How to cartoon for amateur films (1958)

Simplifying Matters If we decide to use the cut paper method, we shall have to modify the design of our scenes accordingly. We must make the background as simple as possible, leaving the maximum amount of white space in the centre of the screen. Cut out foregrounds, either on paper, or drawn on cell behind which the characters move, can be painted in full tone, and help to give depth to the scene. Close ups can often be designed without using any background at all. Plan figures and moving objects in black and white, and at the most, one tone of grey. For the finished animation trace the drawings on a whiter and more opaque paper than the thin stuff used for the animation sketches. In tracing, take very great care to maintain a uniform thickness of line in every drawing. If one part of a figure, such as the feet or legs, remain still while the rest is moving, every tracing of this part must be in exact register with the previous one, or it will jitter violently when the finished film is projected on the screen. If one part remains still for any length of time, it is a great saving of labour to make only one tracing of this, cut it out and place it over the other drawings on which only the moving part appears. When the outlines are completed, fill in the blacks with Indian ink or poster colour brushed on very dry, so that it does not distort and crinkle the paper. There must, of course, be an absolutely uniform black on every drawing. Half Tones Avoid half tones — grey tones between black and white — unless absolutely essential, as it is much more difficult to make them completely even. With practice, this can be done with water colour or coloured ink. A colour is easier to put on evenly than grey. 98