Animation

Animation is a filmmaking technique by which still images are

manipulated to create moving images. In traditional animation, images are
drawn or painted by hand on transparent celluloid sheets (cels) to be
photographed and exhibited on film. Animation has been recognized as an
artistic medium, specifically within the entertainment industry. Many
animations are computer animations made with computer-generated
imagery (CGI). Stop motion animation, in particular claymation, has
continued to exist alongside these other forms.
2D computer animation
Animation is contrasted with live-action film, although the two do not exist moving at 10 frames per
second (FPS)
in isolation. Many moviemakers have produced films that are a hybrid of
the two. As CGI increasingly approximates photographic imagery,
filmmakers can easily composite 3D animations into their film rather than
using practical effects for showy visual effects (VFX).

General overview
Computer animation can be very detailed 3D animation, while 2D computer
The bouncing ball
animation (which may have the look of traditional animation) can be used animation above
for stylistic reasons, low bandwidth, or faster real-time renderings. Other consists of these six
common animation methods apply a stop motion technique to two- and frames repeated
three-dimensional objects like paper cutouts, puppets, or clay figures. indefinitely.

A cartoon is an animated film, usually a short film, featuring an

exaggerated visual style. The style takes inspiration from comic strips, often featuring
anthropomorphic animals, superheroes, or the adventures of human protagonists. Especially with
animals that form a natural predator/prey relationship (e.g. cats and mice, coyotes and birds), the
action often centers on violent pratfalls such as falls, collisions, and explosions that would be lethal in
real life.

The illusion of animation—as in motion pictures in general—has traditionally been attributed to the
persistence of vision and later to the phi phenomenon and beta movement, but the exact neurological
causes are still 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 part of the movements and changes of figures on
transparent cels that could be moved over a separate background, computer animation is usually
based on programming paths between key frames to maneuver digitally created figures throughout a
digitally created environment.
Analog mechanical animation media that rely on the rapid display of sequential images include the
phénakisticope, zoetrope, flip book, praxinoscope, and film. Television and video are popular
electronic animation media that originally were analog and now operate digitally. For display on
computers, technology such as the animated GIF and Flash animation were developed.

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

The physical movement of image parts through simple mechanics—for instance, moving images in
magic lantern shows—can also be considered animation. 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
The word "animation" stems from the Latin "animātiōn", stem of "animātiō", meaning "a bestowing of
life".[2] The earlier meaning of the English word is "liveliness" and has been in use much longer than
the meaning of "moving image medium".

History

Before cinematography
Long before modern animation began, audiences around the world were captivated by the magic of
moving characters. For centuries, master artists and craftsmen have brought puppets, automatons,
shadow puppets, and fantastical lanterns to life, inspiring the imagination through physically
manipulated wonders.[3]

In 1833, the stroboscopic disc (better known as the

phénakisticope) introduced the principle of modern animation,
which would also be applied in the zoetrope (introduced in 1866),
the flip book (1868), the praxinoscope (1877) and film.

Silent era
When cinematography eventually broke through in the 1890s, the
wonder of the realistic details in the new medium was seen as its
biggest accomplishment. It took years before animation found its
way to the cinemas. The successful short The Haunted Hotel
(1907) by J. Stuart Blackton popularized stop-motion and Prof. Stampfers Stroboscopische
reportedly inspired Émile Cohl to create Fantasmagorie (1908), Scheibe No. X (1833)
regarded as the oldest known example of a complete traditional
(hand-drawn) animation on standard cinematographic film. Other
great artistic and very influential short films were created by
Ladislas Starevich with his puppet animations since 1910 and by
Winsor McCay with detailed hand-drawn animation in films such
as Little Nemo (1911) and Gertie the Dinosaur (1914).[4]

During the 1910s, the production of animated "cartoons" became

an industry in the US.[5] Successful producer John Randolph Bray
and animator Earl Hurd, patented the cel animation process that
dominated the animation industry for the rest of the century.[6][7]
A projecting praxinoscope, from
Felix the Cat, who debuted in 1919, became the first fully realized 1882, here shown superimposing an
animal character in the history of American animation.[8] animated figure on a separately
projected background scene

American golden age

In 1928, Steamboat Willie, featuring Mickey Mouse and Minnie
Mouse, popularized film with synchronized sound and put Walt
Disney's studio at the forefront of the animation industry.
Although Disney Animation's actual output relative to total global
animation output has always been very small, the studio has
overwhelmingly dominated the "aesthetic norms" of animation
ever since.[9]

The enormous success of Mickey Mouse is seen as the start of the Fantasmagorie (1908) by Émile
golden age of American animation that would last until the 1960s. Cohl
The United States dominated the world market of animation with
a plethora of cel-animated theatrical shorts.[10] Several studios
would introduce characters that would become very popular and
would have long-lasting careers, including Walt Disney CC
Productions' Goofy (1932) and Donald Duck (1934), Fleischer
Studios/Paramount Cartoon Studios' Out of the Inkwell' Koko the
Clown (1918), Bimbo and Betty Boop (1930), Popeye (1933) and
Casper (1945), Warner Bros. Cartoons' Looney Tunes' Porky Pig
(1935), Daffy Duck (1937), Elmer Fudd (1937–1940), Bugs Bunny 4:15
(1938–1940), Tweety (1942), Wile E. Coyote and Road Runner
Feline Follies with Felix the Cat,
(1949), MGM cartoon studio's Tom and Jerry (1940) and Droopy, silent, 1919
Walter Lantz Productions/Universal Studio Cartoons' Woody
Woodpecker (1940), Terrytoons/20th Century Fox's Mighty
Mouse (1942), and United Artists' Pink Panther (1963).

Features before CGI

In 1917, Italian-Argentine director Quirino Cristiani made the first feature-length film El Apóstol (now
lost), which became a critical and commercial success. It was followed by Cristiani's Sin dejar rastros
in 1918, but one day after its premiere, the film was confiscated by the government.[12]
After working on it for three years, Lotte Reiniger released the German
feature-length silhouette animation Die Abenteuer des Prinzen Achmed
in 1926, the oldest extant animated feature.[13]

In 1937, Walt Disney Studios premiered their first animated feature

(using the Rotoscope technique invented by Max Fleischer in 1915)
Snow White and the Seven Dwarfs, still one of the highest-grossing
traditional animation features as of May 2020.[14][15] 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 Second World
War, Disney's next features Pinocchio, Fantasia (both 1940), Fleischer
Studios' second animated feature Mr. Bug Goes to Town (1941–1942)
and Disney's feature films Cinderella (1950), Alice in Wonderland
(1951) and Lady and the Tramp (1955) failed at the box office. For
decades afterward, Disney would be the only American studio to
regularly produce animated features, until Ralph Bakshi became the Italian-Argentine cartoonist
first to also release more than a handful features. Sullivan-Bluth Studios Quirino Cristiani showing the
began to regularly produce animated features starting with An cut and articulated figure of
his satirical character El
American Tail in 1986.
Peludo (based on President
Yrigoyen) patented in 1916
Although relatively few titles became as successful as Disney's features,
for the realization of his films,
other countries developed their own animation industries that produced
including the world's first
both short and feature theatrical animations in a wide variety of styles, animated feature film El
relatively often including stop motion and cutout animation techniques. Apóstol[11]
Russia's Soyuzmultfilm animation studio, founded in 1936, produced 20
films (including shorts) per year on average and reached 1,582 titles in
2018. China, Czechoslovakia / Czech Republic, Italy, France, and Belgium were other countries that
more than occasionally released feature films, while Japan became a true powerhouse of animation
production, with its own recognizable and influential anime style of effective limited animation.

Television
Animation became very popular on television since the 1950s, when television sets started to become
common in most developed countries. Cartoons were mainly programmed for children, on convenient
time slots, and especially US youth spent many hours watching Saturday-morning cartoons. Many
classic cartoons found a new life on the small screen and by the end of the 1950s, the production of
new animated cartoons started to shift from theatrical releases to TV series. Hanna-Barbera
Productions was especially prolific and had huge hit series, such as The Flintstones (1960–1966) (the
first prime time animated series), Scooby-Doo (since 1969) and Belgian co-production The Smurfs
(1981–1989). The constraints of American television programming and the demand for an enormous
quantity resulted in cheaper and quicker limited animation methods and much more formulaic
scripts. Quality dwindled until more daring animation surfaced in the late 1980s and in the early
1990s with hit series, the first cartoon of The Simpsons (1987), the animated television series such as
The Simpsons (since 1989) and SpongeBob SquarePants (since 1999) as part of a "renaissance" of
American animation.
While US animated series also spawned successes internationally, many other countries produced
their own child-oriented programming, relatively often preferring stop motion and puppetry over cel
animation. Japanese anime TV 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 die starken Männer/ 小 さ な バ イ キ ン グ ビ ッ ケ (Vicky the Viking)
(Austria/Germany/Japan 1974), Maya the Bee (Japan/Germany 1975) and The Jungle Book
(Italy/Japan 1989).

Switch from cels to computers

Computer animation 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).[16]

The Rescuers Down Under was the first feature film to be completely created digitally without a
camera.[17] It was produced using the Computer Animation Production System (CAPS), developed by
Pixar in collaboration with The Walt Disney Company in the late 1980s, in a style similar to
traditional cel animation .[18][19][20]

The so-called 3D style, more often associated with computer animation, became the dominant
technique following the success of Pixar's Toy Story (1995), the first computer-animated feature in
this style.[21]

Most of the cel animation studios switched to producing mostly computer-animated films around the
1990s, as it proved cheaper and more profitable. Not only 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 animation could be emulated with software,
while new digital tools helped developing new styles and effects.[22][23][24][25][26][27]

Economic status
In 2010, the animation market was estimated to be worth circa US$80 billion.[28] By 2020, the value
had increased to an estimated US$270 billion.[29] Animated feature-length films returned the highest
gross margins (around 52%) of all film genres between 2004 and 2013.[30] Animation as an art and
industry continues to thrive as of the early 2020s.[31][32][33]

Education, propaganda and commercials

The clarity of animation makes it a powerful tool for instruction, while its total malleability also allows
exaggeration that can be employed to convey strong emotions and to thwart reality. It 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 cartoon characters to convey to the
public certain war values. Some countries, including China, Japan and the United Kingdom, produced
their first feature-length animation for their war efforts.
Animation has been very popular in television commercials, both due to its graphic appeal, and the
humour it can provide. Some animated characters in commercials have survived for decades, such as
Snap, Crackle and Pop in advertisements for Kellogg's cereals.[34] Tex Avery was the producer of the
first Raid "Kills Bugs Dead" commercials in 1966, which were very successful for the company.[35]

Other media, merchandise and theme parks

Apart from their success in movie theaters and television series, many cartoon characters would also
prove lucrative when licensed for all kinds of merchandise and for other media.

Animation has traditionally been very closely related to comic books. While many comic book
characters found their way to the screen (which is often the case 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 form of
animation that became its own medium) have been derived from films and vice versa.[36]

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

While very many animation companies commercially exploit their creations outside moving image
media, The Walt Disney Company is the best known and most extreme example. Since first being
licensed for a children's writing tablet in 1929, their Mickey Mouse mascot has been depicted on an
enormous amount of products, as have many other Disney characters. This may have influenced some
pejorative use of Mickey's name, but licensed Disney products sell well, and the so-called Disneyana
has many avid collectors, and even a dedicated Disneyana Fan Club (since 1984).[37]

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 have relatively often been higher than those from their movies.

Awards
As with any other form of media, animation has instituted awards for excellence in the field. Many are
part of general or regional film award programs, like the China's Golden Rooster Award 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.[38][39][40]

Academy Awards
Apart from Academy Awards for Best Animated Short Film (since 1932) and Best Animated Feature
(since 2002), animated movies have been nominated and rewarded in other categories, relatively
often for Best Original Song and Best Original Score.
Beauty and the Beast was the first animated film nominated for Best Picture, in 1991. Up (2009) and
Toy Story 3 (2010) also received Best Picture nominations, after the academy expanded the number
of nominees from five to ten.[41]

Production
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.[42] Traits common to both live-action and
animated feature-length films are labor intensity and high
production costs.[43]

The most important difference is that once a film is in the

Joy & Heron
production phase, the marginal cost of one more shot is higher for
animated films than live-action films.[44] It is relatively easy for a
director to ask for one more take during principal photography of a live-action film, but every take on
an animated film must be manually rendered by animators (although the task of rendering slightly
different takes has been made less tedious by modern computer animation).[45] It is pointless for a
studio to pay the salaries of dozens of animators to spend weeks creating a visually dazzling five-
minute scene if that scene fails to effectively advance the plot of the film.[46] 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 film over to the
animators only after the production team is satisfied that all the scenes make sense as a whole.[47]
While live-action films are now also storyboarded, they enjoy more latitude to depart from
storyboards (i.e., real-time improvisation).[48]

Another problem unique to animation is the requirement to maintain a film's consistency from start
to finish, even as films have grown longer and teams have grown larger. Animators, like all artists,
necessarily have individual styles, but must subordinate their individuality in a consistent way to
whatever style is employed on a particular film.[49] Since the early 1980s, teams of about 500 to 600
people, of whom 50 to 70 are animators, typically have created feature-length animated films. It is
relatively easy for two or three artists to match their styles; synchronizing those of dozens of artists is
more difficult.[50]

This problem is usually solved by having a separate group of visual development artists develop an
overall look and palette for each film before the animation begins. Character designers on the visual
development team draw model sheets to show how each character should look like with different
facial expressions, posed in different positions, and viewed from different angles.[51][52] On
traditionally animated projects, maquettes were often sculpted to further help the animators see how
characters would look from different angles.[53][51]
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.[54] In the early 1960s, animation studios began hiring professional screenwriters to write
screenplays (while also continuing to use story departments) and screenplays had become
commonplace for animated films by the late 1980s.

Techniques

Traditional
Traditional animation (also called cel animation or hand-
drawn animation) was the process used for most animated films of
the 20th century.[55] The individual frames of a traditionally
animated film are photographs of drawings, first drawn on
paper.[56] 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,[57]
which are filled in with paints in assigned colors or tones on the
side opposite the line drawings.[58] The completed character cels An example of traditional animation,
are photographed one-by-one against a painted background by a a horse animated by rotoscoping
rostrum camera onto motion picture film.[59] from Eadweard Muybridge's 19th-
century photos
The traditional cel animation process became obsolete by the
beginning of the 21st century. Today, animators' drawings and the
backgrounds are either scanned into or drawn directly into a computer system.[1][60] Various software
programs are used to color the drawings and simulate camera movement and effects.[61] The final
animated piece is output to one of several delivery media, including traditional 35 mm film and newer
media with digital video.[62][1] The "look" of traditional cel animation is still preserved, and the
character animators' work has remained essentially the same over the past 90 years.[53] Some
animation producers have used the term "tradigital" (a play on the words "traditional" and "digital")
to describe cel animation that uses significant computer technology.

Examples of traditionally animated feature films include Pinocchio (United States, 1940),[63] Animal
Farm (United Kingdom, 1954), Lucky and Zorba (Italy, 1998), and The Illusionist (British-French,
2010). Traditionally animated films produced with the aid of computer technology include The Lion
King (US, 1994), The Prince of Egypt (US, 1998), Akira (Japan, 1988),[64] Spirited Away (Japan,
2001), The Triplets of Belleville (France, 2003), and The Secret of Kells (Irish-French-Belgian, 2009).

Full
Full animation is the process of producing high-quality traditionally animated films that regularly
use detailed drawings and plausible movement,[65] having a smooth animation.[66] Fully animated
films can be made in a variety of styles, from more realistically animated works like those produced by
the Walt Disney studio (The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King) to the
more 'cartoon' styles of the Warner Bros. 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 Iron Giant
(US, 1999), and Nocturna (Spain, 2007). Fully animated films are often animated on "twos",
sometimes on "ones", which means that 12 to 24 drawings are required for a single second of film. [67]

Limited
Limited animation involves the use of less detailed or more stylized drawings and methods of
movement usually a choppy or "skippy" movement animation.[68] Limited animation uses fewer
drawings per second, 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,[69] limited
animation can be used as a method of stylized artistic expression, as in Gerald McBoing-Boing (US,
1951), Yellow Submarine (UK, 1968), and certain anime produced in Japan.[70] Its primary use,
however, has been in producing cost-effective animated content for media for television (the work of
Hanna-Barbera,[71] Filmation,[72] and other TV animation studios[73]) and later the Internet (web
cartoons).

Rotoscoping
Rotoscoping is a technique patented by Max Fleischer in 1917 where animators trace live-action
movement, frame by frame.[74] The source film can be directly copied from actors' outlines into
animated drawings,[75] as in The Lord of the Rings (US, 1978), or used in a stylized and expressive
manner, as in Waking Life (US, 2001) and A Scanner Darkly (US, 2006). Some other examples are
Fire and Ice (US, 1983), Heavy Metal (1981), and Aku no Hana (Japan, 2013).

Live-action blending
Live-action/animation is a technique combining hand-drawn characters into live action shots or
live-action actors into animated shots.[76] One of the earlier uses was in Koko the Clown when Koko
was drawn over live-action footage.[77] Walt Disney and Ub Iwerks created a series of Alice Comedies
(1923–1927), in which a live-action girl enters an animated world. Other examples include Allegro
Non Troppo (Italy, 1976), Who Framed Roger Rabbit (US, 1988), Volere volare (Italy 1991), Space
Jam (US, 1996) and Osmosis Jones (US, 2001).

Stop motion
Stop motion is used to describe animation created by physically manipulating real-world objects and
photographing them one frame of film at a time to create the illusion of movement.[78] There are
many different types of stop-motion animation, usually named after the materials used to create the
animation.[79] Computer software is widely available to create this type of animation; traditional stop-
motion animation is usually less expensive but more time-consuming to produce than current
computer animation.[79]

Stop motion
Typically involves stop-motion puppet figures interacting in a constructed environment, in
contrast to real-world interaction in model animation.[80] The puppets generally have an
armature inside of them to keep them still and steady to constrain their motion to particular
joints.[81] Examples include The Tale of the Fox (France, 1937), The Nightmare Before
 Christmas (US, 1993), Corpse Bride (US, 2005), Coraline (US, 2009), the films of Jiří Trnka and
the adult animated sketch-comedy television series Robot Chicken (US, 2005–present).

Puppetoons
Created using techniques developed by George Pal,[82] are puppet-animated films that
typically use a different version of a puppet for different frames, rather than manipulating
one existing puppet.[83]

Clay animation or Plasticine animation

(Often called claymation, which, however, is a trademarked
name). It uses figures made of clay or a similar malleable
material to create stop-motion animation.[78][84] The figures
may have an armature or wire frame inside, similar to the
related puppet animation (below), that can be manipulated to
pose the figures.[85] Alternatively, the figures may be made
entirely of clay, in the films of Bruce Bickford, where clay
creatures morph into a variety of different shapes. Examples
of clay-animated works include The Gumby Show (US,
1957–1967), Mio Mao (Italy, 1974–2005), Morph shorts (UK, A clay animation scene from a
1977–2000), Wallace and Gromit shorts (UK, as of 1989), Finnish television commercial
Jan Švankmajer's Dimensions of Dialogue (Czechoslovakia,
1982), The Trap Door (UK, 1984). Films include Wallace &
Gromit: The Curse of the Were-Rabbit, Chicken Run and The Adventures of Mark Twain.[86]

Strata-cut animation
Most commonly a form of clay animation in which a long bread-like "loaf" of clay, internally
packed tight and loaded with varying imagery, is sliced into thin sheets, with the animation
camera taking a frame of the end of the loaf for each cut, eventually revealing the
movement of the internal images within.[87]

Cutout animation
A type of stop-motion animation produced by moving two-dimensional pieces of material paper
or cloth.[88] Examples include Terry Gilliam's animated sequences from Monty Python's Flying
Circus (UK, 1969–1974); Fantastic Planet (France/Czechoslovakia, 1973); Tale of Tales
(Russia, 1979), Matt Stone and Trey Parker the first cutout animation South Park (1992), 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 animation in which the characters are backlit and only visible as
silhouettes.[89] Examples include The Adventures of Prince Achmed (Weimar Republic,
1926) and Princes et Princesses (France, 2000).

Model animation
Stop-motion animation created to interact with and exist as a part of a live-action world.[90]
Intercutting, matte effects and split screens are often employed to blend stop-motion characters
or objects with live actors and settings.[91] Examples include the work of Ray Harryhausen, as
seen in films, Jason and the Argonauts (1963),[92] and the work of Willis H. O'Brien on films,
King Kong (1933).

Go motion
 A variant of model animation that uses various techniques to create motion blur between
frames of film, which is not present in traditional stop motion.[93] The technique was
invented by Industrial Light & Magic and Phil Tippett to create special effect scenes for the
film Star Wars: Episode V – The Empire Strikes Back (1980).[94] Another example is the
dragon named "Vermithrax" from the 1981 film Dragonslayer.[95]

Object animation
The use of regular inanimate objects in stop-motion animation, as opposed to specially created
items.[96]

Graphic animation
Uses non-drawn flat visual graphic material (photographs, newspaper clippings,
magazines, etc.), which are sometimes manipulated frame by frame to create
movement.[97] 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
animation.[98][99] These have had a recent boost in popularity with the advent of video
sharing sites, YouTube and the availability of cheap cameras and animation software.

Pixilation
Involves the use of live humans as stop-motion characters.[100] This allows for a number of
surreal effects, including disappearances and reappearances, allowing people to appear to slide
across the ground, and other effects.[100] Examples of pixilation include The Secret Adventures
of Tom Thumb and Angry Kid shorts, and the Academy Award-winning Neighbours by Norman
McLaren.

Computer
Computer animation encompasses a variety of techniques, the unifying factor being that the
animation is created digitally on a computer.[61][101] 2D animation techniques tend to focus on image
manipulation while 3D techniques usually build virtual worlds in which characters and objects move
and interact.[102] 3D animation can create images that seem real to the viewer.[103]

2D
2D animation figures are created or edited on the computer using 2D bitmap
graphics and 2D vector graphics.[104] This includes automated computerized
versions of traditional animation techniques, interpolated morphing,[105]
onion skinning[106] and interpolated rotoscoping. 2D animation has many
applications, including After Effects Animation, analog computer animation, A 2D animation of two
Flash animation, and PowerPoint animation. Cinemagraphs are still circles joined by a chain
photographs in the form of an animated GIF file of which part is
animated.[107]
Final line advection animation is a technique used in 2D animation,[108] to give artists and animators
more influence and control over the final product as everything is done within the same
department.[109] Speaking about using this approach in Paperman, John Kahrs said that "Our
animators can change things, actually erase away the CG underlayer if they want, and change the
profile of the arm."[110]

3D
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 manipulate.[111] 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 environment.[111] Sometimes, the mesh is given an internal
digital skeletal structure called an armature that can be used to Caminandes | Llama Drama
control the mesh by weighting the vertices.[112][113] This process is
called rigging and can be used in conjunction with key frames to
create movement.[114]

Other techniques can be applied, mathematical functions (e.g., gravity, particle simulations),
simulated fur or hair, and effects, fire and water simulations.[115] These techniques fall under the
category of 3D dynamics.[116]

Terms

Cel shading is used to mimic traditional animation using computer software.[117] The shading
looks stark, with less blending of colors. Examples include Skyland (2007, France), The Iron Giant
(1999, United States), Futurama (1999, United States) Appleseed Ex Machina (2007, Japan), The
Legend of Zelda: The Wind Waker (2002, Japan), The Legend of Zelda: Breath of the Wild (2017,
Japan)
Machinima – Films created by screen capturing in video games and virtual worlds. The term
originated from the software introduction in the 1980s demoscene, as well as the 1990s
recordings of the first-person shooter video game Quake.
Motion capture is used when live-action actors wear special suits that allow computers to copy
their movements into CG characters.[118][119] Examples include Polar Express (2004, US),
Beowulf (2007, US), A Christmas Carol (2009, US), The Adventures of Tintin (2011, US)
kochadiiyan (2014, India)
Computer animation is used primarily for animation that attempts to resemble real life, using
advanced rendering that mimics in detail skin, plants, water, fire, clouds, etc.[120] Examples
include Up (2009, US), How to Train Your Dragon (2010, US)
Physically based animation is animation using computer simulations.[121]

Mechanical
Animatronics is the use of mechatronics to create machines that seem animate rather than
robotic.
 Audio-Animatronics is a form of robotics animation, combined with 3-D animation, created by
Walt Disney Imagineering for shows and attractions at Disney theme parks move and make
noise (generally a recorded speech or song).[122] 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.[123]
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 picture frames.[124] 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 television series Action League
Now! in which characters/props are thrown, or chucked from off camera or wiggled around to
simulate talking by unseen hands.[125]
The Magic Lantern used mechanical slides to project moving images, probably since Christiaan
Huygens invented this early image projector in 1659.

Other
Hydrotechnics: a technique that includes lights, water, fire,
fog, and lasers, with high-definition projections on mist
screens.
Drawn-on-film animation: a technique where footage is
produced by creating the images directly on film stock; for
example, by Norman McLaren,[126] Len Lye and Stan
Brakhage.
Paint-on-glass animation: a technique for making animated
films by manipulating slow drying oil paints on sheets of World of Color hydrotechnics at
glass,[127] for example by Aleksandr Petrov. Disney California Adventure creates
the illusion of motion using 1,200
Erasure animation: a technique using traditional 2D media,
fountains with high-definition
photographed over time as the artist manipulates the image.
projections on mist screens.
For example, William Kentridge is famous for his charcoal
erasure films,[128] 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.[129] 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.[130]
Sand animation: sand is moved around on a back- or front-lighted piece of glass to create each
frame for an animated film.[131] This creates an interesting effect when animated because of the
light contrast.[132]
Flip book: a flip book (sometimes, especially in British English, called a flick book) is a book with
a series of pictures that vary gradually from one page to the next, so that when the pages are
turned rapidly, the pictures appear to animate by simulating motion or some other change.[133][134]
Flip books are often illustrated books for children,[135] they also are geared towards adults and
employ 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.[133]
Software packages and websites are also available that convert digital video files into custom-
made flip books.[136]
 Character animation
Multi-sketching
Special effects animation

See also
Animated war film
Animation portal
Animation department
Animated series
Anime
Architectural animation
Avar
Independent animation
International Animation Day
International Animated Film Association
International Tournée of Animation
List of film-related topics
Motion graphic design
Society for Animation Studies
Twelve basic principles of animation
Wire-frame model

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McDuling, John (3 July 2014). "Hollywood Is Giving Up on Comedy" (https://www.theatlantic.com/
entertainment/archive/2014/07/the-completely-serious-decline-of-the-hollywood-comedy/373914/).
The Atlantic. The Atlantic Monthly Group. Retrieved 20 July 2014.
McLaughlin, Dan (2001). "A Rather Incomplete But Still Fascinating" (https://web.archive.org/web/
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ml) on 19 November 2009. Retrieved 12 February 2013.
O'Keefe, Matt (11 November 2014). "6 Major Innovations That Sprung from the Heads of Disney
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Adam Mickiewicz Institute. 16 April 2012. Retrieved 9 February 2016.

External links
The making of an 8-minute cartoon short (http://www.sparetimelabs.com/animato/animato/cartoo
n/cartoon.html)
"Animando" (https://web.archive.org/web/20091001071111/http://www.nfb.ca/film/animando_englis
h/), a 12-minute film demonstrating 10 different animation techniques (and teaching how to use
them) (archived 1 October 2009).
Animation (https://curlie.org/Arts/Animation) at Curlie

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