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Rozen Maiden 1: Shinku and Jun


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Sleeping Shinku.
Source: TV
Layers: 1
Sketches: 3
Cel Number: A1 END
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Added 4/22/2019
Updated 4/22/2019
Ep. 7, cut 12. This is another of the images in the montage that begins this tense episode, a close-up of Shinku’s face as she lies immobilized on Jun’s bed. During this cut, we see Jun’s hand enter from the right, a finger extended to touch her cheek and try to rouse the doll.



This lot preserved the lovely “shuusei no shuusei” on light turquoise paper of the A1 END keyframe of Shinku’s head (featured above), along with a much simpler rough on yellow paper (first thumb) and a rough of the B1 key showing Jun’s hand. Besides this came three layouts of the hand layer (not imaged). The sketch featured above, though tentative in places, shows the hand of a powerful artist.

Look at it for a while, and appreciate how even at this stage it creates the illusion of three-dimensionality. Most obvious is the way that Shinku’s eyes, nose and mouth are placed to make the surface of her face look rounded. But pay attention to the work around the ribbon on the right that comes down from her bonnet and under her chin. Those ruffles stand up around it with just the right amount of foreshortening to look as if they are sticking up beside her head. And the decorative rose already has the multiple layers of petals.

This is, I believe, an unusually finished example of Senior Animation Director Kumi Ishii, judging from the distinctive way that the “shuusei no shuusei” note is written to the left of Shinku’s closed eyes. Ishii normally used a yellow-tinged paper (maize, I believe) for her shuusei sketches rather than the turquoise sheet seen here. (Junior animator Kimiko Tamai always used turquoise paper.) But I think Ishii chose this sheet to contrast with the yellow-hued paper used by this episode’s animation director, Yukihiro Kitano, who probably did the two roughs included in the thumbnails.

That rough is careful to get the eyes and mouth properly positioned, and gets those crucial locks of hair positioned realistically. But it’s too rough for an A1 END image as important as this one. So I assume that Ishii took over, adding layer after layer of realistic detail for the following steps of production to build on. One interesting omission is the larger rose in the middle of the ribbon bow below her chin: obviously space has been left for that in Ishii’s sketch, and she likely trusted to the genga and post-genga shuusei stage to get that detail right. Meanwhile the bow looks as realistically deflated as the doll who wears it at this moment.


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Curator: 60something-sensei
Gallery Created: 8/3/2002
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