banner



Home  ›  How Were Animations Made In The 1940s

How Were Animations Made In The 1940s

Written By Monday, June 27, 2022 Add Comment Edit

Method of creating moving pictures

Weare

The bouncing ball animation (below) consists of these 6 frames, repeated indefinitely.

This blitheness moves at 10 frames per second.

Animation is a method in which figures are manipulated to announced as moving images. In traditional animation, images are drawn or painted by manus on transparent celluloid sheets to be photographed and exhibited on motion-picture show. Today, nearly animations are made with estimator-generated imagery (CGI). Estimator animation can be very detailed 3D animation, while 2D computer animation (which may accept the expect of traditional animation) tin can exist used for stylistic reasons, low bandwidth, or faster real-time renderings. Other mutual animation methods apply a stop motion technique to two- and three-dimensional objects similar paper cutouts, puppets, or dirt figures.

An blithe cartoon is an blithe motion picture, commonly a short motion picture, featuring an exaggerated visual way. The style takes inspiration from comic strips, ofttimes featuring anthropomorphic animals, superheroes, or the adventures of human protagonists (either children or adults). Especially with animals that grade a natural predator/prey relationship (e.thou. cats and mice, coyotes and birds), the action often centers around fierce pratfalls such every bit falls, collisions, and explosions that would exist lethal in existent life.

The illusion of animation—equally in motility pictures in general—has traditionally been attributed to persistence of vision and later to the phi miracle and/or beta movement, but the verbal neurological causes are nevertheless uncertain. The illusion of motion caused past a rapid succession of images that minimally differ from each other, with unnoticeable interruptions, is a stroboscopic result. While animators traditionally used to draw each part of the movements and changes of figures on transparent cels that could be moved over a separate background, computer animation is commonly based on programming paths between cardinal frames to maneuver digitally created figures throughout a digitally created environment.

Analog mechanical animation media that rely on the rapid display of sequential images include the phénakisticope, zoetrope, flip book, praxinoscope, and moving picture. Boob tube and video are pop electronic animation media that originally were analog and now operate digitally. For display on computers, technology such as the blithe GIF and Wink animation were developed.

In addition to short films, feature films, television series, animated GIFs, and other media dedicated to the display of moving images, animation is also prevalent in video games, motility graphics, user interfaces, and visual furnishings.[one]

The concrete motion of prototype parts through simple mechanics—for example moving images in magic lantern shows—tin likewise be considered animation. The mechanical manipulation of 3-dimensional puppets and objects to emulate living beings has a very long history in automata. Electronic automata were popularized by Disney as animatronics.

Etymology [edit]

The discussion "animation" stems from the Latin "animātiōn", stem of "animātiō", meaning "a bestowing of life".[ii] The primary meaning of the English language word is "liveliness" and has been in use much longer than the pregnant of "moving image medium".

History [edit]

Before cinematography [edit]

Nr. ten in the reworked second series of Stampfer'south stroboscopic discs published by Trentsensky & Vieweg in 1833.

Hundreds of years before the introduction of true blitheness, people all over the world enjoyed shows with moving figures that were created and manipulated manually in puppetry, automata, shadow play, and the magic lantern. The multi-media phantasmagoria shows that were very popular in European theatres from the belatedly 18th century through the first half of the 19th century, featured lifelike projections of moving ghosts and other frightful imagery in motion.

A projecting praxinoscope, from 1882, hither shown superimposing an blithe effigy on a separately projected background scene

In 1833, the stroboscopic disc (better known as the phénakisticope) introduced the principle of modern animation with sequential images that were shown i by i in quick succession to grade an optical illusion of move pictures. Series of sequential images had occasionally been fabricated over thousands of years, but the stroboscopic disc provided the start method to correspond such images in fluent move and for the outset time had artists creating series with a proper systematic breakdown of movements. The stroboscopic animation principle was also practical in the zoetrope (1866), the flip volume (1868) and the praxinoscope (1877). A typical 19th-century animation contained about 12 images that were displayed every bit a continuous loop by spinning a device manually. The flip book often contained more pictures and had a beginning and terminate, just its animation would not last longer than a few seconds. The first to create much longer sequences seems to have been Charles-Émile Reynaud, who between 1892 and 1900 had much success with his 10- to 15-minute-long Pantomimes Lumineuses.

Silent era [edit]

When cinematography eventually broke through in 1895 after animated pictures had been known for decades, the wonder of the realistic details in the new medium was seen as its biggest achievement. Animation on film was not commercialized until a few years subsequently by manufacturers of optical toys, with chromolithography film loops (often traced from live-action footage) for adapted toy magic lanterns intended for kids to use at habitation. It would take some more years earlier blitheness reached movie theaters.

After earlier experiments past movie pioneers J. Stuart Blackton, Arthur Melbourne-Cooper, Segundo de Chomón, and Edwin Southward. Porter (amidst others), Blackton'southward The Haunted Hotel (1907) was the first huge finish motion success, inexplainable audiences past showing objects that apparently moved past themselves in full photographic detail, without signs of whatsoever known phase pull a fast one on.

Émile Cohl's Fantasmagorie (1908) is the oldest known example of what became known equally traditional (mitt-drawn) animation. Other great creative and very influential short films were created by Ladislas Starevich with his boob animations since 1910 and by Winsor McCay with detailed fatigued blitheness in films such every bit Little Nemo (1911) and Gertie the Dinosaur (1914).

During the 1910s, the product of blithe "cartoons" became an industry in the US.[3] Successful producer John Randolph Bray and animator Earl Hurd, patented the cel animation process that dominated the blitheness industry for the rest of the century.[4] [5] Felix the Cat, who debuted in 1919, became the showtime animated superstar.

American golden age [edit]

In 1928, Steamboat Willie, featuring Mickey Mouse and Minnie Mouse, popularized film with synchronized sound and put Walt Disney's studio at the forefront of the animation industry.

The enormous success of Mickey Mouse is seen equally the start of the golden age of American blitheness that would last until the 1960s. The United states dominated the earth market of animation with a plethora of cel-animated theatrical shorts. Several studios would introduce characters that would get very popular and would accept long-lasting careers, including Walt Disney Productions' Goofy (1932) and Donald Duck (1934), Warner Bros. Cartoons' Looney Tunes characters like Porky Pig (1935), Daffy Duck (1937), Bugs Bunny (1938–1940), Tweety (1941–1942), Sylvester the Cat (1945), Wile Eastward. Coyote and Road Runner (1949), Fleischer Studios/Paramount Drawing Studios' Betty Boop (1930), Popeye (1933), Superman (1941) and Casper (1945), MGM cartoon studio'southward Tom and Jerry (1940) and Droopy, Walter Lantz Productions/Universal Studio Cartoons' Woody Woodpecker (1940), Terrytoons/20th Century Play a trick on's Gandy Goose (1938), Dinky Duck (1939), Mighty Mouse (1942) and Heckle and Jeckle (1946) and United Artists' Pinkish Panther (1963).

Features before CGI [edit]

Italian-Argentine cartoonist Quirino Cristiani showing the cutting and articulated figure of his satirical character El Peludo (based on President Yrigoyen) patented in 1916 for the realization of his films, including the earth's beginning animated characteristic moving picture El Apóstol.[6]

In 1917, Italian-Argentine manager Quirino Cristiani made the kickoff characteristic-length picture show El Apóstol (now lost), which became a critical and commercial success. It was followed past Cristiani'south Sin dejar rastros in 1918, just one twenty-four hours after its premiere, the moving picture was confiscated by the government.

Subsequently working on it for three years, Lotte Reiniger released the German feature-length silhouette animation Die Abenteuer des Prinzen Achmed in 1926, the oldest extant animated feature.

In 1937, Walt Disney Studios premiered their commencement blithe feature, Snow White and the Vii Dwarfs, still 1 of the highest-grossing traditional animation features as of May 2020[update].[7] [8] The Fleischer studios followed this case in 1939 with Gulliver'southward Travels with some success. Partly due to foreign markets being cut off by the Second Globe War, Disney's adjacent features Pinocchio, Fantasia (both 1940) and Fleischer Studios' 2d animated feature Mr. Problems Goes to Town (1941–1942) failed at the box part. For decades afterward, Disney would be the merely American studio to regularly produce blithe features, until Ralph Bakshi became the first to too release more than a handful features. Sullivan-Bluth Studios began to regularly produce animated features starting with An American Tail in 1986.

Although relatively few titles became every bit successful as Disney's features, other countries developed their ain animation industries that produced both curt and characteristic theatrical animations in a broad diversity of styles, relatively often including stop motion and cutout blitheness techniques. Russian federation's Soyuzmultfilm animation studio, founded in 1936, produced 20 films (including shorts) per yr on boilerplate and reached 1,582 titles in 2018. China, Czechoslovakia / Czech republic, Italian republic, France, and Kingdom of belgium were other countries that more than occasionally released feature films, while Nihon became a true powerhouse of animation product, with its own recognizable and influential anime style of effective limited animation.

Television [edit]

Blitheness became very pop on television since the 1950s, when tv sets started to become mutual in most adult countries. Cartoons were mainly programmed for children, on convenient time slots, and specially US youth spent many hours watching Saturday-morn cartoons. Many archetype cartoons constitute a new life on the small screen and by the end of the 1950s, the product of new animated cartoons started to shift from theatrical releases to Tv series. Hanna-Barbera Productions was peculiarly prolific and had huge hitting series, such equally The Flintstones (1960–1966) (the first prime time animated series), Scooby-Doo (since 1969) and Belgian co-production The Smurfs (1981–1989). The constraints of American television programming and the demand for an enormous quantity resulted in cheaper and quicker limited animation methods and much more formulaic scripts. Quality dwindled until more than daring blitheness surfaced in the late 1980s and in the early 1990s with hitting serial such as The Simpsons (since 1989) as part of a "renaissance" of American animation.

While US animated series also spawned successes internationally, many other countries produced their ain child-oriented programming, relatively frequently preferring stop motion and puppetry over cel animation. Japanese anime Television receiver series became very successful internationally since the 1960s, and European producers looking for affordable cel animators relatively often started co-productions with Japanese studios, resulting in hit series such as Barbapapa (The Netherlands/Japan/France 1973–1977), Wickie und dice starken Männer/小さなバイキング ビッケ (Vicky the Viking) (Austria/Germany/Japan 1974), and The Jungle Volume (Italy/Japan 1989).

Switch from cels to computers [edit]

Computer animation was gradually adult since the 1940s. 3D wireframe animation started popping upwards in the mainstream in the 1970s, with an early (short) advent in the sci-fi thriller Futureworld (1976).

The Rescuers Down Under was the first feature film to be completely created digitally without a camera.[9] It was produced in a style that'south very similar to traditional cel animation on the Computer Animation Product Arrangement (CAPS), developed by The Walt Disney Visitor in collaboration with Pixar in the late 1980s.

The and so-called 3D way, more often associated with estimator animation, has go extremely popular since Pixar's Toy Story (1995), the first figurer-animated feature in this manner.

Most of the cel animation studios switched to producing generally computer animated films effectually the 1990s, as it proved cheaper and more than profitable. Non merely the very popular 3D animation style was generated with computers, merely besides almost of the films and serial with a more traditional paw-crafted appearance, in which the charming characteristics of cel blitheness could be emulated with software, while new digital tools helped developing new styles and effects.[10] [11] [12] [13] [14] [fifteen]

Economic status [edit]

In 2010, the animation market place was estimated to be worth circa U.s.a.$80 billion.[xvi] By 2020, the value had increased to an estimated US$270 billion.[17] Animated characteristic-length films returned the highest gross margins (around 52%) of all pic genres betwixt 2004 and 2013.[18] Blitheness as an fine art and industry continues to thrive every bit of the early 2020s.

Pedagogy, propaganda and commercials [edit]

The clarity of animation makes it a powerful tool for instruction, while its total malleability also allows exaggeration that can be employed to convey stiff emotions and to thwart reality. Information technology has therefore been widely used for other purposes than mere entertainment.

During World War II, blitheness was widely exploited for propaganda. Many American studios, including Warner Bros. and Disney, lent their talents and their cartoon characters to convey to the public certain war values. Some countries, including China, Japan and the United kingdom of great britain and northern ireland, produced their first characteristic-length animation for their war efforts.

Animation has been very popular in television commercials, both due to its graphic entreatment, and the humour it can provide. Some blithe characters in commercials have survived for decades, such as Snap, Crackle and Pop in advertisements for Kellogg's cereals.[nineteen] The legendary animation director Tex Avery was the producer of the first Raid "Kills Bugs Dead" commercials in 1966, which were very successful for the company.[20]

Other media, merchandise and theme parks [edit]

Apart from their success in picture theaters and boob tube series, many drawing characters would also bear witness extremely lucrative when licensed for all kinds of merchandise and for other media.

Animation has traditionally been very closely related to comic books. While many comic book characters found their way to the screen (which is oft the case in Japan, where many manga are adapted into anime), original animated characters too commonly appear in comic books and magazines. Somewhat similarly, characters and plots for video games (an interactive animation medium) accept been derived from films and vice versa.

Some of the original content produced for the screen can exist used and marketed in other media. Stories and images can hands be adapted into children's books and other printed media. Songs and music have appeared on records and as streaming media.

While very many animation companies commercially exploit their creations exterior moving image media, The Walt Disney Company is the best known and most farthermost example. Since offset being licensed for a children's writing tablet in 1929, their Mickey Mouse mascot has been depicted on an enormous corporeality of products, as have many other Disney characters. This may have influenced some pejorative utilize of Mickey'due south name, but licensed Disney products sell well, and the then-chosen Disneyana has many avid collectors, and even a dedicated Disneyana fanclub (since 1984).

Disneyland opened in 1955 and features many attractions that were based on Disney'south cartoon characters. Its enormous success spawned several other Disney theme parks and resorts. Disney's earnings from the theme parks take relatively often been higher than those from their movies.

Criticism [edit]

Criticism of animation has been mutual in media and cinema since its inception. With its popularity, a large amount of criticism has arisen, particularly animated feature-length films.[21] Many concerns of cultural representation, psychological effects on children accept been brought up around the animation industry, which has remained rather politically unchanged and brackish since its inception into mainstream civilisation.[22]

Awards [edit]

As with whatever other grade of media, animation has instituted awards for excellence in the field. Many are part of full general or regional film award programs, like the Mainland china'southward Gilt Rooster Award for All-time Blitheness (since 1981). Awards programs dedicated to blitheness, with many categories, include ASIFA-Hollywood's Annie Awards, the Emile Awards in Europe and the Anima Mundi awards in Brazil.

University Awards [edit]

Apart from Academy Awards for Best Animated Short Movie (since 1932) and Best Animated Characteristic (since 2002), animated movies accept been nominated and rewarded in other categories, relatively frequently for Best Original Song and Best Original Score.

Beauty and the Fauna was the first animated flick nominated for All-time Film, in 1991. Upwardly (2009) and Toy Story 3 (2010) likewise received Best Moving-picture show nominations, afterward the academy expanded the number of nominees from five to ten.

Production [edit]

The cosmos of non-picayune blitheness works (i.due east., longer than a few seconds) has developed equally a form of filmmaking, with certain unique aspects.[23] Traits common to both live-action and animated feature-length films are labor intensity and high production costs.[24]

The most important deviation is that once a film is in the product phase, the marginal cost of one more shot is higher for animated films than live-action films.[25] It is relatively easy for a director to ask for ane more take during principal photography of a live-action film, but every have on an animated film must be manually rendered by animators (although the task of rendering slightly unlike takes has been made less tedious past modern calculator blitheness).[26] It is pointless for a studio to pay the salaries of dozens of animators to spend weeks creating a visually dazzling five-minute scene if that scene fails to finer advance the plot of the film.[27] Thus, animation studios starting with Disney began the practice in the 1930s of maintaining story departments where storyboard artists develop every single scene through storyboards, then handing the picture show over to the animators simply after the production team is satisfied that all the scenes make sense every bit a whole.[28] While live-action films are now besides storyboarded, they enjoy more latitude to depart from storyboards (i.e., existent-time improvisation).[29]

Another problem unique to animation is the requirement to maintain a flick'south consistency from start to cease, even as films have grown longer and teams have grown larger. Animators, like all artists, necessarily have individual styles, just must subordinate their individuality in a consequent fashion to whatsoever style is employed on a item motion picture.[30] Since the early 1980s, teams of well-nigh 500 to 600 people, of whom 50 to seventy are animators, typically take created feature-length animated films. It is relatively like shooting fish in a barrel for two or three artists to match their styles; synchronizing those of dozens of artists is more difficult.[31]

This problem is ordinarily solved past having a separate group of visual development artists develop an overall look and palette for each film before the animation begins. Character designers on the visual evolution team describe model sheets to show how each character should look like with different facial expressions, posed in different positions, and viewed from different angles.[32] [33] On traditionally animated projects, maquettes were often sculpted to further aid the animators see how characters would look from different angles.[34] [32]

Unlike alive-action films, blithe films were traditionally adult beyond the synopsis phase through the storyboard format; the storyboard artists would then receive credit for writing the motion-picture show.[35] In the early 1960s, animation studios began hiring professional screenwriters to write screenplays (while also continuing to use story departments) and screenplays had get commonplace for animated films by the late 1980s.

Techniques [edit]

Traditional [edit]

Traditional blitheness (likewise chosen cel blitheness or hand-drawn animation) was the process used for most animated films of the 20th century.[36] The individual frames of a traditionally blithe pic are photographs of drawings, beginning fatigued on paper.[37] To create the illusion of movement, each cartoon differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels,[38] which are filled in with paints in assigned colors or tones on the side opposite the line drawings.[39] The completed character cels are photographed one-past-i confronting a painted background by a rostrum camera onto motion flick film.[40]

The traditional cel animation process became obsolete by the beginning of the 21st century. Today, animators' drawings and the backgrounds are either scanned into or drawn directly into a reckoner arrangement.[i] [41] Various software programs are used to color the drawings and simulate camera movement and effects.[42] The concluding animated slice is output to one of several delivery media, including traditional 35 mm film and newer media with digital video.[43] [1] The "look" of traditional cel animation is still preserved, and the grapheme animators' work has remained essentially the aforementioned over the past 70 years.[34] Some blitheness producers have used the term "tradigital" (a play on the words "traditional" and "digital") to draw cel animation that uses pregnant computer technology.

Examples of traditionally animated feature films include Pinocchio (Us, 1940),[44] Animate being Farm (United Kingdom, 1954), Lucky and Zorba (Italian republic, 1998), and The Illusionist (British-French, 2010). Traditionally animated films produced with the assist of figurer technology include The Lion Male monarch (US, 1994), The Prince of Egypt (United states of america, 1998), Akira (Japan, 1988),[45] Spirited Away (Japan, 2001), The Triplets of Belleville (France, 2003), and The Surreptitious of Kells (Irish-French-Belgian, 2009).

Full [edit]

Full animation refers to the process of producing high-quality traditionally animated films that regularly use detailed drawings and plausible motility,[46] having a polish animation.[47] Fully blithe films can be fabricated in a variety of styles, from more than realistically animated works like those produced by the Walt Disney studio (The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King) to the more 'cartoon' styles of the Warner Bros. blitheness studio. Many of the Disney animated features are examples of full animation, as are not-Disney works, The Secret of NIMH (Usa, 1982), The Fe Behemothic (US, 1999), and Nocturna (Spain, 2007). Fully animated films are animated at 24 frames per second, with a combination of animation on ones and twos, meaning that drawings can exist held for 1 frame out of 24 or two frames out of 24.[48]

Limited [edit]

Limited animation involves the use of less detailed or more than stylized drawings and methods of movement usually a choppy or "skippy" motility animation.[49] Limited animation uses fewer drawings per 2d, thereby limiting the fluidity of the animation. This is a more than economic technique. Pioneered by the artists at the American studio United Productions of America,[50] limited blitheness can be used every bit a method of stylized artistic expression, as in Gerald McBoing-Boing (Us, 1951), Yellow Submarine (UK, 1968), and certain anime produced in Japan.[51] Its primary use, however, has been in producing toll-effective blithe content for media for telly (the work of Hanna-Barbera,[52] Filmation,[53] and other Telly animation studios[54]) and later the Internet (spider web cartoons).

Rotoscoping [edit]

Rotoscoping is a technique patented by Max Fleischer in 1917 where animators trace live-activeness movement, frame by frame.[55] The source flick can be directly copied from actors' outlines into animated drawings,[56] as in The Lord of the Rings (US, 1978), or used in a stylized and expressive manner, as in Waking Life (US, 2001) and A Scanner Darkly (US, 2006). Some other examples are Fire and Ice (The states, 1983), Heavy Metal (1981), and Aku no Hana (Japan, 2013).

Live-action blending [edit]

Live-action/animation is a technique combining mitt-fatigued characters into alive action shots or live-action actors into animated shots.[57] One of the earlier uses was in Koko the Clown when Koko was drawn over live-action footage.[58] Walt Disney and Ub Iwerks created a series of Alice Comedies (1923–1927), in which a live-activity girl enters an blithe globe. Other examples include Allegro Not Troppo (Italia, 1976), Who Framed Roger Rabbit (Us, 1988), Volere volare (Italy 1991), Space Jam (U.s., 1996) and Osmosis Jones (US, 2001).

Stop movement [edit]

Stop-motion animation is used to depict animation created by physically manipulating existent-world objects and photographing them ane frame of film at a time to create the illusion of move.[59] There are many different types of stop-motion blitheness, commonly named after the medium used to create the animation.[60] Computer software is widely bachelor to create this type of animation; traditional stop-motion blitheness is commonly less expensive only more fourth dimension-consuming to produce than current computer animation.[60]

Boob animation
Typically involves stop-motion puppet figures interacting in a constructed environment, in contrast to real-world interaction in model animation.[61] The puppets generally have an armature inside of them to keep them withal and steady to constrain their motion to particular joints.[62] Examples include The Tale of the Fob (France, 1937), The Nightmare Before Christmas (United states, 1993), Corpse Bride (US, 2005), Coraline (U.s.a., 2009), the films of Jiří Trnka and the adult animated sketch-one-act television series Robot Chicken (US, 2005–present).
Puppetoon
Created using techniques adult past George Pal,[63] are puppet-animated films that typically utilise a different version of a puppet for dissimilar frames, rather than simply manipulating one existing boob.[64]

A clay animation scene from a Finnish television commercial

Dirt animation or Plasticine animation
(Often chosen claymation, which, even so, is a trademarked proper noun). It uses figures made of clay or a like malleable fabric to create stop-movement animation.[59] [65] The figures may accept an armature or wire frame inside, similar to the related puppet animation (beneath), that can be manipulated to pose the figures.[66] Alternatively, the figures may be made entirely of clay, in the films of Bruce Bickford, where clay creatures morph into a variety of different shapes. Examples of clay-blithe works include The Gumby Testify (The states, 1957–1967), Mio Mao (Italy, 1974–2005), Morph shorts (UK, 1977–2000), Wallace and Gromit shorts (UK, every bit of 1989), Jan Švankmajer's Dimensions of Dialogue (Czechoslovakia, 1982), The Trap Door (UK, 1984). Films include Wallace & Gromit: The Curse of the Were-Rabbit, Chicken Run and The Adventures of Mark Twain.[67]
Strata-cut animation
Most commonly a class of clay animation in which a long bread-like "loaf" of clay, internally packed tight and loaded with varying imagery, is sliced into thin sheets, with the animation photographic camera taking a frame of the finish of the loaf for each cut, somewhen revealing the motion of the internal images inside.[68]
Cutout animation
A blazon of stop-movement animation produced by moving 2-dimensional pieces of material paper or cloth.[69] Examples include Terry Gilliam's blithe sequences from Monty Python'due south Flying Circus (UK, 1969–1974); Fantastic Planet (France/Czechoslovakia, 1973); Tale of Tales (Russia, 1979), The pilot episode of the adult telly sitcom series (and sometimes in episodes) of South Park (US, 1997) and the music video Live for the moment, from Verona Riots band (produced by Alberto Serrano and Nívola Uyá, Kingdom of spain 2014).
Silhouette animation
A variant of cutout animation in which the characters are backlit and only visible every bit silhouettes.[70] Examples include The Adventures of Prince Achmed (Weimar Democracy, 1926) and Princes et Princesses (France, 2000).
Model blitheness
Refers to stop-motility animation created to interact with and exist every bit a part of a live-activity world.[71] Intercutting, matte effects and split screens are frequently employed to blend terminate-movement characters or objects with live actors and settings.[72] Examples include the work of Ray Harryhausen, equally seen in films, Jason and the Argonauts (1963),[73] and the work of Willis H. O'Brien on films, King Kong (1933).
Go motion
A variant of model animation that uses various techniques to create motion blur between frames of motion-picture show, which is not present in traditional finish motion.[74] The technique was invented by Industrial Light & Magic and Phil Tippett to create special effect scenes for the film The Empire Strikes Back (1980).[75] Another instance is the dragon named "Vermithrax" from the 1981 moving picture Dragonslayer.[76]
Object animation
Refers to the use of regular inanimate objects in cease-motion animation, as opposed to specially created items.[77]
Graphic blitheness
Uses not-fatigued flat visual graphic cloth (photographs, newspaper clippings, magazines, etc.), which are sometimes manipulated frame by frame to create move.[78] At other times, the graphics remain stationary, while the cease-motion camera is moved to create on-screen action.
Brickfilm
A subgenre of object blitheness involving using Lego or other like brick toys to make an animation.[79] [lxxx] These accept had a contempo boost in popularity with the advent of video sharing sites, YouTube and the availability of cheap cameras and animation software.[81]
Pixilation
Involves the use of alive humans every bit end-motion characters.[82] This allows for a number of surreal furnishings, including disappearances and reappearances, allowing people to announced to slide across the footing, and other effects.[82] Examples of pixilation include The Cloak-and-dagger Adventures of Tom Thumb and Aroused Kid shorts, and the Academy Award-winning Neighbours past Norman McLaren.

Computer [edit]

Computer animation encompasses a variety of techniques, the unifying factor being that the animation is created digitally on a reckoner.[42] [83] 2nd animation techniques tend to focus on image manipulation while 3D techniques unremarkably build virtual worlds in which characters and objects move and interact.[84] 3D animation tin can create images that seem real to the viewer.[85]

2D [edit]

A second animation of two circles joined by a chain

2nd animation figures are created or edited on the computer using second bitmap graphics and 2D vector graphics.[86] This includes automated computerized versions of traditional animation techniques, interpolated morphing,[87] onion skinning[88] and interpolated rotoscoping. 2D animation has many applications, including analog figurer animation, Flash blitheness, and PowerPoint animation. Cinemagraphs are still photographs in the form of an animated GIF file of which part is animated.[89]

Final line advection animation is a technique used in 2D animation,[ninety] to requite artists and animators more than influence and command over the final production as everything is done within the same department.[91] Speaking nearly using this approach in Paperman, John Kahrs said that "Our animators tin can change things, actually erase abroad the CG underlayer if they want, and alter the profile of the arm."[92]

3D [edit]

3D animation is digitally modeled and manipulated by an animator. The 3D model maker usually starts by creating a 3D polygon mesh for the animator to dispense.[93] A mesh typically includes many vertices that are continued by edges and faces, which give the visual appearance of form to a 3D object or 3D environs.[93] Sometimes, the mesh is given an internal digital skeletal structure called an armature that tin can be used to control the mesh by weighting the vertices.[94] [95] This procedure is called rigging and can be used in conjunction with primal frames to create movement.[96]

Other techniques can be practical, mathematical functions (due east.g., gravity, particle simulations), simulated fur or hair, and effects, fire and h2o simulations.[97] These techniques fall under the category of 3D dynamics.[98]

Terms [edit]
  • Cel-shaded animation is used to mimic traditional animation using reckoner software.[99] The shading looks stark, with less blending of colors. Examples include Skyland (2007, France), The Iron Giant (1999, United States), Futurama (1999, United States) Appleseed Ex Machina (2007, Japan), The Legend of Zelda: The Current of air Waker (2002, Japan), The Legend of Zelda: Breath of the Wild (2017, Japan)
  • Machinima – Films created by screen capturing in video games and virtual worlds. The term originated from the software introduction in the 1980s demoscene, equally well as the 1990s recordings of the outset-person shooter video game Quake.
  • Movement capture is used when live-action actors clothing special suits that allow computers to re-create their movements into CG characters.[100] [101] Examples include Polar Limited (2004, US), Beowulf (2007, US), A Christmas Carol (2009, U.s.a.), The Adventures of Tintin (2011, US) kochadiiyan (2014, India)
  • Computer animation is used primarily for blitheness that attempts to resemble real life, using advanced rendering that mimics in detail skin, plants, water, fire, clouds, etc.[102] Examples include Up (2009, United states), How to Train Your Dragon (2010, US)
  • Physically based blitheness is animation using estimator simulations.[103]

Mechanical [edit]

  • Animatronics is the use of mechatronics to create machines that seem breathing rather than robotic.
    • Audio-Animatronics and Autonomatronics is a form of robotics animation, combined with 3-D blitheness, created by Walt Disney Imagineering for shows and attractions at Disney theme parks move and brand racket (generally a recorded speech or song).[104] They are fixed to whatever supports them. They can sit down and stand, and they cannot walk. An Sound-Animatron is dissimilar from an android-type robot in that it uses prerecorded movements and sounds, rather than responding to external stimuli. In 2009, Disney created an interactive version of the technology chosen Autonomatronics.[105]
    • Linear Blitheness Generator is a course of animation past using static pic frames installed in a tunnel or a shaft. The animation illusion is created by putting the viewer in a linear motion, parallel to the installed picture frames.[106] The concept and the technical solution were invented in 2007 past Mihai Girlovan in Romania.
  • Chuckimation is a type of blitheness created by the makers of the idiot box serial Action League At present! in which characters/props are thrown, or chucked from off camera or wiggled around to simulate talking by unseen hands.[107]
  • The magic lantern used mechanical slides to project moving images, probably since Christiaan Huygens invented this early paradigm projector in 1659.

Other [edit]

  • Hydrotechnics: a technique that includes lights, water, fire, fog, and lasers, with high-definition projections on mist screens.
  • Drawn on moving-picture show blitheness: a technique where footage is produced by creating the images directly on pic stock; for example, by Norman McLaren,[108] Len Lye and Stan Brakhage.
  • Paint-on-glass animation: a technique for making blithe films by manipulating slow drying oil paints on sheets of glass,[109] for example by Aleksandr Petrov.
  • Erasure animation: a technique using traditional 2D media, photographed over time as the artist manipulates the image. For case, William Kentridge is famous for his charcoal erasure films,[110] and Piotr Dumała for his auteur technique of animative scratches on plaster.
  • Pinscreen blitheness: makes utilize of a screen filled with movable pins that can be moved in or out by pressing an object onto the screen.[111] The screen is lit from the side then that the pins cast shadows. The technique has been used to create blithe films with a range of textural effects hard to accomplish with traditional cel animation.[112]
  • Sand blitheness: sand is moved around on a back- or front end-lighted piece of glass to create each frame for an blithe pic.[113] This creates an interesting outcome when blithe because of the light contrast.[114]
  • Flip book: a flip book (sometimes, especially in British English, called a flick book) is a volume with a series of pictures that vary gradually from one folio to the next, so that when the pages are turned rapidly, the pictures appear to animate by simulating motion or some other change.[115] [116] Flip books are often illustrated books for children,[117] they also are geared towards adults and apply a series of photographs rather than drawings. Flip books are not always separate books, they appear as an added feature in ordinary books or magazines, often in the page corners.[115] Software packages and websites are also available that catechumen digital video files into custom-made flip books.[118]
  • Character blitheness
  • Multi-sketching
  • Special furnishings animation

See also [edit]

  • Twelve bones principles of animation
  • Animated war picture show
  • Animation section
  • Animated series
  • Architectural animation
  • Avar
  • Contained blitheness
  • International Animation Day
  • International Blithe Film Clan
  • International Tournée of Blitheness
  • List of film-related topics
  • Motility graphic design
  • Society for Animation Studies
  • Wire-frame model

References [edit]

Citations [edit]

  1. ^ a b c Buchan 2013.
  2. ^ "The definition of animation on dictionary.com".
  3. ^ Solomon 1989, p. 28.
  4. ^ Solomon 1989, p. 24.
  5. ^ Solomon 1989, p. 34.
  6. ^ Bendazzi 1994, p. 49.
  7. ^ * Total prior to 50th anniversary reissue: Culhane, John (12 July 1987). "'Snow White' At l: Undimmed Magic". The New York Times. Archived from the original on 4 June 2014. Retrieved 29 June 2014. Past now, it has grossed about $330 million worldwide - so it remains one of the most popular films ever made.
  8. ^ * 1987 and 1993 grosses from North America: "Snowfall White and the Seven Dwarfs – Releases". Box Office Mojo. Archived from the original on 29 May 2014. Retrieved 29 June 2014. 1987 release – $46,594,212; 1993 release – $41,634,471
  9. ^ "First fully digital feature motion-picture show". Guinness World Records. Guinness World Records Express. Retrieved 27 December 2018.
  10. ^ Amidi, Among (1 June 2015). "Sergio Pablos Talks Well-nigh His Stunning Manus-Drawn Project 'Klaus'". Drawing Brew . Retrieved 12 October 2019.
  11. ^ "The Origins of Klaus". YouTube. 10 October 2019. Archived from the original on 22 November 2021. Retrieved 12 October 2019.
  12. ^ Bernstein, Abbie (25 February 2013). "Assignment X". Exclusive Interview: John Kahrs & Kristina Reed on PAPERMAN. Midnight Productions, Inc. Retrieved half dozen Oct 2013.
  13. ^ "Starting time LOOK: Disney's 'Paperman' fuses paw-fatigued charm with digital depth". EW.com . Retrieved two October 2014.
  14. ^ Sarto, Dan. "Inside Disney's New Animated Brusk Paperman". Animation World Network. Retrieved 5 June 2012.
  15. ^ "Disney's Paperman animated short fuses CG and hand-drawn techniques". Retrieved 2 October 2014.
  16. ^ Board of Investments 2009.
  17. ^ "Global animation market value 2017-2020". Statista . Retrieved 31 March 2022.
  18. ^ McDuling 2014.
  19. ^ "Snap, Crepitation, Pop® | Rice Krispies®". world wide web.ricekrispies.com . Retrieved sixteen June 2020.
  20. ^ Taylor, Heather (10 June 2019). "The Raid Bugs: Characters We Love To Hate". PopIcon.life . Retrieved xvi June 2020.
  21. ^ Amidi 2011.
  22. ^ Nagel 2008.
  23. ^ Laybourne 1998, p. 117.
  24. ^ Solomon 1989, p. 274.
  25. ^ White 2006, p. 151.
  26. ^ Laybourne 1998, p. 339.
  27. ^ Culhane 1990, p. 55.
  28. ^ Solomon 1989, p. 120.
  29. ^ Laybourne 1998, pp. 100–01.
  30. ^ Masson 2007, p. 94.
  31. ^ Brook 2004, p. 37.
  32. ^ a b Williams 2001, p. 34.
  33. ^ Culhane 1990, p. 146.
  34. ^ a b Williams 2001, pp. 52–57.
  35. ^ Laybourne 1998, pp. 99–100.
  36. ^ White 2006, p. 31.
  37. ^ Beckerman 2003, p. 153.
  38. ^ Thomas & Johnston 1981, pp. 277–79.
  39. ^ Laybourne 1998, p. 203.
  40. ^ White 2006, pp. 195–201.
  41. ^ White 2006, p. 394.
  42. ^ a b Culhane 1990, p. 296.
  43. ^ Laybourne 1998, pp. 35–36, 52–53.
  44. ^ Solomon 1989, pp. 63–65.
  45. ^ Beckerman 2003, p. 80.
  46. ^ Culhane 1990, p. 71.
  47. ^ Culhane 1990, pp. 194–95.
  48. ^ Laybourne 1998, pp. 25–26.
  49. ^ Beckerman 2003, p. 142.
  50. ^ Beckerman 2003, pp. 54–55.
  51. ^ Ledoux 1997, p. 24, 29.
  52. ^ Lawson & Persons 2004, p. 82.
  53. ^ Solomon 1989, p. 241.
  54. ^ Lawson & Persons 2004, p. xxi.
  55. ^ Crafton 1993, p. 158.
  56. ^ Laybourne 1998, pp. 163–64.
  57. ^ Laybourne 1998, pp. 162–63.
  58. ^ Beck 2004, pp. 18–19.
  59. ^ a b Solomon 1989, p. 299.
  60. ^ a b Laybourne 1998, p. 159.
  61. ^ Solomon 1989, p. 171.
  62. ^ Laybourne 1998, pp. 155–56.
  63. ^ Beck 2004, p. 70.
  64. ^ Beck 2004, pp. 92–93.
  65. ^ Laybourne 1998, pp. 150–151.
  66. ^ Laybourne 1998, pp. 151–54.
  67. ^ Brook 2004, p. 250.
  68. ^ Furniss 1998, pp. 52–54.
  69. ^ Laybourne 1998, pp. 59–sixty.
  70. ^ Culhane 1990, pp. 170–171.
  71. ^ Harryhausen & Dalton 2008, pp. 9–11.
  72. ^ Harryhausen & Dalton 2008, pp. 222–26
  73. ^ Harryhausen & Dalton 2008, p. 18
  74. ^ Smith 1986, p. 90.
  75. ^ Watercutter 2012.
  76. ^ Smith 1986, pp. 91–95.
  77. ^ Laybourne 1998, pp. 51–57.
  78. ^ Laybourne 1998, p. 128.
  79. ^ Paul 2005, pp. 357–63.
  80. ^ Herman 2014.
  81. ^ Haglund 2014.
  82. ^ a b Laybourne 1998, pp. 75–79.
  83. ^ Serenko 2007.
  84. ^ Masson 2007, p. 405.
  85. ^ Serenko 2007, p. 482.
  86. ^ Masson 2007, p. 165.
  87. ^ Sito 2013, pp. 32, lxx, 132.
  88. ^ Priebe 2006, pp. 71–72.
  89. ^ White 2006, p. 392.
  90. ^ Lowe & Schnotz 2008, pp. 246–47.
  91. ^ Masson 2007, pp. 127–28.
  92. ^ Brook 2012.
  93. ^ a b Masson 2007, p. 88.
  94. ^ Sito 2013, p. 208.
  95. ^ Masson 2007, pp. 78–80.
  96. ^ Sito 2013, p. 285.
  97. ^ Masson 2007, p. 96.
  98. ^ Lowe & Schnotz 2008, p. 92.
  99. ^ "Cel Shading: the Unsung Hero of Blitheness?". Animator Magazine. 17 December 2011. Archived from the original on v March 2016. Retrieved 20 Feb 2016.
  100. ^ Sito 2013, pp. 207–08.
  101. ^ Masson 2007, p. 204.
  102. ^ Parent 2007, p. 19.
  103. ^ Donald H. Firm; John C. Keyser (30 November 2016). Foundations of Physically Based Modeling and Animation. CRC Printing. ISBN978-1-315-35581-8.
  104. ^ Pilling 1997, p. 249.
  105. ^ O'Keefe 2014.
  106. ^ Parent 2007, pp. 22–23.
  107. ^ Kenyon 1998.
  108. ^ Faber & Walters 2004, p. 1979.
  109. ^ Pilling 1997, p. 222.
  110. ^ Carbone 2010.
  111. ^ Neupert 2011.
  112. ^ Pilling 1997, p. 204.
  113. ^ Brown 2003, p. 7.
  114. ^ Furniss 1998, pp. 30–33.
  115. ^ a b Laybourne 1998, pp. 22–24.
  116. ^ Solomon 1989, pp. viii–10.
  117. ^ Laybourne 1998, p. xiv.
  118. ^ White 2006, p. 203.

Sources [edit]

Journal manufactures [edit]

  • Anderson, Joseph and Barbara (Spring 1993). "Journal of Picture show and Video". The Myth of Persistence of Vision Revisited. 45 (ane): iii–13. Archived from the original on 24 Nov 2009.
  • Serenko, Alexander (2007). "Computers in Homo Behavior" (PDF). The Development of an Instrument to Measure the Degree of Animation Predisposition of Agent Users. 23 (i): 478–95.

Books [edit]

  • Baer, Eva (1983). Metalwork in Medieval Islamic Art. Land University of New York Press. pp. 58, 86, 143, 151, 176, 201, 226, 243, 292, 304. ISBN978-0-87395-602-4.
  • Beck, Jerry (2004). Blitheness Art: From Pencil to Pixel, the History of Cartoon, Anime & CGI. Fulhamm London: Flame Tree Publishing. ISBN978-1-84451-140-2.
  • Beckerman, Howard (2003). Animation: The Whole Story. Allworth Press. ISBN978-one-58115-301-nine.
  • Bendazzi, Giannalberto (1994). Cartoons: 1 Hundred Years of Picture palace Animation . Bloomington, Indiana: Indiana Academy Press. ISBN978-0-253-20937-5.
  • Buchan, Suzanne (2013). Pervasive Animation. New York and London: Routledge. ISBN978-0-415-80723-4.
  • Canemaker, John (2005). Winsor McCay: His Life and Fine art (Revised ed.). Abrams Books. ISBN978-0-8109-5941-5.
  • Cotte, Olivier (2007). Secrets of Oscar-winning Animation: Backside the scenes of 13 classic short animations. Focal Press. ISBN978-0240520704.
  • Crafton, Donald (1993). Before Mickey: The Animated Motion picture 1898–1928. Chicago: Academy of Chicago Press. ISBN978-0-226-11667-nine.
  • Culhane, Shamus (1990). Animation: Script to Screen. St. Martin's Press. ISBN978-0-312-05052-viii.
  • Drazin, Charles (2011). The Faber Volume of French Cinema . Faber & Faber. ISBN978-0-571-21849-three.
  • Faber, Liz; Walters, Helen (2004). Animation Unlimited: Innovative Brusque Films Since 1940 . London: Laurence Male monarch Publishing. ISBN978-1-85669-346-ii.
  • Finkielman, Jorge (2004). The Moving picture Manufacture in Argentina: An Illustrated Cultural History. Due north Carolina: McFarland. p. 20. ISBN978-0-7864-1628-8.
  • Furniss, Maureen (1998). Art in Motion: Animation Aesthetics. Indiana University Press. ISBN978-i-86462-039-ix.
  • Godfrey, Bob; Jackson, Anna (1974). The Practice-Information technology-Yourself Film Blitheness Book. BBC Publications. ISBN978-0-563-10829-0.
  • Harryhausen, Ray; Dalton, Tony (2008). A Century of Model Blitheness: From Méliès to Aardman. Aurum Press. ISBN978-0-8230-9980-i.
  • Herman, Sarah (2014). Brick Flicks: A Comprehensive Guide to Making Your Ain Stop-Movement LEGO Movies. New York: Skyhorse Publishing. ISBN978-1-62914-649-2.
  • Lawson, Tim; Persons, Alisa (2004). The Magic Backside the Voices [A Who'southward Who of Cartoon Voice Actors]. University Press of Mississippi. ISBN978-1-57806-696-four.
  • Laybourne, Kit (1998). The Animation Book: A Complete Guide to Animated Filmmaking – from Flip-books to Audio Cartoons to iii-D Blitheness. New York: Three Rivers Press. ISBN978-0-517-88602-1.
  • Ledoux, Trish (1997). Complete Anime Guide: Japanese Animation Moving picture Directory and Resource Guide. Tiger Mount Printing. ISBN978-0-9649542-5-0.
  • Lowe, Richard; Schnotz, Wolfgang, eds. (2008). Learning with Animation. Research implications for design. New York: Cambridge Academy Printing. ISBN978-0-521-85189-3.
  • Masson, Terrence (2007). CG101: A Computer Graphics Industry Reference. Unique and personal histories of early computer animation production, plus a comprehensive foundation of the industry for all reading levels. Williamstown, MA: Digital Fauxtography. ISBN978-0-9778710-0-one.
  • Needham, Joseph (1962). "Science and Culture in Prc". Physics and Physical Engineering science. Vol. IV. Cambridge University Press.
  • Neupert, Richard (2011). French Animation History. John Wiley & Sons. ISBN978-ane-4443-3836-2.
  • Parent, Rick (2007). Computer Animation: Algorithms & Techniques. Ohio State University: Morgan Kaufmann. ISBN978-0-12-532000-ix.
  • Paul, Joshua (2005). Digital Video Hacks. O'Reilly Media. ISBN978-0-596-00946-v.
  • Pilling, Jayne (1997). Society of Animation Studies (ed.). A Reader in Animation Studies. Indiana University Press. ISBN978-1-86462-000-nine.
  • Priebe, Ken A. (2006). The Art of End-Motion Animation. Thompson Course Technology. ISBN978-i-59863-244-six.
  • Rojas, Carlos; Chow, Eileen (2013). The Oxford Handbook of Chinese Cinemas. Oxford University Printing. ISBN978-0-19-998844-0.
  • Sammond, Nicholas (27 August 2015). Nascency of an Industry: Blackface Minstrelsy and the Ascent of American Animation. Durham, NC: Duke University Printing. doi:10.1515/9780822375784. ISBN9780822358527. OCLC 8605897837.
  • Shaffer, Joshua C. (2010). Discovering The Magic Kingdom: An Unofficial Disneyland Vacation Guide. Indiana: Author House. ISBN978-one-4520-6312-six.
  • Sito, Tom (2013). Moving Innovation: A History of Computer Animation. Massachusetts: MIT Press. ISBN978-0-262-01909-v.
  • Solomon, Charles (1989). Enchanted Drawings: The History of Animation. New York: Random Business firm, Inc. ISBN978-0-394-54684-i.
  • Thomas, Bob (1958). Walt Disney, the Art of Animation: The Story of the Disney Studio Contribution to a New Fine art. Walt Disney Studios. Simon and Schuster.
  • Thomas, Frank; Johnston, Ollie (1981). Disney Blitheness: The Illusion of Life. Abbeville Press. ISBN978-0-89659-233-9.
  • Smith, Thomas One thousand. (1986). Industrial Light & Magic: The Fine art of Special Furnishings. New York: Ballantine Books. ISBN978-0-345-32263-0.
  • White, Tony (2006). Blitheness from Pencils to Pixels: Classical Techniques for the Digital Animator. Milton Park: Taylor & Francis. ISBN978-0-240-80670-9.
  • Williams, Richard (2001). The Animator's Survival Kit. Faber and Faber. ISBN978-0-571-20228-7.
  • Zielinski, Siegfried (1999). Audiovisions: Movie theatre and Television every bit Entr'actes in History. Amsterdam Academy Press. ISBN978-90-5356-303-8.

Online sources [edit]

  • Amidi, Amongst (2 December 2011). "NY Flick Critics Didn't like a Single Blithe Movie This Twelvemonth". Cartoon Brew. Retrieved xix February 2016.
  • Ball, Ryan (12 March 2008). "Oldest Blitheness Discovered in Iran". Animation Mag . Retrieved 15 March 2016.
  • Beck, Jerry (2 July 2012). "A Niggling More than Near Disney'southward "Paperman"". Drawing Brew.
  • Bendazzi, Giannalberto (1996). "The Untold Story of Argentina's Pioneer Animator". Animation World Network. Retrieved 29 April 2016.
  • "Animation" (PDF). boi.gov.ph. Board of Investments. November 2009. Archived from the original (PDF) on 19 October 2012. Retrieved 24 July 2012.
  • Brown, Margery (2003). "Experimental Animation Techniques" (PDF). Olympia, WA: Evergreen State Collage. Archived from the original (PDF) on 7 March 2008. Retrieved 11 November 2005.
  • Carbone, Ken (24 February 2010). "Stone-Age Animation in a Digital Globe: William Kentridge at MoMA". Fast Visitor . Retrieved 7 March 2016.
  • Haglund, David (7 February 2014). "The Oldest Known LEGO Movie". Slate . Retrieved 25 February 2016.
  • "World's Oldest Animation?". theheritagetrust.wordpress.com. The Heritage Trust. 25 July 2012. Archived from the original on 22 October 2015.
  • Kenyon, Heather (1 Feb 1998). "How'd They Do That?: Stop-Movement Secrets Revealed". Animation Globe Network. Retrieved 2 March 2016.
  • Nagel, January (21 May 2008). "Gender in Media: Females Don't Rule". Blitheness Globe Network. Retrieved 3 March 2016.
  • McDuling, John (3 July 2014). "Hollywood Is Giving Upwardly on One-act". The Atlantic. The Atlantic Monthly Group. Retrieved twenty July 2014.
  • McLaughlin, Dan (2001). "A Rather Incomplete Merely Still Fascinating". Flick Television receiver. UCLA. Archived from the original on nineteen November 2009. Retrieved 12 February 2013.
  • O'Keefe, Matt (11 November 2014). "6 Major Innovations That Sprung from the Heads of Disney Imagineers". Theme Park Tourist. Retrieved 9 March 2016.
  • Watercutter, Angela (24 May 2012). "35 Years After Star Wars, Furnishings Whiz Phil Tippett Is Slowly Crafting a Mad God". Wired . Retrieved 6 Feb 2016.
  • Zohn, Patricia (28 Feb 2010). "Coloring the Kingdom". Vanity Fair . Retrieved vii Dec 2015.
  • "Walt Disney's Oscars". The Walt Disney Family Museum. 22 Feb 2013. Archived from the original on 22 March 2015. Retrieved 22 February 2016.
  • "Władysław Starewicz – Biography". culture.pl. Adam Mickiewicz Plant. 16 Apr 2012. Retrieved 9 February 2016.

External links [edit]

  • The making of an eight-minute cartoon curt
  • "Animando", a 12-minute film demonstrating 10 dissimilar animation techniques (and teaching how to use them).
  • Bibliography on animation – Websiite "Histoire de la télévision"
  • Animation at Curlie

Source: https://en.wikipedia.org/wiki/Animation

Posted by: clarksonoblipt58.blogspot.com

0 Response to "How Were Animations Made In The 1940s"

Post a Comment

Subscribe to: Post Comments (Atom)

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel