2D Cel Animation Tools and Production Process

Chapter 4
1 CEL ANIMATION
Management Science University (MSU)
TMM0304 Computer Animation I: 2D Animation
Chapter 4: Cel Animation
Learning Objectives
2
In this chapter students will be able to:
Use the tool, equipment and software to produce a 2D animation story by following the production process. Draw and animate 2D character for a story given by following few animation principles techniques. Follow the steps in the digital production process and produce a 2D animation.
Learning Outcomes
3
By the of this course, students will be able to: Identify the tool used for drawing an animation by given the diagram without any mistakes. Identify the purpose of using each of the software by given the images. Demonstrate the right ways for doing a line test of character given using the pencil test technique. Draw a movement of a character by using two or more principles animation in the given timeframe.
Topics
4
Basic equipment Production cycle Dope sheet Backgrounds Tracking shots Drawing characters Sound Lip synch Adapting to digital
Pencil Test
Digital Techniques Vector images Vector animation
Tools and Equipment

5
Tools and equipment shown are the common tools used for drawing
animation on paper where we will move the drawing to be coloured on cell. Other tools include marker pen, ruler and crayon.
5 1 6
7 2 3 8 4
1. Fiber-tipped pen suitable to be used on cell. It cant be erased and spirit based. 2. Watercolour to be used for background drawing on the paper. 3. Drawing brush 4. Colour pencil 5. Peg bar The relationship between registration peg and peg bar with punched peg hole on a suitable drawing block. 6. Pencil For drawing animation, it is better for us to buy a hard pencil leads, which are changeable. 7. Eraser 8. Mechanical Pencil.
Tools and Equipment

6
First stage of animation is usually done on papers. The paper must neither too thick nor too thin. We can buy suitable paper from animation product supplier, from 50 sheets per pack up to a box, which contains 1000 sheets. A4 paper can be replaced, but only for 9 inches camera coverage and can be adjusted in the middle of camera coverage. Two kinds of papers for drawing are 12 inches and 15 inches field. This paper is strong, thin and traceable when it is placed on the lightbox.
Tools and Equipment

7
Lightbox which can be adjusted, is more comfortable for the animator to draw.
On some light boxes, the central area is a disk which can be turned to position the drawing so it is reached easily. This is particularly useful for tracing and coloring.
Tools and Equipment

8
Registration Since we are drawing for camera, the drawing must be in the same shape and ratio with the frame, although the size is not the same. The ratio known as Academy Ratio is 1:1.376 which gives normal average, Angles, which are cut off at the academy field depend on the age 12inches * 8.72 inches, in size. For television, there are multi formats. Registration is to ensure that drawing of movement match one another.
This is normal field key or gratitude.
Tools and Equipment

9
Registration
Registration for 12 inches field Registration for 15 inches field
Dope Sheet
10
A dope sheet is a traditional animation tool that allows
an animator to organize his thinking and give instructions to the cameraman on how the animation is to be shot. Action
The column on the far left is used by the animator to jot down notes on the path of the action and their thoughts about how the action should be visualized . They can also make a thumbnail sketches. The next column is used to write down any dialog that may be happening in the scene . The sound is split up into its phonetic components and marked down in the frame that it appears in the film.
Dialogue
Dope Sheet
11
an animator to organize his thinking and give instructions to the cameraman on how the animation is to be shot. Cel Layer
The central section is split up into six smaller columns, each one representing one level of animation. Animation should never exceed five levels of acetate, any more and it will be too thick to see through . The numbers of the drawings are marked down in the order they are to be shot in while the sixth column is for the background . The animator or artist writes the code number of the individual cel in these columns, so the camera operators knows what to shoot and how many frames to shoot for.
Dope Sheet
12
an animator to organize his thinking and give instructions to the cameraman on how the animation is to be shot. Camera instructions
The final column is for camera instructions, giving information for panning, trucking and field size (2M). Finally, at the top of the dope sheet, the animator writes in the sequence number, page number, scene number and scene name pertinent to the film (2M).
Others
Background
13
The background is the element which is most like a
conventional picture. With early work such as that of Winsor McCay or Messmers Felix the Cat, this problem was minor, as both figure and background were simplified black and white drawing, but with Disney and the introduction of colour, a potential conflict became evident between the flat colouring on cel of the figure and the rich textures of he moody backgrounds.
Background
14
Creating a background From a storyboard, the scenes are prepared. The background and animation are then separated. That preparation is to make sure that when the cels and the background come together for the camera there will be no problem.
Background
15
Styling The degree of background detail prescribed in the layout can vary a lot. Apart from the essentials the background artist may be allowed a relatively free hand, though the design must conform to an overall concept which has been laid down from the beginning of production. Early on, director and designer if they are not the same person will have agreed a set of concept designs for all the principal scenes and locations, together with rules about treatment of details and the use of textures or shading.
Background
16
Styling
Also, were there is any degree of realism, the backgrounds must follow from one to another with a degree of continuity. To produce an ordinary conventional painted background in either gouache or watercolour the procedure is this. The artist takes the pegged layout and if necessary completes the details of the drawing, taking care to observe the math lines. This drawing is then transferred to a piece of punched background paper of the right size, and the layout is transferred precisely to it, either with carbon paper or by tracing from the layout over a light box.
Background
17
Styling With watercolour it may be necessary to stretch the paper on a drawing board to prevent it from buckling. Of paper is stretched the peg registration and the match lines must be rechecked after the background is finished to make sure that they still coincide.
Background
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Perspective illusion There is a refinement of panning background work where an illusion of perspective depth is created by making the background element in two or even three levels which move at different speeds. Those elements appearing nearest the camera will move at the greatest speed. Those in the middle distance will move slower, probably at a speed which relates to any figure animation. While the far distance will move very slowly or not at all.
Background
19
Perspective illusion Such arrangements mean all three bars on the rostrum table must be used, and the pegs have to be removed form one of them. If you do contemplate a scene with action of this kind, it is a good idea to plan for cutaways during the action so that the panning scenes are reasonably short. Otherwise, the length of the cels and other art work can get out of hand.
Background
20
Multiplane Setup Perspective illusion of this kind is normally limited to two levels in drawn animation. Illustration of depth can be created by using a multiplane setup on the rostrum. The illusion is reinforced here because some of the planes are necessarily out of focus, whereas with the drawings all on the same plane, there is only a single focal plane.
Background
21
Reference material All background artists are given, or make for themselves grounds plans or even three dimensional models of the areas for which they are drawing backgrounds. In this way, particularly with long narrative films, they can make sure there are no discrepancies in the size or placing of objects in a room or features in a landscape. Like theatre designers, the background artist is required to provide settings with buildings or plants or other features which should have a convincing accuracy of appearance.
Background
22
Reference material
A
library of reference books on natural history, architecture and social history is useful. A scrap collection drawn from photographs, illustrations from magazines and postcards can be an added asset.
Background
23
Different Treatment
These examples, show how the same scene can be
differently rendered, perhaps to suit different ways of colouring the cel, but all provide the information for the action.
Characterization
24
The concept of the character you design relates very closely to what it is going to do and to the technique used for drawing it. Your character is going to have to do various things; look and react; walk; use its hands; speak. These then are the essential elements. A perfectly satisfactory character could be animated using these aspects alone, but since characters relate to a story, and it is more comprehensible to an audience these features are normally embodied in a complete figure.
24 TMM0304 Computer Animation I: 2D Animation
Characterization
25
The proportions of the figure may vary but it is important to remember that actions and expression are easier to covey with some exaggerations. The standard head to body proportion for cartoon characters is often given as 21/2:1 with an accompanying enlargement of hand and foot size. This is obviously only a guide individual preference will determine what each artist does. These proportions do, however suit the shape of the frame. If a long thin character is shown at full height, the feature and details will have to be drawn smaller.
Characterization
26
GENDER IN CARTOON CHARACTERS Generally, animation is monopolized by male characters and female characters hold a small portion of it. Female characters have the tendency to represent the same group characteristic (sexy, fierce, granny) compared to individual characters.
Characterization
27
CHARACTERS We can also draw facial expressions of any character on model sheet.
Angry Embarrassed
Bored
Confused
Disappointed Ecstatic
Happy Surprised
Feared
Jealous
Falling In love
Sad
Various facial expressions

Characterization
28
STEPS 1. Plan the film with idea. 2. Sketch character on paper. 3. Develop the character.
Characterization
29
4. Draw the storyboard.
5. Director of animator draw in a fine line.

6. Demonstrate certain actions.
Characterization
30
7. Form the hand and it features 8. Movements of eyes and eyelids.
Characterization
31
The relationship between line and other character or when the camera told the audience perspective, which we see on the character and its mood or certain expression. 10. Straight line of the subject head to the subject delivers a hidden interest or more information than drawn emotion. 11. Analyse angle between our character and subject or focus point and make sure we have illustrated this relationship in our pose. 12. Try to understand the focus point, eye direction and emotion to be delivered.
9.
Characterization
32
Characterization
33
13. Mouth shape. 14. Colour model is prepared separately.
Movement
34
Movement
means alive hence we have the word animation. But it does not mean taking a piece of picture and move it. Action, which we require must be started with drawing plan to create the action. Examples of drawing plan;

Animate walking movement. A drawing for each two frames. 12 frames per second. For on screen movement 5 inches in 2 second or 1/10 inches per frame. To delay the movement, increase or decrease the movement distance for each frame.
Movement
35
Examples of movement:
Illustration shows a man who is dancing. See how animator developed movement in every drawing to soften the movement
Drawing by animator, Iwerk shows how elastic Mickey Mouse can be in Steamboat Willie (1928).
Movement
36
DEVELOPING CHARACTEROVEMENT Actually, we can only build cartoon character with the characteristics, which are the opposite of costume characteristics. Character has its own capacity to move as minimum or maximum. Other attitude and forces of (evil, good, clever, stupid) can be a prove of what the character can do. We know that what the character does has something to do with its capability.
Movement
37
CONTROLLING MOVEMENT Movements require control to both changes on the form and the position of the drawing, which consist the action, and time for the action to be executed. We can see clearly the changes on the form and position of the character of both examples.
Movement
38
MOVING THE OBJECT To move an object, there are several rates of movements and changes on the frame, which are the way for us to create actions that show emotions. For example, to move cars:
1
Take a simple example of moving a car 5 inches through the screen from A to B. If the car took 2 seconds to move constantly along the distance, it will move at 1/10 inch a frame for 50 frames. If the car move fast or slow on the same duration and distance, the movement per frame will either increase or decrease.
2 3
Movement
39
INCREASING OR DECREASING THE SPEED Increasing or decreasing the speed is to give momentum on the action. Strong movement is given the momentum with room between the drawings. We can see the difference when comparing the two actions of kicking a ball.
Since the footstep is faster when kicking a ball, so there is no drawing for kicking position. The foot moved the ball straight and it go direct to the X position
On the other hand, when the foot is swaying synchronize and only moved the ball. Y shows the next frame after swaying.
Movement
40
WALKING The basic action with variation. In reality, we can only imagine that man can walk in animation. Body upbringing, hand and head must be taken into consideration with foot and footstep. Generally, there is low and high position in a series of motion. A longer focus on a motion group where the movement of high and low can be seen clearly.
The basic walking step with four in-between drawing. It gives 10 steps of frame, or a little faster from two steps in a second.
Movement
41
WALKING We can draw a walking action by using perspective way. First, draw a perspective line; later draw a character on the line according to the line size. Walking action used this technique to draw an action, which comes from distance and heading towards camera.
From this example, we can see the highest dot appeared when the feet touched the basic ground that pushed upward while the feet is moving forward.
Example of perspective drawing for a walking character. TMM0304 Computer Animation I: 2D Animation
Movement
LINE ACTION Start your drawing animation with action line to get a perfect movement. We must identify where the character is moving. If it doesnt move, where will it be? The character that you drawn will look real and a better pose. Line action is in the shape of narrow and match with the movement to be drawn.
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Examples of line action.
Sound
43
What is sound? Sound is when the ear translates the
vibration in the air. Three elements of soundtrack; Sound effect Music Voice All the three elements have a power to influence imagination, it also complete half of the film work. If we compose music for certain animation, it is important for us to provide it at the storyboard stage.
Sound Effects
44
Almost the first principle of sound effects
particularly for animation is that there is no connection between the object in the picture ad the origin of the sound. Horses do not make the well known clip clop noise; half a coconut shell does. Standard libraries of sound effects used as they come are more or less useless for animation because the action of animation is too compact. A real car takes a age to go into the distance compared with the animation of the same action.
Sound Effects
45
A noise from a library disk or tape may be good
starting point for the sound you want, but it will need speeding up or slowing down, distorting or playing backward before it sounds right and is the right length. Time spent in a recording studio making your own noses can be expenses, but the cost has to be weighed against the tedium of reviewing hours of library sound effects of which most will be totally unsuitable and a few only second best
Sound Effects
46
A solution is to make our own effects in a room of
your own, provided it can be reasonably free of ambient noise. Using a DAT recorder, you can put together a collection of the sounds you want and if they need further treatment, you can have that done when you transfer them to the magnetic film or videotape you will prepare and edit your sown on.
Sound Effects
47
Two ways of getting sound effect;
Buy from a company that gives a professional sound effect. Or you can record the sound on your own. Recording sound effect on your own is better since it saves time and cost. Besides, you can decide the sound quality to be produced whether it is suitable or needs to be changed according to the situation of your animation story.
Sound Effects
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EXAMPLE: The movement of ocean wave by moving the cloth. Swanee whisel to drop. Crumple paper for fire. Wild animal with the sound of disturbed pet. Echo from the base of dustbin. Coconut shelf or covered box for the sound of vacuum cleaner. Knock the pencil for the sound of high heel shoes. Shredding cloth for the sound of zip. Glass for the bell ringing. Running water for a flow or splash of water.
Sound Effects
49
Example of Easy Sound Effect
Lip Synch
50
Principles of Lip Synch:
Principle 1: Letters are not sounds. Sounds are not letters. There are NO letters in lipsync animation.
They serve similar roles, but in wildly divergent forms. LETTERS are representative symbols on a page (with a corresponding, arbitrarily assigned sound) that, when strung together to form words, communicate a thought. But letters aren't made for speech. They're for writing. And we're not animating writing, but speech. SOUNDS are utterances (with a corresponding arbitrarily assigned letter value used to transcribe the sound) that, when interpreted as understood words, communicate a thought. Sounds are for speech, but serve no use in writing. When you animate speech, don't animate letters. There are no letters in speech, only sounds, and the shape our faces take to make those sounds.

Lip Synch
51
Principles of Lip Synch: Principle 2: Mouth Shapes for Sounds Must Be Animated In Context
The preceding sound shape affects the current sound shape. Likewise, the following sound shape is anticipated in the current sound shape. So the shapes shown must all be in context with the shape/sound the precede it and follows it. When you get stuck on the idea of making all the "t" sounds in a soundtrack the same shape, regardless of the prior or following sound/shape context in the dialogue, then you're setting yourself up for a very poppy mouth when animated.

Lip Synch
52
Principles of Lip Synch:
Principle 3: Interpret the Lipsync Animation Like an Impressionist

If in your animation you can just get the major impressions across you can let the little stuff slide if you want. Just like the impressionist would hint at a cluster of leaves with a single daub of his brush, you too should let words and sound shapes slur into the next word or sound shape. Mix the target facial weights together to show a flow. Get away from showing leaves and start showing contrast and form. Talking is more of a flowing thought than an alliterative function of letters.
Lip Synch
53
Principles of Lip Synch: Principle 4: Get the Opens and Closes Done Right and Build On Those
Even if all you ever do is properly hit the opens and closes and wide shapes of the mouth at the right time you are already more than 75% of the way to great lip sync. You can get a lot out of very little lip sync animation.
Summary
54
Tools and equipment are needed for drawing animation on
paper and to coloured on cell. There is a production cycle that should be follow which apart is different from the digital production. A dope sheet is jargon for the camera instruction or exposure sheet (also known as a cue sheet or x-sheet) where it is important in the cycle that indicate the action or movement of the character, the lip synch and the camera move (such as tracking and etc). When doing digital production, its involve many software especially for colouring and animate the character.

2D Cel Animation Tools and Production Process

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Chapter 4

Management Science University (MSU)

TMM0304 Computer Animation I: 2D Animation

Chapter 4: Cel Animation

In this chapter students will be able to:

Management Science University (MSU)

TMM0304 Computer Animation I: 2D Animation

Chapter 4: Cel Animation

Management Science University (MSU)

TMM0304 Computer Animation I: 2D Animation

Chapter 4: Cel Animation

Management Science University (MSU)

TMM0304 Computer Animation I: 2D Animation

Chapter 4: Cel Animation

Tools and Equipment

TMM0304 Computer Animation I: 2D Animation

Chapter 4: Cel Animation

Tools and Equipment

Management Science University (MSU)

TMM0304 Computer Animation I: 2D Animation

Chapter 4: Cel Animation

Tools and Equipment

Management Science University (MSU)

TMM0304 Computer Animation I: 2D Animation

Chapter 4: Cel Animation

Tools and Equipment

This is normal field key or gratitude.

Management Science University (MSU)

TMM0304 Computer Animation I: 2D Animation

Chapter 4: Cel Animation

Tools and Equipment

Registration for 12 inches field Registration for 15 inches field

Management Science University (MSU)

TMM0304 Computer Animation I: 2D Animation

Chapter 4: Cel Animation

A dope sheet is a traditional animation tool that allows

Management Science University (MSU)

TMM0304 Computer Animation I: 2D Animation

Chapter 4: Cel Animation

A dope sheet is a traditional animation tool that allows

Management Science University (MSU)

Chapter 4: Cel Animation

A dope sheet is a traditional animation tool that allows

Management Science University (MSU)

TMM0304 Computer Animation I: 2D Animation

Chapter 4: Cel Animation

The background is the element which is most like a

Management Science University (MSU)

TMM0304 Computer Animation I: 2D Animation

Chapter 4: Cel Animation

Management Science University (MSU)

TMM0304 Computer Animation I: 2D Animation

Chapter 4: Cel Animation

Chapter 4: Cel Animation

Management Science University (MSU)

TMM0304 Computer Animation I: 2D Animation

Chapter 4: Cel Animation

Management Science University (MSU)

TMM0304 Computer Animation I: 2D Animation

Chapter 4: Cel Animation

Management Science University (MSU)

TMM0304 Computer Animation I: 2D Animation