Inking and painting animation cels by hand

A department traced each animator's drawing onto a sheet of celluloid in ink and filled the shapes with paint from the back, one cel per frame, a job held for decades at the Disney studio largely by women. After 1990 the drawings were scanned instead, and the line work, the colour fill and the compositing became operations in software that produced a cleaner image for less money. Animators kept drawing and colour stylists kept choosing the palette, so what disappeared is the hand that carried a drawing onto a physical sheet, a skill with no remaining industrial use. The system was a tool with no opinion about the picture, which is why the change is visible in the credits rather than on the screen.