animation

Dictionary: an·i·ma·tion   (ăn'ə-mā'shən)

1. The act, process, or result of imparting life, interest, spirit, motion, or activity.
2. The quality or condition of being alive, active, spirited, or vigorous.
3. 1. The art or process of preparing animated cartoons.
   2. An animated cartoon.

Background

Animation is a series of still drawings that, when viewed in rapid succession, gives the impression of a moving picture. The word animation derives from the Latin words anima meaning life, and animare meaning to breathe life into. Throughout history, people have employed various techniques to give the impression of moving pictures. Cave drawings depicted animals with their legs overlapping so that they appeared to be running. The properties of animation can be seen in Asian puppet shows, Greek bas-relief, Egyptian funeral paintings, medieval stained glass, and modern comic strips.

In 1640, a Jesuit monk named Althanasius Kircher invented a "magic lantern" that projected enlarged drawings on a wall. A fellow Jesuit, Gaspar Schott, developed this idea further by creating a straight strip of pictures, a sort of early filmstrip, that could be pulled across the lantern's lens. Schott further modified the lantern until it became a revolving disk. A century later, in 1736, a Dutch scientist named Pieter Van Musschenbroek created a series of drawings of windmill vanes that, when projected in rapid succession, gave the illusion of the windmill circling around and around.

The magic lantern became a popular form of entertainment. Traveling entertainers, visiting the villages and towns of Europe, included it in their shows. In London, the Swiss-born physician and scholar Peter Mark Roget, most famous for compiling the Thesaurus of English Words and Phrases, was fascinated by the scientific phenomenon at play and wrote an essay entitled "Persistence of Vision with Regard to Moving Objects" that was widely read and used as a basis for subsequent inventions. One of the first was the thaumatrope, developed in the 1820s by John Paris, also an English doctor. The thaumatrope was simply a small disk with a different image drawn on either side. Strings were knotted onto two edges so that the disk could be spun. As the disk twirled around, the two images appeared to blend. For example, a monkey on one side appeared to sit inside the cage on the opposite side.

The next major innovation was the phenakistoscope, created by Joseph Plateau, a Belgian physicist and doctor. Plateau's contribution was a flat disk perforated with evenly spaced slots. Figures were drawn around the edges, depicting successive movements. A stick attached to the back allowed the disk to be held at eye level in front of a mirror. The viewer then spun the disk and watched the reflection of the figures pass through the slits, once again giving the illusion of movement.

In Austria, Simon Ritter von Stampfer was toying with the same idea and called his invention a stroboscope. A number of other scopes followed, culminating in the zoetrope, created by William Homer. The zoetrope was a drum-shaped cylinder that was open at the top with slits placed at regularly spaced intervals. A paper strip with a series of drawings could be inserted inside the drum, so that when it was spun the images appeared to move.

By 1845, Baron Franz von Uchatius invented the first movie projector. Images painted on glass were passed in front of the projected light. Forty-three years later, George Eastman introduced celluloid film, a strip of cellulose acetate coated with a light-sensitive emulsion that retained and projected images better than those painted on glass. The first animated cartoon Humorous Phases of Funny Faces by J. Stuart Blackton, of the New York Evening World, was shown in the United States in 1906. Two years later, French animator Emile Cohl followed suit with Phantasmagorie. Winsor McCay introduced Gertie the Dinosaur in 1911. Other cartoonists who brought their characters to the screen included George McManus (Maggie and Jiggs) and Max Fleischer (Betty Boop and Popeye). By 1923, Walt Disney, the world's most famous animator, began turning children's stories into animated cartoons. Mickey Mouse was introduced in Steamboat Willie in 1928. Disney's first animated full-length film, Snow White and the Seven Dwarfs, debuted in 1937.

Yellow Submarine, a 1968 animated film starring the Beatles, featured the process of pixilation, in which live people are photographed in stop-motion to give the illusion of humanly-impossible movements. In the film The Lord of the Rings, directed in 1978 by Ralph Bakshi using rotoscoping, live action was filmed first. Then each frame was traced and colored to create a series of animation cels. By the late twentieth century, many in the industry were experimenting with computer technology to create animation. In 1995, John Lassiter directed Toy Story, the first feature film created entirely with computer animation.

Raw Materials

Although the most important raw material in creating animation is the imagination of the animator, a number of supplies are necessary to bring that imagination to life. Sometimes these items are purchased; sometimes they are constructed by the animator.

The animator works at an animation stand, a structure that holds a baseboard on which the drawings are attached by register pegs. The animation stand also supports a camera, lights, a work surface, and a platen (clear sheet of glass or plexiglass that holds the drawings in place).

The drawings are executed on cels, drawing paper, or on film. The majority of professional animation is drawn on cels, transparent acetate sheets five millimeters thick. Each cel measures approximately 10 in by 12 in (25.4 cm by 30.5 cm). Holes are punched along the top edge of the cels, paper, or film, corresponding to the register pegs on the animation stand and baseboard. The pegs keep the drawing surface rigid.

Opaque inks and paints, and transparent dyes are the most common media for drawing the story. Felt markers, crayons, and litho pencils can also be used.

Professional animation is photographed with 35mm cameras. However, it is possible to use Super 8 or 16mm models. A variety of camera lenses are employed, including standard, zoom, telephoto, wide angle, and fish-eye lenses.

The Manufacturing
Process

Creating an animated short or full-length feature is a long, tedious process. Extremely labor-intensive, the average short cartoon has approximately 45,000 separate frames. To make a character say "Hello, Simon," can require 12 drawings to depict each movement of the character's lips.

The story is written

• Sometimes the animator is also the writer. The animator makes a storyboard, a series of one-panel sketches pinned on a board. Dialogue and/or action summaries are written under each sketch. The sketches may be rearranged several times as a result of discussions between the writer, the animator, and the director.

The dialogue, music, and sound effects are recorded

• Actors record the voices of each character. Background music and sound effects, such as doors slamming, footsteps, and weather sounds, are recorded. These recordings are generally preserved on magnetic tape. The music is timed for beats and accents; this information is recorded on a bar sheet so that the animation can be fitted around the music. Because Walt Disney was one of the first animators to fit the action to the music, this process is called "Mickey Mousing." Many professional studios now use an optical sound track on which voices, music, and sound effects are represented by varying lines. An electronic sound reader and synchronizer gives an accurate count of the number of frames required for each sound.

Dialogue measurements are entered on an exposure sheet

• A technician known as a track reader measures each vowel and consonant in the dialogue. Words are recorded on exposure sheets (also called x-sheets or dope sheets), each of which represents a single film frame. This allows the animators to synchronize each movement of the character's lips with the dialogue. Footage, the time needed between lines of dialogue for the action to take place, is also charted on the exposure sheet. Slugs, or sections of film without sound, are inserted where the action occurs.

Model character sheets are created

• A model is created for each character in order to keep their appearances uniform throughout the film. The models can be detailed descriptions or sketches of the characters in various positions with various facial expressions.

Artists create the layout or set design

• A layout artist creates linear drawings that animators use as a guide for action and that the background artists use to paint the backgrounds.

Characters' actions are sketched

• 6 Using the model sheets, the head animator sketches the primary, or "extreme," action. For example, if the character is running, the head animator will draw the foot leaving the floor, the foot in the air, and the foot returning to the floor. Or if the story calls for the character to blink, the head animator will sketch the eyes going through the motions. Animation assistants then fill in the details.

  The drawing is done on a transparent drawing board that is lighted from below. After one drawing is completed, a second sheet of paper is laid on top of the first and the second drawing is varied slightly to signify movement.

Drawings are cleaned up and checked for accuracy

• Artists check the characters against the model sheets. Drawings are enhanced but not altered. Scenes are checked to ensure that all action called for on the exposure sheet is included. All figures are checked for proper line-up with the background.

A video test is conducted

• A computerized videotape is made of the sketches to check for smoothness of motion and proper facial expressions. Adjustments are made until the desired effect is achieved.

Artists create backgrounds

• Artists create color background paintings, including landscapes, scenery, buildings and interiors, from the pencil layouts. The color is filled in by computer. As the computer scans the layout, artists click on colors from a template.

Sketches are inked in and painted

• 10 If the animation drawings have been executed on paper, they are now transferred to cels using xerography, a process similar to photocopying. In a few studios, the inking is still done by hand, tracing the pencil sketches onto the cels.

  Colors are applied to the reverse side of the cel, usually by computer, in the same manner that background colors are applied. All inked and painted materials are checked several times for accuracy.

The action is filmed

• The cels and backgrounds are photographed according to the instructions on the exposure sheets. One scene of action can take several hours to photograph. The cels are laid on top of the backgrounds and photographed with a multiplane camera that is suspended high above. When more than one character appears in a frame, the number of cels stacked on top of the background increases. Each level is lit and staggered, creating the illusion of three-dimensional action. The film is sent to the photo lab where a print and a negative are made.

The sound is dubbed

• Dialogue, music, and sound effects are re-recorded from 10 or more separate tracks onto one balanced track. Another set of two tracks, one with dialogue and the other with music and sound effects, is often made to facilitate translation when the film is sent to foreign markets.

The dubbing track and print are combined

• The final dubbing track is combined with the print to make a married print. If the animated film is for television viewing, the negative and the tracks are often sent to a video post-production house to be put on videotape.

The Future

In the last decade of the twentieth century, computer-created animation began to make great strides. Although purists decry this development, it is unlikely that computer animation will disappear. What remains to be seen is whether or not traditional cel animation survives.

Anime, a cartoon form from Japan, is also changing the nature of animation. Story lines and characters are more detailed and reality-based. Varied camera angles bring the viewer further into the action.

Where to Learn More

Books

Cawley, John and Jim Korkis. How to Create Animation. Pioneer Books, 1990.

Locke, Lafe. Film Animation Techniques. Betterway Publications, 1992.

Periodicals

Harmon, Amy. "Making a Face." Los Angeles Times, March 25, 1996, p. D-l.

Considine, J.D. "Toon in Tomorrow." The Baltimore Sun, April 14, 1996, p. 1H.

[Article by: Mary F. McNulty]

In television or motion picture filming, movement added to static objects, whereby inanimate objects appear to come to life. Animation is very useful in a situation where live action is not possible. Because the process of filming requires that each frame be shot individually, animation is very costly. A typical 30-second commercial may require more than 1000 drawings or movements of objects, making the cost of materials and labor very expensive. Animation may be accomplished through the use of animation cameras or supercomputers. The computers delete the process of individual cel (see acetate) preparation, but they are still very costly to use, ranging from $2000 to $5000 per second.

noun

1. A lively, emphatic, eager quality or manner: bounce, brio, dash, élan, esprit, life, liveliness, pertness, sparkle, spirit, verve, vigor, vim, vivaciousness, vivacity, zip. Informal ginger, pep, peppiness. Slang oomph. See action/inaction.
2. High spirits: elatedness, elation, euphoria, exaltation, exhilaration, inspiration, lift, uplift. See happy/unhappy.
3. Capacity or power for work or vigorous activity: energy, force, might, potency, power, puissance, sprightliness, steam, strength. Informal get-up-and-go, go, pep, peppiness, zip. See action/inaction.

Definition: liveliness and activity
Antonyms: discouragement, dullness, inactivity, inertia, lethargy, sluggishness

For more information on animation, visit Britannica.com.

• How to Make an Animation in Minutes All about MySkits.com animation

For the 1983 album by Jon Anderson, see Animation (album).

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

This animation moves at 10 frames per second.

Animation is the rapid display of a sequence of images of 2-D or 3-D artwork or model positions in order to create an illusion of movement. It is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in a number of ways. The most common method of presenting animation is as a motion picture or video program, although several other forms of presenting animation also exist.

Contents 1 Early examples 2 Techniques 2.1 Traditional animation 2.2 Stop motion 2.3 Computer animation 2.3.1 2D animation 2.3.2 3D animation 2.3.2.1 Terms 2.4 Other animation techniques 2.5 Other techniques and approaches 3 See also 4 References 5 Further reading 6 External links

Early examples

Main article: History of animation

An Egyptian burial chamber mural, approximately 4000 years old, showing wrestlers in action. Even though this may appear similar to a series of animation drawings, there was no way of viewing the images in motion. It does, however, indicate the artist's intention of depicting motion.

Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting to convey the perception of motion.

A 5,200 year old earthen bowl found in Iran in Shahr-i Sokhta has five images of a goat painted along the sides. This has been claimed to be an example of early animation.^[1][2][3] However, since no equipment existed to show the images in motion, such a series of images cannot be called animation in a true sense of the word.^[4][5]

The phenakistoscope, praxinoscope, as well as the common flip book were early popular animation devices invented during the 1800s, while a Chinese zoetrope-type device was invented already in 180 AD.^[6][7][8][9] These devices produced movement from sequential drawings using technological means, but animation did not really develop much further until the advent of cinematography.

There is no single person who can be considered the "creator" of the art of film animation, as there were several people doing several projects which could be considered various types of animation all around the same time.

Georges Méliès was a creator of special-effect films; he was generally one of the first people to use animation with his technique. He discovered a technique by accident which was to stop the camera rolling to change something in the scene, and then continue rolling the film. This idea was later known as stop-motion animation. Méliès discovered this technique accidentally when his camera broke down while shooting a bus driving by. When he had fixed the camera, a hearse happened to be passing by just as Méliès restarted rolling the film, his end result was that he had managed to make a bus transform into a hearse. This was just one of the great contributors to animation in the early years.

The earliest surviving stop-motion advertising film was an English short by Arthur Melbourne-Cooper called Matches: An Appeal (1899). Developed for the Bryant and May Matchsticks company, it involved stop-motion animation of wired-together matches writing a patriotic call to action on a blackboard.

J. Stuart Blackton was possibly the first American filmmaker to use the techniques of stop-motion and hand-drawn animation. Introduced to filmmaking by Edison, he pioneered these concepts at the turn of the 20th century, with his first copyrighted work dated 1900. Several of his films, among them The Enchanted Drawing (1900) and Humorous Phases of Funny Faces (1906) were film versions of Blackton's "lightning artist" routine, and utilized modified versions of Méliès' early stop-motion techniques to make a series of blackboard drawings appear to move and reshape themselves. 'Humorous Phases of Funny Faces' is regularly cited as the first true animated film, and Blackton is considered the first true animator.

Fantasmagorie by Emile Cohl, 1908

Another French artist, Émile Cohl, began drawing cartoon strips and created a film in 1908 called Fantasmagorie.^[10] The film largely consisted of a stick figure moving about and encountering all manner of morphing objects, such as a wine bottle that transforms into a flower. There were also sections of live action where the animator’s hands would enter the scene. The film was created by drawing each frame on paper and then shooting each frame onto negative film, which gave the picture a blackboard look. This makes Fantasmagorie the first animated film created using what came to be known as traditional (hand-drawn) animation.

Following the successes of Blackton and Cohl, many other artists began experimenting with animation. One such artist was Winsor McCay, a successful newspaper cartoonist, who created detailed animations that required a team of artists and painstaking attention for detail. Each frame was drawn on paper; which invariably required backgrounds and characters to be redrawn and animated. Among McCay's most noted films are Little Nemo (1911), Gertie the Dinosaur (1914) and The Sinking of the Lusitania (1918).

The production of animated short films, typically referred to as "cartoons", became an industry of its own during the 1910s, and cartoon shorts were produced to be shown in movie theaters. The most successful early animation producer was John Randolph Bray, who, along with animator Earl Hurd, patented the cel animation process which dominated the animation industry for the rest of the decade.

Techniques

Traditional animation

Main article: Traditional animation

An example of traditional animation, a horse animated by rotoscoping from Eadweard Muybridge's 19th century photos.

(Also called cel animation or hand-drawn animation) Traditional animation was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, which are first drawn on paper. 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, which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one onto motion picture film against a painted background by a rostrum camera.

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. Various software programs are used to color the drawings and simulate camera movement and effects. The final animated piece is output to one of several delivery mediums, including traditional 35 mm film and newer media such as digital video. The "look" of traditional cel animation is still preserved, and the character animators' work has remained essentially the same over the past 70 years. Some animation producers have used the term "tradigital" to describe cel animation which makes extensive use of computer technology.

Examples of traditionally animated feature films include Pinocchio (United States, 1940), Animal Farm (United Kingdom, 1954), and Akira (Japan, 1988). Traditional animated films which were produced with the aid of computer technology include The Lion King (US, 1994) Sen to Chihiro no Kamikakushi (Spirited Away) (Japan, 2001), and Les Triplettes de Belleville (2003).

• Full animation refers to the process of producing high-quality traditionally animated films, which regularly use detailed drawings and plausible movement. Fully animated films can be done in a variety of styles, from realistically designed works such as those produced by the Walt Disney studio, to the more "cartoony" styles of those produced by the Warner Bros. animation studio. Many of the Disney animated features are examples of full animation, as are non-Disney works such as The Secret of NIMH (US, 1982) and The Iron Giant (US, 1999)
• Limited animation involves the use of less detailed and/or more stylized drawings and methods of movement. Pioneered by the artists at the American studio United Productions of America, limited animation can be used as a method of stylized artistic expression, as in Gerald McBoing Boing (US, 1951), Yellow Submarine (UK, 1968), and much of the anime produced in Japan. Its primary use, however, has been in producing cost-effective animated content for media such as television (the work of Hanna-Barbera, Filmation, and other TV animation studios) and later the Internet (web cartoons).
• Rotoscoping is a technique, patented by Max Fleischer in 1917, where animators trace live-action movement, frame by frame. The source film can be directly copied from actors' outlines into animated drawings, as in The Lord of the Rings (US, 1978), used as a basis and inspiration for character animation, as in most Disney films, or used in a stylized and expressive manner, as in Waking Life (US, 2001) and A Scanner Darkly (US, 2006).

Stop motion

A clay animation scene from a TV commercial.

• Stop-motion animation, 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. There are many different types of stop-motion animation, usually named after the type of media used to create the animation. Computer software is widely available to create this type of animation.
• Clay animation, or Plasticine animation often abbreviated as claymation, uses figures made of clay or a similar malleable material to create stop-motion animation. The figures may have an armature or wire frame inside of them, similar to the related puppet animation (below), that can be manipulated in order to pose the figures. Alternatively, the figures may be made entirely of clay, such as 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) Morph shorts (UK, 1977–2000), Wallace and Gromit shorts (UK, as of 1989), Jan Švankmajer's Dimensions of Dialogue (Czechoslovakia, 1982), The Amazing Mr. Bickford (US, 1987), The Trap Door (UK, 1984).
• Cutout animation is a type of stop-motion animation produced by moving 2-dimensional pieces of material such as paper or cloth. 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), The pilot episode of the TV series (and sometimes in episodes) of South Park (US, 1997).
  • Silhouette animation is a variant of cutout animation in which the characters are backlit and only visible as silhouettes. Examples include The Adventures of Prince Achmed (Weimar Republic, 1926) and Princes et princesses (France, 2000).
• Graphic animation uses non-drawn flat visual graphic material (photographs, newspaper clippings, magazines, etc.) which are sometimes manipulated frame-by-frame to create movement. At other times, the graphics remain stationary, while the stop-motion camera is moved to create on-screen action.
• Model animation refers to stop-motion animation created to interact with and exist as a part of a live-action world. Intercutting, matte effects, and split screens are often employed to blend stop-motion characters or objects with live actors and settings. Examples include the work of Ray Harryhausen, as seen in films such Jason and the Argonauts (1961), and the work of Willis O'Brien on films such as King Kong (1933 film).
  • Go motion is a variant of model animation which uses various techniques to create motion blur between frames of film, which is not present in traditional stop-motion. The technique was invented by Industrial Light & Magic and Phil Tippett to create special effects scenes for the film The Empire Strikes Back (1980).
• Object animation refers to the use of regular inanimate objects in stop-motion animation, as opposed to specially created items. One example of object animation is the brickfilm, which incorporates the use of plastic toy construction blocks such as LEGO.
• Pixilation involves the use of live humans as stop motion characters. This allows for a number of surreal effects, including disappearances and reappearances, allowing people to appear to slide across the ground, and other such effects. Examples of pixilation include Norman McLaren's Neighbours (Canada, 1952), and a potion of the music video for "Weird Al" Yankovic's song UHF
• Puppet animation typically involves stop-motion puppet figures interacting with each other in a constructed environment, in contrast to the real-world interaction in model animation. The puppets generally have an armature inside of them to keep them still and steady as well as constraining them to move at particular joints. Examples include The Tale of the Fox (France, 1937), the films of Jiří Trnka, The Nightmare Before Christmas (US, 1993), and the TV series Robot Chicken (US, 2005–present).
  • Puppetoon, created using techniques developed by George Pál, are puppet-animated films which typically use a different version of a puppet for different frames, rather than simply manipulating one existing puppet.

Computer animation

Main article: Computer animation

A short gif animation

Like stop motion, computer animation encompasses a variety of techniques, the unifying idea being that the animation is created digitally on a computer. You can use programs like Blender 3d, Autodesk Maya, 3d Max, and many others to create computer animations.

2D animation

2D animation figures are created and/or edited on the computer using 2D bitmap graphics or created and edited using 2D vector graphics. This includes automated computerized versions of traditional animation techniques such as of tweening, morphing, onion skinning and interpolated rotoscoping.

Examples: Foster's Home for Imaginary Friends, SpongeBob SquarePants(certain sequences only), Danny Phantom, The Fairly OddParents, El Tigre: The Adventures of Manny Rivera

• Analog computer animation
• Flash animation
• PowerPoint animation

3D animation

3D animation digital models manipulated by an animator. In order to manipulate a mesh, it is given a digital skeletal structure that can be used to control the mesh. This process is called rigging. Various other techniques can be applied, such as mathematical functions (ex. gravity, particle simulations), simulated fur or hair, effects such as fire and water and the use of Motion capture to name but a few, these techniques fall under the category of 3d dynamics. Many 3D animations are very believable and are commonly used as Visual effects for recent movies.

Examples: Toy Story, Shrek, Pocoyo

Terms

• Cel-shaded animation
• Morph target animation
• Non-photorealistic rendering
• Skeletal animation
• Motion capture
• Crowd simulation

2D animation techniques tend to focus on image manipulation while 3D techniques usually build virtual worlds in which characters and objects move and interact. 3D animation can create images that seem real to the viewer.

Other animation techniques

• Drawn on film animation: a technique where footage is produced by creating the images directly on film stock, for example by Norman McLaren, 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.
• Pinscreen animation: makes use of a screen filled with movable pins, which can be moved in or out by pressing an object onto the screen. 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.
• Sand animation: sand is moved around on a backlighted or frontlighted piece of glass to create each frame for an animated film. This creates an interesting effect when animated because of the light contrast.
• Flip book: A flip book (sometimes, especially in British English, 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. Flip books are often illustrated books for children, but may also be geared towards adults and employ a series of photographs rather than drawings. Flip books are not always separate books, but may appear as an added feature in ordinary books or magazines, often in the page corners. Software packages and websites are also available that convert digital video files into custom-made flip books.

Other techniques and approaches

• Character animation
• Chuckimation
• Multi-sketching
• Special effects animation
• Animatronics

See also

Computer graphics portal

• 12 basic principles of animation
• Adult animation
• Animation software
• Anime
• Art
• Tradigital art
• Avar (animation variable)
• Computer generated imagery
• List of movie genres
• History of animation
• International Tournée of Animation
• List of animation studios
• List of animated shorts available on DVD
• List of motion picture topics
• Motion graphic design
• Slideshow animation
• Stick figure
• Wire frame model
• Motion Capture
• Model sheet

References

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations where appropriate. (February 2008)

1. ^ CHTHO produces documentary on world’s oldest animation. Tehran Times. 04-03-2008.
2. ^ First Animation of the World Found In Burnt City, Iran, Persian Journal, 2004
3. ^ Oldest Animation Discovered In Iran. Animation Magazine. 12-03-2008.
4. ^ http://www.emaki.net/blog/2006/02/burnt-city-animation-vl.html
5. ^ http://www.tommoody.us/archives/2008/12/09/burnt-city-goat/
6. ^ Ronan, Colin A; Joseph Needham (1985). The Shorter Science and Civilisation in China: Volume 2. Cambridge University Press. ISBN 0-521-31536-0. 
7. ^ Dulac, Nicolas; André Gaudreault (2004). "Heads or Tails: The Emergence of a New Cultural Series, from the Phenakisticope to the Cinematograph". Invisible Culture: A Journal for Visual Culture. The University of Rochester. http://www.rochester.edu/in_visible_culture/Issue_8/dulac_gaudreault.html#1. Retrieved on 2006-05-13. 
8. ^ History of Media, University of Minnesota, accessed May 13 2006
9. ^ "Zoetrope". Laura Hayes and John Howard Wileman Exhibit of Optical Toys. The North Carolina School of Science and Mathematics. 2005. http://courses.ncssm.edu/GALLERY/collections/toys/html/exhibit10.htm. Retrieved on 2006-05-13. 
10. ^ [1]

• Ball, R., Beck, J., DeMott R., Deneroff, H., Gerstein, D., Gladstone, F., Knott, T., Leal, A., Maestri, G., Mallory, M., Mayerson, M., McCracken, H., McGuire, D., Nagel, J., Pattern, F., Pointer, R., Webb, P., Robinson, C., Ryan, W., Scott, K., Snyder, A. & Webb, G. (2004) Animation Art: From Pencil to Pixel, the History of Cartoon, Anime & CGI. Fulhamm London.: Flame Tree Publishing. ISBN 1-84451-140-5
• Crafton, Donald (1982). Before Mickey. Cambridge, Massachusetts.: The MIT Press. ISBN 0-262-03083-7
• Solomon, Charles (1989). Enchanted Drawings: The History of Animation. New York.: Random House, Inc. ISBN 0-394-54684-9

Further reading

• Anderson, Joseph and Barbara, "The Myth of Persistence of Vision Revisited", Journal of Film and Video, Vol. 45, No. 1 (Spring 1993): 3-12
• Culhane, Shamus, Animation Script to Screen
• Laybourne, Kit, The Animation Book
• Ledoux, Trish, Ranney, Doug, & Patten, Fred (Ed.), Complete Anime Guide: Japanese Animation Film Directory and Resource Guide, Tiger Mountain Press 1997
• Lowe, Richard & Schnotz, Wolfgang (Eds) Learning with Animation. Research implications for design Cambridge University Press, 2008
• Masson, Terrence, CG101: A Computer Graphics Industry Reference Unique and personal histories of early computer animation production, plus a comprehensive foundation of the industry for all reading levels. ISBN 0-9778710-0-2
• Thomas, Frank and Johnston, Ollie, Disney Animation: The Illusion Of Life, Abbeville 1981
• Walters, Faber and Helen (Ed.), Animation Unlimited: Innovative Short Films Since 1940, HarperCollins Publishers, 2004
• Williams, Richard, The Animator's Survival Kit ISBN 0-5712-0228-4
• Bob Godfrey and Anna Jackson, 'The Do-It-Yourself Film Animation Book' BBC Publications 1974 ISBN 0-563-10829-0 Now out of print but available s/hand through a range of sources such as Amazon Uk.

External links

Look up animation in Wiktionary, the free dictionary.

Wikinews has related news: Annie Awards for animation Sunday; Wikinews will be there

Wikimedia Commons has media related to: Animation

• Animation at the Open Directory Project
• Animation: An Interdisciplinary Journal
• Experimental Animation Techniques
• Chronology of Animation
• How An Animated Cartoon is Made
• "Animando", a 12-minute film demonstrating 10 different animation techniques (and teaching how to use them).

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Dansk (Danish)
n. - livlighed, munterhed, levendegørelse

Nederlands (Dutch)
animatie (film), levendigheid, het in leven zijn

Français (French)
n. - animation, vivacité, film d'animation, entrain

Deutsch (German)
n. - Lebhaftigkeit, Animation

Ελληνική (Greek)
n. - ζωτικότητα, ζωντάνια, απεικόνιση σε κινούμενα σχέδια, ξενοδοχειακή ψυχαγωγία

Italiano (Italian)
vivacità, animazione

Português (Portuguese)
n. - animação (f), vivacidade (f), entusiasmo (m)

Русский (Russian)
оживление, воодушевление

Español (Spanish)
n. - viveza, actividad, animación

Svenska (Swedish)
n. - upplivande verkan, livlighet

中文（简体）(Chinese (Simplified))
卡通制作, 活泼, 生气

中文（繁體）(Chinese (Traditional))
n. - 卡通製作, 活潑, 生氣

한국어 (Korean)
n. - 생기, 고무 , 동화

日本語 (Japanese)
n. - 生気, 動画, アニメーション

idioms:

• suspended animation    仮死

العربيه (Arabic)
‏(الاسم) حيا, انعاش, حياه, حيويه‏

עברית (Hebrew)
n. - ‮חיות, עירנות, הנפשה, אנימציה‬

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