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What Is The Animation Style Of The Simpsons

Written By Wednesday, June 15, 2022 Add Comment Edit

Method of creating moving pictures

Weare

The bouncing ball animation (below) consists of these half-dozen frames, repeated indefinitely.

This animation moves at ten frames per 2d.

Animation is a method in which figures are manipulated to appear equally moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on pic. Today, most animations are made with figurer-generated imagery (CGI). Computer blitheness can exist very detailed 3D animation, while 2d calculator animation (which may accept the look of traditional animation) can exist used for stylistic reasons, low bandwidth, or faster real-fourth dimension renderings. Other common animation methods apply a cease motility technique to two- and three-dimensional objects like newspaper cutouts, puppets, or dirt figures.

An blithe cartoon is an blithe film, commonly a curt movie, featuring an exaggerated visual style. The style takes inspiration from comic strips, often featuring anthropomorphic animals, superheroes, or the adventures of human being protagonists (either children or adults). Especially with animals that form a natural predator/prey human relationship (due east.g. cats and mice, coyotes and birds), the activeness oftentimes centers around violent pratfalls such as falls, collisions, and explosions that would be lethal in existent life.

The illusion of animation—equally in motion pictures in full general—has traditionally been attributed to persistence of vision and after to the phi phenomenon and/or beta motion, but the verbal 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 upshot. While animators traditionally used to draw each function of the movements and changes of figures on transparent cels that could be moved over a dissever background, figurer animation is ordinarily based on programming paths between key frames to maneuver digitally created figures throughout a digitally created surround.

Analog mechanical animation media that rely on the rapid display of sequential images include the phénakisticope, zoetrope, flip book, praxinoscope, and film. Goggle box 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 curt films, characteristic films, television series, animated GIFs, and other media defended to the display of moving images, animation is as well prevalent in video games, motion graphics, user interfaces, and visual effects.[one]

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

History [edit]

Before cinematography [edit]

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

Hundreds of years earlier the introduction of true animation, people all over the earth 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 late 18th century through the offset half of the 19th century, featured lifelike projections of moving ghosts and other frightful imagery in move.

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

In 1833, the stroboscopic disc (amend known equally the phénakisticope) introduced the principle of modern blitheness with sequential images that were shown one by one in quick succession to grade an optical illusion of motion pictures. Series of sequential images had occasionally been fabricated over thousands of years, but the stroboscopic disc provided the first method to represent such images in fluent move and for the first fourth dimension had artists creating series with a proper systematic breakdown of movements. The stroboscopic animation principle was also applied in the zoetrope (1866), the flip volume (1868) and the praxinoscope (1877). A typical 19th-century blitheness contained almost 12 images that were displayed as a continuous loop by spinning a device manually. The flip volume often contained more pictures and had a offset and end, simply its animation would non last longer than a few seconds. The first to create much longer sequences seems to have been Charles-Émile Reynaud, who betwixt 1892 and 1900 had much success with his 10- to fifteen-minute-long Pantomimes Lumineuses.

Silent era [edit]

When cinematography eventually broke through in 1895 after blithe 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 subsequently by manufacturers of optical toys, with chromolithography film loops (oft traced from live-action footage) for adapted toy magic lanterns intended for kids to apply at home. It would take some more years earlier blitheness reached motion picture theaters.

After earlier experiments by movie pioneers J. Stuart Blackton, Arthur Melbourne-Cooper, Segundo de Chomón, and Edwin S. Porter (amidst others), Blackton's The Haunted Hotel (1907) was the first huge cease motion success, baffling audiences by showing objects that apparently moved by themselves in full photographic detail, without signs of any known stage fob.

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

During the 1910s, the production of blithe "cartoons" became an industry in the U.s.a..[3] Successful producer John Randolph Bray and animator Earl Hurd, patented the cel blitheness procedure that dominated the blitheness manufacture for the balance of the century.[4] [5] Felix the Cat, who debuted in 1919, became the first animated superstar.

American golden age [edit]

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

The enormous success of Mickey Mouse is seen every bit the beginning of the golden age of American animation that would last until the 1960s. The United states dominated the world market of animation with a plethora of cel-animated theatrical shorts. Several studios would innovate characters that would become very popular and would take long-lasting careers, including Walt Disney Productions' Goofy (1932) and Donald Duck (1934), Warner Bros. Cartoons' Looney Tunes characters like Porky Pig (1935), Daffy Duck (1937), Bugs Bunny (1938–1940), Tweety (1941–1942), Sylvester the Cat (1945), Wile E. Coyote and Road Runner (1949), Fleischer Studios/Paramount Cartoon Studios' Betty Boop (1930), Popeye (1933), Superman (1941) and Casper (1945), MGM cartoon studio'south Tom and Jerry (1940) and Droopy, Walter Lantz Productions/Universal Studio Cartoons' Woody Woodpecker (1940), Terrytoons/20th Century Pull a fast one on's Gandy Goose (1938), Dinky Duck (1939), Mighty Mouse (1942) and Heckle and Jeckle (1946) and United Artists' Pink 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 globe's first animated feature film El Apóstol.[6]

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

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.

In 1937, Walt Disney Studios premiered their outset blithe feature, Snowfall White and the Seven Dwarfs, withal ane of the highest-grossing traditional animation features as of May 2020[update].[7] [eight] The Fleischer studios followed this instance in 1939 with Gulliver'south Travels with some success. Partly due to foreign markets existence cut off by the Second 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 exist the just American studio to regularly produce animated features, until Ralph Bakshi became the starting time to as well release more than a handful features. Sullivan-Bluth Studios began to regularly produce animated features starting with An American Tail in 1986.

Although relatively few titles became as successful as Disney'southward features, other countries developed their own animation industries that produced both brusque and feature theatrical animations in a wide variety of styles, relatively oftentimes including cease motion and cutout animation techniques. Russia'southward Soyuzmultfilm animation studio, founded in 1936, produced xx 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 than occasionally released feature films, while Japan became a true powerhouse of animation production, with its ain recognizable and influential anime style of effective limited animation.

Goggle box [edit]

Animation became very pop on television since the 1950s, when television sets started to become mutual in almost developed countries. Cartoons were mainly programmed for children, on convenient fourth dimension slots, and especially US youth spent many hours watching Saturday-morning cartoons. Many classic cartoons constitute a new life on the small-scale screen and by the end of the 1950s, the production of new blithe cartoons started to shift from theatrical releases to Television set serial. Hanna-Barbera Productions was especially prolific and had huge hitting series, such as The Flintstones (1960–1966) (the first prime number 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 serial such as The Simpsons (since 1989) as part of a "renaissance" of American animation.

While US animated series as well spawned successes internationally, many other countries produced their own kid-oriented programming, relatively often preferring stop move and puppetry over cel animation. Japanese anime Television set 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 striking series such as Barbapapa (Holland/Nihon/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 animation was gradually developed since the 1940s. 3D wireframe animation started popping up in the mainstream in the 1970s, with an early on (short) advent in the sci-fi thriller Futureworld (1976).

The Rescuers Downwardly Under was the first feature moving picture to be completely created digitally without a camera.[9] Information technology was produced in a manner that'due south very similar to traditional cel animation on the Calculator Animation Production System (CAPS), adult by The Walt Disney Company in collaboration with Pixar in the late 1980s.

The so-called 3D mode, more than oft associated with computer animation, has become extremely popular since Pixar's Toy Story (1995), the get-go computer-animated feature in this style.

Most of the cel animation studios switched to producing mostly computer blithe films around the 1990s, as it proved cheaper and more profitable. Not only the very popular 3D animation style was generated with computers, simply 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.[10] [11] [12] [13] [fourteen] [15]

Economic status [edit]

In 2010, the blitheness market was estimated to be worth circa US$80 billion.[16] By 2020, the value had increased to an estimated US$270 billion.[17] Blithe feature-length films returned the highest gross margins (effectually 52%) of all film genres between 2004 and 2013.[18] Animation as an art and manufacture continues to thrive equally of the early 2020s.

Education, propaganda and commercials [edit]

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

During World War Ii, blitheness was widely exploited for propaganda. Many American studios, including Warner Bros. and Disney, lent their talents and their drawing characters to convey to the public certain war values. Some countries, including Communist china, Japan and the U.k., produced their first feature-length animation for their state of war efforts.

Blitheness has been very popular in boob tube commercials, both due to its graphic appeal, and the humour information technology can provide. Some animated characters in commercials have survived for decades, such every bit Snap, Crackle and Popular in advertisements for Kellogg'southward cereals.[19] The legendary animation director Tex Avery was the producer of the first Raid "Kills Bugs Dead" commercials in 1966, which were very successful for the company.[20]

Other media, merchandise and theme parks [edit]

Autonomously from their success in motion picture theaters and television series, many drawing characters would besides evidence extremely lucrative when licensed for all kinds of merchandise and for other media.

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

Some of the original content produced for the screen can be used and marketed in other media. Stories and images tin can easily be adapted into children'south 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 epitome media, The Walt Disney Visitor is the best known and most extreme example. Since showtime beingness licensed for a children'due south writing tablet in 1929, their Mickey Mouse mascot has been depicted on an enormous amount of products, every bit have many other Disney characters. This may have influenced some debasing use of Mickey's proper name, but licensed Disney products sell well, and the then-called Disneyana has many gorging collectors, and even a defended 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'south earnings from the theme parks have relatively often been higher than those from their movies.

Criticism [edit]

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

Awards [edit]

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 Cathay's Golden Rooster Award for All-time Animation (since 1981). Awards programs dedicated to blitheness, with many categories, include ASIFA-Hollywood'due south Annie Awards, the Emile Awards in Europe and the Anima Mundi awards in Brazil.

Academy Awards [edit]

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 frequently for All-time Original Song and Best Original Score.

Beauty and the Beast was the first animated picture nominated for Best Picture, in 1991. Upwardly (2009) and Toy Story iii (2010) also received Best Picture nominations, later on the academy expanded the number of nominees from five to x.

Production [edit]

The creation of non-piddling animation works (i.due east., longer than a few seconds) has adult as a form of filmmaking, with certain unique aspects.[23] Traits common to both live-activeness and animated characteristic-length films are labor intensity and loftier production costs.[24]

The most important difference is that once a film is in the production stage, the marginal price of ane more shot is higher for animated films than live-action films.[25] It is relatively like shooting fish in a barrel for a manager to ask for one more than take during master photography of a alive-action film, just every take on an animated film must be manually rendered by animators (although the task of rendering slightly different takes has been made less tiresome past modern computer blitheness).[26] It is pointless for a studio to pay the salaries of dozens of animators to spend weeks creating a visually dazzling five-minute scene if that scene fails to effectively advance the plot of the film.[27] Thus, animation studios starting with Disney began the practice in the 1930s of maintaining story departments where storyboard artists develop every single scene through storyboards, then handing the motion picture over to the animators simply afterwards the production team is satisfied that all the scenes make sense as a whole.[28] While live-action films are now also storyboarded, they enjoy more breadth to depart from storyboards (i.eastward., existent-time improvisation).[29]

Another trouble unique to animation is the requirement to maintain a film's consistency from get-go to finish, even equally films have grown longer and teams have grown larger. Animators, like all artists, necessarily have individual styles, simply must subordinate their individuality in a consequent way to whatever style is employed on a particular film.[30] Since the early 1980s, teams of near 500 to 600 people, of whom fifty to lxx are animators, typically have created feature-length animated films. It is relatively piece of cake for two or three artists to match their styles; synchronizing those of dozens of artists is more difficult.[31]

This problem is usually solved by having a separate grouping of visual development artists develop an overall look and palette for each film before the animation begins. Character designers on the visual evolution team draw model sheets to bear witness how each graphic symbol should expect like with unlike facial expressions, posed in dissimilar positions, and viewed from unlike angles.[32] [33] On traditionally animated projects, maquettes were ofttimes sculpted to farther assist the animators see how characters would wait from different angles.[34] [32]

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

Techniques [edit]

Traditional [edit]

Traditional animation (also called cel blitheness or paw-fatigued animation) was the process used for almost blithe films of the 20th century.[36] The individual frames of a traditionally animated movie are photographs of drawings, get-go drawn on paper.[37] To create the illusion of move, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels,[38] which are filled in with paints in assigned colors or tones on the side opposite the line drawings.[39] The completed character cels are photographed one-past-one confronting a painted background by a rostrum camera onto motion motion picture film.[twoscore]

The traditional cel animation process became obsolete past the starting time of the 21st century. Today, animators' drawings and the backgrounds are either scanned into or drawn direct into a computer system.[ane] [41] Various software programs are used to color the drawings and simulate camera movement and furnishings.[42] The terminal animated slice is output to one of several commitment media, including traditional 35 mm flick and newer media with digital video.[43] [1] The "look" of traditional cel animation is nonetheless preserved, and the graphic symbol animators' work has remained substantially the same over the by 70 years.[34] Some blitheness producers have used the term "tradigital" (a play on the words "traditional" and "digital") to describe cel animation that uses significant computer applied science.

Examples of traditionally animated feature films include Pinocchio (United States, 1940),[44] Animal Farm (United kingdom of great britain and northern ireland, 1954), Lucky and Zorba (Italia, 1998), and The Illusionist (British-French, 2010). Traditionally animated films produced with the help of figurer engineering include The Lion King (US, 1994), The Prince of Arab republic of egypt (Us, 1998), Akira (Japan, 1988),[45] Spirited Abroad (Japan, 2001), The Triplets of Belleville (France, 2003), and The Cloak-and-dagger of Kells (Irish-French-Belgian, 2009).

Total [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 tin 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 Creature, Aladdin, The King of beasts King) to the more 'cartoon' styles of the Warner Bros. blitheness studio. Many of the Disney animated features are examples of full animation, as are non-Disney works, The Cloak-and-dagger of NIMH (The states, 1982), The Iron Giant (US, 1999), and Nocturna (Espana, 2007). Fully animated films are animated at 24 frames per second, with a combination of blitheness on ones and twos, meaning that drawings can be held for one frame out of 24 or 2 frames out of 24.[48]

Express [edit]

Limited animation involves the use of less detailed or more stylized drawings and methods of movement usually a inclement or "skippy" movement animation.[49] 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,[50] express animation can be used as a method of stylized artistic expression, every bit in Gerald McBoing-Boing (US, 1951), Yellow Submarine (Uk, 1968), and certain anime produced in Japan.[51] Its primary use, however, has been in producing cost-constructive blithe content for media for idiot box (the work of Hanna-Barbera,[52] Filmation,[53] and other TV animation studios[54]) and subsequently the Net (web cartoons).

Rotoscoping [edit]

Rotoscoping is a technique patented past Max Fleischer in 1917 where animators trace live-activeness motility, frame past frame.[55] The source picture show can be directly copied from actors' outlines into blithe drawings,[56] every bit in The Lord of the Rings (Us, 1978), or used in a stylized and expressive manner, as in Waking Life (United states of america, 2001) and A Scanner Darkly (United states of america, 2006). Another examples are Fire and Ice (US, 1983), Heavy Metal (1981), and Aku no Hana (Nihon, 2013).

Live-action blending [edit]

Live-activity/animation is a technique combining hand-fatigued characters into live action shots or live-activeness actors into blithe shots.[57] Ane of the before uses was in Koko the Clown when Koko was fatigued over alive-action footage.[58] 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 Not Troppo (Italy, 1976), Who Framed Roger Rabbit (Usa, 1988), Volere volare (Italia 1991), Space Jam (US, 1996) and Osmosis Jones (Usa, 2001).

Stop motion [edit]

Finish-motion animation is used to depict blitheness created by physically manipulating real-earth objects and photographing them one frame of moving-picture show at a time to create the illusion of motion.[59] There are many dissimilar types of stop-movement animation, usually named after the medium used to create the animation.[lx] 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.[60]

Puppet animation
Typically involves stop-motility puppet figures interacting in a synthetic surround, in contrast to existent-world interaction in model animation.[61] The puppets generally have an armature inside of them to go on them still and steady to constrain their motion to particular joints.[62] Examples include The Tale of the Flim-flam (France, 1937), The Nightmare Before Christmas (US, 1993), Corpse Bride (US, 2005), Coraline (Usa, 2009), the films of Jiří Trnka and the adult blithe sketch-comedy television series Robot Craven (United states, 2005–nowadays).
Puppetoon
Created using techniques developed by George Pal,[63] are boob-animated films that typically use a dissimilar version of a puppet for different frames, rather than simply manipulating ane existing puppet.[64]

A clay animation scene from a Finnish television receiver commercial

Clay animation or Plasticine animation
(Often chosen claymation, which, however, is a trademarked name). Information technology uses figures made of clay or a similar malleable textile to create stop-motility animation.[59] [65] 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.[66] Alternatively, the figures may be made entirely of dirt, in the films of Bruce Bickford, where dirt creatures morph into a variety of different shapes. Examples of dirt-animated works include The Gumby Prove (United states, 1957–1967), Mio Mao (Italy, 1974–2005), Morph shorts (Britain, 1977–2000), Wallace and Gromit shorts (Britain, as of 1989), Jan Švankmajer'southward Dimensions of Dialogue (Czechoslovakia, 1982), The Trap Door (UK, 1984). Films include Wallace & Gromit: The Curse of the Were-Rabbit, Craven Run and The Adventures of Marker Twain.[67]
Strata-cut animation
Most commonly a form of dirt animation in which a long bread-similar "loaf" of clay, internally packed tight and loaded with varying imagery, is sliced into sparse sheets, with the animation camera taking a frame of the end of the loaf for each cut, eventually revealing the motion of the internal images within.[68]
Cutout animation
A type of terminate-motion blitheness produced past moving two-dimensional pieces of cloth paper or cloth.[69] Examples include Terry Gilliam'due south blithe sequences from Monty Python's Flying Circus (UK, 1969–1974); Fantastic Planet (France/Czechoslovakia, 1973); Tale of Tales (Russia, 1979), The airplane pilot episode of the adult television receiver sitcom series (and sometimes in episodes) of Southward Park (U.s., 1997) and the music video Live for the moment, from Verona Riots ring (produced by Alberto Serrano and Nívola Uyá, Spain 2014).
Silhouette blitheness
A variant of cutout animation in which the characters are backlit and but 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 stop-motion animation created to interact with and exist every bit a part of a live-action world.[71] Intercutting, matte effects and dissever screens are often employed to blend stop-motion characters or objects with live actors and settings.[72] Examples include the work of Ray Harryhausen, as seen in films, Jason and the Argonauts (1963),[73] and the piece of work of Willis H. O'Brien on films, King Kong (1933).
Get move
A variant of model blitheness that uses diverse techniques to create move blur between frames of film, which is not nowadays in traditional terminate motion.[74] The technique was invented by Industrial Lite & 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 motion picture Dragonslayer.[76]
Object animation
Refers to the use of regular inanimate objects in stop-motion animation, as opposed to specially created items.[77]
Graphic animation
Uses non-drawn flat visual graphic material (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 photographic camera is moved to create on-screen activity.
Brickfilm
A subgenre of object animation involving using Lego or other similar brick toys to make an animation.[79] [80] These have had a recent boost in popularity with the advent of video sharing sites, YouTube and the availability of inexpensive cameras and blitheness software.[81]
Pixilation
Involves the use of live humans every bit stop-movement characters.[82] This allows for a number of surreal effects, including disappearances and reappearances, allowing people to announced to slide across the ground, and other effects.[82] Examples of pixilation include The Cloak-and-dagger Adventures of Tom Thumb and Angry Kid shorts, and the Academy Award-winning Neighbours by Norman McLaren.

Computer [edit]

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

2D [edit]

A 2D animation of 2 circles joined by a concatenation

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

Terminal line advection animation is a technique used in second animation,[90] to give artists and animators more influence and command over the concluding product as everything is done within the same section.[91] Speaking virtually 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."[92]

3D [edit]

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

Other techniques tin can be applied, mathematical functions (e.g., gravity, particle simulations), simulated fur or hair, and furnishings, fire and water simulations.[97] These techniques fall under the category of 3D dynamics.[98]

Terms [edit]
  • Cel-shaded animation is used to mimic traditional animation using calculator software.[99] The shading looks stark, with less blending of colors. Examples include Skyland (2007, France), The Atomic number 26 Giant (1999, United States), Futurama (1999, United states of america) Appleseed Ex Machina (2007, Japan), The Legend of Zelda: The Wind Waker (2002, Japan), The Legend of Zelda: Breath of the Wild (2017, Nihon)
  • 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 first-person shooter video game Quake.
  • Motion capture is used when live-action actors wear special suits that permit computers to re-create their movements into CG characters.[100] [101] Examples include Polar Express (2004, US), Beowulf (2007, Us), A Christmas Ballad (2009, Us), The Adventures of Tintin (2011, US) kochadiiyan (2014, Republic of india)
  • Computer animation is used primarily for animation that attempts to resemble existent life, using advanced rendering that mimics in detail peel, plants, h2o, burn, clouds, etc.[102] Examples include Up (2009, Usa), How to Train Your Dragon (2010, US)
  • Physically based animation is animation using figurer simulations.[103]

Mechanical [edit]

  • Animatronics is the utilize of mechatronics to create machines that seem animate rather than robotic.
    • Sound-Animatronics and Autonomatronics is a form of robotics animation, combined with 3-D blitheness, created past Walt Disney Imagineering for shows and attractions at Disney theme parks move and make noise (generally a recorded speech or song).[104] They are fixed to whatsoever supports them. They tin 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.[105]
    • Linear Animation Generator is a form of animation by using static picture frames installed in a tunnel or a shaft. The blitheness 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 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.[107]
  • The magic lantern used mechanical slides to project moving images, probably since Christiaan Huygens invented this early on image projector in 1659.

Other [edit]

  • Hydrotechnics: a technique that includes lights, h2o, burn down, fog, and lasers, with high-definition projections on mist screens.
  • Drawn on movie animation: a technique where footage is produced by creating the images directly on film stock; for example, past Norman McLaren,[108] Len Lye and Stan Brakhage.
  • Paint-on-glass animation: a technique for making animated films by manipulating tiresome drying oil paints on sheets of glass,[109] for example past Aleksandr Petrov.
  • Erasure animation: a technique using traditional 2D media, photographed over time as the creative person manipulates the image. For example, William Kentridge is famous for his charcoal erasure films,[110] and Piotr Dumała for his auteur technique of animative scratches on plaster.
  • Pinscreen animation: makes employ of a screen filled with movable pins that can be moved in or out by pressing an object onto the screen.[111] The screen is lit from the side so that the pins cast shadows. The technique has been used to create animated films with a range of textural effects difficult to attain with traditional cel animation.[112]
  • Sand animation: sand is moved effectually on a dorsum- or front end-lighted piece of drinking glass to create each frame for an blithe film.[113] This creates an interesting event when blithe because of the lite contrast.[114]
  • Flip book: a flip book (sometimes, particularly in British English language, chosen a flick book) is a book with a series of pictures that vary gradually from 1 page to the next, so that when the pages are turned rapidly, the pictures appear to animate by simulating movement or some other change.[115] [116] Flip books are ofttimes illustrated books for children,[117] they too are geared towards adults and employ a series of photographs rather than drawings. Flip books are not e'er separate books, they announced 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-fabricated flip books.[118]
  • Character animation
  • Multi-sketching
  • Special furnishings blitheness

See also [edit]

  • Twelve bones principles of blitheness
  • Animated war motion-picture show
  • Animation section
  • Blithe series
  • Architectural animation
  • Avar
  • Independent animation
  • International Animation 24-hour interval
  • International Animated Film Clan
  • International Tournée of Blitheness
  • List of moving-picture show-related topics
  • Motion graphic blueprint
  • Society for Animation Studies
  • Wire-frame model

References [edit]

Citations [edit]

  1. ^ a b c Buchan 2013.
  2. ^ "The definition of animation on dictionary.com".
  3. ^ Solomon 1989, p. 28.
  4. ^ Solomon 1989, p. 24.
  5. ^ Solomon 1989, p. 34.
  6. ^ Bendazzi 1994, p. 49.
  7. ^ * Total prior to 50th anniversary reissue: Culhane, John (12 July 1987). "'Snow White' At fifty: Undimmed Magic". The New York Times. Archived from the original on 4 June 2014. Retrieved 29 June 2014. By now, it has grossed well-nigh $330 million worldwide - so it remains one of the well-nigh popular films always made.
  8. ^ * 1987 and 1993 grosses from North America: "Snow White and the Seven Dwarfs – Releases". Box Office Mojo. Archived from the original on 29 May 2014. Retrieved 29 June 2014. 1987 release – $46,594,212; 1993 release – $41,634,471
  9. ^ "Outset fully digital characteristic film". Guinness World Records. Guinness Earth Records Limited. Retrieved 27 December 2018.
  10. ^ Amidi, Amid (1 June 2015). "Sergio Pablos Talks Virtually His Stunning Hand-Drawn Project 'Klaus'". Cartoon Mash . Retrieved 12 October 2019.
  11. ^ "The Origins of Klaus". YouTube. x October 2019. Archived from the original on 22 November 2021. Retrieved 12 October 2019.
  12. ^ Bernstein, Abbie (25 February 2013). "Assignment Ten". Sectional Interview: John Kahrs & Kristina Reed on PAPERMAN. Midnight Productions, Inc. Retrieved 6 October 2013.
  13. ^ "Starting time LOOK: Disney'south 'Paperman' fuses hand-drawn charm with digital depth". EW.com . Retrieved two October 2014.
  14. ^ Sarto, Dan. "Inside Disney'south New Animated Curt Paperman". Animation World Network. Retrieved v June 2012.
  15. ^ "Disney'southward Paperman blithe brusque fuses CG and hand-drawn techniques". Retrieved ii October 2014.
  16. ^ Board of Investments 2009.
  17. ^ "Global animation market place value 2017-2020". Statista . Retrieved 31 March 2022.
  18. ^ McDuling 2014.
  19. ^ "Snap, Crackle, Pop® | Rice Krispies®". www.ricekrispies.com . Retrieved 16 June 2020.
  20. ^ Taylor, Heather (10 June 2019). "The Raid Bugs: Characters We Love To Detest". PopIcon.life . Retrieved 16 June 2020.
  21. ^ Amidi 2011.
  22. ^ Nagel 2008.
  23. ^ Laybourne 1998, p. 117.
  24. ^ Solomon 1989, p. 274.
  25. ^ White 2006, p. 151.
  26. ^ Laybourne 1998, p. 339.
  27. ^ Culhane 1990, p. 55.
  28. ^ Solomon 1989, p. 120.
  29. ^ Laybourne 1998, pp. 100–01.
  30. ^ Masson 2007, p. 94.
  31. ^ 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. 80.
  46. ^ Culhane 1990, p. 71.
  47. ^ Culhane 1990, pp. 194–95.
  48. ^ Laybourne 1998, pp. 25–26.
  49. ^ Beckerman 2003, p. 142.
  50. ^ Beckerman 2003, pp. 54–55.
  51. ^ Ledoux 1997, p. 24, 29.
  52. ^ Lawson & Persons 2004, p. 82.
  53. ^ Solomon 1989, p. 241.
  54. ^ Lawson & Persons 2004, p. xxi.
  55. ^ Crafton 1993, p. 158.
  56. ^ Laybourne 1998, pp. 163–64.
  57. ^ Laybourne 1998, pp. 162–63.
  58. ^ Beck 2004, pp. 18–xix.
  59. ^ a b Solomon 1989, p. 299.
  60. ^ a b Laybourne 1998, p. 159.
  61. ^ Solomon 1989, p. 171.
  62. ^ Laybourne 1998, pp. 155–56.
  63. ^ Beck 2004, p. 70.
  64. ^ Beck 2004, pp. 92–93.
  65. ^ Laybourne 1998, pp. 150–151.
  66. ^ Laybourne 1998, pp. 151–54.
  67. ^ Beck 2004, p. 250.
  68. ^ Furniss 1998, pp. 52–54.
  69. ^ Laybourne 1998, pp. 59–60.
  70. ^ Culhane 1990, pp. 170–171.
  71. ^ Harryhausen & Dalton 2008, pp. 9–11.
  72. ^ Harryhausen & Dalton 2008, pp. 222–26
  73. ^ Harryhausen & Dalton 2008, p. 18
  74. ^ Smith 1986, p. 90.
  75. ^ Watercutter 2012.
  76. ^ Smith 1986, pp. 91–95.
  77. ^ Laybourne 1998, pp. 51–57.
  78. ^ Laybourne 1998, p. 128.
  79. ^ Paul 2005, pp. 357–63.
  80. ^ Herman 2014.
  81. ^ Haglund 2014.
  82. ^ a b Laybourne 1998, pp. 75–79.
  83. ^ Serenko 2007.
  84. ^ Masson 2007, p. 405.
  85. ^ Serenko 2007, p. 482.
  86. ^ Masson 2007, p. 165.
  87. ^ Sito 2013, pp. 32, seventy, 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. ^ Beck 2012.
  93. ^ a b Masson 2007, p. 88.
  94. ^ Sito 2013, p. 208.
  95. ^ Masson 2007, pp. 78–80.
  96. ^ Sito 2013, p. 285.
  97. ^ Masson 2007, p. 96.
  98. ^ Lowe & Schnotz 2008, p. 92.
  99. ^ "Cel Shading: the Unsung Hero of Blitheness?". Animator Mag. 17 Dec 2011. Archived from the original on 5 March 2016. Retrieved 20 February 2016.
  100. ^ Sito 2013, pp. 207–08.
  101. ^ Masson 2007, p. 204.
  102. ^ Parent 2007, p. 19.
  103. ^ Donald H. House; John C. Keyser (30 November 2016). Foundations of Physically Based Modeling and Blitheness. CRC Press. ISBN978-ane-315-35581-viii.
  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. vii.
  114. ^ Furniss 1998, pp. thirty–33.
  115. ^ a b Laybourne 1998, pp. 22–24.
  116. ^ Solomon 1989, pp. viii–10.
  117. ^ Laybourne 1998, p. xiv.
  118. ^ White 2006, p. 203.

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  • Drazin, Charles (2011). The Faber Book of French Picture palace . Faber & Faber. ISBN978-0-571-21849-3.
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  • Lowe, Richard; Schnotz, Wolfgang, eds. (2008). Learning with Blitheness. Research implications for blueprint. New York: Cambridge Academy Printing. ISBN978-0-521-85189-iii.
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  • Smith, Thomas G. (1986). Industrial Low-cal & Magic: The Art of Special Effects. New York: Ballantine Books. ISBN978-0-345-32263-0.
  • White, Tony (2006). Animation from Pencils to Pixels: Classical Techniques for the Digital Animator. Milton Park: Taylor & Francis. ISBN978-0-240-80670-ix.
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Online sources [edit]

  • Amidi, Amongst (2 December 2011). "NY Film Critics Didn't similar a Single Animated Film This Twelvemonth". Cartoon Mash. Retrieved 19 Feb 2016.
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  • Brook, Jerry (2 July 2012). "A Lilliputian More than About Disney's "Paperman"". Drawing Brew.
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  • "Animation" (PDF). boi.gov.ph. Lath of Investments. November 2009. Archived from the original (PDF) on 19 October 2012. Retrieved 24 July 2012.
  • Brown, Margery (2003). "Experimental Animation Techniques" (PDF). Olympia, WA: Evergreen State Collage. Archived from the original (PDF) on 7 March 2008. Retrieved 11 November 2005.
  • Carbone, Ken (24 February 2010). "Stone-Historic period Blitheness in a Digital World: William Kentridge at MoMA". Fast Company . Retrieved seven March 2016.
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  • Kenyon, Heather (1 Feb 1998). "How'd They Do That?: Finish-Motion Secrets Revealed". Animation Globe Network. Retrieved 2 March 2016.
  • Nagel, Jan (21 May 2008). "Gender in Media: Females Don't Rule". Animation World Network. Retrieved 3 March 2016.
  • McDuling, John (3 July 2014). "Hollywood Is Giving Upwards on Comedy". The Atlantic. The Atlantic Monthly Group. Retrieved 20 July 2014.
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External links [edit]

  • The making of an eight-minute drawing short
  • "Animando", a 12-infinitesimal flick demonstrating ten unlike animation techniques (and teaching how to use them).
  • Bibliography on animation – Websiite "Histoire de la télévision"
  • Blitheness at Curlie

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

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