Cel Shading: the Unsung Hero of Animation?

Left: a computer graphics render with soft shadows. Right: a cel shader (also known as a toon shader) and border detection. This creates hard edged shadows with lines drawn around the model. Illustration from Hash Animation Master manual.

This is a guest post by Olivia Lennox.

As you’ll well know, there are far more animation techniques out there than the average movie-goer or TV watcher knows about. You can’t blame them for only really knowing about stop-motion animation, CGI animation, and what goes into shows like The Simpsons and Family Guy. These techniques are what ‘make it big’, and what can be seen on screens, both big and small, all over the world. But there are plenty of other forms of animation that don’t get the credit they deserve.

Take cel shading for example. This lends animation a ‘cartoony’ look which can be very effective in certain media. This form of animation has actually only been adopted by a handful of film and television productions; however it has been used extensively in video games. Perhaps the reason for this is that cel shading is easier on the graphics processor, so games can look great even on less powerful hardware. When cel shaded animation does make its way into film and television, it’s usually used conservatively, but there are exceptions as we’ll see. There’s an important distinction to make before we get into the cel shaded world: whilst there are plenty of techniques that use block colours, cel shading refers specifically to the cartoony rendering of light and shadow.

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Don Messick: the man with a million voices

Father Bob Murphy meets voice artist Don Messick. Here is a quick Baby Boomer quiz that will give away your age: Which of the following groups of cartoon characters do you remember from your childhood: Group No. 1: Ruff of Ruff and Reddy; Boo-Boo, Pixie, and Iggy from the original Hucklebery Hound Show; and Tadpole … Read more

Don Messick: the man with a million voices – Page 2

About the same time on the West Coast, MGM Studios was shutting down its cartoon division. Two of its animators, Bill Hannah and Joe Barbera, left MGM with a vision of how animation could be financially feasible for television. They started their own company and perfected “limited” animation and this assembly line approach would have … Read more

The ReBoot series

The ReBoot series takes viewers into a world inside a personal computer, to the multi-level city of Mainframe populated by sprites – an eclectic mixture of digital information in the forms of robotic-looking biomes and human-like data sprites. ReBoot is a cross between the Gerry Anderson puppet production Thunderbirds (1966) and the Disney feature Tron … Read more

The ReBoot series – Page 2

Ironically, it is the realistic three-dimensional quality of ReBoot’s computer-generated characters that make its animation unique. The member’s of ReBoot’s cast behave, move and speak like actors in any television show. But ReBoot’s characters exist only as digital information – complex mathematical equations that imitate life. Like the concept of the show, until the digital … Read more

The ReBoot series – Page 3

ReBoot is produced by Christopher Brough whose extensive experience as a writer, producer and director of film and television projects and his specialization in animation led him to become an integral part of the ReBoot team. Chris’s career in animation has included stints as Executive Producer and Director at Hanna Barbera Studios, Vice President of … Read more

The ReBoot series – Page 4

Ian left Rushes to join a group of liked-minded creative people to found the world’s first fully digital facility, The Mill, where he was named Creative and Technical Director. Ian and The Mill parted company when he decided to devote his attention to the development of his pet project, ReBoot. During this time, Ian was … Read more

Animating with the Commodore Amiga

Christopher Barnatt looks at animation packages for the Commodore Amiga computer. Although way behind IBM and Apple PCs in the general popularity stakes, the range of Amiga computers from Commodore have long proved popular for animation and desktop video (DTV). One reason for this popularity is the fact that it is extremely easy to obtain … Read more

Animating with the Commodore Amiga – Page 2

For this reason, animation sequencing programs such as Deluxe Video III are available, which allow complex videos to be constructed from backgrounds, anims, animbrushes and even sound and MIDI files. To animate a character waving in Deluxe Video, it is only necessary for an animbrush of one wave motion (created in Deluxe Paint) and a … Read more

Animating with the Commodore Amiga – Page 3

Despite its image-format limitations, Take 2 is a superb animation package. Whereas I have experimented with Deluxe Paint and Deluxe Video, and have used them for titling showreels and creating character colour designs, Take 2 is the only package that has proved invaluable professionally. Specifically, I used Take 2, a Vidi Amiga digitizer, a reconditioned … Read more

The Rose of Baghdad

Giannalberfo Bendazzi’s lecture delivered to the Society for Animation Studies at Farnham – A Producer and His Film: Anton Gino Domeneghini and La Rosa Di Bagdad (The Rose of Baghdad). Précis by Ken Clark. Giannalberto Bendazzi’s self-appointed mission in life is to draw attention to La Rosa Di Bagdad (1949) which, he claimed, had largely … Read more

Graham Ralph: From Spider to Opera

All in a day’s work Spider moved into the Top Ten Videos list in its first month, has run for over four years and sold more than 80,000 copies in the UK alone. Ken Clark visited director Graham Ralph. The road to success in animation is fraught with as many heartaches, setbacks and periods of … Read more

Graham Ralph: From Spider to Opera – Page 3

“Most of them are not employable straight away,” he explains, “Companies such as ours who do mainstream commercials require experienced personnel because there are so many professional requirements. No matter how talented newcomers may be they cannot possibly meet the standards. Jerry and I still direct, draw and animate and that is the problem, we … Read more

John Halas: an era has closed

John Halas, OBE, FCSD, Hon BKSTS, FRSA. 16 April 1912 – 20 January 1995. With the passing of John Halas an era of animation has closed. It was the golden era when British animation became a dominant force in this medium. It would certainly not have happened without his influence. John was in many ways … Read more

International Animation Festival Cardiff 1994

Report by David Jefferson. The International Animation Festival returned to Cardiff for the second time with St David’s Hall and the Chapter Arts centre as the main venues. It was the first event to be run by the new festival director Jayne Pilling, who made an excellent job of the programming. “The 1994 theme – … Read more

Producers – Who needs them?

Does a producer provide a helpful overview or an obstruction to genius? A creative protector or a meddler? An initiator or an exploiter? These are some of the questions a seminar organised by Cartoon UK, at the International Animation Festival Cardiff, set out to answer. Report by David Jefferson. Ian Harvey opened the seminar by … Read more

Producers – Who needs them? – Page 2

Sometimes directors are also producers, sometimes they also edit their own films, they take on a variety of roles but there are always several people working on it and ideally they all make creative contributions to the film. We are careful about the camera person we use or fussy about the editor we use because … Read more

Producers – Who needs them? – Page 3

“Film-making is even more enjoyable when it is a social activity. While it is possible to do everything on your own it is incredibly gruelling,” said Mark. “It is exhilarating to work with people who care equally about the project as I do. They also care very strongly about their particular field. Although I have … Read more

Producers – Who needs them? – Page 4

Clare Kitson was the final speaker. She is a commissioning editor with Channel 4 and first becomes involved with any project when it is presented to her by the film-maker “It is normally the director who brings it to me,” explained Clare. “I think that is quite right, because all I am after initially is … Read more

The Pizazz scene Flock of Birds

Report by Ken Clark. In all probability, the next time you visit your local record shop a television screen will command your attention as it advertises the latest releases. One could be a new recording of Ravel’s Bolero by Pierre Boulez with the Berlin Philharmonic Orchestra on the Deutsche Grammophon label, with computer-generated hauntingly compelling … Read more

The Pizazz scene Flock of Birds – Page 2

Returning from Paris, Caroline continued freelancing but became more and more attached to Pizazz. After some seven years she is now a director. Three After-Thoughts Caroline’s ‘personal’ film did not start out as such. It began as part of a proposed series ‘Animators. in Concert’ for S4C (Wales) designed to attract a wider audience for … Read more

ANIM-AMIGA – Part Two

Speed of development in the computer sector is such that books on the subject are often out-of-date before they appear in the shops. The same is true of magazine articles, reports Ken Clark. The big news concerning Commodore came too late to be included in Part One. The parent company, Commodore Electronics Ltd. went into … Read more

ANIM-AMIGA – Part Two – Page 2

“The initial offer to join the project is to establish a common format within the membership,” I was told, “so that we can supply Harry to all hospitals without restrictions on the type of media that they can use. Harry is available as a printed photocopyable comic showing some of the more common hospital procedures, … Read more

ANIM-AMIGA – Part Two – Page 3

“I am often asked to come into the school after hours to meet the teachers and set the ball rolling. Each teacher then sets his or her class a special project. I come in later to provide the technical support to make their films”. This form of co-operation is achieved through INSET (In Service Education … Read more

Animation:Master review

Animation:Master is a 3D computer animation program that works on the PC, Mac and Silicon Graphics platforms. David Jefferson reviews the PC version. Animation:Master is a development of Playmation from Hash Inc., USA. It has very powerful features and is capable of producing film resolution animation with the appropriate hardware. It is a rendering program … Read more

Animation:Master review – Page 2

Because it is spline based modelling only a few tools are needed to create any shape you can imagine. There is a lathe tool to turn a profile spline into a regular 3D shape. The other method of building a character is to add extra splines. I often start with a lathed shape and add … Read more

Animation:Master review – Page 3

A technique called Inverse Kinematics can be used to animate skeletal motion. The problem with the traditional way of making skeletal motion is one of starting at the wrong end. For example, if you wanted the character to brush her hair, and her hand was by her side, you would start at the shoulder, rotate … Read more

Allah v. Disney in the South China Sea

Dr. Timothy White (National University of Singapore) and Mr. Emmeff Winn (Auburn University) presented a thought-provoking paper at Farnham, which went a long way to explaining the reception of Disney’s latest feature Aladdin in those parts of the world with significantly high Muslim populations. These parts include Indonesia, which has the largest Muslim population in … Read more

Editorial

Animator magazine takes on a new look with this issue. By producing it all in black and white I have made considerable cost savings which will enable me to continue publishing the magazine. The alternative was to stop publishing the magazine altogether. I hope you will agree this is the best way forward in these … Read more

In memory of Ken Anderson: Disney Artist

By Robin Allan. Sketch artist of genius who became Art Director and later Production Supervisor for some of the Studio’s finest animated feature films. Anderson’s architectural training and graphic skills enabled him to place characters against convincing backgrounds and he could also tell a story in pictures. His contribution to the collective art that was … Read more

Halas & Batchelor Reformed

Report by Ken Clark. After 53 years continual production Halas & Batchelor Ltd. has been reformed and removed to 6 Holford Road, London NW3 1AD, not so very far from Jack Straw’s Castle public house off Hampstead Heath. This is John Halas new residence, and building is still in progress converting the sizable garage into … Read more

GILES – A 50 Years Celebration

On Tuesday 5th October 1993 the National Museum of Cartoon Art celebrated 50 years of Carl Giles art. Report by Ken Clark. “To all lovers of grandmas, cats, airedales, people, and so forth, I thoroughly recommend this.” – one of Giles baby twins had scrawled on the invitation. I am not quite sure whether it … Read more

Annecy Animation festival 1993

The Annecy Animation festival continues to grow. David Jefferson reports on some of the films shown and the developments in computer technology. The Annecy animation festival is regarded by many as one of the best in the world, certainly it must have the most picturesque setting of any film festival. Annecy is a lakeside holiday … Read more

Annecy Animation festival 1993 – Page 2

“When Fern gully was complete we had used four tons of paint on 150,000 cels, which is a good vote for computerised ink an paint,” said Bill. Computer animation was used on flying sequences in Fern gully Detailed 3-D computer models were built for all the characters in the sequence. Software capable of edge detection … Read more

The Jerry Hibbert Masterclass

The Masterclass was held as part of British Animation Week. Ken Clark reports. “Why would any animator wish to work in advertising?” Jerry asked, “There is no say in the creation of an idea – there is no film time in which to create a true character performance – the director is answerable to agency … Read more

The Jerry Hibbert Masterclass – Page 2

The other major effect on the London companies was the success of Roger Rabbit. It ended the notion that animation features could not make money quickly and changed the needs of those people who buy animation. For the past twenty years, investors in features have been demanding their money back ever quicker. The old Disney … Read more