To look more closely at Cut 208, it shows seven steps from the earliest version to the final image. Here's how this works out for the "1.5" key (which became the "1" key, the first visible image in this cut, when the original "1" image was left on the cutting room floor).
The layout image, very simply done and a little "cartoony" in impact. I can't tell who did this drawing, as the layouts, even from one episode, show a lot of difference in style. Anyhow, it's just a point of departure.
Light Orange's first correction. That moves Karada back a step and shows her just barely inside the frame. The perspective has been improved and the posing of her arm as she moves in is more natural. But the face is still very "cartoony."
Light Green's first correction. It's just the face, but the eyes look more natural and, in ways that are hard to define, she "looks like Karada" for the first time.
This supports my supposition that Light Orange is the junior animator Ryoichi Oki, and Light Green is his supervisor, character designer Ikuko Itou.
This leads to the genga, which cleans up and elaborates Light Orange's sketch of Karada's body and adopts Light Green's revision of her head and face. A very nice piece of work. But there's an odd feature of this sketch, that only becomes clear when you handle it and especially when you try to scan it.
Look at the edges: they've been roughly ripped off on the left and on the bottom. This genga sketch of Karada was larger and has been roughly trimmed down to size. Even so, this sketch is 3/4 inch wider than the previous two sketches. I only assume that the genga artist drew Karada's whole body, to be sure that the part that will show in the animation will be correctly proportioned. But it's odd that the sketch would be trimmed by physically tearing off strips of paper like this.
Then another puzzlement:
Here's Light Orange's second correction. It's nearly a complete sketch, and at first glance it seems to be identical with the genga. No wonder when I saw some of these sketches in my previous bunch of additions, I assumed that, for some reason, Oki had been asked to do a revised rough, which the gengaman had cleaned up in that sketch. But when I flickered the genga and this sketch:
You can now see quite a few subtle changes. The most obvious are in Karada's clothing, especially in the back, where the animator made quite a few changes. But actually the whole face, hair, highlights and shadows, and the placement of the eyes, has been adjusted, though very subtly. And comparing Light Orange to the douga, you can see that these changes were adopted in the final stage of the image.
So I was wrong (and will need to revise my previous AnH uploads to match my new option). The second Light Orange correction is not pre-genga but post-genga. I'm still not sure why Oki did such a full revision, when much of the genga was "good enough." Perhaps Itou-sama asked him to do this, as a kind of master's class on how to turn "good enough" animation into "stellar" work.
Anyhow, the rest of the story is straightforward. The second Light Green correction just works on the eyes (Oki and Itou seem to have had a long dispute over the shape of Karada's eyes, Oki making them oval, Itou constantly correcting them to make them rounder.)
And finally the douga, a simple enough seeming image of a carefree girl, but now the more impressive as you've seen just how much work went into making it "just right."
Ick. I'm putting off the yucky but necessary work on that celotape.
to deal with, some of it personal, some of it professional. I have a bunch of snapshots of taking off celotape to process, but that's going to take time, so I'm pressing on to the other sketch sets in my new AnH hoard. 
that are worth pausing over:
? And how mad was this animator when they decided to draw Karada from a higher-up perspective so that none of the shop window was visible 
? (But I did re-watch this scene, and I was amused to see that the nick-nack window, still full of glittery bling, does show up fleetingly in some of the cuts of this scene.)
That sketch was ripped across on the top below the registration holes and then celotaped to a new registration strip. Three strips of tape on the front and one big long one all the way across the back. That's gonna be trouble, though I'm glad to see that none of the tape is covering any of the art. Pretty genga, though. It will be worth the trouble.
Complete shuusei rough by Ikuko Itou, the kind she very occasionally does when she wants a moment to really "pop." 
Whoa baby 
. This is gonna be a memorable update, not just a lot of stuff.
Studio Deen notoriously had all the Full Moon artwork destroyed, and all that survives is some photocopy pieces, settei, storyboards, genga copies, etc. So where do these sketches come from?
that produced the animated drama we all know and love.