How does ink painting move into animation?

The mystery of ink animation is concentrated in the photography department. Every character or animal painted on the animated paper should be colored layer by layer when it comes to the colored part. That is to say, the same buffalo must be divided into four or five colors, and at the boundary between the corner and the eyes, large pieces of light gray, dark gray or just Jiao Mo color should be painted on several transparent celluloid pieces respectively. Each piece of celluloid is shot repeatedly by an animator alone, and finally processed into an ink rendering effect through photography superposition. In other words, the buffalo we saw on the screen had to be "painted" by an animator.

The process is so complicated that it takes enough time to shoot an ink cartoon to make four or five ordinary cartoons of the same length. It is no wonder that Japanese who have mastered ink animation skills don't want to try it easily after returning home. For all western animation producers who pay attention to timeliness, they don't spend so much time decomposing, drawing lines, layering and coloring every picture, and shooting repeatedly and fixedly on the stage. (China Guo Xue. com)