Cost Per Lightly Animated Cartoon in a Video Series

Cost Per Lightly Animated Cartoon in a Video Series

Method of creating moving pictures

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

This blitheness moves at 10 frames per second.

Blitheness is a method in which figures are manipulated to appear every bit moving images. In traditional animation, images are drawn or painted past hand on transparent celluloid sheets to exist photographed and exhibited on picture. Today, most animations are fabricated with computer-generated imagery (CGI). Reckoner animation tin be very detailed 3D animation, while 2D computer animation (which may have the look of traditional animation) tin exist used for stylistic reasons, low bandwidth, or faster real-time renderings. Other common blitheness methods use a terminate motion technique to 2- and three-dimensional objects like paper cutouts, puppets, or clay figures.

An animated cartoon is an blithe flick, usually a short moving picture, featuring an exaggerated visual style. The style takes inspiration from comic strips, often featuring anthropomorphic animals, superheroes, or the adventures of human protagonists (either children or adults). Peculiarly with animals that form a natural predator/casualty relationship (e.yard. cats and mice, coyotes and birds), the action oft centers around tearing pratfalls such as falls, collisions, and explosions that would be lethal in real life.

The illusion of animation—as in movement pictures in general—has traditionally been attributed to persistence of vision and later to the phi phenomenon and/or beta movement, just the exact neurological causes are notwithstanding uncertain. The illusion of motion caused by a rapid succession of images that minimally differ from each other, with unnoticeable interruptions, is a stroboscopic effect. While animators traditionally used to draw each role of the movements and changes of figures on transparent cels that could be moved over a carve up background, computer animation is usually based on programming paths between fundamental frames to maneuver digitally created figures throughout a digitally created environs.

Analog mechanical blitheness media that rely on the rapid brandish of sequential images include the phénakisticope, zoetrope, flip book, praxinoscope, and picture show. Tv set and video are popular electronic blitheness media that originally were analog and now operate digitally. For brandish on computers, technology such as the animated GIF and Flash blitheness were developed.

In addition to short films, characteristic films, tv set series, animated GIFs, and other media dedicated to the brandish of moving images, animation is too prevalent in video games, motility graphics, user interfaces, and visual effects. ^[1]

The concrete movement of paradigm 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 by Disney as animatronics.

Etymology [ edit ]

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

History [ edit ]

Before cinematography [ edit ]

Nr. 10 in the reworked second series of Stampfer's stroboscopic discs published by 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 pop 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 animated 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 one by i in quick succession to course an optical illusion of motility pictures. Series of sequential images had occasionally been made over thousands of years, but the stroboscopic disc provided the commencement method to represent such images in fluent movement and for the first time had artists creating series with a proper systematic breakdown of movements. The stroboscopic animation principle was also 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 end, but 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 ten- 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 accomplishment. Animation on film was not commercialized until a few years after past 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 home. Information technology would take some more than years before blitheness reached movie theaters.

Afterwards earlier experiments by film pioneers J. Stuart Blackton, Arthur Melbourne-Cooper, Segundo de Chomón, and Edwin S. Porter (amongst others), Blackton'southward The Haunted Hotel (1907) was the showtime huge finish motion success, baffling audiences by showing objects that apparently moved by themselves in total photographic detail, without signs of any known stage trick.

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

During the 1910s, the product of animated "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 animation manufacture for the rest of the century. ^{[4] [five]} Felix the True cat, who debuted in 1919, became the kickoff animated superstar.

American aureate age [ edit ]

In 1928, Steamboat Willie , featuring Mickey Mouse and Minnie Mouse, popularized film with synchronized audio and put Walt Disney'due south studio at the forefront of the blitheness industry.

The enormous success of Mickey Mouse is seen as the beginning of the gilded age of American animation that would terminal until the 1960s. The United States dominated the earth market of animation with a plethora of cel-blithe theatrical shorts. Several studios would innovate characters that would get very popular and would have long-lasting careers, including Walt Disney Productions' Goofy (1932) and Donald Duck (1934), Warner Bros. Cartoons' Looney Tunes characters similar Porky Pig (1935), Daffy Duck (1937), Bugs Bunny (1938–1940), Tweety (1941–1942), Sylvester the Cat (1945), Wile E. Coyote and Route Runner (1949), Fleischer Studios/Paramount Drawing Studios' Betty Boop (1930), Popeye (1933), Superman (1941) and Casper (1945), MGM cartoon studio's Tom and Jerry (1940) and Droopy, Walter Lantz Productions/Universal Studio Cartoons' Woody Woodpecker (1940), Terrytoons/20th Century Fox's Dinky Duck (1939), Mighty Mouse (1942) and Heckle and Jeckle (1946) and United Artists' Pinkish Panther (1963).

Features earlier CGI [ edit ]

Italian-Argentine cartoonist Quirino Cristiani showing the cut and articulated figure of his satirical character El Peludo (based on President Yrigoyen) patented in 1916 for the realization of his films, including the world's first blithe characteristic film El Apóstol . ^[6]

In 1917, Italian-Argentine managing director Quirino Cristiani fabricated the first characteristic-length film El Apóstol (now lost), which became a critical and commercial success. It was followed past Cristiani's Sin dejar rastros in 1918, but ane day afterward its premiere, the picture show was confiscated by the government.

After working on information technology for three years, Lotte Reiniger released the German characteristic-length silhouette blitheness Die Abenteuer des Prinzen Achmed in 1926, the oldest extant blithe feature.

In 1937, Walt Disney Studios premiered their commencement animated feature, Snowfall White and the Seven Dwarfs , all the same one of the highest-grossing traditional animation features equally of May 2022 ^[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 2d Earth War, Disney'south next features Pinocchio , Fantasia (both 1940) and Fleischer Studios' 2d animated feature Mr. Bug Goes to Town (1941–1942) failed at the box function. For decades afterward, Disney would be the simply American studio to regularly produce animated features, until Ralph Bakshi became the first to also release more 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 own animation industries that produced both short and feature theatrical animations in a wide multifariousness of styles, relatively often including finish motion and cutout animation techniques. Russia'due south Soyuzmultfilm blitheness studio, founded in 1936, produced 20 films (including shorts) per year on average and reached 1,582 titles in 2022. China, Czechoslovakia / Czech Republic, Italian republic, France, and Belgium were other countries that more than occasionally released characteristic films, while Japan became a true powerhouse of blitheness product, with its own recognizable and influential anime style of effective express animation.

Television [ edit ]

Animation became very popular on television since the 1950s, when television sets started to go common in most developed countries. Cartoons were mainly programmed for children, on convenient time slots, and specially United states of america youth spent many hours watching Saturday-morning cartoons. Many classic cartoons institute a new life on the modest screen and by the end of the 1950s, the production of new blithe cartoons started to shift from theatrical releases to Goggle box series. Hanna-Barbera Productions was especially prolific and had huge hit series, such as The Flintstones (1960–1966) (the starting time prime time blithe series), Scooby-Doo (since 1969) and Belgian co-product The Smurfs (1981–1989). The constraints of American television programming and the demand for an enormous quantity resulted in cheaper and quicker limited blitheness methods and much more formulaic scripts. Quality dwindled until more than daring blitheness surfaced in the late 1980s and in the early 1990s with hit series such every bit The Simpsons (since 1989) as part of a "renaissance" of American animation.

While United states animated series also spawned successes internationally, many other countries produced their own child-oriented programming, relatively often preferring terminate move and puppetry over cel blitheness. Japanese anime TV serial 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 serial such as Barbapapa (Kingdom of the netherlands/Nippon/France 1973–1977), Wickie und die starken Männer/小さなバイキング ビッケ (Vicky the Viking) (Austria/Germany/Japan 1974), and The Jungle Book (Italy/Japan 1989).

Switch from cels to computers [ edit ]

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

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

The so-chosen 3D style, more often associated with computer blitheness, has become extremely popular since Pixar's Toy Story (1995), the start computer-animated feature in this style.

Virtually of the cel animation studios switched to producing mostly computer animated films around the 1990s, as it proved cheaper and more than profitable. Not only the very popular 3D animation style was generated with computers, just also virtually of the films and series with a more traditional hand-crafted appearance, in which the charming characteristics of cel animation could be emulated with software, while new digital tools helped developing new styles and furnishings. ^{[10] [11] [12] [13] [14] [15]}

Economical status [ edit ]

In 2010, the animation market was estimated to exist worth circa US$80 billion. ^[xvi] By 2022, the value had increased to an estimated US$270 billion. ^[17] Blithe feature-length films returned the highest gross margins (around 52%) of all film genres betwixt 2004 and 2013. ^[18] Animation as an art and industry continues to thrive as of the early 2022s.

Education, propaganda and commercials [ edit ]

The clarity of animation makes it a powerful tool for teaching, while its total malleability also allows exaggeration that can 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 Ii, animation was widely exploited for propaganda. Many American studios, including Warner Bros. and Disney, lent their talents and their drawing characters to convey to the public certain state of war values. Some countries, including China, Japan and the United Kingdom, produced their first feature-length blitheness for their state of war efforts.

Animation has been very popular in television receiver commercials, both due to its graphic entreatment, and the humour information technology can provide. Some animated characters in commercials accept survived for decades, such as Snap, Crepitation and Pop in advertisements for Kellogg's cereals. ^[19] The legendary blitheness director Tex Avery was the producer of the showtime Raid "Kills Bugs Dead" commercials in 1966, which were very successful for the company. ^[xx]

Other media, trade and theme parks [ edit ]

Apart from their success in movie theaters and television series, many cartoon 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 fashion to the screen (which is often the instance in Japan, where many manga are adapted into anime), original animated characters also commonly appear in comic books and magazines. Somewhat similarly, characters and plots for video games (an interactive blitheness medium) have 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 easily be adapted into children's books and other printed media. Songs and music accept appeared on records and as streaming media.

While very many animation companies commercially exploit their creations outside moving paradigm media, The Walt Disney Company is the best known and almost extreme instance. Since first being licensed for a children's writing tablet in 1929, their Mickey Mouse mascot has been depicted on an enormous corporeality of products, every bit have many other Disney characters. This may have influenced some pejorative utilize of Mickey'southward name, just licensed Disney products sell well, and the then-chosen Disneyana has many avid collectors, and fifty-fifty a dedicated Disneyana fanclub (since 1984).

Disneyland opened in 1955 and features many attractions that were based on Disney's 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 movie house since its inception. With its popularity, a big corporeality of criticism has arisen, especially animated feature-length films. ^[21] Many concerns of cultural representation, psychological effects on children have been brought up around the blitheness industry, which has remained rather politically unchanged and brackish since its inception into mainstream culture. ^[22]

Awards [ edit ]

Equally with any other form of media, animation has instituted awards for excellence in the field. Many are function of general or regional film honor programs, like the Communist china's Golden Rooster Honour for Best Animation (since 1981). Awards programs dedicated to animation, with many categories, include ASIFA-Hollywood's Annie Awards, the Emile Awards in Europe and the Anima Mundi awards in Brazil.

Academy Awards [ edit ]

Apart from Academy Awards for Best Animated Brusk Film (since 1932) and Best Animated Feature (since 2002), animated movies accept been nominated and rewarded in other categories, relatively often for Best Original Song and Best Original Score.

Dazzler and the Beast was the first animated film nominated for Best Picture, in 1991. Up (2009) and Toy Story 3 (2010) as well received Best Picture nominations, after the Academy expanded the number of nominees from 5 to ten.

Production [ edit ]

The creation of non-trivial animation works (i.e., longer than a few seconds) has developed as a form of filmmaking, with certain unique aspects. ^[23] Traits common to both live-activity and animated characteristic-length films are labor intensity and high production costs. ^[24]

The nigh important difference is that once a film is in the production phase, the marginal cost of one more shot is higher for animated films than live-action films. ^[25] Information technology is relatively easy for a managing director to ask for ane more than have during principal photography of a live-action film, but every take on an animated movie must be manually rendered by animators (although the task of rendering slightly different takes has been fabricated less tedious by modern computer animation). ^[26] Information technology is pointless for a studio to pay the salaries of dozens of animators to spend weeks creating a visually dazzling 5-infinitesimal scene if that scene fails to finer accelerate the plot of the moving picture. ^[27] Thus, blitheness studios starting with Disney began the practise in the 1930s of maintaining story departments where storyboard artists develop every unmarried scene through storyboards, so handing the film over to the animators only after the production team is satisfied that all the scenes brand sense as a whole. ^[28] While live-action films are now as well storyboarded, they enjoy more than latitude to depart from storyboards (i.eastward., existent-fourth dimension improvisation). ^[29]

Another problem unique to animation is the requirement to maintain a film'south consistency from get-go to end, even every bit films have grown longer and teams have grown larger. Animators, like all artists, necessarily take individual styles, just must subordinate their individuality in a consistent mode to whatever style is employed on a detail film. ^[30] Since the early 1980s, teams of near 500 to 600 people, of whom l to 70 are animators, typically have created feature-length animated films. It is relatively easy for two or three artists to lucifer their styles; synchronizing those of dozens of artists is more than difficult. ^[31]

This problem is commonly solved by having a separate group of visual evolution artists develop an overall look and palette for each movie earlier the animation begins. Graphic symbol designers on the visual development squad draw model sheets to show how each character should wait similar with dissimilar facial expressions, posed in different positions, and viewed from different angles. ^{[32] [33]} On traditionally blithe projects, maquettes were often sculpted to further help the animators run into how characters would expect from unlike angles. ^{[34] [32]}

Unlike live-action films, animated films were traditionally developed beyond the synopsis stage through the storyboard format; the storyboard artists would so receive credit for writing the film. ^[35] In the early 1960s, animation studios began hiring professional screenwriters to write screenplays (while likewise continuing to use story departments) and screenplays had become commonplace for animated films by the late 1980s.

Techniques [ edit ]

Traditional [ edit ]

Traditional animation (also called cel animation or mitt-drawn blitheness) was the process used for most animated films of the 20th century. ^[36] The private frames of a traditionally blithe picture are photographs of drawings, starting time drawn on paper. ^[37] To create the illusion of motion, each cartoon differs slightly from the 1 before it. The animators' drawings are traced or photocopied onto transparent acetate sheets chosen 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 i-by-one against a painted background by a rostrum camera onto motion moving-picture show film. ^[xl]

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 fatigued directly into a computer system. ^{[1] [41]} Various software programs are used to color the drawings and simulate camera movement and effects. ^[42] The final animated piece is output to one of several delivery media, including traditional 35 mm motion picture and newer media with digital video. ^{[43] [1]} The "await" of traditional cel blitheness is still preserved, and the character animators' piece of work has remained essentially the same over the past 70 years. ^[34] Some blitheness producers take used the term "tradigital" (a play on the words "traditional" and "digital") to describe cel animation that uses meaning computer technology.

Examples of traditionally animated feature films include Pinocchio (United States, 1940), ^[44] Animal Farm (United Kingdom, 1954), Lucky and Zorba (Italy, 1998), and The Illusionist (British-French, 2010). Traditionally blithe films produced with the aid of estimator applied science include The Lion Rex (US, 1994), The Prince of Arab republic of egypt (United states, 1998), Akira (Japan, 1988), ^[45] Spirited Away (Japan, 2001), The Triplets of Belleville (France, 2003), and The Surreptitious of Kells (Irish gaelic-French-Belgian, 2009).

Full [ edit ]

Full blitheness refers to the process of producing high-quality traditionally animated films that regularly use detailed drawings and plausible movement, ^[46] having a smooth animation. ^[47] Fully animated films can exist made in a diverseness of styles, from more realistically animated works like those produced by the Walt Disney studio ( The Piffling Mermaid , Dazzler and the Beast , Aladdin , The King of beasts King) 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 Secret of NIMH (US, 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 can be held for one frame out of 24 or two frames out of 24. ^[48]

Limited [ edit ]

Limited animation involves the use of less detailed or more stylized drawings and methods of movement unremarkably a choppy or "skippy" motion animation. ^[49] Limited animation uses fewer drawings per 2nd, thereby limiting the fluidity of the animation. This is a more economical technique. Pioneered by the artists at the American studio United Productions of America, ^[l] limited animation tin be used as a method of stylized creative expression, as in Gerald McBoing-Boing (U.s., 1951), Yellow Submarine (UK, 1968), and certain anime produced in Japan. ^[51] Its primary use, still, has been in producing price-constructive animated content for media for tv set (the work of Hanna-Barbera, ^[52] Filmation, ^[53] and other Idiot box 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-action movement, frame by frame. ^[55] The source film can exist 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 way, as in Waking Life (The states, 2001) and A Scanner Darkly (US, 2006). Some other examples are Fire and Ice (US, 1983), Heavy Metal (1981), and Aku no Hana (Japan, 2013).

Live-activity blending [ edit ]

Live-action/blitheness is a technique combining mitt-fatigued characters into live action shots or live-action actors into animated shots. ^[57] One of the earlier uses was in Koko the Clown when Koko was fatigued over live-action footage. ^[58] Walt Disney and Ub Iwerks created a series of Alice Comedies (1923–1927), in which a alive-activeness girl enters an animated world. Other examples include Allegro Non Troppo (Italy, 1976), Who Framed Roger Rabbit (U.s., 1988), Volere volare (Italian republic 1991), Infinite Jam (US, 1996) and Osmosis Jones (US, 2001).

Stop motion [ edit ]

Terminate-motility animation is used to depict animation created by physically manipulating existent-world objects and photographing them one frame of moving-picture show at a fourth dimension to create the illusion of movement. ^[59] There are many different types of finish-movement blitheness, usually named later the medium used to create the animation. ^[60] Estimator software is widely available to create this type of animation; traditional stop-motion animation is usually less expensive simply more time-consuming to produce than current computer animation. ^[60]

Puppet animation

Typically involves terminate-move puppet figures interacting in a constructed environment, in contrast to real-earth interaction in model animation. ^[61] The puppets generally take an armature inside of them to proceed them still and steady to constrain their motion to particular joints. ^[62] Examples include The Tale of the Fox (France, 1937), The Nightmare Earlier Christmas (U.s.a., 1993), Corpse Bride (US, 2005), Coraline (United states of america, 2009), the films of Jiří Trnka and the developed animated sketch-comedy television series Robot Chicken (US, 2005–present).

Puppetoon

Created using techniques developed past George Pal, ^[63] are puppet-animated films that typically utilize a unlike version of a boob for different frames, rather than simply manipulating i existing boob. ^[64]

A dirt animation scene from a Finnish television commercial

Dirt animation or Plasticine animation

(Often called claymation, which, nevertheless, is a trademarked name). It uses figures made of clay or a similar malleable cloth to create finish-movement animation. ^{[59] [65]} The figures may accept an armature or wire frame inside, similar to the related puppet animation (below), that tin exist 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 diverseness of different shapes. Examples of clay-animated works include The Gumby Show (Usa, 1957–1967), Mio Mao (Italian republic, 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 Expletive of the Were-Rabbit , Chicken Run and The Adventures of Marker Twain . ^[67]

Strata-cut animation

Nearly usually a class of dirt blitheness in which a long bread-similar "loaf" of clay, internally packed tight and loaded with varying imagery, is sliced into sparse sheets, with the blitheness camera taking a frame of the end of the loaf for each cut, somewhen revealing the move of the internal images within. ^[68]

Cutout animation

A type of stop-motility animation produced by moving two-dimensional pieces of material paper or cloth. ^[69] Examples include Terry Gilliam's blithe sequences from Monty Python's Flying Circus (UK, 1969–1974); Fantastic Planet (France/Czechoslovakia, 1973); Tale of Tales (Russia, 1979), The pilot episode of the adult television 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, Spain 2014).

Silhouette animation

A variant of cutout blitheness in which the characters are backlit and only visible every bit silhouettes. ^[70] Examples include The Adventures of Prince Achmed (Weimar Republic, 1926) and Princes et Princesses (France, 2000).

Model animation

Refers to terminate-motion animation created to interact with and be as a part of a live-action world. ^[71] Intercutting, matte effects and carve up screens are oft employed to blend stop-motion characters or objects with alive actors and settings. ^[72] Examples include the work of Ray Harryhausen, every bit seen in films, Jason and the Argonauts (1963), ^[73] and the work of Willis H. O'Brien on films, Rex Kong (1933).

Go motion

A variant of model animation that uses various techniques to create motility blur between frames of picture, which is not present in traditional stop movement. ^[74] The technique was invented past Industrial Light & Magic and Phil Tippett to create special issue scenes for the film The Empire Strikes Back (1980). ^[75] Another example is the dragon named "Vermithrax" from the 1981 film Dragonslayer . ^[76]

Object animation

Refers to the use of regular inanimate objects in stop-motility blitheness, as opposed to specially created items. ^[77]

Graphic animation

Uses not-drawn apartment visual graphic fabric (photographs, newspaper clippings, magazines, etc.), which are sometimes manipulated frame by frame to create movement. ^[78] At other times, the graphics remain stationary, while the stop-motion camera is moved to create on-screen action.

Brickfilm

A subgenre of object animation involving using Lego or other similar brick toys to make an blitheness. ^{[79] [80]} These have 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 utilize of live humans as stop-motion characters. ^[82] This allows for a number of surreal effects, including disappearances and reappearances, allowing people to appear to slide beyond the footing, and other furnishings. ^[82] Examples of pixilation include The Secret Adventures of Tom Pollex and Angry Child shorts, and the Academy Award-winning Neighbours past Norman McLaren.

Computer [ edit ]

Computer animation encompasses a multifariousness of techniques, the unifying factor being that the animation is created digitally on a reckoner. ^{[42] [83]} second animation techniques tend to focus on prototype manipulation while 3D techniques usually build virtual worlds in which characters and objects move and collaborate. ^[84] 3D animation can create images that seem real to the viewer. ^[85]

2d [ edit ]

A 2d animation of two circles joined by a chain

second animation figures are created or edited on the reckoner using 2D 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 computer animation, Wink animation, and PowerPoint animation. Cinemagraphs are still photographs in the grade of an blithe GIF file of which part is animated. ^[89]

Final line advection animation is a technique used in 2d blitheness, ^[90] to give artists and animators more influence and control over the final product every bit everything is done within the same department. ^[91] Speaking about using this arroyo in Paperman , John Kahrs said that "Our animators can change things, actually erase abroad the CG underlayer if they want, and change the profile of the arm." ^[92]

3D [ edit ]

3D animation is digitally modeled and manipulated by an animator. The 3D model maker usually starts past creating a 3D polygon mesh for the animator to manipulate. ^[93] A mesh typically includes many vertices that are connected by edges and faces, which give the visual appearance of form to a 3D object or 3D surroundings. ^[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 process is chosen rigging and can exist used in conjunction with cardinal frames to create movement. ^[96]

Other techniques can exist applied, mathematical functions (e.one thousand., gravity, particle simulations), simulated fur or hair, and furnishings, fire and water simulations. ^[97] These techniques autumn under the category of 3D dynamics. ^[98]

Terms [ edit ]

• Cel-shaded animation is used to mimic traditional animation using computer software. ^[99] The shading looks stark, with less blending of colors. Examples include Skyland (2007, France), The Iron Behemothic (1999, Usa), Futurama (1999, United States) Appleseed Ex Machina (2007, Japan), The Legend of Zelda: The Wind Waker (2002, Japan), The Fable of Zelda: Breath of the Wild (2017, Japan)
• Machinima – Films created past screen capturing in video games and virtual worlds. The term originated from the software introduction in the 1980s demoscene, as well as the 1990s recordings of the start-person shooter video game Convulse .
• Movement capture is used when live-action actors wearable special suits that allow computers to copy their movements into CG characters. ^{[100] [101]} Examples include Polar Express (2004, US), Beowulf (2007, United states), A Christmas Carol (2009, US), The Adventures of Tintin (2011, US) kochadiiyan (2014, India)
• Calculator animation is used primarily for animation that attempts to resemble real life, using advanced rendering that mimics in item peel, plants, h2o, fire, clouds, etc. ^[102] Examples include Upwardly (2009, The states), How to Train Your Dragon (2010, US)
• Physically based animation is animation using computer simulations. ^[103]

Mechanical [ edit ]

• Animatronics is the use of mechatronics to create machines that seem animate rather than robotic.
  • Audio-Animatronics and Autonomatronics is a form of robotics blitheness, combined with 3-D blitheness, created by Walt Disney Imagineering for shows and attractions at Disney theme parks move and make noise (by and large a recorded speech or vocal). ^[104] They are fixed to whatever supports them. They can sit down and stand up, 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. ^[105]
  • 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 motility, parallel to the installed picture frames. ^[106] The concept and the technical solution were invented in 2007 by Mihai Girlovan in Romania.
• Chuckimation is a type of animation created by the makers of the boob tube series Action League Now! in which characters/props are thrown, or chucked from off photographic camera or wiggled around to simulate talking by unseen hands. ^[107]
• The magic lantern used mechanical slides to projection moving images, probably since Christiaan Huygens invented this early image projector in 1659.

Other [ edit ]

• Hydrotechnics: a technique that includes lights, water, fire, fog, and lasers, with high-definition projections on mist screens.
• Fatigued on moving picture animation : a technique where footage is produced by creating the images directly on film stock; for instance, by Norman McLaren, ^[108] Len Lye and Stan Brakhage.
• Paint-on-glass animation : a technique for making animated 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 animating scratches on plaster.
• Pinscreen blitheness : makes utilise of a screen filled with movable pins that can exist moved in or out by pressing an object onto the screen. ^[111] The screen is lit from the side so that the pins cast shadows. The technique has been used to create animated films with a range of textural effects difficult to achieve with traditional cel animation. ^[112]
• Sand animation : sand is moved around on a dorsum- or front-lighted piece of drinking glass to create each frame for an animated film. ^[113] This creates an interesting event when blithe because of the light dissimilarity. ^[114]
• Flip volume : a flip book (sometimes, especially in British English, chosen a picture volume) is a book with a series of pictures that vary gradually from i page to the next, so that when the pages are turned apace, 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 utilise 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 convert digital video files into custom-made flip books. ^[118]
• Grapheme animation
• Multi-sketching
• Special furnishings animation

See also [ edit ]

• Twelve bones principles of animation
• Blithe war film
• Animation department
• Animated serial
• Architectural animation
• Avar
• Independent animation
• International Animation Day
• International Animated Moving-picture show Association
• International Tournée of Animation
• List of picture show-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 ceremony 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 million worldwide - and so it remains one of the most popular films ever fabricated.
8. ^ * 1987 and 1993 grosses from North America: "Snow White and the Seven Dwarfs – Releases". Box Function 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 characteristic moving picture". Guinness Globe Records. Guinness Earth Records Limited. Retrieved 27 December 2022.
10. ^ Amidi, Amid (1 June 2015). "Sergio Pablos Talks About His Stunning Hand-Drawn Project 'Klaus'". Drawing Mash . Retrieved 12 October 2022.
11. ^ "The Origins of Klaus". YouTube . 10 October 2022. Archived from the original on 22 November 2022. Retrieved 12 Oct 2022.
12. ^ Bernstein, Abbie (25 February 2013). "Consignment X". Exclusive Interview: John Kahrs & Kristina Reed on PAPERMAN. Midnight Productions, Inc. Retrieved 6 Oct 2013.
13. ^ "FIRST LOOK: Disney's 'Paperman' fuses paw-fatigued charm with digital depth". EW.com . Retrieved 2 October 2014.
14. ^ Sarto, Dan. "Within Disney's New Animated Short Paperman". Animation Earth Network. Retrieved v June 2012.
15. ^ "Disney's Paperman animated curt fuses CG and hand-drawn techniques" . Retrieved two Oct 2014.
16. ^ Lath of Investments 2009.
17. ^ "Global animation marketplace value 2017-2022". Statista . Retrieved 31 March 2022.
18. ^ McDuling 2014.
19. ^ "Snap, Crackle, Pop® | Rice Krispies®". www.ricekrispies.com . Retrieved 16 June 2022.
20. ^ Taylor, Heather (ten June 2022). "The Raid Bugs: Characters We Dear To Hate". PopIcon.life . Retrieved 16 June 2022.
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. ^ Beck 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. eighty.
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. ^ Brook 2004, pp. 92–93.
65. ^ Laybourne 1998, pp. 150–151.
66. ^ Laybourne 1998, pp. 151–54.
67. ^ Beck 2004, p. 250.
68. ^ Furniss 1998, pp. 52–54.
69. ^ Laybourne 1998, pp. 59–threescore.
70. ^ Culhane 1990, pp. 170–171.
71. ^ Harryhausen & Dalton 2008, pp. 9–eleven.
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, 70, 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 Animation?". Animator Mag. 17 Dec 2011. Archived from the original on 5 March 2016. Retrieved 20 Feb 2016.
100. ^ Sito 2013, pp. 207–08.
101. ^ Masson 2007, p. 204.
102. ^ Parent 2007, p. xix.
103. ^ Donald H. House; John C. Keyser (30 November 2016). Foundations of Physically Based Modeling and Animation . CRC Press. ISBN 978-ane-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. ^ Brownish 2003, p. 7.
114. ^ Furniss 1998, pp. 30–33.
115. ^ ^{a b} Laybourne 1998, pp. 22–24.
116. ^ Solomon 1989, pp. 8–10.
117. ^ Laybourne 1998, p. xiv.
118. ^ White 2006, p. 203.

Sources [ edit ]

Journal articles [ edit ]

• Anderson, Joseph and Barbara (Spring 1993). "Periodical of Film and Video". The Myth of Persistence of Vision Revisited. 45 (1): three–13. Archived from the original on 24 November 2009.
• Serenko, Alexander (2007). "Computers in Human Beliefs" (PDF). The Development of an Instrument to Measure the Degree of Animation Predisposition of Agent Users. 23 (1): 478–95.

Books [ edit ]

• Baer, Eva (1983). Metalwork in Medieval Islamic Art. State University of New York Press. pp. 58, 86, 143, 151, 176, 201, 226, 243, 292, 304. ISBN 978-0-87395-602-four .
• Beck, Jerry (2004). Animation Art: From Pencil to Pixel, the History of Cartoon, Anime & CGI. Fulhamm London: Flame Tree Publishing. ISBN 978-i-84451-140-two .
• Beckerman, Howard (2003). Blitheness: The Whole Story . Allworth Printing. ISBN 978-1-58115-301-9 .
• Bendazzi, Giannalberto (1994). Cartoons: One Hundred Years of Movie theater Blitheness . Bloomington, Indiana: Indiana University Press. ISBN 978-0-253-20937-5 .
• Buchan, Suzanne (2013). Pervasive Animation. New York and London: Routledge. ISBN 978-0-415-80723-4 .
• Canemaker, John (2005). Winsor McCay: His Life and Art (Revised ed.). Abrams Books. ISBN 978-0-8109-5941-5 .
• Cotte, Olivier (2007). Secrets of Oscar-winning Animation: Backside the scenes of 13 classic curt animations . Focal Press. ISBN 978-0240520704 .
• Crafton, Donald (1993). Earlier Mickey: The Blithe Film 1898–1928. Chicago: University of Chicago Press. ISBN 978-0-226-11667-9 .
• Culhane, Shamus (1990). Blitheness: Script to Screen. St. Martin's Press. ISBN 978-0-312-05052-8 .
• Drazin, Charles (2011). The Faber Book of French Cinema . Faber & Faber. ISBN 978-0-571-21849-3 .
• Faber, Liz; Walters, Helen (2004). Animation Unlimited: Innovative Short Films Since 1940 . London: Laurence King Publishing. ISBN 978-1-85669-346-2 .
• Finkielman, Jorge (2004). The Picture show Industry in Argentina: An Illustrated Cultural History . North Carolina: McFarland. p.20. ISBN 978-0-7864-1628-eight .
• Furniss, Maureen (1998). Art in Motility: Animation Aesthetics. Indiana University Press. ISBN 978-1-86462-039-9 .
• Godfrey, Bob; Jackson, Anna (1974). The Do-It-Yourself Picture Animation Book. BBC Publications. ISBN 978-0-563-10829-0 .
• Harryhausen, Ray; Dalton, Tony (2008). A Century of Model Animation: From Méliès to Aardman. Aurum Press. ISBN 978-0-8230-9980-1 .
• Herman, Sarah (2014). Brick Flicks: A Comprehensive Guide to Making Your Own End-Motion LEGO Movies. New York: Skyhorse Publishing. ISBN 978-1-62914-649-ii .
• Lawson, Tim; Persons, Alisa (2004). The Magic Behind the Voices [A Who'south Who of Cartoon Voice Actors]. University Press of Mississippi. ISBN 978-i-57806-696-4 .
• Laybourne, Kit (1998). The Blitheness Book: A Complete Guide to Animated Filmmaking – from Flip-books to Sound Cartoons to 3-D Animation . New York: Three Rivers Printing. ISBN 978-0-517-88602-one .
• Ledoux, Trish (1997). Complete Anime Guide: Japanese Animation Moving picture Directory and Resources Guide. Tiger Mountain Press. ISBN 978-0-9649542-5-0 .
• Lowe, Richard; Schnotz, Wolfgang, eds. (2008). Learning with Animation. Research implications for design. New York: Cambridge University Press. ISBN 978-0-521-85189-3 .
• Masson, Terrence (2007). CG101: A Computer Graphics Industry Reference . Unique and personal histories of early reckoner animation production, plus a comprehensive foundation of the industry for all reading levels. Williamstown, MA: Digital Fauxtography. ISBN 978-0-9778710-0-one .
• Needham, Joseph (1962). "Science and Civilization in Prc". Physics and Physical Technology. Vol. Iv. Cambridge University Press.
• Neupert, Richard (2011). French Blitheness History. John Wiley & Sons. ISBN 978-1-4443-3836-ii .
• Parent, Rick (2007). Computer Animation: Algorithms & Techniques. Ohio State University: Morgan Kaufmann. ISBN 978-0-12-532000-9 .
• Paul, Joshua (2005). Digital Video Hacks . O'Reilly Media. ISBN 978-0-596-00946-v .
• Pilling, Jayne (1997). Society of Blitheness Studies (ed.). A Reader in Animation Studies. Indiana University Press. ISBN 978-i-86462-000-nine .
• Priebe, Ken A. (2006). The Art of Terminate-Motion Animation. Thompson Course Engineering. ISBN 978-ane-59863-244-vi .
• Rojas, Carlos; Chow, Eileen (2013). The Oxford Handbook of Chinese Cinemas. Oxford Academy Press. ISBN 978-0-19-998844-0 .
• Sammond, Nicholas (27 August 2015). Birth of an Industry: Blackface Minstrelsy and the Rise of American Blitheness . Durham, NC: Knuckles University Press. doi:10.1515/9780822375784. ISBN 9780822358527 . OCLC8605897837.
• Shaffer, Joshua C. (2010). Discovering The Magic Kingdom: An Unofficial Disneyland Vacation Guide. Indiana: Author House. ISBN 978-1-4520-6312-6 .
• Sito, Tom (2013). Moving Innovation: A History of Estimator Animation. Massachusetts: MIT Press. ISBN 978-0-262-01909-5 .
• Solomon, Charles (1989). Enchanted Drawings: The History of Animation. New York: Random House, Inc. ISBN 978-0-394-54684-1 .
• Thomas, Bob (1958). Walt Disney, the Art of Blitheness: The Story of the Disney Studio Contribution to a New Art . Walt Disney Studios. Simon and Schuster.
• Thomas, Frank; Johnston, Ollie (1981). Disney Animation: The Illusion of Life . Abbeville Press. ISBN 978-0-89659-233-9 .
• Smith, Thomas G. (1986). Industrial Light & Magic: The Art of Special Furnishings. New York: Ballantine Books. ISBN 978-0-345-32263-0 .
• White, Tony (2006). Animation from Pencils to Pixels: Classical Techniques for the Digital Animator. Milton Park: Taylor & Francis. ISBN 978-0-240-80670-9 .
• Williams, Richard (2001). The Animator'due south Survival Kit . Faber and Faber. ISBN 978-0-571-20228-7 .
• Zielinski, Siegfried (1999). Audiovisions: Movie theatre and Television as Entr'actes in History. Amsterdam University Press. ISBN 978-90-5356-303-8 .

Online sources [ edit ]

• Amidi, Among (ii December 2011). "NY Pic Critics Didn't like a Single Blithe Flick This Year". Cartoon Brew. Retrieved 19 Feb 2016.
• Brawl, Ryan (12 March 2008). "Oldest Animation Discovered in Iran". Animation Magazine . Retrieved 15 March 2016.
• Beck, Jerry (ii July 2012). "A Trivial More Almost Disney's "Paperman"". Cartoon Mash.
• Bendazzi, Giannalberto (1996). "The Untold Story of Argentine republic'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.
• Chocolate-brown, Margery (2003). "Experimental Blitheness Techniques" (PDF). Olympia, WA: Evergreen State Collage. Archived from the original (PDF) on seven March 2008. Retrieved 11 Nov 2005.
• Carbone, Ken (24 Feb 2010). "Stone-Age Animation in a Digital World: William Kentridge at MoMA". Fast Company . Retrieved vii March 2016.
• Haglund, David (7 February 2014). "The Oldest Known LEGO Motion-picture show". Slate . Retrieved 25 Feb 2016.
• "World'southward 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 Practise That?: Stop-Motion Secrets Revealed". Animation World Network. Retrieved 2 March 2016.
• Nagel, Jan (21 May 2008). "Gender in Media: Females Don't Rule". Animation Globe Network. Retrieved 3 March 2016.
• McDuling, John (iii July 2014). "Hollywood Is Giving Upwards on Comedy". The Atlantic. The Atlantic Monthly Group. Retrieved twenty July 2014.
• McLaughlin, Dan (2001). "A Rather Incomplete But Still Fascinating". Movie TV. UCLA. Archived from the original on xix November 2009. Retrieved 12 Feb 2013.
• O'Keefe, Matt (11 Nov 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 Subsequently Star Wars, Effects Whiz Phil Tippett Is Slowly Crafting a Mad God". Wired . Retrieved 6 February 2016.
• Zohn, Patricia (28 Feb 2010). "Coloring the Kingdom". Vanity Fair . Retrieved seven Dec 2015.
• "Walt Disney'south Oscars". The Walt Disney Family unit Museum. 22 February 2013. Archived from the original on 22 March 2015. Retrieved 22 February 2016.
• "Władysław Starewicz – Biography". culture.pl. Adam Mickiewicz Constitute. xvi April 2012. Retrieved 9 Feb 2016.

External links [ edit ]

• The making of an viii-minute drawing short
• "Animando", a 12-minute film demonstrating 10 dissimilar blitheness techniques (and didactics how to use them).
• Bibliography on animation – Websiite "Histoire de la télévision"
• Blitheness at Curlie

Cost Per Lightly Animated Cartoon in a Video Series

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