INTRODUCTION clean-up artists will follow the intentions of the


Clean-up is a part of the workflow in the production
of hand-drawn

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In traditional
animation, the first drawings are called “roughs” or
“rough animation” because they are often done roughly. If the
animation is successfully, pencil-tested and approved by the director, clean
versions of the drawings have to be done. In
larger studios, this
task is given to the animator’s assistant, or, in a more specialized setting,
to a clean-up artist. The artist doing the clean-ups is responsible for the
final line and finished look of the shot, such an artist is known as the clean-up

Clean-up animation is the process of creating the final
drawings you see in the finished film. It does not necessarily mean a
“clean” fine line. The artist, usually a team of artists, uses key
drawings and animation charts from the animator, making it appear as though one
artist has created the whole film. The clean-up artists will follow the
intentions of the animators and stay true to performance and movement.


The Queen
from Prince
of Egypt Rough Sketch


The Queen
from Prince
of Egypt Final Line Drawing

 Animation, Brian Clift, clean-up animators, The Prince of Egypt

A clean up artist requires to know how to
draw, illustrate and finalize designs. A clean up artist must be able to work
on image editing software such as Adobe Photoshop, Flash, Animate CC, Toonboom,

Hints for Clean-Up

Construction – Construction
is an important step in the clean-up process. A clean up artist must draw the character’s basic
construction. This will help to familiarize you with the character’s
proportions. (Done in Red or Blue or whatever color the Xerox or digital
scanning process can ignore) Even though it’s a cartoon, think of it as having
a skeleton and muscle – not just an assembling of lines! When starting a new
character, read the available model sheets – noting any “formulas”
(e.g.: Mickey is 3 heads high). Draw through shapes – objects. Watch the ends
of your lines, they determine the entire shape. (Draw through both connecting
shapes and solid objects, feel the form as you draw).


Shape not line!”

doesn’t mean that line quality is unimportant! It means that when laying down
your line you should think of yourself as a sculptor, sculpting out your shape
and defining it with a clean, simple , consistent line. Using a nice, smooth
line will help to avoid “crawling” or “popping” against the
surrounding drawings.

of pencils

.03 is preferable. Start with an HB lead, if your line is too light, try a B.
If it is to heavy or “hairy”, try and H.

used in Clean up

an animation lightbox desk with a disk and a peg bar

an animation punch

12 field punched paper – approximately 200 sheets

a pin board to pin model sheets to, or sticky tape or blue tack for attaching
them to a wall

a graphite pencil to draw the final perfect line, preferably a graphite
mechanical pencil 0.3mm with a B-grade lead


red pencil

• blue pencil

• kneaded eraser







script continuity

continuity script is a media script giving the complete action, scenes, etc.,
in detail and in the order in which they are shown on the screen. It also
includes other features, such as effects, actors’ accents, emotions, and other
such details.

Is It Necessary?

is necessary to have a continuity script so that CLEANUP ARTIST does not miss
important dialogue or effects. They also use continuity scripts in their review
of captions.


A script
supervisor (also called continuity supervisor) is a member of a film crew and responsible for keeping track of the film
production unit’s daily progress.

A script
supervisor oversees the continuity of the motion picture including
wardrobe, props, set dressing, hair, makeup and the actions of the actors
during a scene. The notes recorded by the script supervisor during the shooting
of a scene are used to help the editor cut the scene. In pre-production, the
script supervisor creates a number of reports based on the script, including a
one-line continuity synopsis providing basic information on each scene such as
the time of day, day in story order, and a one-line synopsis of the scene.
These reports are used by various departments in order to determine the most
advantageous shot order and to ensure that all departments, including
production, wardrobe, set dressing, hair and makeup, are in sync in regard to
the progression of time within the story.



Human Anatomy Fundamentals: Drawing Characters

1. Know Your Character’s Features

Do you know what characterizes your character’s features?
Or are you drawing generic eyes, noses, and face shapes? This first part
doesn’t require drawing skills, only being able to really see them in your
mind’s eye. It’s perfectly okay, in the beginning, to base your characters on
people you know. Think of a close friend, someone you can visualize clearly.
Can you describe the shape of their nose? Eyes? Mouth? Is their chin strong or
weak? Most probably you cannot, because you have a general picture of them in
mind, but you cannot think of the details when you try to picturize them. 

This is easy to change, as you just need to start paying
attention to individual features by themselves. Next time you see that
particular friend, look closely, and write down what you see. By describing the
identifying features that you see to yourself, you become aware of their uniqueness.


The face is naturally where we look for the most of the details
to recognize a person. The eyes, the nose, the lips etc. are distinctive for
each person.




Remember male and female hands don’t look alike; there
might be smooth or rough hands, long fingers, short fingers, fine hands, coarse
hands and so on…


Have you ever found yourself recognizing someone in the
distance by how they stand, or how they walk? Posture is another big clue for
identification. We’re constantly told we should stand straight, so we may tend
to always draw people who stand straight, but in reality there are many degrees
of posture. We each have our special posture, like the characters below, who
each stand differently.

Dressing style

Note that this is about a person’s style, not
about a costume. You’re not designing one outfit that this person
will wear all the time, unless they’re in a uniformed profession. While in real
life few people wear the same thing day in, day out, most people do have a
distinct dress style, and that is something that very much matters in a
character. This dress style not only creates consistency, but also conveys much
of the character’s personality and/or situation. 

2. Know How to Draw Those Features From Various Angles

Once you’re fully aware of what is distinctive in your
character, it’s time to make sure you can draw these traits.


Use a willing friend again, or if not possible, gather
pictures of a celebrity, as they’ll be easy to find from many different angles.
Focus on just one feature at a time, sketching it from different directions. This
needn’t be a burden, as you’ll notice that some angles are a bit repetitive,
and that you can get a good grip on a feature if you have it from front, side,
three quarters, above and below. Here are some examples of a nose from various

Some face contours:

In this way you build up an understanding of these
features as 3D shapes. Feel free to reduce them to simpler geometric shapes if
you have trouble at first. And don’t forget to compare different features under
similar angles. For instance, how do different eyebrows look with different





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