Animating with Mike Milo Saturdays from 12-3 PST on

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Starting this Saturday from 12-3 pm PST and every Saturday after that, I will be streaming live on the Adobe Twitch channel and animating nonsense using Adobe Animate. This week we’ll continue animating a scene with a robot ninja I roughed out last week called Tinja… Yahhh! Join me if you can! That’s 12-3 PST this Saturday only on:

Ren and Stimpy storyboards!


Animation has a fantastic Ren and Stimpy board up and if you’ve never visited Animation Resources and you’re into animation, you’re in for a huge treat because it’s one of the unsung jewels of the internet. Check it out!


“What it’s Like to Be A Storyboard Artist on The Regular Show” by Sam Spina


If you’ve ever been curious about what it’s like to storyboard for The Regular Show, here’s a very in-depth comic about what it takes to make an episode. One of the most interesting things he says at least for me is that the entire show is still done traditionally on paper, using Post-Its, white out and good ‘ol pencils!

You can see the entire comic by clicking this link.

Alex Almaguer

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What is your name? Alex Almaguer. Or Alejandro Almaguer which is my real name that I used to use when I first started in animation. I think you can still find some early episodes of Johnny Bravo or Pinky and the Brain that I storyboarded that have my real name in the credits. And Big Poo. Don’t ask.

What would you say has been your primary job in animation?
Mainly Storyboards. It’s what I started on when I got into the industry and I’ve just stuck to it.

What are some of the crazier jobs you had before getting into animation?
Storyboarding. It doesn’t get crazier than that.

What are some of your favorite projects you’re proud to have been a part of?
I’d have to say being a part of “The Grim Adventures of Billy & Mandy.” It was the first time I REALLY got to write and draw my own boards. Within a few months on that show I was already coming up with my own gags and writing my own dialogue and learning how to tell a story. Back then, the studio was still doing the 7 min. format, so we really had a lot of freedom to get in and do a bunch of silly, dumb jokes and get out while telling a simple story at the same time. Continue…

The Art of Storyboarding with Ridley Scott

A fascinating look into the mind of Ridley Scott (Blade Runner, Gladiator, Thelma & Louise, The Martian) and how he uses storyboards in his process. And this unlike many other interviews is interesting to me at least because the whole thing is about storyboards. Scott is an artist himself and works out his own boards and thumbnails for his films.

When I draw, I get sucked into the scene, and when I get sucked into the scene I start to visualize other opportunities which aren’t just pictures but suggestions for actors, how the scene can go and how you can adjust and maybe even find how the words are used.

The storyboard becomes rather like a sophisticated comic strip well in act now comic strips are really sophisticated and ideally that’s what storyboards should be, because you’re seeing the dynamics of,… and if it’s really well drawn, then you can follow the dynamics of the sequence and even if it’s dialog you always do something that isn’t just two talking heads but then of course two talking heads can also be interesting.

Terry Gilliam on the Importance and Power of Storyboarding

No Film School has an old article featuring old yet interesting series of interviews with animator and director Terry Gilliam (Monty Python, Baron Munchausen, The Brothers Grimm, Time Bandits) about storyboarding.

From the article:

Gilliam says something interesting immediately, and that is his use of drawing sometimes duringthe writing phase. Storyboards in a strict sense are traditionally done once a script has reached a certain plateau of finality — meaning it may not be locked outright, but only relatively minor alterations will be made in subsequent drafts. Gilliam here describes his storyboarding process sometimes affecting the script as new visual ideas come out, which is an interesting inversion of convention as I see it. He highlights the benefit of using storyboards as the skeletal basis of a scene’s structure, allowing out-of-sequence shooting to work just as well as shooting in-sequence — with some creative variability for how to achieve each frame still retained by the shooting process itself. On the other hand, Gilliam says that storyboarding improves the worst-case creative-scenario, which is running dry on ideas — because even without the in-the-moment idea on set, adhering to pre-conceived storyboards while shooting will still result in a cohesive, coherent sequence.

Part 1

Part 2