Anjelica Russell
Storyboard Artist, Unannounced Show on Netflix
Tell us a little about your educational journey.
I went to the Rocky Mountain College of Art and Design! There, I studied 2D animation. I knew for a pretty long time that I wanted to work in animation but I didn’t know that I’d end up storyboarding. I didn’t even know it was an option!
What drew you to storyboards?
I kind of stumbled into storyboarding. I was pretty determined to be a 2D animator but at the time all I was hearing was that 2D work was hard to come by. I’d already given 3D a try, thinking that ‘animation is animation, right?’ Unfortunately for me, there isn’t much drawing and I love drawing. I also love making others feel and laugh, and it turns out that storyboarding is a pretty good place to do just that!
How would you describe your job?
A lot of drawing and thinking and drawing and planning and, did I forget to mention drawing? It’s important to rest properly and take care of yourself because it all adds up!
What does your typical day working look like
Back in the days of the office, eons ago, my days varied depending on what part of the board cycle I [would be] in. But the constants are—getting a cup of tea and a breakfast snack ready. Nothing says it’s time to work like a warm drink! Then I’d usually check on my office plants, do some kind of warm up drawing to get my brain in the work zone, then get started. I’m unfortunately not a morning person, so I don’t really hit my groove until after lunch.
You work on a board-driven show; what makes the process different than a scripted show?
Writing the script is one of the biggest differences so far and being responsible for making sure that the threads of the story stay on track and weave nicely with the work of my partner. I’m used to doing whole episodes alone on scripted shows, so this level of collaboration is new and exciting!
What’s the most rewarding thing about what you do?
If I can bring just a little bit of joy to someone’s life, that’s pretty rewarding to me. Laughs, extra rewarding. Happy cry? I’ve climbed the mountain and I’m winning. Jokes aside, cartoons were my comfort and so important to me growing up, to give back into that is the most rewarding.
What’s the biggest challenge?
Right now, trusting my own unique voice and not comparing it to others is my biggest challenge. Storyboards are like making a delicious soup, everyone puts in their best flavors, and it’s the variety that comes together and makes the finished cartoon soup so good. Also, avoiding burnout. Storyboarding can become a grind because of the tight schedules, and work-life balance can get out of hand if you’re not careful. I’m a lot more careful than I used to be, but it also helps when the schedules are built with some time for story artists to breathe a little. I appreciate productions like the one I’m on now that have those considerations built in.
Where do you get inspiration?
Inspiration comes from all around, it’s hard for me to really say there’s a specific source. But I often find myself drawing inspiration from nature and the feeling of genuine love and excitement that’s put into something. A few examples: Monty Don’s gardening shows, The Repair Shop, anime like Mob Psycho 100 and Promare, my number one favorite film, Bambi, and runner up, Fantasia. It’s kind of abstract, but when I can feel that feeling come through, it really puts the wind under my wings!
Sydney Sharp
Storyboard Artist, Inside Job at Netflix
Tell us a little about how you got into animation.
Growing up, I was pretty far removed from the animation industry and had an extremely limited understanding of what goes into animation production. I didn’t even know what a storyboard was! All I knew was that I wanted to make cartoons. After being rejected by USC’s animation program, I settled into a major in fine art with a focus on video art because I thought it would somehow relate back to animation (It didn’t! You can ask the friends I suckered into wearing absurd costumes for my weird art films.) I was extremely fortunate to have gotten an internship at Nickelodeon during my final semester at college. I’m grateful for the skills I learned in my major, but my internship was vital in giving me the animation production education that I wasn’t getting at school.
What drew you to storyboards?
I remember watching a making-of documentary on Finding Nemo and seeing this scene where Mark Walsh, the animator who did Dory’s emotional “When I look at you, I’m home” monologue, described his experience animating that scene. He talked about how he took a day to isolate himself and thought about loved ones he’s lost to draw upon his personal experience to really sell what Dory is feeling in that moment. It hit me that I could pursue a latent interest I had in acting without having to be on stage or in front of a camera. I was a big-time theater kid in high school and ultimately switched from acting to tech theater due to stage fright, so that realization was cathartic for me. I feel so privileged to be able to express myself while hiding behind these characters through storyboarding, but here’s a BIG shout out to the animators who do such a wonderful job bringing this all to life!
How would you describe your job?
I’d describe my job as storytelling, problem- solving, teamwork, humility, and a little bit of improv.
What does your typical day look like?
After I’ve made my sleepy trudge to the studio, I like to start my day off by chatting with my coworkers while I wait for the caffeine to hit my bloodstream. Recently, I’ve started doing 15 to 20 minutes of short figure drawing drills using a tool I found online to warm up. Then, depending on where my board team and I are at in our schedule, it’s draw, draw, technical difficulties, chat, go on a brainstorm walk, draw! There are many different styles of board schedule but right now we’re knocking out one sequence at a time and constantly reexamining the story. It’s a fun process and makes the episode feel like a living, organic thing!
What’s the most rewarding thing about what you do?
The most satisfying thing about the job is getting to make people laugh – it really makes all the blood, sweat, and tears well worth it! It can be a very social job and I love being able to pitch jokes to my friends and seeing what works. Sometimes you get to work on a show where you pitch to the whole crew. Those are my favorite because it’s an awesome opportunity to get everyone into the same room and bridge the divide that there can sometimes be between boards and design
What’s the biggest challenge?
I’d say the biggest challenge is managing my time wisely. I get a big “pitch hangover” after a review! I’ve heard a lot of my peers in the craft express something similar. After working tirelessly to reach this deadline, you feel so accomplished and then immediately come the notes. It’s difficult to dig right back into something after getting it to a place you thought was working, sometimes even rebuilding it from the ground up or getting rewrites. There’s a lot of problem- solving involved at this stage, which can be exhilarating but also draining. When this happens, I have a hard time getting back on my feet and will waste a lot of time noodling and pouting.
Where do you get inspiration?
I’d have to say it mostly comes from daily life and finding intrigue in the mundane—the weird people I meet every day, how I’d direct that tough conversation I just had if it were a sequence, that awkward thing I said last year that keeps me up at night. Also, like many board artists, I look to my favorite films for inspiration. One of the most important things I learned in my art theory classes in school was how important it is to examine why you like the things you like, so I’ve been trying to actively watch so I can really dissect what it is about these films I find so appealing.
You are the head of the storyboard committee. Why did you decide
to get involved?
Without getting all the way up on my soapbox, it’s become clear that labor rights in this country could use some attention. Being active in the Guild is my small way of contributing to that conversation. I love this community and want everyone to be able to support their families, feel secure at work and in their retirement, and thrive in the rapidly changing landscape that is animation. Activism feels inaccessible to a lot of people but I enthusiastically encourage everyone to participate in any way they can, even if it’s just checking with the coworker who sits next to you to see if they took the wage survey. That makes more difference than you realize—solidarity is everything!
Luis Logam
Storyboard Artist, Raya and the Last Dragon at Walt Disney Animation Studios
Tell us a little about how you got into animation.
Growing up I’ve always loved comics and cartoons. In high school, a friend showed me how to use an animation program called Flash, and I slowly started to teach myself with the help of Richard Williams’ book, The Animator’s Survival Kit. I grew up in Perth, Western Australia, and at the time there weren’t a lot of options for animation studies so I got a degree in Multimedia Design at a local university.
What drew you to storyboards?
I didn’t have much luck finding art related work in my hometown, so I considered a shift in career and flew to Sydney to study film and television. I was awful at it, but it was there I discovered storyboarding and found a lot of enjoyment helping fellow students visualize their live action projects. Though It wasn’t until many years later that I saw the apprenticeship opening at Disney Animation, that I realized I could focus on this.
How would you describe your job?
We work closely with the directors and writers to visualize the rough blueprints of the film. A lot of it involves communicating with your leaders and other story artists, to find the best way to convey the scene you’re working on.
What does your typical day look like?
A typical day for me involves sitting in front of the computer all day, trying real darn hard to make good drawings happen. It can be a real challenge to be creative on command and luckily I’m surrounded by amazing colleagues that I can always turn to, bounce ideas off of and get feedback.
What’s the most rewarding thing about what you do?
Definitely seeing a sequence you worked on get realized by the other departments. When you get to see your rough drawings become this amazingly animated and rendered sequence—it’s like magic.
What’s the biggest challenge?
It can sometimes be a challenge to set aside your own ego and get a clearer understanding of the director’s vision. When discussing story, you’re in a room full of creative people all with different tastes and opinions. It’s your job to try to understand the director’s intent and execute it to the best of your ability. It took me a long time to gain the courage to speak up in meetings and take part in discussions—and I still find it difficult most of the time. But learning to communicate with your team and ask the right questions is one of the most valuable skills to learn in this role.
Where do you get inspiration?
I’m lucky to have access to many amazing storyboards from past and present Disney Animation films. I like to start off the day looking at other storyboard artists’ work, almost as a reminder on how it should be done. If I’m ever feeling stuck, inspiration is only a few clicks away.
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