After color adjustmentUsing the dropper to pick colors from the photograph, we paint over unnecessary details.Shadow layer displayed aloneFinished imageAfter deciding on the location of the light source (the sun, which here is behind the mountains on the right-hand side), we place dark-colored shadows based on the sunlight. Here, we drew bluish colors on a layer, which we applied with Multiplication mode in order to increase the shadow effect.Basic technique for drawing background artOriginal imageUsing the location scouting photographs as a base, we determine which color tone we want to use for the entire drawing by adjusting hues with Color Balance and other tools.By adding detail to the highlights (visibly bright spots), we draw the viewers' attention to portions of the image that we want them to concentrate on. In this example, we add small reflections of the setting sun to the surface of the water in the rice field, the metal handrails and train tracks, and so on.We isolate the portions of the image corresponding to objects above ground by moving them to a separate layer, and create a new "sky" layer drawn with the gradient tool. All of the color work up to this point has been done by trial and error, so it's important that we already have a good idea of what the finished image should look like in our heads. With this image of the finished product conjured up, the rest of the work can proceed smoothly.We again pick colors from the image, as we did when we erased the details from the location scouting photograph. Then, using custom brushes, we touch up the image to keep it from looking too uniform.The images on this page were originally used by director Shinkai to explain his coloring process, which is based on photographs from location scouting, at workshops in the Middle East.*One characteristic of the background art in Shinkai's works is realistic drawing based on location scouting photographs. Director Shinkai uses this technique to pursue "reality" within on-screen images with the speed and efficiency of a mass-production animation house. Because real studios must process a large amount of work, there is a strong demand for "drawing quickly and in quantity." The technique outlined here is one built on experience with those production methods. However, there are also many cases where the actual layout work cannot rely on photographs (impossible shooting angles, fictional locations, etc.); even with Five Centimeters per Second, only about 40 percent of scenes are based on location scouting photographs. When location scouting photographs cannot be used, traditional animation and art staff layouts are used as a starting point. Regardless of whether or not it is based on photographs, director Shinkai holds that the most important aspect of drawing background art is control of color tone and detail. When making a large number of drawings, one must construct a mental palette from the seasons, weather, time of day, temperature, and so forth, and create the individual patterns that say "I draw with this technique in order to show you this picture"—this becomes the basis of the world given life on screen. Director Shinkai emphasizes the importance of seeing a project through from start to finish, frame by frame, with these common patterns. We hope that the examples shown on this page will provide guidance for readers in their own productions.* Throughout January and February 2008, the Japan Foundation sponsored digital animation production workshops in Jordan, Qatar, and Syria.We finish up by filling in clouds and using After Effects to add a setting sun. In this example drawing, because we knew the sun would be added later, we darkened the heavily shadowed area around the mountains on the right-hand side.
