Don Bluth's Animation Academy

Layout

The Layout Artist

Layout is the art of background design for animation. These designs are executed in graphite pencil on punched animation paper of various sizes, depending on the requirements of the scene. Part of the Layout Artist's responsibilities, besides drawing, is to determine how to construct the scene technically for the camera in order to capture the intentions of the story sketch. At the "bluebook" meeting held at the initiation of every sequence of the film, each scene is analyzed in the company of the Director, Scene Planner, Special Effects Supervisor, and Layout representatives, to establish a game plan including how Layout should set the scene up.
     The layout drawing provides a stage in which the animators will animate their characters and effects, as well as a blueprint or underdrawing, to be rendered in color by the Background Painters. Thus, Layout is the fork in the road which feeds two branches of the animation production process. The following illustrates this chain.

EQUIPMENT

1. PENCILS
   The Layout Artist uses a wide variety of soft and hard graphite pencils in the rendering of a layout. The majority of the drawing may be accomplished by a 2B, B, or HB pencils, while a 6B can be utilized for shading purposes. Each artist develops their own preference.
2. ELECTRIC PENCIL SHARPENER
3. ANIMATION PAPER
   16-field
   12-field
   16-field pan
   12-field pan
   24-field
4. ERASERS
   kneaded erasers; for rubbing down artwork without complete erasure.
   white Staetdler; erases more completely, useful for erasing large areas.
   pencil tip; erases completely in smaller areas.
5. PEG HOLE REINFORCEMENTS
   for strengthening the registration holes in the animation paper.
   center-hole reinforcements
   outrigger reinforcements
6. ANIMATION DISC AND PEG BARS
   has frosted glass for backlighting and two peg bars, top and bottom, with increments for pan movement.
7. BACKLIGHT LAMP
   flourescent fixture behind animation disc.
8. TOP LIGHT LAMP
   position adjustable, for illuminating drawing surface.

LAYOUT ELEMENTS

The Layout Artist often layers a scene with several levels of artwork which will move separately, or through which characters move. The following planning diagram is attached to layouts to indicate these various levels, both layout and animation, the order in which they will work, and the registration pegs that will hold them (top or bottom).

The Layout department is responsible for preparing these levels:

1. BACKGROUND (b.g.)
   This is the bottom-most element of the scene, to be painted on board, on top of which all the plastic cel levels are placed (plastic cels have been superceded these days by scanning the artwork into a computer, eliminating restrictions on the number of levels that can be laid across the background - cels would create a bluish tint with more than 5 levels. Also, this allows all background elements to be painted on boards and transparent areas are matted out digitally).
2. UNDERLAY (u.l.)
   This is a cel level depicting a prop or piece of background - separated for the sake of separate movement or background correction - that works above the background, but under animation levels.
3. OVERLAY/UNDERLAY (o.l./u.l.)
   A cel level portraying a prop or background element that works above one level of animation, but below another.
4. OVERLAY
   Cel level portraying a prop or background element that works over all animation in the scene.
5. MODEL FOR EFFECTS
   When part of the background setting needs to be animating, Layout draws a reference drawing for the special effects animators to help them match the style and design of the background.
6. MULTIPLANE LEVELS
   The multiplane camera set-up involves three planes of animation artwork at different vertical positions beneath the camera. The purpose of multiplane is to create a dimensional life-like effect, and requires special planning by layout.
   Plane 1: This is the plane on which the artwork is placed in normal scenes. For multiplane scenes, this functions as the bottom-most plane, on which the background and furthest elements will lie. The maximum paper size useable for plane 1 is 16-field (16.5" x 13.5").
   Plane 2: This is the center plane in a multiplane set-up. The maximum paper size (camera view) usable for layouts intended for plane 2 is 12-field (12.5" x 10.5")
   Plane 3: The uppermost (closest to the camera) plane also uses 12-field sized paper, although the camera will only see an 8-field section in the center of that paper (meaning 8" x 5.76").

Please note, the sizes listed above are for a 16-field production using a rostrum camera. The advent of computers in animation allows us to use several different sized layouts, some much larger than actual camera size - which in our recent past has been 25-field- these can then be scaled down to fit the scene. It has become complex, but the ratios generally remain consistent with those listed above. Though a little dated, this provides a solid basis of multiplane concepts.

LAYOUT CONSIDERATIONS

1. STAGING
   How can the background best support the animation and direct the viewer's attention to the important action of a scene?
2. PERSPECTIVE
   How can we best give the illusion that the characters are in a three-dimensional environment rather than a flat drawing?
3. SETTING
   How can we create a living world for the characters, and what props and elements would best fit that world? (For example: The architecture and props of An American Tail had to reflect 19th century New York.) Research is often necessary to create accurate settings.
4. MOOD
   How can the layout best enhance the dramatic intent of a scene? (comical, sad, scary...)
5. TECHNICAL
   How must the scene be designed to achieve the desired effect within the limitations of the animation camera

LAYOUT REQUIREMENTS

A Layout Artist requires a working knowledge of perspective, design, and the workings of the animation camera. Also, they need to understand the jobs of the character animation, effect animation, inking and background painting. They must also have the ability to draw a wide variety of subject matter in many different styles.
The new trainee will be shown the gamut of the animation process and the animation camera. This training program will be accompanied by numerous discussions and demonstrations, was well as considerable on-the-job training.

METHOD ANALYSIS - LAYOUT CLEAN-UP

1. Collect scene assignment from the Layout Supervisor, in the form of a rough layout drawing.
2. Return to desk. Adjust comfortable drawing angle.
3. Adjust chair to comfortable height, arrange pencils, erasers, sharpener, and any other supplies within easy reach.
4. Gather any reference materials from research library that may help in completing the layout.
5. Keep references handy. Photocopies can be made and pinned to bulletin board.
6. Place rough layout on peg-bar of animation disc.
7. Put stick-on reinforcements on each of the pegholes to ensure registration.
8. Label the round peg holes alphabetically, from left to right, beginning with "A" at the first round peg hole to fall within the camera field of view. (This usually puts "B" at the center round hole.)
9. Stamp lower right-hand corner of layout with information box, and fill in the sequence and scene number, and what numbered elements this layout represents. The stamp looks like this:

10. Render the rough layout, defining lines and shapes and adding gradations and shading to create dimension. Character registration lines are generally indicated with red pencil, while the rest of the drawing is in graphite.
11. Show layout to Supervisor or Senior Layour Artist at regular intervals to be sure you are on the right track.
12. When complete, present to Supervisor for approval.
13. If approved, attach a scene planning slip filled out with the scene's technical information to the lower right corner of the layout.
14. Present finished layout at next Director Review session, for final approval.
15. Layout is then filed in correct Sequence and Scene folder in the Layout File. It is now ready for Background to paint, and for the Animators to animate thier characters to.

KEY POINTS

• A rough layout solves some of the basic problems of a scene, such as separating levels, determining pan lengths and establishing the perspective and style.
• The style of the drawing must adhere to that set by the rough and by other drawings in the production.
• The Director initials the layout when he has approved it.