One Artist’s Process: The Revisions. For Real This Time

I’m here! I’m here!

It’s the long-awaited Aidan storyboard revision follow-up. With my comments and everything.


Since it’s been a short lifetime since I started this series, feel free to refresh your memories with the introduction post to Aidan Casserly’s storyboard he has created for his portfolio.

Then you can check out his brainstorming and thumbnail post, his first pass storyboard and my feedback on them in part one here and part two here.

Then he took my notes and made some revisions. He didn’t do every single thing I suggested and that’s cool.

Though…he should have. Because I’m, like…*ahem*…right and all. ; )

But I digress.

So now we have my final comments about his revisions. Enjoy!

(You can click on the images to enlarge them.)

Page 1

I had suggested he add a pan on the first panel of the exterior of the jailhouse and he chose not to. Which is fine. But I can’t help but notice the total lack of camera movement in the board. I think it’s done more to keep the panels “nice and neat-like”.

And I say, if you want to storyboard for animation, you’re going to have to show some camera movement and not let the template dictate your story. I see it with students too. They make their camera movements to fit in nicely within the storyboard template.

Don’t do that. Tell the story the way you need to and you dictate what the panels should look like. So what if it ends up uneven? It’s all done for the TV screen, not the paper.

Without any indication of ‘cuts’ and transitions, it’s hard to tell when he wanted to cut and when it’s all one scene. As it looks now, they all look like cuts. And I don’t think they’re supposed to be.

For actual production boards, you have to show pans and truck-ins/outs. So if you are doing a storyboard for your portfolio…to get work…add some camera movement indications when appropriate.


Page 2.

This is an area where he could do some cutting since Aidan has indicated he wished the board was a little shorter. To trim it down, I would use the last panel on page one (guard at monitors) and combine it with the second panel on page 2 (guard still at monitors and legs walk past).

Then I’d get right to the close up of the guard and him getting whacked in the head. Four scenes (and seven panels) gone.

Read moreOne Artist’s Process: The Revisions. For Real This Time

I’m Back

Oy. What the heck happened there? How long have I been absent? Way too long, apparently. Funny how time can slip away from you when you’re working 16 hour days, huh? Sorry about that, but I just couldn’t summon up the brain power or the time to write anything. But I have returned! (If anyone … Read more

One Artist’s Process: The Board and The Critique Continued

Well it looks like people are digging watching me rip a storyboard to shreds before their very eyes.

I mean, can you blame them?

We’ve been following Aidan Casserly along his little journey of creating a storyboard for his portfolio. He purchased one of my fabulous Mini Critiques and is letting us all take a peek.

You can find the introduction post here and his brainstorming and thumbnailing process here.

Then It Got Really Juicy

If you look back at the previous post, you will find his original storyboards and my critique of the first half of them. All in their red-scribbled glory.

I now bring you the conclusion of said critique in more red-scribbled glory.

(Click on the images to enlarge and get a better look.)



  • Panel one, have him walk IN and let’s see him holding the bag.
  • Don’t rely only on words for gags. This could (if a real cartoon) be seen in other languages, so use visuals to support it where you can. So adding an ‘eye’ graphic on the screen will help drive home the message here.
  • Third panel. A bit more acting here would be good. How does he feel about this? Was he expecting this? Annoyed? Confident? Have some fun here with another panel or two.
  • Fourth panel, have the jar come IN to shot and the screen still with eye/required message. THEN screen changes to approved (give it the before and after poses). But we can’t SEE “approved” on that tiny screen. Consider changing this to a big check-mark (that could be green in a finished film).
  • Panel six, same thing. Maybe add a hand graphic. But hook it up by starting with the check mark, then it changes to this next request.

Read moreOne Artist’s Process: The Board and The Critique Continued

One Artist’s Process: The Board and The Critique

Before I begin I just want to mention this is my 100th post! Hurrah! *throws confetti*

We’ve been following Aidan Casserly along his little journey of creating a storyboard for his portfolio. We saw the introduction post here and his brainstorming and thumbnailing process here.

Now we get to the good stuff.

The first pass of his storyboard and what I had to say about it in a Mini Critique.

But before we get to that, here’s his storyboard as it was sent to me. And yes, it is quite clean for a ‘first pass’. Which is fine and dandy.

But you can be much rougher at this stage of the game with your own boards.

(Click on the images to enlarge and get a better look.)





Read moreOne Artist’s Process: The Board and The Critique

One Artist’s Process: Brainstorming and Thumbnails

Here’s the second post in the little series I’m doing with Aidan Casserly. He’s creating a storyboard from scratch for his portfolio and documenting it on his blog.

I’m reposting it here along with my ‘two cents’ that will turn out to be a full blown Mini Critique of his work by the end of it.

Basically ripping him to shreds for all to see. (I kid! I kid!)

You can read the introduction post here.  I now give you his second installment. Take it away, Aidan.

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Part 1: Brainstorming and Thumbnails

Click to enlarge

This is, without doubt, the best part of the entire process. I love it. I reeeeally love this part.

Now that we have our ‘story seed’, we go about brainstorming. I grab a stack of paper (just junk paper, since this is a rough and messy stage). This is the part where, no matter what, you NEVER limit yourself. Ever.

Be as stupid as possible.

Any idea, no matter how irrelevant or pointless, gets jotted down. Anything. Even if it has remotely no tangible connection to the story at hand, everything matters. There’s a reason.

Read moreOne Artist’s Process: Brainstorming and Thumbnails

Making A Storyboard: One Artist’s Process


I guess I kind of missed a week there, didn’t I? Oh well.

I’ve been tackling a whole whack of pain in my shoulder that is tendinitis, but could be worse than that. So if I wasn’t up all the hours of the night writhing in pain, I was trying to sleep on the couch propped up with pillows for a week.

Not the makings of much creativity, I’ll tell ya that. And I couldn’t tolerate sitting in front of the computer at all.

But after much Ibuprofen and much ice, I’m now mobile. And can finally dress myself without screaming. Yay.

Anyhoo, we’re going to try something neat here.

A very whacky and all around nice-guy reader of mine, Aidan Casserly,  has started a series of blog posts on his own site about the process of making a storyboard for his portfolio.

Then he bought a Mini Critique (smart boy) because he knows how valuable feedback can be. He wanted my permission to post my feedback on his blog which I had no problem with.

But then I thought it could be cool to post it on my blog too. Partly for the great learning experience for you and partly for the easy content…me being a lazy ass and all.

Read moreMaking A Storyboard: One Artist’s Process