A caricature of Larry Huber by Dave Feiss, the creator/director of Cow & Chicken.

In the 25 plus years I've been a working as a professional in the business, I must have reviewed hundreds of portfolios. What I'm looking for varies according to the job I'm filling. If I'm hiring a storyboard artist, I don't need to see a lot of color work. If I need a background painter, character sketches won't get you the job. A little careful editing of your portfolio to fit the job you're being interviewed for, might save us both a lot of bother.

The television animation industry employs hundreds of artists, many of them filling specific classifications. You don't have to be good at drawing everything if you're just real good at drawing the something that fits the classification. So what are the typical jobs?

Storyboard:
This is a shot by shot illustration of the animated film. It is used to communicate as much information as possible to all the artists, overseas and domestic, that are working on the film. It includes background sketches, incidental character and prop designs, animation poses and all the necessary camera description. This is where the story is told and the basic film designed. It is a "Bible" for the animated film.

Animal sketches are always a good demonstration of expressive drawing. This primate is from the sketchbook of Carlos Ramos, a Nicktoons artist currently working on designing animated shorts for Nicktoons. © Nickelodeon.

Portfolio Requirements:
A typical portfolio for this job would require examples of good drawing, some background and character design and many composition set-ups. Storyboards are generally done from scripts or detailed outlines so samples of completed or test examples of storyboards are necessary.

Background Layout Design:
Each scene of a storyboard becomes a layout, which is a detailed breakdown of the shot. Key character posing is drawn in proportion along with the necessary "props." The background elements are designed and labeled, often including mood rendering and light sources. All camera information is included, from the basic, "What field is this scene at?" to the complicated, "What's the degree of rotation on this pan?" Layout is no longer done domestically in television animation. Instead, it has been broken down into several classifications, including Background Design. No location, actual or fantasy, is exempt from animation, and the BG designer had better be able to draw it. Landscapes, seascapes, exteriors, interiors, mood pieces, day and night, outer space to the bowels of Hell is the realm of this artist.

Portfolio Requirements:
Background drawings exclusively will got you the job if the examples are good and varied in style and location. Get your perspective, details and locale right.

Character And Prop Design:
From the principal players to the innocuous member of a crowd, the character designer must draw the right type in the proper costume. Characters are not limited to humans. Animals, fantasy monsters, elves or space aliens make up the roster of the animated cartoon. A "prop" is, generally, any non-living item that finds itself kicked, carried, thrown or moved during a scene. If it doesn't move, it's painted on the background and becomes the responsibility of that artist. Sometimes a prop can become a character (i.e. The candlestick and clock in Disney's Beauty and the Beast) and therefore, more detail must be paid to its' design.

Portfolio Requirements:
Realistic and cartoon character examples should augment a solid life and animal drawing portfolio. Nudes are fine but costumed figures should be included. I'd rather see character drawings of your own design than copies of classic Disney or Warner characters. Prop drawings of cars, boats, aircraft and tanks are necessary along with mundane items like table settings, furniture and radios to secure a spot as a prop artist.