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Francis Glebas
Francis Glebas
Francis Glebas
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Francis Glebas (born April 12, 1952) is an American keynote speaker, writer, film director, storyboard artist, and teacher. He also directed in Fantasia 2000 (1999)[1] and Piglet's Big Movie (2003).[2] He worked in films such as Aladdin (1992), The Lion King (1994), Pocahontas (1995), The Hunchback of Notre Dame (1996), Hercules (1997), Dinosaur (2000), Treasure Planet (2002), The Incredibles (2004), Space Chimps (2008), Rio (2011) and Ice Age: Continental Drift (2012).

Key Information

Career

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He has taught and consulted on animation, story, storytelling and storyboarding at the New York Institute of Technology, University of California, Los Angeles, Gnomon School of Visual Effects and Walt Disney Imagineering.

Personal life

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He has given Keynote speeches at TMRE 2016, CalArts 2016, Gnomon School of Visual Effects 2017.[citation needed]

Filmography

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Publications

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  • Directing the Story: Professional Storyboarding and Storytelling Techniques for Live Action and Animation, Focal Press, 2008.
  • The Animator's Eye, Focal Press, 2012.
  • Iggy's Incredibly Easy Way to Write a Story, 2012

References

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Francis Glebas

View on Grokipedia
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Francis Glebas is an American storyboard artist, visual development artist, film director, author, and educator known for his contributions to Walt Disney Feature Animation during its Renaissance era and beyond. His work as a story artist and visual development artist includes key Disney animated features such as Aladdin (1992), The Lion King (1994), Pocahontas (1995), The Hunchback of Notre Dame (1996), Dinosaur (2000), and Treasure Planet (2002). Glebas directed the Disney animated film Piglet's Big Movie (2003), showcasing his transition from supporting creative roles to leading projects. He has also contributed storyboarding and visual development to films outside Disney, including Rio 2 (2014). As an author, he has published influential books on animation and storytelling techniques, including The Animator's Eye: Adding Life to Animation with Timing, Layout, Design, Color and Sound and related works that draw from his professional experience to guide aspiring artists. In addition to his film career, Glebas has taught animation and storytelling principles, sharing insights from decades in the industry through educational roles and keynote speaking engagements. His multifaceted contributions have made him a respected figure in animation education and professional development.

Early life and education

Early background and training

Francis Glebas pursued formal education in filmmaking and animation, earning a bachelor's degree in filmmaking with a specialization in animation from Pratt Institute in 1975. He began his professional animation career in 1975 as an inbetween artist on Tubby the Tuba and worked at the New York Institute of Technology's Computer Graphics Lab. He continued his studies at the New York Institute of Technology, where he completed a Master's of Communication Arts specializing in Instructional Design in 1982. As part of his graduate work, he developed "The Fundamentals of Classical Animation," an unpublished thesis project completed in 1980. In 1985, he undertook additional training with a workshop in Clinical Hypnosis (Eriksonian) at Syosset Hypnosis Trainers. Glebas began a Master of Business Administration program at the New York Institute of Technology but left it incomplete in 1988.

Career in animation

Entry into the industry and early roles

Francis Glebas entered the animation industry professionally after earning his bachelor's degree in filmmaking with a specialization in animation from Pratt Institute in 1975. Through a neighbor's connection, he secured his first job at the New York Institute of Technology (NYIT), where he worked on the animated feature Tubby the Tuba. He initially painted cels on the night crew but was quickly moved to the day crew due to his skill in mixing colors, and later advanced to inbetweener after passing a competitive test. While at NYIT, Glebas also took on the role of head of story for Tubby the Tuba and directed several short animated works and animatics through the institute's Computer Graphics Lab, including The Ark Roundup and The Animator's Eye. In 1980, during his master's studies in communication arts specializing in instructional design at NYIT, he completed an unpublished manuscript titled The Fundamentals of Classical Animation. His other early credits prior to his Disney tenure include inbetweening on a Tom and Jerry feature film for Warner Brothers and storyboarding on the TV pilot Byron Boulder for Sprite Animation. He also contributed to the long-in-production film The Thief and the Cobbler. Glebas later transitioned to Walt Disney Feature Animation, beginning with story and visual development work on Aladdin.

Work at Walt Disney Feature Animation

Francis Glebas contributed significantly to Walt Disney Feature Animation as a storyboard artist and visual development artist during the studio's Renaissance era and the years immediately following. He provided storyboarding and visual development for Aladdin (1992), aiding in the creation of key sequences and artistic concepts for the film. He continued as a storyboard artist on The Lion King (1994), bringing his storytelling skills to the development of narrative beats and character moments. Glebas served in a similar story capacity on Pocahontas (1995), The Hunchback of Notre Dame (1996), and Hercules (1997), contributing to the structural and visual storytelling across these features. Later in his tenure, he worked as an additional story artist on Dinosaur (2000) and as a story artist on Treasure Planet (2002), supporting the narrative construction and board revisions for these more experimental projects. For Fantasia 2000 (1999), he participated in visual development on the "Pines of Rome" segment, in addition to his segment directing role (detailed separately).

Directorial projects

Francis Glebas has directed two projects in Disney animated feature films, one as a segment director in an anthology format and one as the director of a full-length feature. His directorial debut came with the "Pomp and Circumstance" segment in Fantasia 2000 (1999), where he is credited among the film's directors for this sequence. The segment pairs animation with Edward Elgar's "Pomp and Circumstance Marches" and follows Donald Duck in a humorous interpretation of the Noah's Ark story, as he assists in gathering animals and encounters various mishaps aboard the ark. Glebas later directed the full-length animated feature Piglet's Big Movie (2003), produced by DisneyToon Studios and released by Walt Disney Pictures. The film centers on Piglet, who feels overlooked by his friends in the Hundred Acre Wood and ventures off alone, prompting Pooh, Tigger, and the others to search for him while reading from his scrapbook of memories, ultimately reinforcing themes of friendship and self-worth.

Post-Disney animation credits

After leaving Walt Disney Feature Animation, Francis Glebas continued his career in animation as a storyboard artist and story artist on feature films at other studios. He contributed as a storyboard artist on Pixar's The Incredibles (2004), marking an early post-Disney project in the industry. Glebas subsequently worked as a story artist on Space Chimps (2008) with Vanguard Animation. He later collaborated with Blue Sky Studios as a story artist on Rio (2011) and Ice Age: Continental Drift (2012). These credits reflect his transition from in-house Disney roles—including directing—to freelance story and storyboard contributions across Pixar, independent animation companies, and major Fox-affiliated studios.

Authorship

Books on storytelling and animation techniques

Francis Glebas has authored several books that provide practical guidance on storytelling, storyboarding, and animation techniques, drawing from his professional experience in the industry. His first major publication is Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation, released by Focal Press in 2008. This work teaches a structural approach to visual storytelling and storyboarding, applicable across animation, comics, and live-action formats, with an emphasis on clearly and dramatically directing the viewer's attention and emotions to create meaningful experiences. Key topics include conveying meaning through images, guiding the viewer's eye, spotting potential story problems early to avoid costly revisions, and employing creative solutions to achieve emotionally satisfying outcomes for audiences. The book illustrates its concepts using the Scheherazade narrative as a continuous case study example. In 2011, Glebas published The Animator's Eye: Adding Life to Animation with Timing, Layout, Design, Color and Sound through Focal Press. This guide focuses on enhancing animation by channeling personal vision and imagination, demonstrating techniques for building unique worlds and compelling characters while explaining distinctions between real-world physics and cartoon physics. It breaks down animated scenes into core elements such as timing, layout, shape, volume, color, light, shadow, and sound to help animators create more dynamic and believable visual storytelling. In 2012, Glebas self-published Iggy's Incredibly Easy Way to Write a Story: The visual way to see your story structure. The book introduces a revolutionary visual method for constructing story structure, allowing creators to "see" the logical flow and emotional dynamics of a narrative without relying on traditional writing skills. It features a short illustrated tale of Iggy the impulsive pig and his friend Scared Bunny attempting Hollywood success, followed by a visual breakdown of its structure using diagrams—such as a "dragon spine" representing peaks and valleys of story beats—to teach key elements like exposition, inciting incidents, and emotional turns. A template enables readers to apply the same visual approach to develop their own stories, particularly benefiting visual thinkers and aspiring story artists.

Teaching and professional development

Academic teaching and workshops

Francis Glebas has taught storyboarding, visual storytelling, and related creative disciplines at several institutions and professional programs. He has taught storyboarding at UCLA Extension and the Gnomon School of Visual Effects. At the Gnomon School of Visual Effects, where he has served as an instructor since the early 2000s, he focuses on areas including visual storytelling, story structure, and directing. Glebas has also taught at the New York Institute of Technology, where he delivered an introductory class in computer graphics around 1980 and developed an animation curriculum as part of his master's degree in Communication Arts and Instructional Design. His teaching experience includes roles at Walt Disney Imagineering and the Disney Institute in Florida, covering storyboarding and creativity. Additionally, he has led specialized programs and workshops, such as serving as an instructor in the 2002 Korean Culture and Contents Agency Summer Program in collaboration with UCLA, which addressed "The Hollywood Approach: Creating, Branding and Marketing in a Multi-Platformed Global Entertainment Marketplace." While at Walt Disney Feature Animation, Glebas established the Department of Storytelling Magic and Narrative Research, through which he organized studio-wide presentations on narrative theory, creativity, color design, composition, time, editing, and other storytelling subjects. He also served as a storyboard mentor to numerous story trainees during this period.

Keynote speaking engagements

Francis Glebas has delivered keynote speeches at industry and educational events, focusing on his expertise in storytelling, story structure, creativity, and the application of Hollywood techniques to animation, business presentations, and visual media. In 2016, he served as keynote speaker at TMRE (The Market Research Event), where he presented on the art of storytelling and led a double session workshop titled "Directing the Story." He also gave keynotes at CalArts in 2016 and at the Gnomon School of Visual Effects in 2017, emphasizing narrative principles and visual development drawn from his Disney and broader animation career. These engagements often overlap with his teaching topics in professional development.

Personal life

Family and personal details

Francis Glebas is married to Denise Kress, a producer in television animation known for her credits on series such as DuckTales, Amphibia, and Hamster & Gretel. The couple wed on November 3, 2019. Glebas has a son who has pursued creative interests in filmmaking, including winning a first-place award from a cable channel for a student film and contributing to his father's projects by editing footage for The Animator's Eye as well as providing a Rube Goldberg machine project featured in Directing the Story.
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