INTRODUCTIONClean-up is a part of the workflow in the productionof hand-drawnanimation.In traditionalanimation, the first drawings are called “roughs” or”rough animation” because they are often done roughly.
If theanimation is successfully, pencil-tested and approved by the director, cleanversions of the drawings have to be done. Inlarger studios, thistask 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 thefinal line and finished look of the shot, such an artist is known as the clean-upartist.Clean-up animation is the process of creating the finaldrawings you see in the finished film.
It does not necessarily mean a”clean” fine line. The artist, usually a team of artists, uses keydrawings and animation charts from the animator, making it appear as though oneartist has created the whole film. The clean-up artists will follow theintentions of the animators and stay true to performance and movement.
The Queenfrom Princeof Egypt Rough Sketch The Queenfrom Princeof Egypt Final Line Drawing Animation, Brian Clift, clean-up animators, The Prince of EgyptA clean up artist requires to know how todraw, illustrate and finalize designs. A clean up artist must be able to workon image editing software such as Adobe Photoshop, Flash, Animate CC, Toonboom,Gimp,etc. https://en.wikipedia.
org/wiki/Clean-upHelpfulHints for Clean-UpConstruction – Constructionis an important step in the clean-up process. A clean up artist must draw the character’s basicconstruction. This will help to familiarize you with the character’sproportions. (Done in Red or Blue or whatever color the Xerox or digitalscanning process can ignore) Even though it’s a cartoon, think of it as havinga skeleton and muscle – not just an assembling of lines! When starting a newcharacter, read the available model sheets – noting any “formulas”(e.g.: Mickey is 3 heads high). Draw through shapes – objects.
Watch the endsof your lines, they determine the entire shape. (Draw through both connectingshapes and solid objects, feel the form as you draw).LINE”ThinkShape not line!” Thisdoesn’t mean that line quality is unimportant! It means that when laying downyour line you should think of yourself as a sculptor, sculpting out your shapeand defining it with a clean, simple , consistent line. Using a nice, smoothline will help to avoid “crawling” or “popping” against thesurrounding drawings. Leadsof pencils A.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. Equipmentsused 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 attachingthem to a wall •a graphite pencil to draw the final perfect line, preferably a graphitemechanical pencil 0.3mm with a B-grade lead •red pencil • blue pencil • kneaded eraser DRAWINGMETHOD Thescript continuityAcontinuity 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 alsoincludes other features, such as effects, actors’ accents, emotions, and othersuch details.WhyIs It Necessary?Itis necessary to have a continuity script so that CLEANUP ARTIST does not missimportant dialogue or effects. They also use continuity scripts in their reviewof captions.SCRIPTSUPERVISORA scriptsupervisor (also called continuity supervisor) is a member of a film crew and responsible for keeping track of the filmproduction unit’s daily progress.
A scriptsupervisor oversees the continuity of the motion picture includingwardrobe, props, set dressing, hair, makeup and the actions of the actorsduring a scene. The notes recorded by the script supervisor during the shootingof a scene are used to help the editor cut the scene. In pre-production, thescript supervisor creates a number of reports based on the script, including aone-line continuity synopsis providing basic information on each scene such asthe 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 mostadvantageous shot order and to ensure that all departments, includingproduction, wardrobe, set dressing, hair and makeup, are in sync in regard tothe progression of time within the story. Human Anatomy Fundamentals: Drawing Characters1. Know Your Character’s FeaturesDo you know what characterizes your character’s features?Or are you drawing generic eyes, noses, and face shapes? This first partdoesn’t require drawing skills, only being able to really see them in yourmind’s eye. It’s perfectly okay, in the beginning, to base your characters onpeople 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 orweak? Most probably you cannot, because you have a general picture of them inmind, but you cannot think of the details when you try to picturize them. This is easy to change, as you just need to start payingattention to individual features by themselves. Next time you see thatparticular friend, look closely, and write down what you see. By describing theidentifying features that you see to yourself, you become aware of their uniqueness.FaceThe face is naturally where we look for the most of the detailsto recognize a person. The eyes, the nose, the lips etc. are distinctive foreach person.
HandsRemember male and female hands don’t look alike; theremight be smooth or rough hands, long fingers, short fingers, fine hands, coarsehands and so on… PostureHave you ever found yourself recognizing someone in thedistance by how they stand, or how they walk? Posture is another big clue foridentification. We’re constantly told we should stand straight, so we may tendto always draw people who stand straight, but in reality there are many degreesof posture.
We each have our special posture, like the characters below, whoeach stand differently. Dressing styleNote that this is about a person’s style, notabout a costume. You’re not designing one outfit that this personwill wear all the time, unless they’re in a uniformed profession. While in reallife few people wear the same thing day in, day out, most people do have adistinct dress style, and that is something that very much matters in acharacter. This dress style not only creates consistency, but also conveys muchof the character’s personality and/or situation. 2. Know How to Draw Those Features From Various AnglesOnce you’re fully aware of what is distinctive in yourcharacter, it’s time to make sure you can draw these traits.
ExerciseUse a willing friend again, or if not possible, gatherpictures 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. Thisneedn’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 variousangles.
Some face contours: In this way you build up an understanding of thesefeatures as 3D shapes. Feel free to reduce them to simpler geometric shapes ifyou have trouble at first. And don’t forget to compare different features undersimilar angles. For instance, how do different eyebrows look with differentexpressions?