How to cartoon for amateur films (1958)

Record Details:

Title:
How to cartoon for amateur films
Date:
1958
Publisher:
London : Focal Press
Volume:
How to cartoon for amateur films
Leaf #:
000106
Language:
English
Subjects:
Motion Pictures, Motion Picture Technology
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
March 28, 2024
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

Using Colour When you have become reasonably proficient at making black-and-white cartoons, you may like to try your hand at a production in colour. From the point of view of animation there is nothing difficult about it; you prepare the individual drawings — this time on celluloid — in the same way as for black-and-white. Then comes the big job: colouring. The two important points to watch in colouring are evenness of application, and uniformity of colour throughout the film. In other words, evenly coloured areas must not be patchy, not even in just a few frames. Further, the hue and depth of tone of the same colour must not change from one shot to another. This is a matter of continuity as much as anything; if our hero wears a scarlet cloak in one shot and a blood red one in the next, the effect will be as queer as if he had suddenly changed from long trousers to knickerbockers for no apparent reason. So, use the same pigments throughout to make up any particular colour, and be specially careful about blending. Make the colour up in the right strength, and do not dilute concentrated colours to obtain different hues, or you will have great difficulty in matching them. 102