![]() ![]() ![]() The traditional animation process was quite time consuming and even expensive, compared to doing it digitally. From about 1983 or 1984 to the present, digital coloring has came into existence, which is quite helpful as well as crucial. That would take a long time to do so, unless you want to go about how cels used to be colored prior to computers in as early as the mid 1980s. I think Inkscape is good for coloring, even if it’s a little more laborious, but much better than using the raster/bitmap cel coloring method on Pencil2D that I explained earlier. I mean, I don’t mind using Inkscape for cel generating and coloring, it’s not that bad. Watch this tutorial playlist and imagine Pencil2D is the actual paper animation you would “scan” into your computer, the other steps (including GTS for Windows) are the same. It’s honestly the best open tool for that right now. Just do it during clean-up or lineart tracing.Īs a side note, In some devilishly “quick & dirty” productions it can even reach the compositing stage before it’s removed, but usually these are more experimental or painterly films where the compositing artist has to fix all the mess surrounding (or embedded on) the painted canvas (I’ve had to do this )įor automatic tracing & efficient coloring just use opentoonz. In the digital age this can vary however it makes sense to remove it before coloring altogether. ![]() This was only removed when tracing the lineart over to acetate cels, to my knowledge. If the original key or inbetween had a number, it was meant to keep it. Please answer, thank In the past a clean-up drawing was still an animation drawing that needed to be tracked in the production. Hopefully one would answer my question above. It just takes a bit longer in Inkscape then what I could do in Pencil 2D if the vector layers and tools were truly functional, which apparently aren’t, unfortunately.Īnyway, just explaining how I would go about the clean-up to ink-and-paint stage. The only drawback to the Inkscape method of cel making is I have to trace the image (clean-up drawing), delete the original image (not the actual file, of course), color within the outline, and then export each cel, one at a time. This is due to the fact that I can’t really use the vector layers and tools in Pencil 2D currently but I don’t want to go through the redundant and laborious process of using one bitmap layer for the traced outline (which I would refer to as clean-up drawings) and another bitmap layer for painting the colors over and then the swap the outline and color layers afterwards for previewing and exporting either. I would start with “trace bitmap,” assign the color pallette outside of the cel and camera area (page), and then export them as transparent. ![]() png files and import them into inkscape, which would serve as my cel-generating and coloring program. The thing is, for me, as a filmmaker, what I do is not number the clean-up drawings because I would export them as. Hi there, I have another question regarding the clean-up stage in hand-drawn animation.Īre the clean-up drawings numbered in the standard professional animation workflow? ![]()
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