I’ve always knew I was interested in narration through images, being this the center of my practice for many years. This is why my research into the animation world started from knowing what role in the immense pipeline intersection my innate interest in drawing belonged to.
My final decision of becoming a storyboard artist for animation came after a long process of first, to understand how things actually work in the animation industry; second, to explore the scope that the different positions in an animation crew have, so I could see in which one I could really feel satisfied; and third, to identify the type of projects I would like to be part of. But it is, as alway,s a decisions that should be made alongside practice considering that in a creative career is not only important to know the aspects of the work but also to have the experience of doing it.
My initial research led me to find information first hand, communicating with storyboard artist from around the world via email, about what is to be a storyboard artist in the industry. WIthout leaving aside other tools like books such as Levy, D.B. (2006) Your Career in Animation, and even more online resources like Creative Skillset (2016) Animation Job Roles (animation) and the pages of the same animation companies, they usually have no secrets about what they aspire to get from someone applying to any of the different roles in their studios.
After coming through with my initial research on how the animation industry works ,my idea of storyboard changed and I started to perceive the possibility of a professional development in this area. For being a storyboard artist in animation, generating clear images for the rest of the team to work from is a priority. For this reason, as Richard Williams says in his book The animator’s survival kit (Williams 2001, p. 23) “Drawing should become second nature, so that the animator can concentrate on the actual actions and the timing of them and give the performance life”.