This is me

... working hard last night.

- "It seems COFFEE no more affects to me..."

... Suddenly, I received an unexpected visitor !

“so, what about you?”

He said...

+25y
boarding
boards

CARTOONY style trends

SENIOR
STORYBOARD
artist & SUPERVISOR

I'm a freelance storyboard artist with more than 25y experience, starting to work in the Animation industry at 1995.

Based in Spain (GMT+1), I work remotely, typically connecting with the team via Skype, Teams or email to discuss the episodes.

XPERIENCE

I started to work in the Animation industry at 1995.
Throughout these years in creating storyboards, I specialize in cartoon style and particularly enjoy comedy board-driven projects.
I've worked on numerous TV shows and some movies, as well as pilot episodes and short teasers to launch new shows.
I also have extensive experience with episodic musical pieces.

I like to add lots of acting/expressivity in my boards and fine-tuning timing in animatics is a blast for me

ABOUT ME

STORYBOARDING

Usually I work the whole episodes with Toon Boom Storyboard Pro, switching to Blender Grease Pencil for dynamic shots when need it.

hybrid
storyboards

starts with a script...
or not!

Board-driven series

Boarding episodes in board-drive way for Pocoyó S5 has been one of the best experiences of all my professional career, no doubt.

Getting the treatment and working closely with directors (Alfonso Rodriguez & Paulo Mosca in this case), at board-drive shows the story builds itself through the storyboard, until having the animatic with the final touch of the scriptwriters.

I must admit that I laughed a lot, recording myself the radioplay reference for the episodes, playing to being Narrator, Pato and the rest of the gang. And viewing the final animated episodes with the real voice actors and so.. I can't be happier to have been part of this season.

Traditional boards

On the other hand, I'm near to 30y storyboarding in the regular way, from a script, and I liked as by the 1st day

Getting the script and working closely with the episodic or film director is less crazy than board-drive way, but sometimes it can be exciting too.

A great point of this way is that usually we board artists receive the voice actors radioplay before starting the boards. That helps a lot to get a closer idea of how the piece will be just by listening to the tone of the actors.

Sometimes you have lots of freedom to add gags, ideas and whatever.

This was the case of SuperBernard, the Movie. I worked closely with Toni Garcia, the director of the film, building the full storyboard from the first thumbs by Paco Saez.
Gloria Caballé worked with me on the boards, and we had almost total freedom to change things, add gags and work really comfy with the team.
It was a BIG experience

Everything

“MAMMA MIA!
OTHER STUFF THAN STORYBOARDS?”