Background

Don Bluth's Animation Academy

BACKGROUND

INTRODUCTION: BACKGROUND PAINTING

While the characters and special effects in an animated film may be altered every frame or every other frame to create the illusion of action, the environment surrounding them is generally held behind (or in front of) them for an entire scene. The backgrounds (B.G's), overlays (O.L.'s), and underlays (U.L.'s) are masterfully rendered paintings, based on the drawings created by the layout department. They create the imaginary world that the characters inhabit, and through the subtle use of lighting and color, serve to compose and spotlight the action, as well as give emotional impact and continuity of each sequence. The paintings of the Background Department play a vital role in creating a believable and moving world onscreen.
The background is the "set" or environment that the character or animating cel works over. The background must always complement and enhance the character, never overpower it. Thus, a specialized artist is required who is aware of different techniques designed to work well with the character and effects animation.
Backgrounds generally are painted "soft", with a spotlight effect on the area to be the center of attention. Certain areas in this spotlight need to be rendered sharply and more distinctly. The Background Artist must develop an eye to recognize where this has to be done. Often, the layout drawing will specify certain spots to be emphazized, as well as "registration" lines where the character comes in contact with the props in the background.

PAINTING THE BACKGROUND

A layout drawing is transferred using graphite paper, onto an illlustration board cut to the size required for the scene. Then the board is wet, and a general light wash of color is applied, following an accurate "color key", or color sketch, of the scene. As the painting progresses, darker values are put in until the painting is completed. Then a color model or character cel is placed over the background to check for readability against the painting. Any adjustment required is done at this time.

EQUIPMENT

Illustration Board
The surface background painting is done on a 2-ply paper that will endure a good deal of water and paint without warping or curling.
Graphite paper
To transfer the layout onto the illustration board.
Airbrush
Used to keep the board wet during the intial wash of color. Also invaluable in tinting the painting, or boosting color during and after completion. This is great for achieving foggy, soft atmosphere, and works well on cel overlays for clouds and fog effects, or glows.
Paints
Windsor and Newton Designer Gouache is similar to watercolor, but slightly thicker in consitency and more versatile. It can be used transparently or opaquely as required.
Brushes
#3, #4, and #6 finepoint brushes for medium and small detail; a 1 1/2" brush for broad, large areas, and a fan brush for softening washes.
Palette
Surface used to place paints for mixing and application to boards. We find acetate cels work best for this.

COLOR KEYS OR COLOR SKETCHES

Usually created by the Color Stylist or head of the Background Department, "color keys" are small color renderings of the key scenes in a sequence, establishing the mood and possible progressions from dark to light, or warm to cool colors during the sequence, also known as color orchestration. The Background Painter must always be aware of the mood and color needed for his specific painting, as well as checking the action of the characters in his scene and the layout of the area in which they are acting.
Overlays/underlays, or OL/UL's for short, are painted on clear acetate cels. Vinyl paint is used first to lay in the color, then Windsor and Newton™ Gouache and Vinyl can be used for rendering.

METHOD ANALYSIS - BACKGROUND PAINTING

Report to your desk.
Switch on lamp and air.
Fill crock with water
Report to your background supervisor or administrative supervisor
and collect work (layout), Director's notes, and Blue book notes.
Talk to Color Stylist - obtain color key instructions on hooking up
the B.G. with the sequence to which it belongs. Color, lighting and detail will
be discussed and followed on new painting done by assistant
Return to desk
Lay out paints on palette. Start with white, then yellow, and progress through
warm colors onto red-violet, and finally blues and greens.
Cut illustration board to size: 12x27 (standard). Leave 3" to right of board.
Tape sides to board with masking tape and transfer layout using graphite paper.
Fill airbrush cup with water using water bottle.
Wet board, then start wash.
Dry wash with electric hair dryer.
Transfer off any lines from the layout that are missing after wash, making sure
to retain accurate shapes in layout. Do not lose the drawing!
Finish background by rendering and airbrushing where needed.
If an overlay (OL) or underlay (UL) need to be painted, place cel over layout, block
in color with cel vinyl and repeat steps 12 to 14.
When background is finished, check with Supervisor for approval. Then, remove
masking tape and write scene, sequence and your name between pegs from left to right.

Cover background with clear, protective cel.
Write background number that you have just finished on Supervisor's weekly report.
Set some time aside for your Background Supervisor to review your work.
Report daily progress to Administrative Supervisor for activity report before leaving.
Repeat steps 1 through 20.

KEY POINTS

Sometimes the Assistant is suggested to do a small color sketch of the B.G. before painting final version
Small amounts of paint are all that is necessary. Don't overload the palette.

CARE OF EQUIPMENT

Wash all brushes in water.
Clean out airbrush with water. It is a good idea to withdraw the needle from the fluid nozzle to prevent it from getting damaged. Keep fluid nozzle on at all times when not in use.
Clean up desk and work area.