Tigger has bounced onto the fallen log and thrown his head back to call out a long "Hellooooo" across the Hundred Acre Wood, looking for the friends who, in the finished film, are crouched inside that very log trying to lose him in the mist. This storyboard drawing freezes the gag at its setup: Tigger up top, oblivious and delighted, while Piglet watches from the grass at lower left, the only one in shot who can see what is coming.

The sequence it belongs to is the heart of Winnie the Pooh and Tigger Too. Rabbit, fed up with all that bouncing, has hatched the plan to take Tigger deep into the foggy wood and quietly leave him there, so the famously irrepressible spring goes out of him. It is the gentlest sort of cruelty, and of course it backfires, because Tigger is the last creature in the wood who could ever stay lost or stay sombre. Catching him here, mid-shout on the log, is catching the precise comic engine of the whole short.

Worth noting is how much staging is already locked in this single sheet. The bare tree at left, the rolling hills behind, the log set as the centrepiece with Roo tucked low to anchor the eye: the framing of the scene was worked out at this drawing stage, before a frame of it reached ink and paint. The pen line is fast and economical, the marks of a storyboard artist thinking in shots rather than finishing a picture.

Tigger's performance in this film has pedigree. Milt Kahl was the credited directing animator for the character on Winnie the Pooh and Tigger Too, working alongside Frank Thomas, Ollie Johnston and Eric Larson, and it was Kahl who was entrusted with Tigger's boisterous, bounding final appearance in the Disney shorts. This storyboard sits at the origin of that performance, the drawn idea from which the animation grew.

The sheet shows tape marks at each corner and small pin holes where it was once posted to a board, honest evidence of a working drawing that did its job in the story room. It is presented framed, floated on a black inner mount.