![]() Then I spend a week drawing my first pass of it, which ends up being 200 to 300 panels, but those are pretty rough. It’s a good time to bring up ideas you have, such as visual gags or interesting ways to do the shot. One day I’ll sit down with the director for an hour or two, and we’ll hash out shot by shot what’s working and what’s not. Then, in the next pass, I do some cleanup and redo scenes kids might not understand. JK: The first rough pass on the script is thumbnails - they allow the director and the showrunners to see if it feels right - and this is done by another team. TSD: As a storyboard artist, what do you do to put together one episode? It’s fun to be in a meeting with them there are suggestions coming left and right about what kinds of shots would be really cool. I really like kids shows and being able to draw cute things, and the people on the team are super passionate. ![]() JK: My favorite job is my current one - working on “Blaze and the Monster Machines.” It’s a preschool show with Nickelodeon. TSD: What was your favorite job or TV show you worked on, and what was it like? The further I tried things in storyboarding, the more I liked it. Once I got a good enough idea of it, I took courses at the School of Visual Arts in New York and online. I asked my friends if they knew people in animation and cold contacted a bunch of people to figure out what storyboarding is. I literally went through a list of positions in animation and read their descriptions. I loved anime and manga growing up and wanted to be a comic book artist. I didn’t know exactly what to do, but I knew I loved animation. Joanna Kim : After graduating with a computer science degree from Stanford, I realized I didn’t want to go into engineering. The Stanford Daily : How did you discover storyboard art? ![]() Kim is a storyboard artist for the Nickelodeon show “Blaze and the Monster Machines,” and her past credits include storyboarding for Showtime’s “Our Cartoon President” and “The Late Show with Stephen Colbert.” She spoke with The Daily about her experience in storyboarding, the process through which “animation comes alive.” These illustrations form the blueprints of what we see on screen. Storyboard artists like Joanna Kim ’15 work closely with directors to sketch illustrations that visualize an animation’s narrative. Behind our favorite animations is a crucial yet often forgotten group of artists who translate story to screen, one panel at a time.
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