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Traditional animation

Traditional animation, also known as cel animation or hand-drawn animation, is the oldest and most foundational form of animation, involving the creation of moving images through the painstaking process of drawing individual frames by hand on paper or transparent acetate sheets called cels, which are then photographed sequentially against a static background to simulate motion when projected at high speeds.^[1]^[2] This technique relies on the principle of persistence of vision, where the rapid display of 24 frames per second creates the illusion of continuous movement, requiring artists to produce thousands of drawings for even short sequences.^[3] Originating from early optical devices like the phenakistoscope and zoetrope in the 19th century, traditional animation evolved into a dominant medium in the 20th century, particularly through the innovations of studios such as Walt Disney Productions, which popularized full-length feature films like Snow White and the Seven Dwarfs (1937), the first cel-animated movie of its kind.^[3]^[2] The process typically begins with key animators sketching the primary poses and movements, followed by in-betweeners filling in the transitional frames to ensure smooth motion, a labor-intensive workflow that demanded large teams of skilled artists and often took months or years to complete a single project.^[1]^[2] Despite its replacement by digital methods in mainstream production since the 1990s, traditional animation remains influential for its expressive, organic quality, as seen in the works of directors like Hayao Miyazaki of Studio Ghibli, and continues to be taught and used in niche applications for its artistic authenticity.^[3] Its historical significance lies in establishing core animation principles—such as squash and stretch, anticipation, and timing—developed by pioneers like Disney animator Ollie Johnston and Frank Thomas, which underpin all modern animation forms.^[4]

History

Origins and Early Developments

The origins of traditional animation trace back to 19th-century optical devices that exploited the persistence of vision to create illusions of motion from sequential images. In 1832, Belgian physicist Joseph Plateau invented the phenakistoscope, a spinning cardboard disc with radial slits and drawings that, when viewed through the slits, produced looping animations, marking one of the earliest mechanisms for simulating movement. Two years later, in 1834, British inventor William George Horner developed the zoetrope, a cylindrical drum with sequential images viewed through interior slits as it rotated, offering a more accessible and shareable precursor to animated projection.^[5] These devices laid foundational principles for animation by demonstrating how rapid image succession could mimic continuous action, influencing later hand-drawn techniques. Complementing them, the flip book, patented in 1868 by John Barnes Linnett as the kineograph, allowed individuals to flip pages of bound sequential drawings to generate simple motions, serving as a portable and intuitive early animation tool.^[6] A pivotal advancement came with Émile Reynaud's Théâtre Optique, patented in 1888 and first publicly demonstrated on October 28, 1892, at the Musée Grévin in Paris, where it projected hand-drawn animated strips up to 500 images long onto a screen using a lantern and mirrors.^[6] This system represented the earliest public presentation of projected animation, featuring narrative pantomimes like Pauvre Pierrot with synchronized music, and it attracted a total of over 500,000 viewers during its run from 1892 to 1900, establishing animation as a viable entertainment form.^[6] Reynaud's perforated strips of drawings on gelatin, advanced from his earlier praxinoscope, highlighted the potential for storytelling through motion, bridging optical toys to cinematic projection. The transition to film-based animation occurred in the early 20th century, with J. Stuart Blackton's Humorous Phases of Funny Faces (1906) recognized as the earliest surviving animated film on standard celluloid stock, combining stop-motion objects and hand-drawn sketches to depict a humorous scene of a clown and faces.^[7] Produced for Vitagraph Studios, this seven-minute short demonstrated basic frame-by-frame drawing on film, setting a precedent for drawn animation in motion pictures. A significant step forward was Émile Cohl's Fantasmagorie (1908), the first film to consist entirely of hand-drawn animated frames, featuring around 700 drawings in a surreal, metamorphic style that transformed objects and figures fluidly. Building on this, Winsor McCay's Gertie the Dinosaur (1914) introduced key principles of character animation, portraying a lively, interactive brontosaurus with expressive personality and responsive movements across thousands of hand-drawn frames.^[8] Originally presented as a vaudeville act where McCay interacted with the projected Gertie, the film emphasized performance and emotional depth, influencing future animators to prioritize character over mere novelty.^[9] Early animation drew influences from contemporaneous technologies and performance traditions, including Thomas Edison's kinetoscope (1891), a peephole viewer for short film loops that popularized sequential image display and inspired animators to adapt similar mechanics for drawn content.^[10] Vaudeville acts, with their emphasis on visual gags and live illustration, further shaped the medium, as performers like McCay integrated animation into stage routines, blending theatrical timing with emerging film techniques.^[11] These elements collectively fostered the shift toward cel-based methods in the ensuing decades.

Key Milestones and Innovations

The establishment of Fleischer Studios in 1921 by brothers Max and Dave Fleischer marked a pivotal shift toward organized studio production in traditional animation, building on Max's earlier innovations at Bray Studios where the "Out of the Inkwell" series began in 1918. This series, running through 1929, prominently featured the rotoscope technique, which Max Fleischer invented in 1915 and patented in 1917, allowing animators to trace live-action footage frame-by-frame for more fluid and realistic motion in hand-drawn characters like Koko the Clown.^[12]^[13] The Fleischer brothers' work emphasized innovative blending of live-action and animation, setting a standard for narrative integration in early studio shorts.^[14] A landmark advancement came in 1928 with Walt Disney's "Steamboat Willie," the first fully synchronized sound cartoon, which introduced Mickey Mouse as an enduring cultural icon and revolutionized audience engagement by aligning character actions precisely with musical cues.^[15] This innovation, directed by Disney and Ub Iwerks, elevated traditional animation from silent novelty to a multisensory medium, influencing studio practices worldwide.^[16] Key figures like Walt Disney drove this progress through relentless experimentation, while contemporaries such as Max Fleischer competed with bold technical feats, and Otto Messmer contributed foundational character-driven storytelling via Felix the Cat, the first globally merchandised animated star debuting in 1919.^[17] Disney further advanced depth simulation with the multiplane camera, a device Ub Iwerks developed a prototype of in 1933 during his independent ventures, while Disney independently refined and built their version. The camera's debut in the 1937 short "The Old Mill" layered multiple planes of artwork to create parallax effects, mimicking three-dimensional space in two-dimensional animation and earning an Academy Award for Best Animated Short.^[18]^[19] This tool, pivotal to Disney's Golden Age features, exemplified institutional investment in technology to enhance emotional realism. Post-World War II, United Productions of America (UPA) introduced limited animation in "Gerald McBoing-Boing" (1950), a stylistic innovation that reduced frame counts and emphasized graphic design over full motion, winning an Academy Award and sparking a modernist shift away from Disney's detailed realism.^[20] This approach, led by figures like John Hubley, prioritized artistic abstraction and efficiency, influencing television animation and broadening traditional techniques' accessibility.^[21]

Production Process

Pre-Production Stages

The pre-production stages of traditional animation form the foundational planning phase, where the narrative and visual elements are conceptualized and refined to ensure a cohesive and efficient production process. This involves developing a script tailored to animation's visual storytelling potential, creating storyboards to visualize sequences, recording preliminary voice tracks for timing synchronization, designing consistent characters and environments, and planning the timing and layout of scenes. These steps, pioneered largely by studios like Disney in the early 20th century, allow teams to iterate on ideas without committing to expensive frame-by-frame drawing, minimizing revisions later in production. Script development begins with outlining the story structure, integrating dialogue, and pacing the narrative to suit animation's expressive capabilities, such as exaggerated movements and fantastical elements. Writers focus on concise, visually driven scenes that advance the plot through action rather than exposition, often collaborating with directors to adapt ideas into a workable blueprint for the film. This process emphasizes rhythm and emotional beats, ensuring the script supports seamless transitions between scenes while highlighting the medium's strengths in character-driven humor or drama. For instance, early Disney features like Snow White and the Seven Dwarfs (1937) relied on scripts that balanced fairy-tale lore with comedic timing to guide subsequent visual planning.^[22] Storyboarding follows, consisting of sequential sketches that depict key actions, camera angles, compositions, and transitions to pre-visualize the entire film as a comic-strip-like narrative. Originating at Walt Disney Studios in the early 1930s as a collaborative tool to streamline gag development and story refinement, it enables directors and artists to "edit" the film on paper, identifying pacing issues or weak sequences before animation commences. Boards typically include dialogue notes, sound cues, and basic motion indicators, fostering team input and reducing costly changes; Disney's use of this method during the production of shorts like Three Little Pigs (1933) revolutionized planning by replacing verbal pitches with visual prototypes.^[23] Voice recording occurs early to produce a "scratch track"—a temporary soundtrack of dialogue and basic sound effects—that animators use to match lip-sync, gestures, and timing precisely to the performers' delivery. This practice, established after synchronized sound's introduction with Disney's Steamboat Willie (1928), ensures natural rhythm and emotional inflection in performances, with actors often recording in isolation to capture exaggerated expressions suited to animation. The track is punched into exposure sheets for frame-by-frame reference, allowing adjustments for pacing; in traditional cel workflows, final voices might replace scratches later, but the initial recording anchors the animation's flow.^[24] Design elements, including character model sheets, background layouts, and prop designs, establish visual consistency across the production to prevent discrepancies in style or proportions. Model sheets provide detailed views—such as front, side, and three-quarter "turnarounds," along with expression charts and pose variations—serving as references for all artists; Disney standardized this in the 1930s to maintain character integrity in features like Pinocchio (1940), where sheets detailed fabric folds and limb articulations. Background and prop designs similarly outline perspectives, scales, and stylistic motifs, often sketched in perspective to integrate with character actions and support atmospheric depth.^[25] Timing and layout refine the storyboard into a practical blueprint, breaking actions into individual frames while composing scenes for optimal visual impact and camera movement. Timing directors analyze the scratch track and storyboards to assign frame counts per action—using exposure sheets to notate dialogue phonemes, poses, and holds—ensuring fluid motion at standard rates like 24 frames per second. Layout artists then create rough, oversized pencil drawings of scenes, positioning characters relative to backgrounds, indicating multiplane levels for depth, and plotting camera paths (e.g., pans or zooms) to enhance composition and storytelling; this department, formalized at Disney by the 1930s with innovations like the multiplane camera, bridges pre-production and animation by providing a scalable template that guides inbetweening and cost efficiency, as seen in Snow White (1937). Animatics, rough reels compiled from these layouts, may briefly test timing before full animation proceeds.^[26]

Animation and Post-Production Stages

Following the pre-production phase, the animatic serves as a rough edit of the storyboard, sequencing sketches or images with temporary soundtracks, dialogue, and timing to evaluate pacing and narrative flow. This step allows animators to test the overall rhythm and make adjustments before committing to full production, ensuring synchronization between visuals and audio elements.^[27] In the core animation stage, lead animators create key frames depicting the primary poses or extremes of movement on paper, while assistant animators fill in the in-betweens to achieve smooth transitions, typically at 24 frames per second for standard film. This hand-drawn process adheres to foundational principles such as squash and stretch, which simulates realistic deformation and elasticity in objects or characters to convey weight and flexibility, as outlined in the twelve principles of animation developed by Disney animators Ollie Johnston and Frank Thomas. These principles, introduced in their 1981 book The Illusion of Life: Disney Animation, guide animators in applying physics-like behaviors to enhance lifelike motion across all subsequent drawings.^[4] Once rough animation is complete, the ink-and-paint department traces the approved pencil drawings onto transparent celluloid sheets using black ink for outlines, ensuring clean lines that align precisely with prior frames. Colors are then applied to the reverse side of each cel within the inked boundaries, a technique that prevents paint from obscuring the lines when viewed from the front and allows for vibrant, layered visuals when composited over backgrounds. To maintain registration and prevent misalignment across thousands of frames, animation paper and cels feature punched holes that fit onto standardized peg bars, a system patented by John Randolph Bray in 1915 and widely adopted for its precision in multi-frame sequences.^[28]^[29] The camera stage involves photographing the inked and painted cels onto motion picture film using a rostrum camera, a vertical stand that positions the lens directly above the artwork for frame-by-frame capture. Operators follow detailed exposure sheets—printed tables specifying each frame's cel layers, hold durations, camera movements, and multiplane effects—to control depth and composition, ensuring consistent exposure and seamless integration of foreground, midground, and background elements. This meticulous setup allows for complex scenes with up to dozens of cels per frame, replicating three-dimensionality in a two-dimensional medium.^[24] Finally, in post-production editing, the photographed film strips from each scene are cut and physically spliced together to replace the corresponding segments in the animatic reel, refining the overall structure, transitions, and final soundtrack integration. This analog process, often using workprint copies for testing, culminates in a locked edit ready for distribution on 35mm film, marking the completion of the traditional animation pipeline.^[24]

Core Techniques

Cel Animation Methods

Cel animation, a cornerstone of traditional animation, utilizes transparent sheets known as cels—originally made from celluloid, a semi-synthetic plastic derived from cellulose nitrate—to separate moving elements, such as characters, from static backgrounds.^[30] This method allows animators to create the illusion of motion by photographing layered cels against a single background, avoiding the need to redraw unchanged elements for each frame.^[31] Introduced in the early 20th century, cel animation marked a significant advancement over prior techniques like cutout animation, where figures were manipulated as paper silhouettes, by enabling more fluid and detailed movement.^[32] In the production process, cels are first prepared by punching registration holes along the top edge to align them precisely on peg bars during animation and photography.^[31] Animators initially sketch rough drawings on paper for testing sequences, known as pencil tests, to refine timing and motion before transferring the approved line art to the cel.^[31] The outlines are then inked onto the front side of the cel using fine brushes and waterproof black ink, often with additional colors like gray, white, or red for details such as shading or facial features.^[30] Colors are applied to the reverse side with opaque paints, typically water-based gouache, using airbrushes or brushes to achieve smooth, vibrant tones that appear solid when viewed from the front under camera lights.^[30] Due to the flammability and dimensional instability of celluloid, the industry shifted to more stable cellulose acetate sheets in the 1950s, particularly at Disney studios, where it was first tested in Sleeping Beauty (1959) and fully adopted for One Hundred and One Dalmatians (1961).^[33] For complex scenes, multiple cels are overlaid and stacked in sequence, with each layer representing a different element—such as a foreground character on one cel over a midground object on another, all positioned above a painted background.^[31] This stacking technique facilitates reuse of static or slowly changing components, reducing labor while building depth through partial transparency and precise alignment via the peg holes.^[34] In practice, a single scene might involve up to four or five cels layered together, photographed frame by frame at 24 frames per second to produce smooth motion in the final film.^[30] The cel method evolved from earlier cutout animation prevalent in the 1900s, where animators physically moved paper cutouts against backgrounds, limiting expressiveness due to rigid poses.^[35] In 1914, animator Earl Hurd, working with John Bray, patented the cel process, using transparent celluloid sheets to isolate animated figures from backgrounds and eliminate repetitive redrawing.^[35] This innovation, licensed through the Bray-Hurd Process Company, became the industry standard by the 1920s, transitioning animation from labor-intensive cutout and full-paper redrawing to efficient layering.^[32] Walt Disney further standardized and refined cel techniques in the 1930s, notably in Snow White and the Seven Dwarfs (1937), integrating it into feature-length production with meticulous quality control.^[32]

Layering and Depth Techniques

The multiplane camera, a pivotal innovation in traditional animation, was developed in 1937 by William Garity and a team of engineers at Walt Disney Studios to enhance visual depth in two-dimensional artwork.^[36] This device featured a vertical camera stand with up to seven horizontal glass planes spaced at varying distances from the lens, each capable of holding painted or cel artwork.^[36] By moving the planes independently—foreground elements faster than background ones—the camera simulated the parallax effect, creating a realistic sense of three-dimensional space and separation between layers.^[37] It required precise coordination among technicians to adjust movements, lighting, and focus, often using oil-painted backgrounds on the rearmost planes for added texture and realism.^[37] Historical precursors included Ub Iwerks' prototype, a horizontal multiplane setup designed in 1933 during his time at Disney, which used movable layers of artwork but lacked the vertical orientation and complexity of Garity's version.^[38] Disney's multiplane debuted in the short film The Old Mill (1937) as a test, but gained prominence in the feature Snow White and the Seven Dwarfs (1937), where it animated immersive forest sequences by layering foliage, characters, and skies to draw audiences into the story.^[36] The technique reached new heights in Bambi (1942), employing up to seven planes to depict expansive woodland environments with subtle depth gradients, enhancing emotional resonance in scenes of nature and loss by making the animated world feel vast and intimate.^[39] Its adoption spread within Disney for subsequent features like Pinocchio (1940) and Fantasia (1940), earning the team a Scientific and Technical Academy Award in 1941 for revolutionizing depth simulation in animation.^[36] Despite its breakthroughs, the multiplane camera had notable limitations, including lengthy setup times for aligning planes and artwork—often requiring hours per shot—and high costs due to specialized equipment and a team of up to a dozen operators.^[40] These factors restricted its use to key sequences in high-budget productions.^[41] Following Disney's success in the 1940s, other studios explored similar layering systems, though none matched the scale of Disney's implementation until digital alternatives emerged later.^[42] In lower-budget traditional animation, simpler alternatives like cel shifts provided pseudo-depth without dedicated equipment; multiple transparent cels were overlaid and moved at differential speeds over a static background via peg bars, mimicking basic parallax for cost-effective illusions of movement and space.^[42]

Specialized Techniques

Efficiency and Cost-Saving Methods

To streamline the labor-intensive process of traditional animation, studios developed several techniques that reduced the number of drawings required while maintaining visual appeal and narrative flow. These methods emerged primarily in response to rising production costs and the demands of television broadcasting in the mid-20th century, allowing for faster turnaround times without fully sacrificing artistic quality.^[43] Limited animation, pioneered by United Productions of America (UPA) in the 1940s and 1950s, emphasized stylized designs and minimal movement to cut down on artwork. This approach used fewer drawings per second, incorporated static holds where characters remained motionless for multiple frames, and relied on graphic, flat art styles to convey emotion and story through composition rather than fluid motion. A seminal example is UPA's Rooty Toot Toot (1951), directed by John Hubley, which employed these techniques to create a jazz-infused adaptation of the "Frankie and Johnny" ballad, winning an Academy Award nomination for Best Animated Short and influencing subsequent economical styles.^[44]^[45] Shooting on twos further optimized efficiency by animating only 12 unique drawings per second of film at the standard 24 frames per second (fps), effectively holding each drawing for two frames to simulate smoother motion with roughly half the effort of full animation on ones. This became a staple in television animation, where budget constraints necessitated quicker production; for instance, it allowed shows to achieve acceptable fluidity in dialogue-heavy scenes without the exhaustive detail of theatrical features.^[46]^[43] Animation loops provided another cost-saving reuse mechanism, involving short, repeatable cycles of drawings—such as walking or idle gestures—that could be cycled indefinitely to depict ongoing actions without redrawing each iteration. Common in early cartoons, these loops were often composited over backgrounds to populate scenes economically, as seen in classic character animations where a character's stride repeated seamlessly during traversal.^[47] Technological innovations also addressed the bottleneck of inking and cel preparation. In the 1960s, Ub Iwerks developed xerography, an electrostatic transfer process that directly copied pencil sketches onto cels, bypassing manual inking and enabling Disney to produce One Hundred and One Dalmatians (1961) in half the time of prior features despite its 101-character complexity. This method preserved the rough, expressive lines of animators' originals, revolutionizing workflow and allowing for more detailed crowd scenes.^[33]^[48] Building on this, Disney's Animation Photo Transfer (APT) process in the 1970s automated cel creation by photographically transferring pencil drawings onto acetate sheets, further reducing manual labor in the ink-and-paint department. First implemented during the production of The Black Cauldron (1985), APT streamlined post-drawing stages and earned an Academy Award for technical achievement, marking a key step toward semi-automated traditional pipelines before digital tools dominated.^[49]^[50]

Hybrid and Effects Techniques

Hybrid techniques in traditional animation integrate live-action footage or specialized processes with hand-drawn elements to achieve greater realism, dynamic effects, or seamless blends between real and imagined worlds. Rotoscoping, a foundational method, involves projecting live-action film onto a drawing surface and tracing each frame by hand to capture natural movement. This labor-intensive process was invented by Max Fleischer, who submitted a patent application for the rotoscope device on December 6, 1915, enabling animators to replicate fluid human motions that were challenging to create freehand.^[13] The technique debuted in Fleischer's Out of the Inkwell series, where it brought lifelike quality to characters like Koko the Clown interacting with live-action environments.^[13] Rotoscoping found prominent application in feature-length works, such as Fleischer Studios' Gulliver's Travels (1939), where the title character and key human figures were rotoscoped from live actors to ensure proportionate scale and realistic gestures amid the exaggerated Lilliputians.^[13] These examples highlight rotoscoping's role in grounding cartoonish action in believable physics, though it required meticulous frame-by-frame alignment. Live-action/animation hybrids extended this integration by optically compositing filmed performers with animated characters, often using multiplane cameras or printers to match lighting and depth. A landmark achievement was Who Framed Roger Rabbit (1988), directed by Robert Zemeckis, where Disney animators and Industrial Light & Magic technicians combined hand-drawn toons with live actors through optical compositing: cels were photographed against blue screens, then layered with live footage via repeated optical passes to add shadows, reflections, and interactions.^[51] This process demanded precise synchronization, with animators studying video dailies to mimic actors' movements, resulting in groundbreaking scenes like Roger Rabbit's interactions in Toontown.^[52] Special effects animation within traditional workflows focused on rendering dynamic phenomena like fire, water, and smoke through hand-drawn techniques, often layered over main action cels. In Disney's Fantasia (1940), effects animators used airbrushing to create fluid, ethereal textures for elements such as swirling clouds, volcanic eruptions in "The Rite of Spring," and demonic smoke in "Night on Bald Mountain," applying translucent paints and drybrush strokes directly on cels for a painterly, organic flow that enhanced the music's emotional impact.^[53] These methods, overseen by specialists like Joshua Meador, involved matte techniques and multiple exposures to simulate volume and motion without digital aids.^[53] Despite their innovations, hybrid and effects techniques posed significant challenges, including synchronization difficulties between live-action timing and animated frames, which could lead to visible mismatches in motion or lighting if not perfectly aligned. The labor intensity was profound, as each frame required manual tracing or painting, often taking weeks for short sequences and straining studio resources. By the 1970s, optical printers evolved these processes, allowing precise rephotography and compositing of multiple film elements—such as mattes for explosions or hybrids—reducing some manual labor while enabling complex effects in films like Ralph Bakshi's Wizards (1977), though traditional hand-drawing remained central.^[54]

Advantages and Limitations

Artistic and Technical Benefits

Traditional animation offers unparalleled artistic flexibility through its hand-drawn process, where each frame's organic lines and contours enable fluid, exaggerated motions that capture the nuances of character personality and emotion in ways rigid digital models often cannot replicate. This technique allows animators to infuse subtle variations in line weight and form, creating a sense of life and spontaneity that enhances visual storytelling. For instance, the ability to manually adjust curves and distortions frame by frame supports highly stylized expressions, such as the bouncy, elastic movements iconic to early cartoons.^[28] The expressive potential of traditional animation is rooted in the 12 principles developed by Disney animators, including anticipation and follow-through, which guide the creation of believable, emotionally resonant actions that convey complex narratives. These principles, outlined in the seminal work by Ollie Johnston and Frank Thomas, emphasize timing and exaggeration to build empathy with audiences, as seen in the nuanced character arcs of Disney's golden age films like Snow White and the Seven Dwarfs (1937). By applying these methods, animators achieve a depth of emotional storytelling that feels authentic and engaging, fostering connections through exaggerated yet relatable behaviors.^[55] Technically, traditional animation provides precise control over every frame, allowing for meticulous adjustments in timing, texture, and layering that yield rich, tactile visuals. In Disney's golden age productions, such as Sleeping Beauty (1959), hand-inking and the multiplane camera technique enabled layered depth and subtle atmospheric effects, ensuring seamless integration of motion and environment. This frame-by-frame oversight results in unparalleled nuance, where textures like fabric folds or light reflections can be tailored for dramatic impact.^[28]^[30] The cultural impact of traditional animation lies in its role in building vibrant artist communities and establishing iconic styles, such as the rubber hose animation prevalent in the 1920s, which featured flexible, hose-like limbs for whimsical, exaggerated motions in works like Steamboat Willie (1928). This style, pioneered by figures like Bill Nolan and popularized by Walt Disney, not only democratized animation as an accessible art form but also influenced broader pop culture through its playful surrealism and rhythmic synchronization with early soundtracks.^[56] Finally, the preservation value of traditional animation manifests in its original cels and artwork, which serve as tangible artifacts of 20th-century artistry, capturing the labor-intensive craft of hand-painted transparencies used in films from the 1920s to the 1990s. Institutions like the Walt Disney Animation Research Library house millions of these cels, valued for their historical and aesthetic significance as unique, non-reproducible pieces that document technological evolution in plastics and pigments. Proper conservation of these items ensures the enduring legacy of animation as a physical medium.^[57]^[30]

Challenges and Decline

Traditional animation's labor-intensive nature demanded extensive teams of artists, often numbering in the hundreds for major feature films, as each frame required individual hand-drawing to achieve fluid motion.^[58] For instance, producing a single complex scene could take an animator up to six months, highlighting the meticulous effort involved in creating even brief sequences.^[59] This process not only strained resources but also amplified the risk of artist burnout and production delays. High costs further compounded these challenges, with expenses driven by the need for specialized materials like celluloid sheets, inks, and paints, alongside substantial storage for thousands of cels per project.^[60] The introduction of xerography in the late 1950s, pioneered by Disney for films like One Hundred and One Dalmatians (1961), allowed drawings to be photocopied directly onto cels, significantly reducing inking labor and saving millions in production costs, though it could not eliminate the overall financial burden.^[61] Time constraints were inherent to the medium's goal of full animation at 24 frames per second, necessitating 24 unique drawings per second for smooth, lifelike movement, which exponentially increased workload for even short segments like a one-minute scene that might require months of collective effort.^[62] Techniques such as shooting on twos, reusing drawings for every other frame, offered some relief but still fell short of alleviating the core temporal demands. The decline of traditional animation accelerated in the 1950s with the rise of television, which prioritized cheaper limited animation styles using 6-8 frames per second, fewer drawings, and held poses to meet the demand for rapid, low-budget episodic content, as exemplified by Hanna-Barbera's productions like The Flintstones (1960-1966).^[62] By the 1980s and 1990s, the advent of digital tools, including Disney's Computer Animation Production System (CAPS) introduced in 1990 with The Rescuers Down Under, digitized coloring and compositing to bypass cels entirely, further eroding the viability of hand-drawn methods amid escalating studio budgets and competition.^[60] Despite these shifts, traditional animation persists as a niche practice, with hand-drawn elements revived in select modern films such as DreamWorks' The Prince of Egypt (1998), where thousands of frames were meticulously hand-animated and painted on cels before integration with CGI for enhanced effects. More recently, Studio Ghibli's The Boy and the Heron (2023) employed fully hand-drawn traditional animation and won the Academy Award for Best Animated Feature Film. As of 2025, Walt Disney Animation Studios has indicated plans to potentially produce new 2D hand-drawn features, marking a possible revival after over a decade.^[63]^[64]

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[25]
None
Below is a merged summary of all segments on "Animation Layout in Traditional Pre-Production," combining all information into a concise yet comprehensive response. To retain maximum detail, I’ve organized the content into a table format for clarity and density, followed by a narrative summary that integrates key points not easily captured in the table. The table uses CSV-style formatting for structured data, and the narrative ensures a cohesive overview.
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What is an Animatic — How To Bring Your Storyboard to Life
Mar 5, 2025 · An animatic is a string of storyboard images edited together with sound to illustrate how a sequence will flow, used mostly for animation.
[27]
Understanding the 12 principles of animation - Adobe
The 12 principles of animation were introduced by two animators at Disney in 1981. Ollie Johnston and Frank Thomas included them in their book The Illusion ...
[28]
Cel Animation Explained - Explore the Classic Disney Technique
The outline is drawn on one side and the colour added on the other and then the animated cel is placed over a pre-created background and photographed. Cel ...
[29]
Thought You Had Animation Pegged? Not For Much Longer
Jan 7, 2013 · It was John Randolph Bray who established and patented the peg system of registration in 1915. For almost a century, folks working in animation ...
[30]
Plastic, Paint, and Movie Magic: A Close Look at Disney Animation ...
Jan 12, 2022 · For the production of animated films, the static components such as the background were created on paper or board and the moving figures and ...Missing: department | Show results with:department
[31]
What is Cel Animation — Examples, Techniques & History
Oct 9, 2022 · In traditional cel animation, each individual frame is drawn onto a cel in black ink. The cel is then flipped over, and color is applied to the ...
[32]
Celluloid Beginnings...and Endings - Mindy Johnson
May 30, 2018 · Earl Hurd, a young animator and mechanical inventor, quickly applied for a patent in 1914. The illusion of movement was achieved via Hurd's ...
[33]
The Making and Impact of One Hundred and One Dalmatians
Mar 21, 2022 · ... acetate—otherwise known as animation cels. To test it out, the Studios utilized it for a few scenes in Sleeping Beauty and the entire ...
[34]
https://www.garagefarm.net/blog/traditional-animation-the-art-of-cel-animation-explained
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Innovative Animators (June 1999) - The Library of Congress
Tony Sarg, who had a marionette act in vaudeville theater, made his animated films using the shadow silhouette with Herbert M. Dawley, producer of the films ...
[36]
Multiplane camera - D23
Camera which gave depth to an animated film by use of layers of backgrounds painted on glass; first used in The Old Mill (1937)
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How Disney's Multiplane Camera Achieved the Illusion of Depth
Apr 4, 2025 · The multiplane system was first used in The Old Mill (1937), a short film, but that was mainly a test run so it could be used in the Snow White ...
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[PDF] Hello! - The Walt Disney Family Museum
The Multiplane Camera was first used as an experiment in the production of the Silly Symphony “The Old Mill” in 1937. The film was planned to follow a ...
[39]
How Bambi changed Disney's animation | ACMI
May 10, 2021 · The impact of Wong's aesthetic was also bolstered using a multiplane camera, which layers images on sheets of glass to provide depth. When ...
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How did the multiplane camera revolutionize traditional animation?
Mar 30, 2023 · The multiplane camera was not without its drawbacks and difficulties. It was expensive, bulky, and time-consuming to operate. It required a lot ...Missing: limitations cost
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The Man Behind Snow White And The Seven Dwarfs
Dec 28, 2019 · But for special scenes, a special “Multiplane” camera is used. This is an immense stand which permits arranging the celluloids in as many as ...
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The Multiplane Camera - Animation Appreciation - Medium
Jul 3, 2019 · The short went on to win the Academy Award for Best Animated Short Subject in 1937. With the success of The Old Mill, Disney then used the ...
[43]
What Does Animating on Ones, Twos & Threes Mean?
Aug 16, 2021 · Animating on 1s means that for each second of animation, there are 24 new drawings or “frames”. This is used most often in action sequences or any fast motion.
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Animation's Icarus: UPA and the Fate of the Modernist Cartoon - jstor
The resulting film, Gerald McBoing Boing (1950), won an Academy. Award and solidified UPA's modemist style. Bobe Cannon directed and. Page 4. 192 animated the ...
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Breaking Away from Disney Animation
Sep 1, 2024 · A snippet of animation from UPA's Rooty Toot Toot (1951), watchable on YouTube. Limited animation takes many forms. In general, it calls for ...
[46]
Shot on threes (ones, twos, etc.) - Anime News Network
Often TV shows are "shot on threes": every cel is held for three frames instead of one (ie the number of cels is cut in three).
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Walk Cycle Animation: A Beginner's Guide to Creating Movement
May 18, 2025 · A walk cycle is an animation technique that creates the illusion of a character walking continuously using a series of drawings or poses that repeat.
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Get Those Puppies! One Hundred and One Dalmatians - D23
Jan 28, 2022 · ... Ub Iwerks, began experimenting with using Xerox photography in animation. ... Walt Disney's 101 Dalmatians Story and Song vinyl record; note how ...Missing: xerography | Show results with:xerography
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Animation photo transfer process - D23
A process, known as APT, which was first used at the Disney Studio during the production of The Black Cauldron, whereby photography was used in the production ...Missing: 1970s | Show results with:1970s
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[PDF] A Cauldron of Chaos and Cultivation: Rediscovering Disney ...
May 19, 2019 · This documentary film is the most valuable source of information on 1980s Disney animation as it features commentary from the people involved ...Missing: layout | Show results with:layout
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Fleischer's use of Dance Sequences in Depicting Three Dimensions
Oct 1, 2024 · The rotoscope was invented and patented in 1915 by Max Fleischer, and it wasused in early animation to solve the problem of how to animate ...
[52]
'Who Framed Roger Rabbit' Hits 30: A Look Back At ILM's ...
Jun 21, 2018 · To find out more about just what the old-school compositing process required, Cartoon Brew re-visited ILM's complicated work with the optical photography ...
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Who Framed Roger Rabbit? A… - American Cinematographer
Jun 22, 2021 · Others were live-action shots that had been test-composited with animation still in the penciling-in stage, the slimly graceful lines of the ...
[54]
Fantasia | Disney Wiki - Fandom
Fantasia was first released in theatrical roadshow engagements held in thirteen U.S. cities from November 13, 1940. It received mixed critical reaction and was ...Fantasia (video) · Category:Fantasia · Fantasia 2000 · Fantasia
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The History of the Optical Printer - The Illusion Almanac
Mar 8, 2021 · Optical printers gained ground through the 1920s, performing such mundane duties as copying original negatives, as well as resizing them from ...
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Disney's 12 Principles Of Animation: Bringing Characters To Life
Apr 20, 2023 · Disney's 12 principles of animation serve as a powerful toolkit for animators to craft compelling and realistic animations.Missing: 1981 | Show results with:1981
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Rubber Hose Animation: The Exploration towards the History and ...
Aug 8, 2025 · This article focuses on the history of rubber hose animation and how the style is inspired by many of the animator or animation production in terms of design.
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[PDF] Animation cels: Conservation and storage issues - Cultural Heritage
All aspects of the animation process were retained and preserved there: painted animation cels and backgrounds, animation drawings, story sketches, layout ...
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Disney Animated Movies: What Happened to Them? - Vulture
Jul 24, 2024 · Traditional animation, the thinking went, had become too costly to produce. “I think that's a lie they like to tell themselves,” says critic and ...
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[PDF] Where Dreams Come True?: The Impacts of the 1941 Animators' Strike
To make matters worse for animators, a single scene in the movie could take an animator as long as six months to complete. Additionally, there were occasions ...<|separator|>
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[PDF] A Global History of Animation and Comparative Analysis of Western ...
French inventor Charles-Émile Reynaud's invention of the. “Théâtre Optique ... The true first animated cartoon as we know it would not come until 1908 with Émile.
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The Advent of Xerography: Disney's One Hundred and ... - Reactor
Jul 23, 2015 · “I find it funny that a lot of the movies from 101 dalmatians are considered to be part of a quality decline by american Audiences when they are ...Missing: 1961 | Show results with:1961
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TV Animation: Limited Techniques | History of Animation Class Notes
Limited animation techniques emerged in the 1950s and 1960s as a cost-effective alternative to full animation · Developed in response to the increasing demand ...
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The Prince of Egypt and the Changing Art of Animation
Sep 23, 1999 · The Prince of Egypt was the fledgling studios' first feature-length animated film. ... hand-drawn 2D artwork into that space. The "camera" (or ...