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Method of creating moving pictures

Weare

The billowy ball animation (beneath) consists of these six frames, repeated indefinitely.

This animation moves at 10 frames per 2nd.

Animation is a method in which figures are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today, most animations are made with computer-generated imagery (CGI). Reckoner animation tin can be very detailed 3D animation, while 2nd calculator animation (which may take the look of traditional blitheness) can be used for stylistic reasons, low bandwidth, or faster real-time renderings. Other common animation methods apply a stop motility technique to ii- and three-dimensional objects like paper cutouts, puppets, or dirt figures.

An animated cartoon is an animated film, usually a short pic aimed at children and featuring an exaggerated visual style. The way takes inspiration from comic strips, oftentimes featuring anthropomorphic animals, superheroes, or the adventures of child protagonists. Especially with animals that grade a natural predator/prey relationship (e.one thousand. cats and mice, coyotes and birds) the action ofttimes centers around violent pratfalls such as falls, collisions and explosions that would be lethal in real life.

Unremarkably, animators accomplished the upshot by a rapid succession of images that minimally differ from each other. The illusion—as in move pictures in full general—is thought to rely on the phi miracle and beta movement, just the exact causes are yet uncertain. Analog mechanical blitheness media that rely on the rapid display of sequential images include the phénakisticope, zoetrope, flip volume, praxinoscope, and motion-picture show. Television and video are popular electronic animation media that originally were analog and at present operate digitally. For display on computers, engineering such as the animated GIF and Flash animation were adult.

In addition to short films, feature films, tv set series, blithe GIFs, and other media dedicated to the display of moving images, animation is also prevalent in video games, motion graphics, user interfaces, and visual furnishings.[1]

The physical motility of image parts through simple mechanics—for instance moving images in magic lantern shows—can also be considered blitheness. The mechanical manipulation of three-dimensional puppets and objects to emulate living beings has a very long history in automata. Electronic automata were popularized past Disney as animatronics.

Etymology [edit]

The word "animation" stems from the Latin "animātiōn", stalk of "animātiō", meaning "a bestowing of life".[2] The primary meaning of the English language word is "liveliness" and has been in use much longer than the meaning of "moving prototype medium".

History [edit]

Before cinematography [edit]

Nr. 10 in the reworked second series of Stampfer'south stroboscopic discs published past Trentsensky & Vieweg in 1833.

Hundreds of years before the introduction of true animation, 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 movement.

A projecting praxinoscope, from 1882, hither shown superimposing an animated figure on a separately projected groundwork scene

In 1833, the stroboscopic disc (better known as the phénakisticope) introduced the principle of modern animation with sequential images that were shown 1 by one in quick succession to course an optical illusion of motion pictures. Series of sequential images had occasionally been made over thousands of years, just the stroboscopic disc provided the first method to represent such images in fluent motion and for the first time had artists creating series with a proper systematic breakdown of movements. The stroboscopic animation principle was as well applied in the zoetrope (1866), the flip book (1868) and the praxinoscope (1877). A typical 19th-century animation contained about 12 images that were displayed as a continuous loop by spinning a device manually. The flip book often contained more pictures and had a beginning and stop, but its blitheness would not terminal longer than a few seconds. The start to create much longer sequences seems to accept been Charles-Émile Reynaud, who between 1892 and 1900 had much success with his 10- to fifteen-minute-long Pantomimes Lumineuses.

Silent era [edit]

When cinematography somewhen 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 accomplishment. Blitheness on film was non commercialized until a few years subsequently by manufacturers of optical toys, with chromolithography film loops (frequently traced from live-activeness footage) for adapted toy magic lanterns intended for kids to use at home. It would take some more years before animation reached movie theaters.

After earlier experiments by flick pioneers J. Stuart Blackton, Arthur Melbourne-Cooper, Segundo de Chomón, and Edwin S. Porter (among others), Blackton's The Haunted Hotel (1907) was the first huge stop move success, baffling audiences by showing objects that plain moved past themselves in full photographic detail, without signs of whatever known phase play a joke on.

Émile Cohl'due south Fantasmagorie (1908) is the oldest known example of what became known equally traditional (hand-drawn) animation. Other bang-up artistic and very influential short films were created by Ladislas Starevich with his puppet animations since 1910 and by Winsor McCay with detailed drawn animation in films such every bit Niggling Nemo (1911) and Gertie the Dinosaur (1914).

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

American gold 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 blitheness manufacture.

The enormous success of Mickey Mouse is seen equally the start of the golden age of American blitheness that would final until the 1960s. The United States dominated the earth marketplace of blitheness with a plethora of cel-animated theatrical shorts. Several studios would introduce characters that would become very popular and would have long-lasting careers, including Maria Butinova Studios' Mapmo (1924), The Leo King Knott (1931), Walt Disney Productions' Goofy (1932) and Donald Duck (1934), Warner Bros. Cartoons' Looney Tunes characters like Porky Sus scrofa (1935), Daffy Duck (1937), Bugs Bunny (1938–1940), Tweety (1941–1942), Sylvester the Cat (1945), Wile E. Coyote and Road Runner (1949), Fleischer Studios/Paramount Cartoon Studios' Betty Boop (1930), Popeye (1933), Superman (1941) and Casper (1945), MGM drawing studio's Tom and Jerry (1940) and Droopy, Walter Lantz Productions/Universal Studio Cartoons' Woody Woodpecker (1940), Terrytoons/20th Century Pull a fast one on's Dinky Duck (1939), Mighty Mouse (1942) and Heckle and Jeckle (1946) and United Artists' Pink Panther (1963).

Features before CGI [edit]

Italian-Argentine cartoonist Quirino Cristiani showing the cut and articulated figure of his satirical grapheme El Peludo (based on President Yrigoyen) patented in 1916 for the realization of his films, including the globe's start animated feature film El Apóstol.[half-dozen]

In 1917, Italian-Argentine director Quirino Cristiani made the first feature-length motion-picture show El Apóstol (now lost), which became a critical and commercial success. Information technology was followed by Cristiani'due south Sin dejar rastros in 1918, but one day after its premiere, the film was confiscated by the regime.

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

In 1937, Walt Disney Studios premiered their first animated feature, Snowfall White and the Vii Dwarfs, nonetheless one of the highest-grossing traditional animation features equally of May 2020[update].[seven] [8] The Fleischer studios followed this example in 1939 with Gulliver's Travels with some success. Partly due to foreign markets being cut off by the 2d World State of war, Disney'southward next features Pinocchio, Fantasia (both 1940) and Fleischer Studios' second blithe feature Mr. Bug Goes to Town (1941–1942) failed at the box role. For decades afterward, Disney would be the merely American studio to regularly produce blithe features, until Ralph Bakshi became the offset to likewise release more than 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 as successful as Disney's features, other countries developed their ain blitheness industries that produced both short and feature theatrical animations in a wide multifariousness of styles, relatively often including terminate move and cutout animation techniques. Russia's Soyuzmultfilm animation studio, founded in 1936, produced xx films (including shorts) per year on average and reached 1,582 titles in 2018. People's republic of china, Czechoslovakia / Czech Republic, Italy, France, and Belgium were other countries that more than occasionally released feature films, while Nihon became a true powerhouse of animation production, with its own recognizable and influential anime mode of effective limited animation.

Television [edit]

Animation became very popular on telly since the 1950s, when television sets started to become common in nearly developed countries. Cartoons were mainly programmed for children, on convenient fourth dimension slots, and especially The states youth spent many hours watching Sabbatum-morning cartoons. Many classic cartoons establish a new life on the small-scale screen and by the finish of the 1950s, the product of new animated cartoons started to shift from theatrical releases to TV serial. Hanna-Barbera Productions was especially prolific and had huge hit serial, such as The Flintstones (1960–1966) (the first prime time animated serial), Scooby-Doo (since 1969) and Belgian co-production The Smurfs (1981–1989). The constraints of American television set 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 daring animation surfaced in the tardily 1980s and in the early 1990s with hit series such equally The Simpsons (since 1989) every bit part of a "renaissance" of American animation.

While Us animated serial also spawned successes internationally, many other countries produced their own kid-oriented programming, relatively often 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 Book (Italian republic/Japan 1989).

Switch from cels to computers [edit]

Figurer animation was gradually developed since the 1940s. 3D wireframe animation started popping up in the mainstream in the 1970s, with an early on (short) appearance in the sci-fi thriller Futureworld (1976).

The Rescuers Down Under was the commencement characteristic film to be completely created digitally without a camera.[9] It was produced in a manner that'southward very similar to traditional cel animation on the Computer Blitheness Production System (CAPS), developed by The Walt Disney Company in collaboration with Pixar in the belatedly 1980s.

The and so-called 3D style, more oft associated with reckoner animation, has go extremely pop since Pixar's Toy Story (1995), the first reckoner-animated feature in this style.

Nearly of the cel animation studios switched to producing by and large computer animated films effectually the 1990s, equally it proved cheaper and more assisting. Not but the very popular 3D animation style was generated with computers, but also most of the films and series with a more traditional hand-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 2008, the animation market place was worth US$68.four billion.[16] Blithe feature-length films returned the highest gross margins (effectually 52%) of all film genres between 2004 and 2013.[17] Animation as an art and industry continues to thrive as of the early 2020s.

Instruction, propaganda and commercials [edit]

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

During World War Two, animation 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 sure war values. Some countries, including Red china, Japan and the United kingdom of great britain and northern ireland, produced their get-go feature-length animation for their war efforts.

Blitheness has been very pop in television set commercials, both due to its graphic appeal, and the humour it can provide. Some blithe characters in commercials take survived for decades, such as Snap, Crepitation and Popular in advertisements for Kellogg's cereals.[18] The legendary animation managing director Tex Avery was the producer of the first Raid "Kills Bugs Dead" commercials in 1966, which were very successful for the visitor.[nineteen]

Other media, merchandise and theme parks [edit]

Apart from their success in movie theaters and television set series, many cartoon characters would also prove 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 constitute their style to the screen (which is often the case in Nippon, where many manga are adapted into anime), original animated characters besides usually appear in comic books and magazines. Somewhat similarly, characters and plots for video games (an interactive animation medium) take been derived from films and vice versa.

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

While very many blitheness companies commercially exploit their creations outside moving image media, The Walt Disney Visitor is the all-time known and most extreme example. Since first existence licensed for a children's writing tablet in 1929, their Mickey Mouse mascot has been depicted on an enormous amount of products, equally take many other Disney characters. This may have influenced some pejorative use of Mickey's name, merely licensed Disney products sell well, and the and then-called Disneyana has many gorging collectors, and even a dedicated Disneyana fanclub (since 1984).

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

Criticism [edit]

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

Awards [edit]

As with whatsoever other form of media, blitheness has instituted awards for excellence in the field. The original awards for animation were presented by the Academy of Move Picture Arts and Sciences for blithe shorts from the year 1932, during the fifth Academy Awards function. The first winner of the Academy Honor was the short Flowers and Copse,[22] a production past Walt Disney Productions.[23] [24] The Academy Award for a characteristic-length animated motion pic was simply instituted for the year 2001, and awarded during the 74th Academy Awards in 2002. It was won by the movie Shrek, produced by DreamWorks and Pacific Data Images.[25] Disney Animation and Pixar has produced the most films either to win or exist nominated for the award. Dazzler and the Creature was the first animated picture nominated for Best Picture. Up and Toy Story 3 also received Best Moving-picture show nominations after the Academy expanded the number of nominees from five to 10.

  • Academy Honor for All-time Animated Feature
  • Academy Accolade for Best Animated Short Film

Several other countries take instituted an award for the best-animated feature film as office of their national motion picture awards: Africa Picture show Academy Laurels for Best Animation (since 2008), BAFTA Award for Best Animated Film (since 2006), César Award for All-time Animated Film (since 2011), Gilded Rooster Award for All-time Animation (since 1981), Goya Award for Best Animated Moving picture (since 1989), Japan University Prize for Animation of the Year (since 2007), National Film Award for Best Animated Picture (since 2006). Besides since 2007, the Asia Pacific Screen Award for Best Blithe Characteristic Film has been awarded at the Asia Pacific Screen Awards. Since 2009, the European Film Awards have awarded the European Film Accolade for Best Animated Picture show.

The Annie Laurels is another laurels presented for excellence in the field of animation. Unlike the Academy Awards, the Annie Awards are only received for achievements in the field of animation and non for any other field of technical and creative endeavour. They were re-organized in 1992 to create a new field for Best Animated Feature. The 1990s winners were dominated past Walt Disney; however, newer studios, led by Pixar & DreamWorks, have at present begun to consistently vie for this award. The list of awardees is as follows:

  • Annie Accolade for All-time Blithe Feature
  • Annie Honor for Best Animated Short Subject
  • Annie Award for Best Animated Television Production

Production [edit]

The creation of non-trivial animation works (i.e., longer than a few seconds) has developed equally a grade of filmmaking, with certain unique aspects.[26] Traits common to both live-activeness and animated feature-length films are labor intensity and loftier production costs.[27]

The most of import difference is that once a movie is in the production stage, the marginal cost of one more shot is college for animated films than live-activity films.[28] It is relatively easy for a managing director to enquire for 1 more take during master photography of a live-action film, but every accept on an animated pic must be manually rendered by animators (although the task of rendering slightly different takes has been made less tedious past modern computer blitheness).[29] It is pointless for a studio to pay the salaries of dozens of animators to spend weeks creating a visually dazzling v-minute scene if that scene fails to effectively accelerate the plot of the movie.[30] 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 moving-picture show over to the animators only afterward the production squad is satisfied that all the scenes make sense every bit a whole.[31] While live-activity films are at present besides storyboarded, they savor more breadth to depart from storyboards (i.east., real-fourth dimension improvisation).[32]

Another problem unique to animation is the requirement to maintain a film's consistency from get-go to terminate, fifty-fifty as films have grown longer and teams have grown larger. Animators, like all artists, necessarily accept individual styles, but must subordinate their individuality in a consistent way to whatever style is employed on a particular film.[33] Since the early on 1980s, teams of nigh 500 to 600 people, of whom l to seventy are animators, typically have created feature-length animated films. It is relatively easy for two or iii artists to lucifer their styles; synchronizing those of dozens of artists is more than difficult.[34]

This problem is usually solved by having a divide group of visual development artists develop an overall await and palette for each film before the blitheness begins. Graphic symbol designers on the visual evolution team depict model sheets to bear witness how each grapheme should expect similar with different facial expressions, posed in different positions, and viewed from unlike angles.[35] [36] On traditionally animated projects, maquettes were often sculpted to further aid the animators encounter how characters would look from unlike angles.[37] [35]

Unlike live-action films, animated films were traditionally developed beyond the synopsis stage through the storyboard format; the storyboard artists would then receive credit for writing the film.[38] In the early 1960s, animation studios began hiring professional screenwriters to write screenplays (while also standing to use story departments) and screenplays had go commonplace for animated films by the late 1980s.

Techniques [edit]

Traditional [edit]

Traditional animation (also called cel animation or mitt-drawn animation) was the process used for nearly blithe films of the 20th century.[39] The individual frames of a traditionally animated film are photographs of drawings, kickoff fatigued on paper.[40] To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels,[41] which are filled in with paints in assigned colors or tones on the side opposite the line drawings.[42] The completed graphic symbol cels are photographed one-by-one against a painted background by a rostrum photographic camera onto motility picture movie.[43]

The traditional cel blitheness process became obsolete past the beginning of the 21st century. Today, animators' drawings and the backgrounds are either scanned into or drawn directly into a reckoner organisation.[one] [44] Various software programs are used to colour the drawings and simulate camera movement and furnishings.[45] The final animated slice is output to 1 of several commitment media, including traditional 35 mm motion-picture show and newer media with digital video.[46] [1] The "expect" of traditional cel animation is still preserved, and the character animators' work has remained essentially the same over the past 70 years.[37] Some animation producers have used the term "tradigital" (a play on the words "traditional" and "digital") to describe cel animation that uses pregnant calculator technology.

Examples of traditionally animated feature films include Pinocchio (United states, 1940),[47] Animal Farm (United Kingdom, 1954), Lucky and Zorba (Italian republic, 1998), and The Illusionist (British-French, 2010). Traditionally animated films produced with the aid of calculator technology include The Lion King (US, 1994), The Prince of Egypt (US, 1998), Akira (Japan, 1988),[48] Spirited Away (Japan, 2001), The Triplets of Belleville (French republic, 2003), and The Secret of Kells (Irish-French-Belgian, 2009).

Full [edit]

Full animation refers to the process of producing loftier-quality traditionally blithe films that regularly apply detailed drawings and plausible motility,[49] having a smooth animation.[50] Fully animated films can be fabricated in a variety of styles, from more realistically animated works similar those produced by the Walt Disney studio (The Little Mermaid, Beauty and the Beast, Aladdin, The Panthera leo Rex) to the more 'cartoon' styles of the Warner Bros. animation studio. Many of the Disney animated features are examples of full animation, as are non-Disney works, The Hush-hush of NIMH (U.s., 1982), The Atomic number 26 Giant (US, 1999), and Nocturna (Kingdom of spain, 2007). Fully animated films are animated at 24 frames per second, with a combination of animation on ones and twos, meaning that drawings tin can be held for 1 frame out of 24 or two frames out of 24.[51]

Limited [edit]

Limited blitheness involves the use of less detailed or more than stylized drawings and methods of move usually a choppy or "skippy" motility animation.[52] Express animation uses fewer drawings per 2nd, thereby limiting the fluidity of the animation. This is a more economic technique. Pioneered by the artists at the American studio United Productions of America,[53] limited blitheness can be used as a method of stylized creative expression, every bit in Gerald McBoing-Boing (US, 1951), Yellow Submarine (Uk, 1968), and sure anime produced in Nippon.[54] Its primary apply, even so, has been in producing cost-effective animated content for media for television (the work of Hanna-Barbera,[55] Filmation,[56] and other TV animation studios[57]) and later the Internet (web cartoons).

Rotoscoping [edit]

Rotoscoping is a technique patented by Max Fleischer in 1917 where animators trace live-action movement, frame by frame.[58] The source motion-picture show tin can be directly copied from actors' outlines into animated drawings,[59] every bit in The Lord of the Rings (US, 1978), or used in a stylized and expressive fashion, equally in Waking Life (United states, 2001) and A Scanner Darkly (US, 2006). Some other examples are Burn and Ice (US, 1983), Heavy Metal (1981), and Aku no Hana (Japan, 2013).

Live-action blending [edit]

Live-action/animation is a technique combining manus-drawn characters into alive action shots or live-action actors into blithe shots.[60] One of the earlier uses was in Koko the Clown when Koko was drawn over live-action footage.[61] Walt Disney and Ub Iwerks created a serial of Alice Comedies (1923–1927), in which a alive-action girl enters an animated globe. Other examples include Allegro Non Troppo (Italy, 1976), Who Framed Roger Rabbit (Usa, 1988), Volere volare (Italia 1991), Infinite Jam (US, 1996) and Osmosis Jones (U.s.a., 2001).

End motion [edit]

Stop-motion animation is used to describe animation created by physically manipulating real-world objects and photographing them ane frame of film at a time to create the illusion of movement.[62] In that location are many different types of cease-move blitheness, usually named afterward the medium used to create the animation.[63] Computer software is widely available to create this blazon of animation; traditional cease-movement blitheness is usually less expensive merely more time-consuming to produce than electric current computer animation.[63]

Puppet blitheness
Typically involves stop-motion boob figures interacting in a constructed environment, in contrast to existent-globe interaction in model animation.[64] The puppets generally take an armature inside of them to keep them notwithstanding and steady to constrain their motion to item joints.[65] Examples include The Tale of the Play a trick on (France, 1937), The Nightmare Earlier Christmas (Us, 1993), Corpse Helpmate (US, 2005), Coraline (US, 2009), the films of Jiří Trnka and the adult animated sketch-comedy television series Robot Chicken (US, 2005–present).
Puppetoon
Created using techniques developed by George Pal,[66] are puppet-animated films that typically apply a unlike version of a puppet for unlike frames, rather than simply manipulating one existing puppet.[67]

A clay animation scene from a Finnish television commercial

Clay animation or Plasticine animation
(Often called claymation, which, however, is a trademarked name). It uses figures made of clay or a similar malleable cloth to create finish-motion animation.[62] [68] The figures may have an armature or wire frame inside, similar to the related boob animation (below), that can exist manipulated to pose the figures.[69] Alternatively, the figures may exist made entirely of dirt, in the films of Bruce Bickford, where clay creatures morph into a diverseness of different shapes. Examples of clay-animated works include The Gumby Show (U.s., 1957–1967), Mio Mao (Italy, 1974–2005), Morph shorts (Uk, 1977–2000), Wallace and Gromit shorts (U.k., as of 1989), Jan Švankmajer's Dimensions of Dialogue (Czechoslovakia, 1982), The Trap Door (UK, 1984). Films include Wallace & Gromit: The Expletive of the Were-Rabbit, Chicken Run and The Adventures of Mark Twain.[70]
Strata-cut animation
Most commonly a form of clay blitheness in which a long bread-similar "loaf" of clay, internally packed tight and loaded with varying imagery, is sliced into thin sheets, with the blitheness camera taking a frame of the end of the loaf for each cut, eventually revealing the movement of the internal images inside.[71]
Cutout animation
A type of terminate-motion animation produced by moving two-dimensional pieces of fabric paper or cloth.[72] Examples include Terry Gilliam's animated sequences from Monty Python'southward Flying Circus (U.k., 1969–1974); Fantastic Planet (France/Czechoslovakia, 1973); Tale of Tales (Russia, 1979), The pilot episode of the developed television sitcom series (and sometimes in episodes) of S Park (The states, 1997) and the music video Live for the moment, from Verona Riots band (produced by Alberto Serrano and Nívola Uyá, Espana 2014).
Silhouette animation
A variant of cutout animation in which the characters are backlit and only visible as silhouettes.[73] Examples include The Adventures of Prince Achmed (Weimar Republic, 1926) and Princes et Princesses (France, 2000).
Model animation
Refers to cease-motion animation created to interact with and exist every bit a part of a live-activity world.[74] Intercutting, matte furnishings and split screens are often employed to blend cease-motility characters or objects with live actors and settings.[75] Examples include the work of Ray Harryhausen, as seen in films, Jason and the Argonauts (1963),[76] and the piece of work of Willis H. O'Brien on films, Male monarch Kong (1933).
Become motion
A variant of model animation that uses various techniques to create move blur between frames of flick, which is not present in traditional stop motility.[77] The technique was invented past Industrial Calorie-free & Magic and Phil Tippett to create special effect scenes for the motion picture The Empire Strikes Back (1980).[78] Some other example is the dragon named "Vermithrax" from the 1981 flick Dragonslayer.[79]
Object animation
Refers to the use of regular inanimate objects in end-motion blitheness, as opposed to peculiarly created items.[80]
Graphic animation
Uses non-drawn flat visual graphic material (photographs, paper clippings, magazines, etc.), which are sometimes manipulated frame by frame to create movement.[81] At other times, the graphics remain stationary, while the stop-move photographic camera is moved to create on-screen activeness.
Brickfilm
A subgenre of object blitheness involving using Lego or other similar brick toys to make an animation.[82] [83] These have had a recent heave in popularity with the advent of video sharing sites, YouTube and the availability of cheap cameras and animation software.[84]
Pixilation
Involves the use of live humans as finish-motion characters.[85] This allows for a number of surreal furnishings, including disappearances and reappearances, allowing people to appear to slide across the footing, and other effects.[85] Examples of pixilation include The Hole-and-corner Adventures of Tom Thumb and Aroused Child shorts, and the Academy Laurels-winning Neighbours by Norman McLaren.

Calculator [edit]

Computer blitheness encompasses a variety of techniques, the unifying gene existence that the animation is created digitally on a computer.[45] [86] second blitheness techniques tend to focus on image manipulation while 3D techniques usually build virtual worlds in which characters and objects move and interact.[87] 3D animation can create images that seem real to the viewer.[88]

second [edit]

A 2d blitheness of two circles joined by a chain

2d blitheness figures are created or edited on the computer using 2nd bitmap graphics and second vector graphics.[89] This includes automatic computerized versions of traditional blitheness techniques, interpolated morphing,[90] onion skinning[91] and interpolated rotoscoping. 2D animation has many applications, including analog computer animation, Flash animation, and PowerPoint animation. Cinemagraphs are nevertheless photographs in the form of an animated GIF file of which part is animated.[92]

Final line advection blitheness is a technique used in 2nd blitheness,[93] to give artists and animators more influence and command over the terminal production as everything is done within the same section.[94] Speaking about using this approach in Paperman, John Kahrs said that "Our animators can alter things, actually erase abroad the CG underlayer if they want, and change the profile of the arm."[95]

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.[96] A mesh typically includes many vertices that are connected by edges and faces, which give the visual appearance of course to a 3D object or 3D environment.[96] Sometimes, the mesh is given an internal digital skeletal construction called an armature that tin exist used to control the mesh by weighting the vertices.[97] [98] This procedure is chosen rigging and tin can be used in conjunction with key frames to create move.[99]

Other techniques can be practical, mathematical functions (due east.g., gravity, particle simulations), simulated fur or hair, and effects, fire and water simulations.[100] These techniques fall nether the category of 3D dynamics.[101]

Terms [edit]
  • Cel-shaded animation is used to mimic traditional animation using figurer software.[102] The shading looks stark, with less blending of colors. Examples include Skyland (2007, France), The Iron Giant (1999, Usa), Futurama (1999, United States) Appleseed Ex Machina (2007, Japan), The Legend of Zelda: The Wind Waker (2002, Nihon), The Legend of Zelda: Breath of the Wild (2017, Nihon)
  • Machinima – Films created by screen capturing in video games and virtual worlds. The term originated from the software introduction in the 1980s demoscene, likewise as the 1990s recordings of the first-person shooter video game Convulse.
  • Motion capture is used when live-activity actors wear special suits that allow computers to copy their movements into CG characters.[103] [104] Examples include Polar Express (2004, Usa), Beowulf (2007, Usa), A Christmas Ballad (2009, United states), The Adventures of Tintin (2011, US) kochadiiyan (2014, Bharat)
  • Reckoner animation is used primarily for animation that attempts to resemble existent life, using advanced rendering that mimics in detail pare, plants, water, burn down, clouds, etc.[105] Examples include Upward (2009, U.s.), How to Railroad train Your Dragon (2010, US)
  • Physically based animation is blitheness using computer simulations.[106]

Mechanical [edit]

  • Animatronics is the employ of mechatronics to create machines that seem animate rather than robotic.
    • Sound-Animatronics and Autonomatronics is a course of robotics animation, combined with 3-D blitheness, created by Walt Disney Imagineering for shows and attractions at Disney theme parks move and brand noise (by and large a recorded spoken language or song).[107] They are fixed to whatever supports them. They can sit and stand, and they cannot walk. An Audio-Animatron is different 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 called Autonomatronics.[108]
    • Linear Animation Generator is a form of animation by using static picture 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 film frames.[109] The concept and the technical solution were invented in 2007 by Mihai Girlovan in Romania.
  • Chuckimation is a type of animation created past the makers of the goggle box serial Action League Now! in which characters/props are thrown, or chucked from off camera or wiggled around to simulate talking by unseen hands.[110]
  • The magic lantern used mechanical slides to project moving images, probably since Christiaan Huygens invented this early on image projector in 1659.

Other [edit]

  • Hydrotechnics: a technique that includes lights, h2o, fire, fog, and lasers, with high-definition projections on mist screens.
  • Fatigued on film animation: a technique where footage is produced by creating the images directly on pic stock; for instance, by Norman McLaren,[111] Len Lye and Stan Brakhage.
  • Pigment-on-glass animation: a technique for making animated films by manipulating irksome drying oil paints on sheets of glass,[112] for instance by Aleksandr Petrov.
  • Erasure animation: a technique using traditional 2nd media, photographed over time as the creative person manipulates the epitome. For example, William Kentridge is famous for his charcoal erasure films,[113] and Piotr Dumała for his auteur technique of animating scratches on plaster.
  • Pinscreen animation: makes use of a screen filled with movable pins that can be moved in or out by pressing an object onto the screen.[114] The screen is lit from the side then that the pins cast shadows. The technique has been used to create animated films with a range of textural effects difficult to reach with traditional cel blitheness.[115]
  • Sand animation: sand is moved around on a back- or front-lighted slice of glass to create each frame for an animated moving-picture show.[116] This creates an interesting effect when animated because of the calorie-free dissimilarity.[117]
  • Flip volume: a flip book (sometimes, especially in British English, called a motion-picture show book) is a book with a series of pictures that vary gradually from one folio to the adjacent, and then that when the pages are turned rapidly, the pictures appear to animate by simulating motion or some other alter.[118] [119] Flip books are often illustrated books for children,[120] they also are geared towards adults and utilize a serial of photographs rather than drawings. Flip books are not always split books, they appear every bit an added characteristic in ordinary books or magazines, oftentimes in the page corners.[118] Software packages and websites are also available that convert digital video files into custom-made flip books.[121]
  • Character animation
  • Multi-sketching
  • Special effects animation

See as well [edit]

  • Twelve basic principles of animation
  • Blithe state of war picture
  • Animation department
  • Animated serial
  • Architectural animation
  • Avar
  • Contained blitheness
  • International Animation 24-hour interval
  • International Animated Movie Association
  • International Tournée of Blitheness
  • List of film-related topics
  • Motion graphic pattern
  • Society for Animation Studies
  • Wire-frame model

References [edit]

Citations [edit]

  1. ^ a b c Buchan 2013.
  2. ^ "The definition of blitheness 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 50: Undimmed Magic". The New York Times. Archived from the original on 4 June 2014. Retrieved 29 June 2014. By now, it has grossed about $330 one thousand thousand worldwide - so it remains one of the most pop films ever made.
  8. ^ * 1987 and 1993 grosses from North America: "Snow 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. ^ "Offset fully digital feature picture". Guinness World Records. Guinness World Records Limited. Retrieved 27 December 2018.
  10. ^ Amidi, Amid (1 June 2015). "Sergio Pablos Talks About His Stunning Hand-Drawn Project 'Klaus'". Cartoon Brew . Retrieved 12 October 2019.
  11. ^ "The Origins of Klaus". YouTube. 10 October 2019. Archived from the original on 22 Nov 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. ^ "FIRST Expect: Disney'south 'Paperman' fuses mitt-drawn charm with digital depth". EW.com . Retrieved ii Oct 2014.
  14. ^ Sarto, Dan. "Inside Disney's New Blithe Short Paperman". Animation World Network. Retrieved v June 2012.
  15. ^ "Disney's Paperman animated short fuses CG and mitt-drawn techniques". Retrieved 2 October 2014.
  16. ^ Lath of Investments 2009.
  17. ^ McDuling 2014.
  18. ^ "Snap, Crepitation, Pop® | Rice Krispies®". world wide web.ricekrispies.com . Retrieved 16 June 2020.
  19. ^ Taylor, Heather (x June 2019). "The Raid Bugs: Characters We Dearest To Hate". PopIcon.life . Retrieved sixteen June 2020.
  20. ^ Amidi 2011.
  21. ^ Nagel 2008.
  22. ^ Walt Disney Family unit Museum 2013.
  23. ^ Beckerman 2003, p. 37.
  24. ^ Shaffer 2010, p. 211.
  25. ^ Beckerman 2003, pp. 84–85.
  26. ^ Laybourne 1998, p. 117.
  27. ^ Solomon 1989, p. 274.
  28. ^ White 2006, p. 151.
  29. ^ Laybourne 1998, p. 339.
  30. ^ Culhane 1990, p. 55.
  31. ^ Solomon 1989, p. 120.
  32. ^ Laybourne 1998, pp. 100–01.
  33. ^ Masson 2007, p. 94.
  34. ^ Beck 2004, p. 37.
  35. ^ a b Williams 2001, p. 34.
  36. ^ Culhane 1990, p. 146.
  37. ^ a b Williams 2001, pp. 52–57.
  38. ^ Laybourne 1998, pp. 99–100.
  39. ^ White 2006, p. 31.
  40. ^ Beckerman 2003, p. 153.
  41. ^ Thomas & Johnston 1981, pp. 277–79.
  42. ^ Laybourne 1998, p. 203.
  43. ^ White 2006, pp. 195–201.
  44. ^ White 2006, p. 394.
  45. ^ a b Culhane 1990, p. 296.
  46. ^ Laybourne 1998, pp. 35–36, 52–53.
  47. ^ Solomon 1989, pp. 63–65.
  48. ^ Beckerman 2003, p. eighty.
  49. ^ Culhane 1990, p. 71.
  50. ^ Culhane 1990, pp. 194–95.
  51. ^ Laybourne 1998, pp. 25–26.
  52. ^ Beckerman 2003, p. 142.
  53. ^ Beckerman 2003, pp. 54–55.
  54. ^ Ledoux 1997, p. 24, 29.
  55. ^ Lawson & Persons 2004, p. 82.
  56. ^ Solomon 1989, p. 241.
  57. ^ Lawson & Persons 2004, p. xxi.
  58. ^ Crafton 1993, p. 158.
  59. ^ Laybourne 1998, pp. 163–64.
  60. ^ Laybourne 1998, pp. 162–63.
  61. ^ Beck 2004, pp. 18–19.
  62. ^ a b Solomon 1989, p. 299.
  63. ^ a b Laybourne 1998, p. 159.
  64. ^ Solomon 1989, p. 171.
  65. ^ Laybourne 1998, pp. 155–56.
  66. ^ Beck 2004, p. seventy.
  67. ^ Brook 2004, pp. 92–93.
  68. ^ Laybourne 1998, pp. 150–151.
  69. ^ Laybourne 1998, pp. 151–54.
  70. ^ Beck 2004, p. 250.
  71. ^ Furniss 1998, pp. 52–54.
  72. ^ Laybourne 1998, pp. 59–60.
  73. ^ Culhane 1990, pp. 170–171.
  74. ^ Harryhausen & Dalton 2008, pp. nine–11.
  75. ^ Harryhausen & Dalton 2008, pp. 222–26
  76. ^ Harryhausen & Dalton 2008, p. 18
  77. ^ Smith 1986, p. 90.
  78. ^ Watercutter 2012.
  79. ^ Smith 1986, pp. 91–95.
  80. ^ Laybourne 1998, pp. 51–57.
  81. ^ Laybourne 1998, p. 128.
  82. ^ Paul 2005, pp. 357–63.
  83. ^ Herman 2014.
  84. ^ Haglund 2014.
  85. ^ a b Laybourne 1998, pp. 75–79.
  86. ^ Serenko 2007.
  87. ^ Masson 2007, p. 405.
  88. ^ Serenko 2007, p. 482.
  89. ^ Masson 2007, p. 165.
  90. ^ Sito 2013, pp. 32, 70, 132.
  91. ^ Priebe 2006, pp. 71–72.
  92. ^ White 2006, p. 392.
  93. ^ Lowe & Schnotz 2008, pp. 246–47.
  94. ^ Masson 2007, pp. 127–28.
  95. ^ Beck 2012.
  96. ^ a b Masson 2007, p. 88.
  97. ^ Sito 2013, p. 208.
  98. ^ Masson 2007, pp. 78–80.
  99. ^ Sito 2013, p. 285.
  100. ^ Masson 2007, p. 96.
  101. ^ Lowe & Schnotz 2008, p. 92.
  102. ^ "Cel Shading: the Unsung Hero of Animation?". Animator Mag. 17 December 2011. Archived from the original on five March 2016. Retrieved xx February 2016.
  103. ^ Sito 2013, pp. 207–08.
  104. ^ Masson 2007, p. 204.
  105. ^ Parent 2007, p. 19.
  106. ^ Donald H. House; John C. Keyser (30 Nov 2016). Foundations of Physically Based Modeling and Animation. CRC Press. ISBN978-1-315-35581-8.
  107. ^ Pilling 1997, p. 249.
  108. ^ O'Keefe 2014.
  109. ^ Parent 2007, pp. 22–23.
  110. ^ Kenyon 1998.
  111. ^ Faber & Walters 2004, p. 1979.
  112. ^ Pilling 1997, p. 222.
  113. ^ Carbone 2010.
  114. ^ Neupert 2011.
  115. ^ Pilling 1997, p. 204.
  116. ^ Brownish 2003, p. 7.
  117. ^ Furniss 1998, pp. 30–33.
  118. ^ a b Laybourne 1998, pp. 22–24.
  119. ^ Solomon 1989, pp. 8–10.
  120. ^ Laybourne 1998, p. xiv.
  121. ^ White 2006, p. 203.

Sources [edit]

Journal articles [edit]

  • Anderson, Joseph and Barbara (Spring 1993). "Journal of Motion picture and Video". The Myth of Persistence of Vision Revisited. 45 (1): 3–thirteen. Archived from the original on 24 November 2009.
  • Serenko, Alexander (2007). "Computers in Human Behavior" (PDF). The Evolution of an Instrument to Measure out the Caste of Animation Predisposition of Agent Users. 23 (1): 478–95.

Books [edit]

  • Baer, Eva (1983). Metalwork in Medieval Islamic Fine art. State University of New York Press. pp. 58, 86, 143, 151, 176, 201, 226, 243, 292, 304. ISBN978-0-87395-602-4.
  • Beck, Jerry (2004). Animation Fine art: From Pencil to Pixel, the History of Cartoon, Anime & CGI. Fulhamm London: Flame Tree Publishing. ISBN978-1-84451-140-ii.
  • Beckerman, Howard (2003). Animation: The Whole Story. Allworth Press. ISBN978-ane-58115-301-9.
  • Bendazzi, Giannalberto (1994). Cartoons: One Hundred Years of Cinema Blitheness . Bloomington, Indiana: Indiana University Printing. ISBN978-0-253-20937-v.
  • Buchan, Suzanne (2013). Pervasive Blitheness. New York and London: Routledge. ISBN978-0-415-80723-four.
  • Canemaker, John (2005). Winsor McCay: His Life and Fine art (Revised ed.). Abrams Books. ISBN978-0-8109-5941-v.
  • Cotte, Olivier (2007). Secrets of Oscar-winning Blitheness: Backside the scenes of 13 classic short animations. Focal Press. ISBN978-0240520704.
  • Crafton, Donald (1993). Before Mickey: The Animated Picture 1898–1928. Chicago: Academy of Chicago Press. ISBN978-0-226-11667-9.
  • Culhane, Shamus (1990). Blitheness: Script to Screen. St. Martin'south Press. ISBN978-0-312-05052-8.
  • Drazin, Charles (2011). The Faber Book of French Movie theatre . Faber & Faber. ISBN978-0-571-21849-3.
  • Finkielman, Jorge (2004). The Motion-picture show Industry in Argentine republic: An Illustrated Cultural History. North Carolina: McFarland. p. 20. ISBN978-0-7864-1628-viii.
  • Furniss, Maureen (1998). Fine art in Move: Animation Aesthetics. Indiana University Press. ISBN978-i-86462-039-ix.
  • Faber, Liz; Walters, Helen (2004). Animation Unlimited: Innovative Brusk Films Since 1940 . London: Laurence King Publishing. ISBN978-1-85669-346-2.
  • Godfrey, Bob; Jackson, Anna (1974). The Do-Information technology-Yourself Film Animation Volume. BBC Publications. ISBN978-0-563-10829-0.
  • Harryhausen, Ray; Dalton, Tony (2008). A Century of Model Blitheness: From Méliès to Aardman. Aurum Press. ISBN978-0-8230-9980-1.
  • Laybourne, Kit (1998). The Blitheness Volume: A Consummate Guide to Blithe Filmmaking – from Flip-books to Sound Cartoons to 3-D Animation. New York: Iii Rivers Press. ISBN978-0-517-88602-one.
  • Lawson, Tim; Persons, Alisa (2004). The Magic Behind the Voices [A Who's Who of Drawing Voice Actors]. Academy Press of Mississippi. ISBN978-1-57806-696-4.
  • Ledoux, Trish (1997). Complete Anime Guide: Japanese Animation Film Directory and Resource Guide. Tiger Mount Press. ISBN978-0-9649542-5-0.
  • Lowe, Richard; Schnotz, Wolfgang, eds. (2008). Learning with Animation. Inquiry implications for design. New York: Cambridge University Printing. ISBN978-0-521-85189-three.
  • Masson, Terrence (2007). CG101: A Reckoner 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. ISBN978-0-9778710-0-1.
  • Needham, Joseph (1962). "Science and Civilization in China". Physics and Physical Technology. Vol. IV. Cambridge University Printing.
  • Parent, Rick (2007). Estimator Blitheness: Algorithms & Techniques. Ohio State Academy: Morgan Kaufmann. ISBN978-0-12-532000-9.
  • Paul, Joshua (2005). Digital Video Hacks. O'Reilly Media. ISBN978-0-596-00946-5.
  • Pilling, Jayne (1997). Society of Animation Studies (ed.). A Reader in Animation Studies. Indiana University Press. ISBN978-ane-86462-000-9.
  • Priebe, Ken A. (2006). The Art of End-Motion Animation. Thompson Course Applied science. ISBN978-1-59863-244-6.
  • Neupert, Richard (2011). French Animation History. John Wiley & Sons. ISBN978-1-4443-3836-2.
  • Rojas, Carlos; Grub, Eileen (2013). The Oxford Handbook of Chinese Cinemas. Oxford University Printing. ISBN978-0-19-998844-0.
  • Herman, Sarah (2014). Brick Flicks: A Comprehensive Guide to Making Your Own Stop-Motion LEGO Movies. New York: Skyhorse Publishing. ISBN978-1-62914-649-ii.
  • Shaffer, Joshua C. (2010). Discovering The Magic Kingdom: An Unofficial Disneyland Vacation Guide. Indiana: Author Firm. ISBN978-1-4520-6312-6.
  • Solomon, Charles (1989). Enchanted Drawings: The History of Animation. New York: Random Firm, Inc. ISBN978-0-394-54684-1.
  • 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 Printing. ISBN978-0-89659-233-9.
  • Zielinski, Siegfried (1999). Audiovisions: Picture palace and Television receiver every bit Entr'actes in History. Amsterdam University Press. ISBN978-90-5356-303-8.
  • Sito, Tom (2013). Moving Innovation: A History of Computer Animation. Massachusetts: MIT Printing. ISBN978-0-262-01909-v.
  • Smith, Thomas Thou. (1986). Industrial Lite & Magic: The Art of Special Effects. New York: Ballantine Books. ISBN978-0-345-32263-0.
  • White, Tony (2006). Animation from Pencils to Pixels: Classical Techniques for the Digital Animator. Milton Park: Taylor & Francis. ISBN978-0-240-80670-9.
  • Williams, Richard (2001). The Animator'southward Survival Kit. Faber and Faber. ISBN978-0-571-20228-7.

Online sources [edit]

  • Amidi, Amid (two December 2011). "NY Film Critics Didn't like a Single Animated Flick This Year". Cartoon Brew. Retrieved nineteen February 2016.
  • Brawl, Ryan (12 March 2008). "Oldest Animation Discovered in Iran". Animation Mag . Retrieved 15 March 2016.
  • Beck, Jerry (2 July 2012). "A Picayune More About Disney'south "Paperman"". Cartoon Brew.
  • Bendazzi, Giannalberto (1996). "The Untold Story of Argentina'south Pioneer Animator". Animation World Network. Retrieved 29 Apr 2016.
  • "Animation" (PDF). boi.gov.ph. Board of Investments. November 2009. Archived from the original (PDF) on 19 Oct 2012. Retrieved 24 July 2012.
  • Chocolate-brown, Margery (2003). "Experimental Animation Techniques" (PDF). Olympia, WA: Evergreen Land Collage. Archived from the original (PDF) on 7 March 2008. Retrieved xi Nov 2005.
  • Carbone, Ken (24 February 2010). "Stone-Age Blitheness in a Digital Earth: William Kentridge at MoMA". Fast Visitor . Retrieved 7 March 2016.
  • Haglund, David (7 Feb 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-Motion Secrets Revealed". Animation Earth Network. Retrieved two March 2016.
  • Nagel, Jan (21 May 2008). "Gender in Media: Females Don't Rule". Animation World Network. Retrieved three March 2016.
  • McDuling, John (3 July 2014). "Hollywood Is Giving Up on Comedy". The Atlantic. The Atlantic Monthly Group. Retrieved 20 July 2014.
  • McLaughlin, Dan (2001). "A Rather Incomplete But Notwithstanding Fascinating". Film Goggle box. UCLA. Archived from the original on xix November 2009. Retrieved 12 Feb 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, Effects Whiz Phil Tippett Is Slowly Crafting a Mad God". Wired . Retrieved 6 February 2016.
  • Zohn, Patricia (28 February 2010). "Coloring the Kingdom". Vanity Fair . Retrieved 7 Dec 2015.
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  • "Władysław Starewicz – Biography". culture.pl. Adam Mickiewicz Institute. 16 Apr 2012. Retrieved 9 February 2016.

External links [edit]

  • The making of an 8-minute cartoon short
  • "Animando", a 12-minute film demonstrating 10 different animation techniques (and teaching how to use them).
  • Bibliography on blitheness – Websiite "Histoire de la télévision"
  • Animation at Curlie

karraftyrand.blogspot.com

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

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