During the summer vacation, I learned a lot about the different animation industries, apart from the storyboard, I found that illustrator, as one of the important animation roles, is suitable for me, too. I had illustrator experiences for many years and I drew different kinds of illustrations.

Therefore, in the animation industry, I found that I can draw some advertisements for animation companies, for instance, the 3D animation film, what I can do is draw the 2D version of the animation for the advertisements and attracts more people to enjoy the animation.

Probably I love to work in Chinese animation companies because I found that the scene of animation is very suitable for me, like protecting our environment. I practice one of my illustration practice about the low-carbon theme.

I spent about seven days finishing this illustration. The main focus is on “Lighting up a Low-carbon Life Style, Guarding the Harmony Between Human Beings and Nature” to develop a green future.

We are all the protectors, builders and beneficiaries of the ecological environment.

We are all practitioners and promoters of ecological civilisation, practising a green and low-carbon lifestyle. Only by taking practical action to reduce energy and resource consumption and pollution emissions can we gather the majestic power of ecological protection and safeguard our global home.

It can be found that the illustration mainly uses cold colour tones, with blue and green tones in my illustration. For this illustration, my keywords are internationalisation (global), people, low carbon travel: (cycling, public transport, litter picking, recycling of bags, waste separation bins), urban (rural) – contrast animals (polar bear, walrus, rhinoceros, Antarctic emperor penguin, whale, panda bamboo, Asian tiger, African elephant, birds, American snowshoe hare, amphibian forest frog, mountain pangolin), coastal wetland coral colonies. Plants (birds and flowers).

Also, I want to introduce the elements of the composition: compared to a light bulb – a full white circle drawn on the earth to symbolise the ecosphere, the human and surrounding animals and plants, all taking care of the earth as an ecosphere.

Therefore, I also know that becoming a professional illustrator needs to design posters, this is the most widely recognized kind of work for artists, an approach to utilizing banners to advance celebrations, occasions or the send off of new items, and publicizing organizations, as organizations that serve different organizations, normally need us to attract represented banners as indicated by the requirements of our clients. Also, supporting colleagues in print and 3D, which are created based on material, so at the proposal stage, the final result cannot be seen visually and we need the help of the drawing room to draw up a draft to show to the client. Doing some IP image creation, with the IP boom, the illustrator is required to design the IP image based on the idea. In addition, for the publicity comic to draw strips based on scripts provided by the client and put them together into stories. So I did a lot of drawing from it.

Storyboards play a very important role in animation. Storyboard artists can not only provide very important information in animation but also provide modellers and animators with the animation effects they want. The systems of animation companies in different countries are also different. American animation companies have a very obvious assembly line form, so people can see that this is American-style animation at a glance. Animation companies in China and Japan also have their independent forms. The most important thing is not what the storyboard looks like. The most important thing is the storytelling ability of the split mirror creator, and whether the creator can communicate all the ideas in the storyboard to the front-line producers who want to complete other processes later. Now I will analyze the photographers of animation companies in different countries.

Most of the American animation companies are based on the Disney creation mode and take the design of bisection lens as the advantage and disadvantage of animation. The topic selection of the story focuses on entertainment, which reflects the rich imagination and creativity. The division will highlight their personality in the plot arrangement, role and scene setting. Pay attention to the details of the animation, making the story more vivid. In the design of animated characters, American animation gives people a sense of immediacy and reflects a strong visual impact. Based on the design of character modelling, there is great tension from picture composition to rhythm control. In the development of American animation, the montage technique is used in the expression of lens language. Compared with Chinese animation, the picture style is more restrained and implicit, and the rhythm is quite slow.

In the storyboard from a China animation company, the character’s quality has rich imagery characteristics, which extends freehand brushwork to the development of animation, and is good at replacing reality with emptiness, which to some extent reflects the slightly exaggerated expression of the characters. To a certain extent, which reflects the nation’s way of life and thinking, and excavates the nation’s artistic resources and humanistic connotation. The combination of China’s national cultural tradition and the modern artistic characteristics of animation has gradually formed a ‘Chinese Style’. In terms of character design, the quality of Chinese animation characters has rich imagery characteristics. It extends freehand brushwork to the development of animation and is good at replacing reality with emptiness. To some extent, this reflects the slightly exaggerated expression of the characters.

Japanese animation companies usually have different kinds of storyboard painting styles. The style of storyboard painting is generally realistic. Generally, its facial features, body shape, clothes and other places can refer to the scale model of world figures. Their characters’ world and their surroundings feel like the real world. There is even a line drawing style, which mainly focuses on lines. Although the picture is not perfect, this painting method can not only save labour but also produce good results.

In contrast, the design of characters in American animation is more realistic, expanding the features to a certain extent, and reflecting exaggeration. The advantage of American animation is not only to cater to the market but also to gain strong recognition from the audience with its unique creative style and distinct storyboard advantages. Chinese animation has infiltrated Chinese traditional art forms such as paper cutting and ink painting, and its storyboard usually has a national style.

As far as I am concerned, I have drawn many types of illustrations, and I find that the painting styles of these companies are very suitable for me, because I want to try various animations when I enter the company. I can learn a lot from them, accumulate more experience, and play my unique role in the company.

As I am an illustrator in China, when I am trying to learn how to make my characters move, I decide to learn how to draw animation. When I am drawing each frame, I found that clean-up is both significant in liveliness and outline, which helps the last impacts more clean. Clean-up is a piece of the work cycle in the making of hand-drawn development.

In 2D animation, organizations need to have amazing liveliness last impacts. They need to invest some part of their energy on tidy up. the essential drawings are delegated “roughs” or “unsavoury development” since they are commonly finished in a particularly free plan. If the energy is pencil attempted and upheld by the boss, clean variations of the drawings should be done. In greater animation studios, this task is given to the artist’s partner, or, in a more specific setting, to a clean up-specialist.

The specialist doing the clean-ups is responsible for the last line and the finished look of the drawn individual or thing. Clean-up development is the most well-known approach to making the last drawings you track down in the finished film. It doesn’t be ensured to mean a “great” scant distinction.

The expert, normally a gathering of trained professionals, uses key drawings and energy charts from the artist, making it seem like one skilled worker has made the whole film. The clean-up experts will follow the assumptions of the artists and stay predictable with execution and advancement.

So I decided to watch others how to deal with the clean-up animation on Youtube. The clean-up usually copes with the rough animation.

The whole presentation is separated into scenes, which are then separated into individual shots. These shots are therefore allowed and every illustrator does their part.

Fruitful movement depends a lot on two things: strong drawing and development. Covering circles are frequently used to reliably infer volume. The elements of each character can then be applied to the natives that they’ve been worked out of. Before this occurs, these fundamental drawings are classified as “roughs.”

While attracting this way is the most effective way to wind up with structure and development that feels legitimate and exact, roughs take a subtle approach with nearly nothing. Assuming you’ve at any point seen an exemplary liveliness model sheet, you realize that characters like Mickey Mouse are just a couple of circles stacked upon each other.

To sell the story, these mathematical subtleties are made less clear by covering them with a layer of a clean-up and over. It is a tedious interaction, however one that improves the work extraordinarily.

Like a new layer of paint, clean-up liveliness is what compels Bugs Rabbit to resemble Bugs Rabbit and not a bizarre outline of something that kind of looks like him. Clean-up gives an enlivened creation a worldwide reliable look. This is all as per the formally acknowledged standard of how the person was planned initially.

Tex Avery lacked the opportunity and energy to enliven and tidy up every drawing of Bugs Rabbit expected to put on a 22-short lived creation. All things considered, his group of clean-up craftsmen would follow reference sheets made for this assignment after each edge was energized.

Customary Disney clean-up, when not doled out to an associate illustrator, was a task given to ladies solely. Men dealt with the majority of the genuine activity, However, the cautious and exact work of ladies was confided in regardless of anything else for the animation’s last show.