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Some 101 Dalmatians storyboards by Bill Peet (a film he boarded entirely by himself)

To date, Bill Peet is the only story artist to have boarded an entire Disney animated feature by himself (which he did twice for 101 Dalmatians and The Sword in the Stone). Walt Disney delivered to Peet a copy of Dodie Smith’s book The Hundred and One Dalmatians, asking him to read it to possibly adapt into an animated feature. During this time, Walt was busy with a myriad of other projects, such as Disneyland, live-action features, and television, and he entrusted Peet to handle the story alone on these features during his absence, indicating Walt’s high approval and deep trust of Peet’s abilities. Upon Walt’s request, Peet wrote the script for 101 Dalmatians (which was something that had not been done previously on other animated features at the company), did all the storyboards, and even cast and directed the voice actors.

“I worked alone on the film until it was ready for the director, and Walt agreed with everything, and it was ready to go. I was moved on to the director’s unit. There was no overlap.”

When Peet got into an argument with director Clyde “Gerry” Geronimi over a voice audition, Walt stuck by Peet and replaced Geronimi on the project.

“I said, ‘Look, I’ll go back upstairs and stick with my storyboard work! I’ve got plenty of things to do. To hell with this recording!’ I just blew up. Walt looks at me and says, ‘Aw, come on now, Bill.’ He sticks out his hand and he says, ‘Shake. We don’t want to fight, do we?’ I was amazed.”

Of all the films Peet worked on, he cited 101 Dalmatians as his favorite. To this day, he is considered by many to be Disney’s greatest story artist. When asked years later if there were any other Disney storymen as good as he, he quickly responded with, “Nobody!”

excerpts and research from Paper Dreams: The Art & Artists of Disney Storyboards by John Canemaker, Bill Peet: An Autobiography by Bill Peet, and an interview with Bill Peet conducted by John Province for Hogan’s Alley

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CRICKET IN DANGER

“Robot Story” del artista: Vaskange.

so I'm hoping that your issue isn't just figuring out the difference between 1-point, 2-point, and 3-point perspective and how it works, because there are tons and tons of resources available for that, and I'm guessing what people tend to get tripped up on is what you're supposed to be doing with your grid.

I'm definitely far from being an expert on understanding perspective, but I'll share some of the things that helped ME finally Get It.

Things like eye level and different camera angles can be a GREAT tool to use when doing a comic or storyboard between multiple characters of different heights!! I actually drew an example of this exact thing for a friend about a month ago (I used adventure time characters bc they're easy to draw and have a good height variety):

You can use camera angles like this to add variety to your shots, and even use it to help convey something emotional (using a down-shot on a character to show that they FEEL small, use an up-shot on a character to make them look more intimidating, etc etc)

Garden

painted on Procreate [2021.04] have a great day!

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