nome alaska

30 09 2009

following are a few xeroxed storyboard drawings DAAN JIPPES did for BALTO in 1993. daan used a black prismacolor pencil and the size of each drawing is about A5. they are not in order and not complete. his boards were of such high quality, all the characters absolutely on model, that they could have been used for a comic strip.





© amblimation/universal



10 responses

30 09 2009

Wow, these are great. Thanks for sharing Hans.

This semester Daan is helping me out with my internship. (probably the best mentor any animation student who wants to become a storyboard artist could wish for.)

I have been asking him about his storyboards but I so far I hadn’t seen any. The quality of these is amazing! He really is such a superior draftsman. Do you have more???

from hans –
please say hi to daan. yes I have more and will post them in a while

30 09 2009

I always love seeing storyboards, thank you for sharing these, and for this interesting blog in general!

30 09 2009

Stunningly awful and ugly film, but these boards are terrific.

2 10 2009

It’s not a great film overall, but I wouldn’t call it awful and certainly not ugly. Why do you think it is ugly ?

3 10 2009
patrick mate

I’m so glad you show those drawings,I always been a huge fan o Daan ‘s work.
Thank you Hans for sharing all these images with us .

13 10 2009
Nancy Beiman

I always thought Balto had the strongest story of all the Amblimation films. I love this, Hans, but isn’t a Prismacolor just a pencil? I wasn’t aware they made pens…

from hans –
you are right nancy, corrected the pencil already…

11 07 2011
Chris Sobieniak

I had to sell one of these storyboard panels on eBay a while back. But they were extremely well made!

24 08 2020

Hello, Hans. These storyboards are really stylish and cool. They have an atmosphere. But I’d like to ask you about them. I can see, some storyboards have some phrases written on them (characters’ words), but the phrases are hidden. I’d like to know, what characters say on these storyboards (so, to see every storyboard full). Could you clarify this point? What is written on these storyboards? What do the characters say on them?

Also, if you don’t mind, could you tell a few details about the production of Balto? Some details of the early scripts, backstory of Balto and Boris (if it ever was discussed during the production, if the ideas were about this)? If you remember, of course.

from hans –
if you are interested in the dialogue, I suggest you watch the movie – it’s available on DVD. and some of the stories behind the scenes you can get, if you search my blog for BALTO.

26 08 2020

I’ve watched and read all the stories in your blog (and that’s amazing — especially the post about the idea of Balto’s dream in Inuit style — beautiful arts). The movie itself I know many years. So I just wanted to ask you as a person who worked on the film, maybe you can tell something what was unknown before. In any way, thank you.

from hans –
well, in general, what I remember – it was one of the best teams I ever worked with. and that with all the problems we were confronted with. maybe you know, BAMBI was the only animated feature that was mostly painted in oil. they wanted to achieve that soft feel, that tyrus wong had developed in his pastel aketches. but another reason was, nearly everything had to be painted on glass for the use in the multiplane camera. our problem on BALTO was the snow! it just did not look good enough painted in gouache the traditional way. I had prepared dozens of small athmospheric sketches in my personal fast technique, in felt pen and some gouache. the BG-team was supposed to translate them into big BG’s in gouache as tests, but learned very early, that the same look could not be achieved. so, finally we decided to give it a try in oil. that was another problem, because most of the BG-artists had never painted in that technique. but they learned it by helping each other and with the best BG-supervisor – COLIN STIMPSON. in the end most of the BG’s were painted in oil. you probably saw some in other posts about the film. they were masterpieces! and created some problems later, under the camera because of the reflections. but that could be solved with special polarized lights and lenses. I have a documentary of big parts of the production in london, about 5 hours long.

27 08 2020

I’ve heard about Bambi. And I can’t even imagine the passion and determination that you and the entire team had, working on Balto. The film and the its mood worked just thanks to this visual. And its success was ’cause of good collaboration of the talented people. You managed to perfectly convey the beauty of the Alaska and the aesthetics of Nome of those times. Especially fascinating were the BG’s depicting the forest, mountains, night with falling snow, a snowstorm and the sky covered with dark-gray clouds.
It would be really informative and interesting to watch this documentary. I’ve always been interested in the process of creating the story and bringing it to life, whether it’s a movie or an animation. How all this developed. Especially, what was left behind, the details with their own interesting aspects, how they worked and what kind of role they had in the story and characters. Any early ideas (Balto’s dream in Inuit style as an example) and versions of the story, deleted scenes or any early BG’s, depicting the environment, early character designs and so on. Final film and the rejected an early versions are able to inspire, and early versions sometimes can supplement and even deepen the final version.

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