what the frame represents: the movie or television screen. The standard ratio of a frame is 1.85:1 (more commonly known as 16:9). Or to put it in different terms, for each inch of vertical height, a frame gains 1.85 inches of horizontal length.

If you intend to draw a storyboard, either as practice or for whatever reason, use this ratio to set up your frame template. Why a template? You will be creating a number of storyboard frames and you will want to keep them consistent. Pick a height measurement and then multiply it by 1.85 for the width measurement. Photoshop, as with most graphics programs, has rulers within the program that you can use to place your frame border. If you are working analog, try marking off the frame with a physical ruler and cutting a template out of a piece of cardstock.
The Rule Of Thirds
Composition is a vital, complex topic. I will be giving it only the most cursory of mentions here (we will delve deeper into it in the future). The goal of proper composition is to structure an image so that the viewer gets all of the necessary information out of it. That's right - artists manipulate the arrangement of visual elements to make the viewer look at whatever they want!

Principles like the balance of elements within a frame and use of focal points guide the viewer's attention. Symmetry tends to distract. A handy shortcut to avoiding symmetry is by following the guidelines shown in the second example, above. Avoid the inclination to place a figure or point-of-interest in the center of the frame. Do this by dividing the frame into thirds both horizontally and vertically, and place anything significant or focus-worthy near one of the intersecting points in the grid. This is what's known as the rule of thirds: dynamic compositions result from asymmetry.
Shot Classification
A shot is what's referred to as the precise recording made by a camera in a single take. All of the frames in a storyboard correspond to a single shot (sometimes a complex action requires multiple storyboard frames per shot). As such, they are essentially blueprints for where to place the camera and what to point it at.

Now, that may sound incredibly movie-specific, but it's not. Comic panels are framed in the same way. Envision the panel as a camera lens, looking out upon a scene before you. The scene exists regardless of the position you choose to view it from. Some viewpoints are more effective than others at communicating the story taking place.

As a shorthand, many scripts use terminology to refer to specific shot framing. Primarily, these are an indication of camera distance from the subject of the shot. Familiarize yourself with the following classifications; these terms will continue to pop up in the future.
Wide Shot
This type of shot establishes the location and context for the scene. Such kinds of shots are called "establishing shots." The subject of the shot is visible from a distance, with the primary focus being on the environment and lighting conditions.

Why lighting conditions? Good hypothetical question. The reason is that the way a scene is lit is one of the first impressions you get of its tone. High-contrast lighting, which is to say a stark contrast between light and dark, instantly establishes a dramatic tone. The scene I have presented in these examples is the opposite - low contrast. As a result, the first impression the viewer gets is of a relaxed, possibly cheerful tone.
Full Shot
The camera appears to be much closer to the subject(s) of the shot, resulting in a narrowing of focus. This is aided by the fact that much of the surrounding environment is cut out of the frame. Full shots, by virtue of the name, allow the entire subject to be seen, head-to-toe.
Medium Shot
The distance from the subjects is further reduced. Everything is cropped out of frame except for the upper torso of the character(s) involved (waist and up). The viewer is drawn further into the situation, not merely an observer, but a participant in the conversation.

This specific example is also referred to as a "two shot", indicating the number of people in frame. It is also a conversation sequence, meaning it can follow a principle of continuity called "shot/reverse shot." I will be addressing continuity issues in the second part of this article.
Close-Up
You've heard of these before, right? We all have. Close-ups frame a single subject from a short distance. Because only the head, neck, and shoulders are seen, we are invited to focus on the facial expression of the subject. How are they reacting to the situation at hand? The close-up offers answers.
Extreme Close-Up
Pass the Doritos and Mountain Dew! It's time to get extreme.

This type of shot is the closest you will get to the subject. Usually focused on the eye area of the face, extreme close-ups put you, the viewer, into the place of the character. You are meant to understand the thoughts the character is thinking. Weird? Absolutely.

I say "usually focused" because it's possible to have an extreme close-up feature something other than eyeballs. Maybe you want to focus on the car keys that were left behind when the character exited the house. The car keys! Look! He's going to need those! Point the camera at them.
Camera Notations
This leads us to the subject of camera notations. Put simply, these are the notations that indicate how the camera is moving between frames.

I'm going to be straight with you: these don't translate directly to comic panels. Some refer less to camera movement than they do frame order. Those principles do tie back to comics though, since you can arrange panels on the page however you like.

So why talk about these notations? Cross-pollination of technique has allowed comic artists to benefit from filmmaking. You may not be able to replicate the zoom of a camera or the way in which a shot pans, but as a comic artist you can control eye-movement on the page. The shape and arrangement of panels helps to direct the viewer's focus in a related way.
Dolly and Zoom
These are terms that refer to increasing or decreasing the apparent distance to the camera from the subject of the shot. This can be achieved by physically moving the camera, in which case the technique is called "dolly(-in or -out)." If the physical distance to the camera remains unchanged and the effect is achieved through focusing the lens it is called "zoom."

There are various parallels in comics. In a sequence of otherwise identical panels with the same subject, this can be virtually simulated by decreasing the distance to the subject with every panel. A less literal parallel could involve the composite effect of perspective and implied motion within an image to direct the eye.

In this frame, I chose a high vantage point from which to view the street café. The arrow indicates that I intend for the camera to physically move closer to the scene. I already know how the following shot will be framed, so I use a combination of the dolly-in and the movement of the approaching figure as a bridge between Frames 1 and 2.
Pan
After the cut to Frame 2, I continue to follow the right-to-left movement of the approaching figure with a right-to-left pan. The camera - distance unchanged - moves in the direction indicated until the frame marked "B."

This type of movement is all about transitioning to focus on the desired subject. In a comic page, an unusual panel or large composition might be impossible to comprehend as a whole. The viewer does the work of the camera pan with their eyes.

Side note for artists: make sure that the composition of elements within the frame is strong at every point during the pan.
Cut-In and Cut-Away
Jumping ahead in the frame sequence, let's talk about the cut-in/away. Visually, the notation is simple. Draw a smaller, inset frame (within the frame) to indicate the position of the extreme close-up to follow. Connect the corners of the inset frame to the corners of the full frame.

This is less about camera movement and more about indicating shot order. Despite the appearance of the notation, the camera doesn't zoom or dolly.

So why do this? Think of this technique as the visual equivalent of an "aside" in writing. If you want to draw specific attention to something for the sake of clarity without derailing the flow of the scene, use a cut-in/away. The difference between the two hinges on whether the extreme close-up is of an element within the frame, or outside of it. Same frame? Cut-in. Somewhere else? Cut-away.
Stay Tuned! makingcomics.com

# data[].attributes.attachment_link.title
Anatomy Of A Storyboard Part 1: Terms & Techniques - MakingComics.com

# data[].attributes.attachment_link.description
Don't look so confused. Sure, an article about storyboarding may not be the first thing you'd expect on a site about making comics. Art, writing, marketing - these clearly apply to comics as they do many other creative pursuits. But storyboarding? That's a movie-making technique. While it's true that storyboarding is an efficient process for...

# data[].attributes.attachment_link.title
One of the greatest 4th wall breaks on The Amazing World of Gumball

# data[].attributes.attachment_link.description
Composition also plays a huge role in layouts. I'm working out things like perspective and scale, and trying to make everything fit harmoniously into the panel boxes. Is the composition pleasing, overall? Do the shapes look nice together? They should! If something needs fixing, it's best to fix it now, because later I tend to go into autopilot mode.

# data[].attributes.body
Learn how to draw fast and create thumbnails

How to use composition from media around us to create thumbnails and storyboards. Framing

Create our own comic/ Story board.

Using Real life and a team to create work.

Goals students should try to accomplish, an Establishment of narrative. Telling a story though framing.

# data[].attributes.body
Great example of quick fast drawings to tell a narrative. It's fast drawings to get the point of the shot.

# data[].attributes.attachment_link.title
J.G. Quintel Pitches "The Power" Episode of Regular Show