2D Animation

Production
Techniques
Traditional 2D animation
Flick Book
A flip book or 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.

Cell animation
Traditional animation (or
classical animation, cel
animation or hand-drawn
animation) is an animation
technique where each frame
is drawn by hand. The
technique was the dominant
form of animation in cinema
until the advent of
computer animation.
Animation productions begin
by deciding on a story. The
oral or literary source
material must then be
The example that I am using of hand drawn animation is from converted into an animation
the Disney animation Aladdin. film script, from which the
storyboard is derived. The
storyboard has an appearance somewhat similar to a comic book, and it shows the sequence of
shots as consecutive sketches that also indicate transitions, camera angles, and framing. The
images allow the animation team to plan the flow of the plot and the composition of the
imagery. The storyboard artists will have regular meetings with the director and may have to
redraw or "re-board" a sequence many times before it meets final approval.
Rotoscoping
Rotoscoping is an animation technique used by
animators to trace over motion picture footage, frame
by frame, when realistic action is required. Originally,
photographed live-action movie images were projected
onto a glass panel and re-drawn by an animator. This
projection equipment is referred to as a Rotoscope.
Although this device was eventually replaced by
computers, the process is still referred to as
Rotoscoping. In the visual effects industry, the term
Rotoscoping refers to the technique of manually
creating a matte for an element on a live-action plate
so it may be composited over another background.
Patent drawing for Fleischer's original rotoscope. The artist is drawing on a transparent easel,
onto which the movie projector at the right is beaming an image of a single movie frame

Drawn on film
Drawn-on-film animation, also known as
direct animation or animation without
camera, is an animation technique
where footage is produced by creating
the images directly on film stock, as
opposed to any other form of animation
where the images or objects are
photographed frame by frame with an
animation camera. There are two basic
methods to produce animation directly
on film. One starts with blank film
stock, the other one with black (already developed) film. On blank film the artist can draw,
paint, stamp, or even glue or tape objects. Black film (or any footage) can be scratched,
etched, sanded, or punched. Any tool the artist finds useful may be used for this, and all
techniques can be combined endlessly. The frame borders may be observed or completely
ignored, found footage may be included, any existing image might be distorted by mechanical
or chemical means. A third method takes place in a darkroom, using unexposed film that is
exposed frame by frame. The artists places objects onto the fresh stock and then uses a small
light beam to create the images. This third category of work has to be sent to a lab and
processed, just like films created with a camera.

Large formats such as 70 or 35mm film may be preferred for their relatively larger working
area, but direct animation is done on 16 mm or even Super 8 mm film as well. Since the sound
strip on 35 mm film is optical, it is possible to create synthetic sound as well as images by
drawing or otherwise reproducing forms in the soundtrack area.

The first and best known practictioners of drawn-on-film animation include Len Lye, Norman
McLaren, Stan Brakhage, then later artists including Steven Woloshen, Richard R. Reeves and
Baerbel Neubauer, who produced numerous animated films using these methods. Their work
covers the whole span between narrative and totally abstract animation. Other filmmakers in
the 1960s expanded the idea and subjected the film stock to increasingly radical methods, up
to the point where the film was destroyed in the process projection. Some artists made this
destruction a statement, others went back one step and copied the original work film strip to
get a projection copy.

Direct animation can be an inexpensive way to produce a film; it can even be done on
outtakes, or discarded film strips from other projects. It is a form of animation that is inviting
to beginners and accomplished artists alike. Norman McLaren wrote a short illustrated
introduction "How to make animated movies without a camera" which was originally published
by UNESCO in 1949. Helen Hill published a collection called Recipes for Disaster that includes a
wide range of approaches to creating images directly on film. Today, cameraless animation is
being produced worldwide.

Digital techniques for 2D animation

2D bitmap graphics
2D computer graphics is the computer-based generation of digital imagesmostly from two-
dimensional models (such as 2D geometric models, text, and digital images) and by techniques
specific to them. The word may stand for the branch of computer
science that comprises such techniques, or for the models themselves.

Raster graphic sprites (left) and masks (right)

2D computer graphics are mainly used in applications that were

originally developed upon traditional printing and drawing
technologies, such as typography, cartography, technical drawing,
advertising, etc. In those applications, the two-dimensional image is
not just a representation of a real-world object, but an independent
artifact with added semantic value; two-dimensional models are
therefore preferred, because they give more direct control of the image than 3D computer
graphics (whose approach is more akin to photography than to typography).

In many domains, such as desktop publishing, engineering, and business, a description of a

document based on 2D computer graphics techniques can be much smaller than the
corresponding digital imageoften by a factor of 1/1000 or more. This representation is also
more flexible since it can be rendered at different resolutions to suit different output devices.
For these reasons, documents and illustrations are often stored or transmitted as 2D graphic
files.

2D computer graphics started in the 1950s, based on vector graphics devices. These were
largely supplanted by raster-based devices in the following decades. The PostScript language
and the X Window System protocol were landmark developments in the field.

2D vector graphics
Vector graphics is the use of polygons to represent images in computer graphics. Vector
graphics are based on vectors, which lead through locations called control points or nodes.
Each of these points has a definite position on the x- and y-axes of the work plane and
determines the direction of the path; further, each path may be assigned various attributes,
including such values as stroke color, shape, curve, thickness, and fill.

The World Wide Web Consortium (W3C) standard for vector graphics is Scalable Vector
Graphics (SVG). The standard is complex and has been relatively slow to be established at least
in part owing to commercial interests. Many web browsers now have some support for
rendering SVG data, but full implementations of the standard are still comparatively rare.

In recent years, SVG has become a significant format that is completely independent of the
resolution of the rendering device, typically a printer or display monitor. SVG files are
essentially printable text that describes both straight and curved paths, as well as other
attributes. Wikipedia prefers SVG for images such as simple maps, line illustrations, coats of
arms, and flags, which generally are not like photographs or other continuous-tone images.
Rendering SVG requires conversion to raster format at a resolution appropriate for the current
task. SVG is also a format for animated graphics.

There is also a version of SVG for mobile phones. In

particular, the specific format for mobile phones is
called SVGT (SVG Tiny version). These images can
count links and also exploit anti-aliasing. They can
also be displayed as wallpaper.

This vector-based image of a round four-color swirl

displays several unique features of vector graphics
versus raster graphics: there is no aliasing along the
rounded edge which results in digital artefacts, the
colour gradients are all smooth, and the user can
resize the image infinitely without losing any quality.

Application software
Flash
Adobe Animate (formerly called Adobe Flash and Shockwave Flash)
is a multimedia software platform used for production of
animations, rich Internet applications, desktop applications,
mobile applications and mobile games. Flash displays text, vector
graphics and raster graphics to provide animations, video games
and applications. It allows streaming of audio and video, and can
capture mouse, keyboard, microphone and camera input.
Artists may produce Flash graphics and animations using Adobe Animate. Software developers
may produce applications and video games using Adobe Flash Builder, FlashDevelop, Flash
Catalyst, or any text editor when used with the Apache Flex SDK.

End-users can view Flash content via Flash Player (for web browsers), AIR (for desktop or
mobile apps) or third-party players such as Scaleform (for video games). Adobe Flash Player
(supported on Microsoft Windows, macOS and Linux) enables end-users to view Flash content
using web browsers. Adobe Flash Lite enabled viewing Flash content on older smartphones, but
has been discontinued and superseded by Adobe AIR (Adobe Integrated Runtime).

The ActionScript programming

language allows the development
of interactive animations, video
games, web applications, desktop
applications and mobile
applications. Programmers can
implement Flash software using
an IDE such as Adobe Animate,
Adobe Flash Builder, Adobe
Director, FlashDevelop and
Powerflasher FDT. Adobe AIR
enables full-featured desktop and
mobile applications to be
developed with Flash, and published for Windows, macOS, Android, iOS, Xbox One, PlayStation
4, Nintendo Switch, and Wii U.

Content-providers frequently[quantify] used to use Flash to display streaming video,

advertising and interactive multimedia content on web pages and on Flash-enabled software.
However, after the 2000s, the usage of Flash on Web sites declined.

Photoshop
Adobe Photoshop is a raster graphics editor developed and
published by Adobe Systems for macOS and Windows.

Photoshop was created in 1988 by Thomas and John Knoll.

Since then, it has become the de facto industry standard
in raster graphics editing, such that the word "photoshop"
has become a verb as in "to Photoshop an image,"
"photoshopping" and "photoshop contest", though Adobe
discourages such use. It can edit and compose raster
images in multiple layers and supports masks, alpha
compositing and several color models including RGB, CMYK, CIELAB, spot color and duotone.
Photoshop has vast support for graphic file formats but also uses its own PSD and PSB file
formats which support all the aforementioned features. In addition to raster graphics, it has
limited abilities to edit or render text, vector graphics (especially through clipping path), 3D
graphics and video. Photoshop's featureset can be expanded by Photoshop plug-ins, programs
developed and distributed independently of Photoshop that can run inside it and offer new or
enhanced features.
Photoshop's naming scheme was
initially based on version
numbers. However, in October
2002, following the
introduction of Creative Suite
branding, each new version of
Photoshop was designated with
"CS" plus a number; e.g., the
eighth major version of
Photoshop was Photoshop CS
and the ninth major version
was Photoshop CS2. Photoshop
CS3 through CS6 were also
distributed in two different
editions: Standard and
Extended. In June 2013, with
the introduction of Creative Cloud branding, Photoshop's licensing scheme was changed to that
of software as a service rental model and the "CS" suffixes were replaced with "CC".
Historically, Photoshop was bundled with additional software such as Adobe ImageReady, Adobe
Fireworks, Adobe Bridge, Adobe Device Central and Adobe Camera RAW.

Alongside Photoshop, Adobe also develops and publishes Photoshop Elements, Photoshop
Lightroom, Photoshop Express and Photoshop Touch. Collectively, they are branded as "The
Adobe Photoshop Family". It is currently a licensed software

Development
Pioneers
Joseph Plateau
Joseph Antoine Ferdinand Plateau born 14th October 1801 died
15th September 1883 was a Belgian physicist. He was one of the
first people to demonstrate the illusion of a moving image. the
middle image is of the device of 1832 called
the phenakistoscope. he used counter rotating disks with
repeating drawn images in small increments of motion on one
and regularly spaced slits in the other.

Research: https://en.wikipedia.org/wiki/Joseph_Plateau

In 1829 Joseph Plateau submitted his doctoral thesis to his

mentor Adolphe Quetelet for advice. It contained only 27 pages,
but formulated a great number of fundamental conclusions. It
contained the first results of his research into the effect of colours on the retina (duration,
intensity and colour), his mathematical research into the intersections of revolving curves
(locus), the observation of the distortion of moving images, and the reconstruction of distorted
images through counter revolving discs (he dubbed these anorthoscopic discs).In 1832, Plateau
invented an early stroboscopic device, the "phenakistoscope", the first device to give the
illusion of a moving image. It consisted of two disks, one with small equidistant radial
windows, through which the viewer could look, and
another containing a sequence of images. When the
two disks rotated at the correct speed, the
synchronization of the windows and the images
created an animated effect. The projection of
stroboscopic photographs, creating the illusion of
motion, eventually led to the development of cinema.

Plateau also studied the phenomena of capillary

action and surface tension (Statique exprimentale et
thorique des liquides soumis aux seules forces
molculaires, 1873). The mathematical problem of
existence of a minimal surface with a given boundary
is named after him. He conducted extensive studies of soap films and formulated Plateau's
laws which describe the structures formed by such films in foams.

William Horner
William George Horner born 9 June 1786 died 22 September 1837) was a British
mathematician; he was a schoolmaster, headmaster and schoolkeeper, proficient in classics as
well as mathematics, who wrote extensively on functional equations, number theory and
approximation theory, but also on optics. His contribution to approximation theory is honoured
in the designation Horner's method, in particular respect of a paper in Philosophical
Transactions of the Royal Society of London for 1819. The modern invention of the zoetrope,
under the name Daedaleum in 1834, has been attributed to him. Horner died comparatively
young, before the establishment of specialist, regular scientific periodicals. So, the way others
have written about him has tended to diverge, sometimes markedly, from his own prolific, if
dispersed, record of publications and the contemporary reception of them. The eldest son of
the Rev. William Horner, a Wesleyan minister, was born in Bristol. He was educated at
Kingswood School, a Wesleyan foundation near Bristol, and at the age of sixteen became an
assistant master there. In four years he rose to be headmaster (1806), but left in 1809, setting
up his own school, The Classical Seminary, at Grosvenor Place, Bath, which he kept until he
died there 22 September 1837. He and his wife Sarah (1787?1864) had six daughters and two
sons. One of the sons, another William Horner, continued to run the school. He, too, had a
large family; the youngest were twins, Charles and Francis John Horner (18521887). Francis
Horner matriculated at St. John's College, Cambridge in 1872, taking out a BA in 1876 and an
MA in 1883. He became a lecturer in mathematics at the University in Sydney, where he died
after only a few years - he had been advised to try a change of climate on account of
tuberculosis. A longer association with Australia comes through the issue of Horner's daughter
Mary, which retained the name `Horner' through several generations. Mary's son Joseph Horner
Fletcher, was a Methodist school headmaster in New Zealand and then Australia. Neville Horner
Fletcher (1930- ), FTSE, FAA, is a physicist at the Australian National University. On Horner's
death in 1837, Sarah Horner lived with another daughter, Charlotte Augusta (1819?--1863; m.
1849)), and son-in-law, John La[u?]mble Harrison (1820?--1877)), and their daughters,
Charlotte Sarah (b. 1852) and Elizabeth Caroline (b. 1856), at 33, Grovesnor Place, Bath.
Horner's youngest brother, Joseph Horner, was also an assistant master at Kingswood School,
but in 1834 matriculated as a mature student at Clare College, Cambridge, standing twelfth
Wrangler in the Mathematical Tripos in 1838 (the same year, John Thompson Exley, the son of
W. G. Horner's associate Thomas Exley, stood twenty-third). Joseph Horner was a Fellow of
 Clare
College
and then
vicar of
Everton
with

Tetsworth from 1839 until his death in

1875. He, too, published in
mathematics. Other brothers were
Thomas Horner, who died young; John
Horner, a Wesleyan minister in India; and
James Horner, cabinet maker of Bath.
Heres an example of what the first praxinoscope
According to Horner, John Horner was
looked like.
the first missionary to come out of
Kingswood School: he translated Bel and the Dragon into Marathi and his son, Horner's nephew,
again John Horner, was tutor to the children of servants in the Sovereign's Household.

Research: http://tomtyldesleyanimation1.blogspot.co.uk/2011/06/animation-pioneers-
william-horner.html

William Horner was another animation pioneer, who created the zoetrope. He created the
zoetrope in the year 1834.A zoetrope is a device that produces an illusion of action from a
rapid succession. It was basically a improvement on the phenkitascope. it lead to the
praxinoscope being made and also lead to animation being viewed simpler. this made
animation easier to be seen because it had small slits on the side where the person could look
inside and it would give a better effect than a phenkitascope. the designs on the zoetrope
vary from animals to football players, and is still used today.

Emile Reynaud
 Charles-mile Reynaud born 8 December 1844 died 9
January 1918) was a French inventor, responsible for
the first projected animated cartoons. Reynaud
created the Praxinoscope in 1877 and the Thtre
Optique in December 1888, and on 28 October 1892
he projected the first animated film in public, Pauvre
Pierrot, at the Muse Grvin in Paris. This is also
notable as the first known instance of film
perforations being used. Reynaud's late years were
tragic after 1910 when, his creations outmoded by the
Cinematograph, dejected and penniless, he threw the
greater part of his irreplaceable work and unique
equipment into the Seine. The public had forgotten
his "Thtre Optique" shows, which had been a
celebrated attraction at the Muse Grevin between 1892 and 1900. He died in a hospice on the
banks of the Seine where he had been cared for since 29 March 1917.

Praxinoscope: https://en.wikipedia.org/wiki/Praxinoscope

The praxinoscope was an animation device, the successor to the zoetrope. It was invented in
France in 1877 by Charles-mile Reynaud. Like the zoetrope, it used a strip of pictures placed
around the inner surface of a spinning cylinder. The praxinoscope improved on the zoetrope by
replacing its narrow viewing slits with an inner circle of mirrors, placed so that the reflections
of the pictures appeared more or less stationary in position as the wheel turned. Someone
looking in the mirrors would therefore see a rapid succession of images producing the illusion
of motion, with a brighter and less distorted
picture than the
zoetrope offered. In
1889 Reynaud
developed the Thtre
Optique, an improved
version capable of
projecting images on a
screen from a longer
roll of pictures. This
allowed him to show
hand-drawn animated
cartoons to larger
audiences, but it was soon eclipsed in popularity by
the photographic film Heres an example of what the projector of the Lumire
brothers. more improved praxinoscope
looked like.
20th century reviail: The Red Raven Magic Mirror and
its special children's phonograph records, introduced in the US in 1956, was a 20th-century
adaptation of the praxinoscope. The Magic Mirror was a sixteen-sided praxinoscopic reflector
with angled facets. It was placed over the record player's spindle and rotated along with the
78 rpm record, which had a very large label with a sequence of sixteen interwoven animation
frames arrayed around its center. As the record played, the user gazed into the Magic Mirror
and saw an endlessly repeating animated scene that illustrated the recorded song. In the
1960s, versions of the Red Raven system were introduced in Europe and Japan under various
namesTeddy in France and the Netherlands, Mamil Moviton in Italy, etc.

Edison
Thomas Alva Edison born February 11 1847 died October 18 1931
was an American inventor and businessman. He developed many
devices that greatly influenced life around the world, including
the phonograph, the motion picture camera, and the long-lasting,
practical electric light bulb. Dubbed "The Wizard of Menlo Park",
he was one of the first inventors to apply the principles of mass
production and large-scale teamwork to the process of invention,
and because of that, he is often credited with the creation of the
first industrial research laboratory.

Motion pictures: https://en.wikipedia.org/wiki/Thomas_Edison

edison was also granted a patent for the motion picture camera or "Kinetograph". He did the
electromechanical design, while his employee W. K. L. Dickson, a photographer, worked on the
photographic and optical development. Much of the credit for the invention belongs to
Dickson. In 1891, Thomas Edison built a Kinetoscope, or peep-hole viewer. This device was
installed in penny arcades, where people could watch short, simple films. The kinetograph and
kinetoscope were both first publicly exhibited May 20, 1891. In April 1896, Thomas Armat's
Vitascope, manufactured by the Edison factory and marketed in Edison's name, was used to
project motion pictures in public screenings in New York City. Later he exhibited motion
pictures with voice soundtrack on cylinder recordings, mechanically synchronized with the
film. Officially the kinetoscope entered Europe when the rich American Businessman Irving T.
Bush (18691948) bought from the Continental Commerce Company of Frank Z. Maguire and
Joseph D. Baucus a dozen machines. Bush placed from October 17, 1894, the first kinetoscopes
in London. At the same time the French company Kintoscope Edison Michel et Alexis Werner
bought these machines for the market in France. In the last three months of 1894, The
Continental Commerce Company sold hundreds of kinetoscopes in Europe (i.e. the Netherlands
and Italy). In Germany and in Austria-Hungary the kinetoscope was introduced by the
Deutsche-sterreichische-Edison-Kinetoscop Gesellschaft, founded by the Ludwig Stollwerck of
the Schokoladen-Ssswarenfabrik Stollwerck & Co of Cologne. The first kinetoscopes arrived in
Belgium at the Fairs in early 1895. The Edison's Kintoscope Franais, a Belgian company, was
founded in Brussels on January 15, 1895, with the rights to sell the kinetoscopes in Monaco,
France and the French colonies. The main investors in this company were Belgian
industrialists. On May 14, 1895, the Edison's Kintoscope Belge was founded in Brussels. The
businessman Ladislas-Victor Lewitzki, living in London but active in Belgium and France, took
the initiative in starting this business. He had contacts with Leon Gaumont and the American
Mutoscope and Biograph Co. In 1898 he also became a shareholder of the Biograph and
Mutoscope Company for France. Edison's film studio made close to 1,200 films. The majority of
the productions were short films showing everything from acrobats to parades to fire calls
including titles such as Fred Ott's Sneeze (1894), The Kiss (1896), The Great Train
Robbery (1903), Alice's Adventures in Wonderland (1910), and the first Frankenstein film in
1910. In 1903, when the owners of Luna Park, Coney Island announced they would
execute Topsy the elephant by strangulation, poisoning, and electrocution (with the
electrocution part ultimately killing the elephant),
Edison Manufacturing sent a crew to film it, releasing it
that same year with the title Electrocuting an Elephant.

Lumiere brothers
The Lumire
brothers, Auguste
Marie Louis Nicolas
born 19 October
1862, Besanon,
France died 10
April 1954, Lyon and
Louis Jean born 5 October 1864, Besanon, France died 6 June 1948, Bandol. were the first
filmmakers in history. They patented the cinematograph, which in contrast to Edison's
"peepshow" kinetoscope allowed simultaneous viewing by multiple parties.

Their first film Sortie de l'usine Lumire de Lyon (1895) is considered the "first true motion
picture.

First film screenings: https://en.wikipedia.org/wiki/Auguste_and_Louis_Lumi%C3%A8re

The Lumires held their first private screening of

projected motion pictures in 1895.[8] The
American Woodville Latham had screened works of
film seven months earlier, but the first public screening of films at which admission was
charged was held on December 28, 1895, at Salon Indien du Grand Caf in Paris.[9][dubious
discuss] This history-making presentation featured ten short films, including their first film,
Sortie des Usines Lumire Lyon (Workers Leaving the Lumire Factory).[10] Each film is 17
meters long, which, when hand cranked through a projector, runs approximately 50 seconds.

The world's first film poster, for 1895's L'Arroseur arros. It is believed their first film was
actually recorded that same year (1895)[11] with Lon Bouly's cinmatographe device, which
was patented the previous year. The cinmatographe a three-in-one device that could
record, develop, and project motion pictures was further developed by the Lumires. The
public debut at the Grand Caf came a few months later
Developers
Walt Disney
Walter Elias "Walt" Disney December 5, 1901 December 15,
1966) was an American entrepreneur, animator, voice actor
and film producer. A pioneer of the American animation
industry, he introduced several developments in the
production of cartoons. As a film producer, Disney holds the
record for most Academy Awards earned by an individual,
having won 22 Oscars from 59 nominations. He was presented
with two Golden Globe Special Achievement Awards and an
Emmy Award, among other honors. Several of his films are
included in the National Film Registry by the Library of
Congress.

Born in Chicago in 1901, Disney developed an early interest in drawing. He took art classes as a
boy and got a job as a commercial illustrator at the age of 18. He moved to California in the
early 1920s and set up the Disney Brothers Studio with his brother Roy. With Ub Iwerks, Walt
developed the character Mickey Mouse in 1928, his first highly popular success; he also
provided the voice for his creation in the early years. As the studio grew, Disney became more
adventurous, introducing synchronized sound, full-color three-strip Technicolor, feature-length
cartoons and technical developments in cameras. The results, seen in features such as Snow
White and the Seven Dwarfs (1937), Fantasia, Pinocchio (both 1940), Dumbo (1941) and Bambi
(1942), furthered the development of animated film. New animated and live-action films
followed after World War II, including the critically successful Cinderella (1950) and Mary
Poppins (1964), the latter of which received five Academy Awards.

In the 1950s, Disney expanded into the amusement park industry, and in 1955 he opened
Disneyland. To fund the project he diversified into television programs, such as Walt Disney's
Disneyland and The Mickey Mouse Club; he was also involved in planning the 1959 Moscow Fair,
the 1960 Winter Olympics, and the 1964 New York World's Fair. In 1965, he began development
of another theme park, Disney World, the heart of which was to be a new type of city, the
"Experimental Prototype Community of Tomorrow" (EPCOT). Disney was a heavy smoker
throughout his life, and died of lung cancer in December 1966 before either the park or the
EPCOT project were completed.

Disney was a shy, self-deprecating and insecure man in private, but adopted a warm and
outgoing public persona. He had high standards and high expectations of those with whom he
worked. Although there have been accusations that he was racist or anti-semitic, they have
been contradicted by many who knew him. His reputation changed in the years after his death,
from a purveyor of homely patriotic values to a representative of American imperialism.
Nevertheless, Disney is considered a cultural icon, particularly in the United States, where the
company he co-founded is one of the world's largest and best-known entertainment companies.

Hannah Barbera
Hanna-Barbera Productions, Inc. (simply known as Hanna-Barbera and also referred to as H-B
Enterprises, H-B Production Company and Hanna-Barbera Cartoons), was an American
animation studio that dominated American television animation for three decades in the mid-
to-late 20th century, founded in 1957 by former Metro-Goldwyn-Mayer animation directors
William Hanna and Joseph Barbera (creators of Tom and Jerry) and live-action director George
Sidney in partnership with Screen Gems, television arm of Columbia Pictures.[1] Sold to Taft
Broadcasting in late 1966, it spent the next two decades as its subsidiary. It is considered the
very first animation studio to successfully produce cartoons made exclusively for television.

Hanna-Barbera is known for creating a wide variety of popular animated characters and for
over 30 years, the studio produced smash hit cartoon shows, including Yogi Bear, The
Flintstones, The Jetsons, Wacky Races, Scooby-Doo and The Smurfs. For their achievements,
Hanna and Barbera together won seven Academy Awards, eight Emmy Awards, a Golden Globe
Award and a star on the Hollywood Walk of Fame. The pair was also inducted into the
Television Academy Hall of Fame in 1993.

Hanna-Barbera's fortunes declined in the mid-1980s when the profitability of Saturday morning
cartoons was eclipsed by weekday afternoon syndication. In late 1991, the studio was
purchased from Taft (by then named Great American Broadcasting) by Turner Broadcasting
System (Ted Turner's company), who used much of its back catalog to program its new TV
channel, Cartoon Network. After Turner purchased the company, Hanna and Barbera continued
to serve as creative consultants and mentors.

Turner merged with Time Warner in 1996 and the studio became a subsidiary of Warner Bros.
Animation, into which Hanna-Barbera was absorbed after Hanna died in 2001. Cartoon Network
Studios continued the projects for the channel's output. Barbera went on to work for Warner
Bros. Animation until his death in 2006.

As of 2017, the studio exists as an in-name-only unit used to market properties and productions
associated with the Hanna-Barbera library, specifically its "classic" works. In 2005, the
Academy of Television Arts & Sciences honored Hanna and Barbera with a bronze wall sculpture
of themselves and their characters.

Warner Bros
WARNER BROS. ENTERTAINMENT INC. is a fully
integrated, broad-based entertainment
company and a global leader in the creation,
production, distribution, licensing and
marketing of all forms of entertainment and
their related businesses. A Time Warner
Company, the fully integrated, broad-based
Studio is home to one of the most successful
collections of brands in the world and stands
at the forefront of every aspect of the
entertainment industry from feature film,
television and home entertainment production and worldwide distribution to DVD and Blu-ray,
digital distribution, animation, comic books, video games, product and brand licensing, and
broadcasting. The companys vast library, one of the most prestigious and valuable in the
world, consists of more than 75,000 hours of programming, including nearly 7,000 feature films
and 5,000 television programs comprised of tens of thousands of individual episodes. Warner
Bros. Entertainments employee population ranges from 5,000 to 10,000 on any given day in
North America (depending on the level of television and movie production) and some 2,000
employees overseas. 2016 marked the 10th consecutive year Warner Bros. Pictures crossed the
$3 billion mark at the global box office with $4.93 billion in worldwide receipts ($1.9 billion
domestic, $3.03 billion international). The year was also 16th consecutive frame that both the
domestic and international divisions crossed the billion-dollar marka milestone no other
studio has achieved. For the 16th consecutive year, Warner Bros. Home Entertainment was,
once again, the industrys leader, with 17 percent market share, and was number one in the
Total Theatrical Library, Television, Family, Digital and Sell-Through categories. Warner Bros.
Television Groups WBTV, Warner Horizon Television, Telepictures, Warner Bros. Animation and
Blue Ribbon Content continued to produce televisions most popular and successful series for
the broadcast, cable, pay and digital marketplaces, producing more than 70 series in the 2016-
17 season. Working across all platforms and outlets, the Studio continued to be a category
leader and trendsetter in the digital realm with VOD (transactional and ad-supported), original
content, apps, anti-piracy technology and the launch of Warner Bros. Digital Networks,
founded in June 2016 to expand Warner Bros. OTT footprint by launching new offerings,
growing current company-owned services and making strategic alliances. WBDN will also work
closely with Time Warner divisions Turner and HBO as part of Time Warners overall strategy to
reach audiences directly through currently owned OTT services as well as those to be launched
in the future.

Animation

Warner Bros. Animation is one of the leading producers of animation in the entertainment
industry, with an innovative and talent-rich roster boasting some of the most accomplished
writers, producers and artists working today. WBA is home to the iconic animated characters
from the DC, Hanna-Barbera, MGM and Looney Tunes libraries. The studio is on the cutting
edge of animation technology, and has both CG and traditionally animated projects in current
production and development. WBA also creates the highly successful series of DC Universe
original animated movies for DVD.

Norman McLaren
Norman McLaren, CC CQ (11 April 1914 27 January
1987) was a Scottish/Canadian animator, director and
producer known for his work for the National Film
Board of Canada (NFB). He was a pioneer in a number
of areas of animation and filmmaking, including hand-
drawn animation, drawn-on-film animation, visual
music, abstract film, pixilation and graphical sound.

His awards included an Oscar for the Best

Documentary in 1952 for Neighbours, a Silver Bear for best short documentary at the 1956
Berlin International Film Festival Rythmetic and a 1969 BAFTA Award for Best Animated Film for
Pas de deux. McLaren was born in Stirling, Scotland and studied set design at the Glasgow
School of Art. His early experiments with film and animation included actually scratching and
painting the film stock itself, as he did not have ready access to a camera. His earliest extant
film, Seven Till Five (1933), a "day in the life of an art school" was influenced by Eisenstein and
displays a strongly formalist attitude.

McLaren's next film, Camera Makes Whoopee (1935), was a more elaborate take on the themes
explored in Seven Till Five, inspired by his acquisition of a Cin-Kodak camera, which enabled
him to execute a number of 'trick' shots. McLaren used pixilation effects, superimpositions and
animation not only to display the staging of an art school ball, but also to tap into the
aesthetic sensations supposedly produced by this event.

His two early films won prizes at the Scottish Amateur Film Festival, where fellow Scot and
future NFB founder John Grierson was a judge.

GPO Film Unit

Grierson, who was at that time head of the UK General Post Office film unit, saw another of
his movies at an amateur film festival and took interest. He hired McLaren for the GPO after
his studies, following a stint as cameraman on Defence of Madrid, Ivor Montagus documentary
on the Spanish Civil War. McLaren worked at the GPO from 1936 to 1939, making four films
including: Book Bargain (1937), Mony a Pickle and Love on the Wing (1938), and News for the
Navy (1938).

Solomon Guggenheim Foundation

McLaren then moved to New York City in 1939, just as World War II was about to begin in
Europe. With a grant from the Solomon Guggenheim Foundation, he worked in New York until
1941, making four drawn-on-film animated works: Boogie-Doodle (1940), along with Dots,
Loops and Stars and Stripes.

NFB

At the invitation of Grierson, he moved to Canada in 1941 to work for the National Film Board,
to open an animation studio and to train Canadian animators. Upon McLaren's arrival in
Canada, Grierson asked him to direct a promotional film reminding Canadians to mail their
Christmas cards early, Mail Early (1941). He then worked on animated shorts as well as maps
for Allied propaganda documentary films, followed by his War Bonds campaign films: V for
Victory (1941), 5 for 4 (1942), Hen Hop (1942) and Dollar Dance (1943).

As of 1942, McLaren could no longer keep up with the demands for animation at the fast-
growing NFB, and he was asked by Grierson to recruit art students and create a small
animation teama task made more difficult because many young students had gone off to fight
in the war. McLaren found recruits for his fledgling animation unit at the cole des beaux-arts
de Montral and the Ontario College of Art, including Ren Jodoin, George Dunning, Jim McKay,
Grant Munro and his future collaborator, Evelyn Lambart. McLaren trained these emerging
animators, who would all work on cartoons, animated cards and propaganda documentaries
before going on to make their own films. Studio A, the NFB's first animation studio, formally
came into existence as of January 1943, with McLaren as its head.[1][6]

During his work for the NFB, McLaren created his most famous film, Neighbours (1952), which
has won various awards around the world, including the Canadian Film Award and the Academy
Award. Besides the brilliant combination of visuals and sound, the film has a very strong social
message against violence and war. In his early period in Canada, McLaren spent considerable
time developing the animation department of the board.

UNESCO

In addition to film, McLaren worked with UNESCO in the 1950s and 1960s on programs to teach
film and animation techniques in China and India. His five part "Animated Motion" shorts,
produced in the late 1970s, are an excellent example of instruction on the basics of film
animation.

Len Lye
Leonard Charles Huia "Len" Lye 5 July 1901 15 May
1980), was a Christchurch, New Zealand-born artist
known primarily for his experimental films and
kinetic sculpture. His films are held in archives
including the New Zealand Film Archive, British
Film Institute, Museum of Modern Art in New York
City, and the Pacific Film Archive at University of
California, Berkeley. Lye's sculptures are found in
the collections of the Whitney Museum of American
Art, the Art Institute of Chicago, the Albright-Knox
Art Gallery and the Berkeley Art Museum. Although
he became a naturalized citizen of the United
States in 1950, much of his work went to New
Zealand after his death, where it is housed at the
Govett-Brewster Art Gallery in New Plymouth.

As a student, Lye became convinced that motion could be part of the language of art, leading
him to early (and now lost) experiments with kinetic sculpture, as well as a desire to make
film. Lye was also one of the first Pkeh artists to appreciate the art of Mori, Australian
Aboriginal, Pacific Island and African cultures, and this had great influence on his work. In the
early 1920s Lye travelled widely in the South Pacific. He spent extended periods in Australia
and Samoa, where he was expelled by the New Zealand colonial administration for living
within an indigenous community.

Working his way as a coal trimmer aboard a steam ship,

Lye moved to London in 1926. There he joined the Seven
and Five Society, exhibited in the 1936 International
Surrealist Exhibition and began to make experimental
films. Following his first animated film Tusalava, Lye
began to make films in association with the British
General Post Office, for the GPO Film Unit. He
reinvented the technique of drawing directly on film,
producing his animation for the 1935 film A Colour Box,
an advertisement for "cheaper parcel post", without
using a camera for anything except the title cards at
the beginning of the film. It was the first direct film
screened to a general audience. It was made by
painting vibrant abstract patterns on the film itself,
synchronizing them to a popular dance tune by
Don Baretto and His Cuban Orchestra. A panel of
animation experts convened in 2005 by the Annecy
film festival put this film among the top ten most
significant works in the history of animation (his
later film Free Radicals was also in the top 50). Lye also worked for the GPO Film Unit's
successor, the Crown Film Unit producing wartime information films, such as Musical Poster
Number One. On the basis of this work, Lye was later offered work for The March of Time
newsreel in New York. Leaving his wife and children in England, Lye moved to New York in
1944.

In Free Radicals he used black film stock and scratched designs into the emulsion. The result
was a dancing pattern of flashing lines and marks, as dramatic as lightning in the night sky. In
2008, this film was added to the United States National Film Registry.

Lye continued to experiment with the possibilities of

direct film-making to the end of his life. In various films
he used a range of dyes, stencils, air-brushes, felt tip
pens, stamps, combs and surgical instruments, to create
images and textures on celluloid. In Color Cry, he
employed the "photogram" method combined with
various stencils and fabrics to create abstract patterns.
It is a 16mm direct film featuring a searing soundtrack
by the blues singer Sonny Terry.

As a writer, Len Lye produced a body of work exploring

his theory of IHN (Individual Happiness Now). He also wrote a large number of letters and
poems. He was a friend of Dylan Thomas, and of Laura Riding and Robert Graves (their Seizin
Press published No Trouble, a book drawn from Lye's letters to them, his mother, and others, in
1930). The NZEPC (New Zealand Electronic Poetry Centre) website contains a selection of Lye's
writings, which are just as surprising and experimental as his work in other media. One of his
theories was that artists attempt to reproduce themselves in their works, which he exposited
in an essay complete with visual examples.

A 45m Wind Wand on the New Plymouth waterfront

Lye was also an important kinetic sculptor and what he referred to as "Tangibles". He saw film
and kinetic sculpture as aspects of the same "art of motion", which he theorised in a highly
original way in his essays (collected in the book Figures of Motion).

Many of his kinetic works can be found at the Govett-Brewster Art Gallery in New Plymouth,
Taranaki including a 45-metre high Wind Wand near the sea. The Water Whirler, designed by
Lye but never realised in his lifetime, was installed on Wellington's waterfront in 2006. His
"Tangibles" were shown at MOMA in New York in 1961 and are now found worldwide. In 1977,
Len Lye returned to his homeland to oversee the first New Zealand exhibition of his work at
the Govett-Brewster Art Gallery. Shortly before his death in 1980, Lye and his supporters
established the Len Lye Foundation, to which he gave his work. The gallery is the repository
for much of this collection, employing a full-time curator to ensure its preservation and
appropriate exhibition.

Lye was a maverick, never fitting any of the usual art historical labels. Although he did not
become a household name, his work was familiar to many film-makers and kinetic sculptors -
he was something of an "artist's artist", and his innovations have had an international
influence. He is also remembered for his colourful personality, amazing clothes, and highly
unorthodox lecturing style (he taught at New York University for three years).

The 21st century has seen renewed international interest in Lye's career with retrospectives
held at the Pompidou Centre, Paris in 2000, an Australian touring exhibition organised in 2001
by the Art Gallery of NSW, Sydney, at ACMI, Melbourne in 2009,and at Ikon Gallery, Birmingham
UK in 2010. Similarly, in New Zealand, surveys have been shown at the Gus Fisher Gallery,
Auckland in 2009, and City Gallery Wellington in 2013. The University of Auckland staged an
opera about his life in 2012.

Contemporary work
Monty Python

Monty Python (sometimes known as The Pythons) were a British surreal comedy group who
created their sketch comedy show Monty Python's Flying Circus, which first aired on the BBC in
1969. Forty-five episodes were made over four series. The Python phenomenon developed from
the television series into something larger in scope and impact, including touring stage shows,
films, numerous albums, several books, and a stage musical. The Pythons' influence on comedy
has been compared to the Beatles' influence on music. The Orlando Sentinel referred to their
sketch show as "not only one of the more enduring icons of 1970s British popular culture, but
also an important moment in the evolution of television comedy."

Broadcast by the BBC between 1969 and 1974, Flying Circus was conceived, written, and
performed by its members Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones,
and Michael Palin. Loosely structured as a sketch show, but with an innovative stream-of-
consciousness approach (aided by Gilliam's animation), it pushed the boundaries of what was
acceptable in style and content. A self-contained comedy team responsible for both writing
and performing their work, the Pythons had creative control which allowed them to
experiment with form and content, discarding rules of television comedy. Following their
television work, they began making films, which include Holy Grail (1975), Life of Brian (1979)
and The Meaning of Life (1983). Their influence on British comedy has been apparent for years,
while in North America, it has coloured the work of cult performers from the early editions of
Saturday Night Live through to more recent absurdist trends in television comedy.
"Pythonesque" has entered the English lexicon as a result.

In a 2005 poll of over 300 comics, comedy writers, producers and directors throughout the
English-speaking world to find "The Comedian's Comedian", three of the six Pythons members
were voted by fellow comedians and comedy insiders to be among the top 50 greatest
comedians ever: Cleese at No. 2, Idle at No. 21, and Palin at No.30

Yellow Submarine
Yellow Submarine is a 1968 British animated musical
fantasy comedy film inspired by the music of the
Beatles, directed by animation producer George
Dunning, and produced by United Artists and King
Features Syndicate. Initial press reports stated that
the Beatles themselves would provide their own
character voices;however, aside from composing and
performing the songs, the real Beatles participated
only in the closing scene of the film, while their
cartoon counterparts were voiced by other actors.

The film received a widely positive reception from

critics and audiences alike. It is also credited with
bringing more interest in animation as a serious art
form. Time commented that it "turned into a smash
hit, delighting adolescents and esthetes alike".
A Scanner Darkly
A Scanner Darkly is a 2006 American animated science-fiction
thriller film directed by Richard Linklater, based on the novel of
the same name by Philip K. Dick. The film tells the story of
identity and deception in a near-future dystopia constantly under
intrusive high-tech police surveillance in the midst of a drug
addiction epidemic. The film was shot digitally and then
animated using interpolated rotoscope, an animation technique
in which animators trace over the original footage frame by
frame, for use in live-action and animated films, giving the
finished result a distinctive animated look. It was distributed by
Warner Independent Pictures.

The film was written and directed by Richard Linklater and stars
Keanu Reeves, Robert Downey, Jr., Woody Harrelson, and Winona Ryder. Steven Soderbergh and
George Clooney are among the executive producers. A Scanner Darkly had a limited release in
July 2006, and then a wider release later that month. The film was screened at the 2006
Cannes Film Festival and the 2006 Seattle International Film Festival, and nominated for the
Hugo Award for Best Dramatic Presentation, Long Form in 2007.

Persepolis
Persepolis is a 2007 French animated biographical film based on Marjane Satrapi's
autobiographical graphic novel of the same name. The film was written and directed by Satrapi
with Vincent Paronnaud. The story follows a young girl as she comes of age against the
backdrop of the Iranian Revolution. The title is a reference to the historic city of Persepolis.

The film was co-winner of the Jury Prize at the 2007 Cannes Film Festival and was released in
France and Belgium on 27 June. In her acceptance speech, Satrapi said "Although this film is
universal, I wish to dedicate the prize to all Iranians." The film was also nominated for the
Academy Award for Best Animated Feature, but lost to Ratatouille

Genres & forms

Advertising
Using animation in adverts can range from the whole of the advert being animated or just a
select part by using CGI. An example of animated adverts most popularly know are change for
life and Lloyds tsb where all of the advert is animated and also the Kellogg's frostiest advert
where only tony the tiger is animated and also compare the market.

Childrens television
The most common forms of animation when it comes to TV is childrens programs such as
pepper pig And spongebob squarepants etc. cartoons for adults have also become more popular
including The Simpsons and American dad.

Music videos
Here are some examples of the most iconic clashes of music and animation.

Move your feet- junior/senior

Do I wanna know?- arctic monkeys. The music video featured simple but unconvertable
techniques
As well as these music videos just being animated there are also music videos that contain live
action an example of this is

Leave me alone- Michael Jackson

Money for nothing- dire straits. the innovated music video made waves as it was one
of the first music videos to showcase computer animation techniques.

Computer games
the venerable art of animating still images has existed in some form or another since the
1800s. Today, however, new evolutionary offshoots of the artform make the industry more
diverse than ever. Video Games in particular, offer a variety of opportunities and restrictions
not found in previous forms of animation.

Regardless of the platform, video games offer a cornucopia of rich animation, be it in the Full
Motion Video cut-scenes or the abundant in-game engine animations. FMV can be either hand
drawn or CG, and is generated in much the same way one would produce content for film or
video. With limited or non-existent user input, FMV sequences are mostly employed for
narrative purposes. The in-game engine animations are the real source of the mediums'
potential. It is here that a talented artist is able to tell a story using body language and limited
graphics. "How a character walks (e.g. slouching sadly or bouncing happily) is telling the
character's story," points out Sam Yip.

Sam Yip is a senior animator at Disney Interactive. His portfolio includes such games as "Pirates
of the Caribbean Online," "Saints Row," and "Golden Eye: Rogue Agent." A fan of both traditional
animation and recent interactive mediums, he believes the major distinction between games
and film lies within the mediums' objectives. "The goal of [film] animation is to serve a
story/narrative, and in video games, the animation's goal is to serve the game play, so the
game player can create his own story."

Mobile phones
Mobile phone technology has developed rapidly over the last couple of years. Not only that
they have developed in the way we use them as instead of just using mobile phones for the
simple task of calling and texting one another but we also know use are phones to do more
things for entertainment purposes such as watch TV, surf the internet and also play games in
apps.

Not only is animation used for the purpose of apps for are entertainment but it is also used for
the interface of are smart phones

Best fiends- 2014 app available on iso & android

Websites
Through the internet there are vast forms for animators this gives them the opportunity to
show their work, these pieces include of art as well as adverts and animations that are
embedded in the websites that we use everyday. This allows a huge audience worldwide and
also allows animators to communicate with one another and share there ideas. Most
animations are available to view for free however the internet has allowed some professional
animators to become well known and successful an example of this is monkeehub. The internet
has also provided a place for amateur animators to create there own animations this is purely
for the love of doing it.
Monkeehun: http://www.monkeehub.com/

Cinema