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CLASSICAL ANIMATION

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CLASSICAL
ANIMATION
Introduction

“The art challenges the technology and the technology inspires the art. Technical artists are coming
from computer graphic schools, and learning sculpture, drawing, and painting, and traditional
artists are learning more about technology. The more we get their cross-pollination the more we
will stretch the boundaries of this medium”.
~ Dr. Siddhantkumar Vasantrao Wadmare
---------------------------------------------------------------------------------------------------------------------

Animation and Popular culture

Animation is one of the most conspicuous parts of mainstream society around the world. It
illuminates each perspective regarding the visual landscape that encompasses us consistently. It is
available in its customary structure in the movies delivered by Disney, PIXAR, Dreamworks and
Ghibli, and in TV sit-coms like The Simpsons and South Park. Similarly, it shows its flexibility in
each promotion break, as anything from clothes washers to oat parcels assume the attributes of
people and convince us to get them. The video game industry is closely associated with computer-
generated (CG) animation. Along with new cartoon styles, the majority of websites feature
animated figures or banners; furthermore, on cell phones, as well, enlivened characters and games
multiply. As well as this, autonomous enlivened film makes due notwithstanding financial
misfortune, furnishing celebrations with creative and influencing shorts, while the 'imperceptible
craft' of Animation inside the enhancements custom continues changing, and in certain
perspectives killing, 'surprisingly realistic' in blockbuster highlights. Liveliness likewise keeps on
embracing new applications in science, design, and medical services and broadcast reporting, to
give some examples. There is animation everywhere. This is nothing unexpected. Activity is the
most powerful type of articulation that anyone could hope to find to inventive individuals.
Animation is a cross-disciplinary and interdisciplinary workmanship and specialty, embracing
drawing, design, model-production, execution, dance, software engineering, sociology and
Considerably more. It has a particular language that empowers it to make the craft of the
unimaginable. Anything that can be envisioned can be accomplished. This one of a kind jargon
can be utilized in a wide range of ways - for instance, customary drawn or cel, CG, or stop-
Animation liveliness - yet vitally, anything that strategy is utilized (and there are some more) it
can support works from the most stunning of kid's shows to the most dynamic of vanguard movies,
and all in the middle between. To this end Animation has stayed the most reliably trial fine art
even as it has entered the mass notoriety of standard visual culture. Animation constantly offers
additional opportunities narratively, tastefully and in fact, empowering new illustrators, craftsmen
and experts to investigate new sorts of narrating, to make new realistic and illustrative styles, and
to involve both customary and new apparatuses in the execution of their work. This book will
address these viewpoints, looking to be a helpful groundwork in the 'how to' of liveliness across
various disciplines, yet in addition considering a scope of basic thoughts and verifiable points of
view that are relevant to imaginative work of this sort. Liz Faber and Helen Walters propose that
liveliness might be found 'consuming a space between film-production, craftsmanship and realistic
design',2 while veteran illustrator Quality Dietch offers an all the more in fact resolved view,
recommending that edge by-outline true to life Animation is 'the keep of separately made periods
of envisioned activity so as to accomplish the deception of Animation when displayed at a steady,
foreordained rate, surpassing that of human determination of vision'.3 A large part of the
'distinction' of Animation , however, is in everything that should be finished before it turns into a
film or computerized show. Energized 'development' is falsely made and not recorded from this
present reality. Thus, Animation naturally conceals its cycle, and the 'workmanship' that describes
that interaction. In the public's mind, only the outcome matters;
in any case, for the imminent illustrator the center work is all the while, and it is what is reflected
all through the remainder of this book. In numerous ways, when activity is made in the customary
casing by-outline structure it is similarly simple to characterize, however this is fundamentally
problematised in the computerized period. Comics craftsman and scholar Scott McCloud has
proposed that 'as the innovative qualifications between media fall away, their calculated
differentiations will turn out to be a higher priority than ever'.4 This book, then, looks to join the
customary and universal thoughts at the core of liveliness with the 'splendid new sunrise' of the
effect of the computerized time, offering contextual investigations and
counsel from specialists, researchers and professionals. In this book there is no distinction among
hypothesis and practice - they are very much the same, as really, they generally have been. You
can't be a decent illustrator, or for sure, a craftsman of any kind, without embracing verifiable
viewpoints and basic knowledge, which are all implanted in any ground breaking and unique
functional work. Almost certainly, the 21st-century activity professional - you - is keen on and
drawn in with the visual elements of mainstream society: comics; realistic books; animé; pop
promotions; advertising; sites devoted to left-handle interests; faction television and motion
pictures; fan societies; modern and contemporary art; furthermore, any part of visual culture that
has gone into the standard of the famous creative mind when this book has been distributed.
Generally, all imaginative individuals get going as 'enthusiasts' of something and need to make
something like the craftsmanship they respect. These are the impetuses for illustrators needing to
imitate a specific style or approach, while simultaneously trying to track down an individual
'voice'. It is possible that numerous contemporary illustrators have tracked down access to the
medium through progressively reasonable programming bundles, and the experimentation of
making activity in back-room 'studios'. Illustrators with no proper preparation have had the option
to utilize reasonable PC projects to make quality work without a giant financial plan or utilizing
the broad film groups present in the credits of significant motion pictures. Further, school and
college courses have multiplied to oblige the rising interest in activity, and there is preparing
accessible in customary and CG Animation . Definitely, in a worldwide culture so mindful of
crafted by the PIXAR and Dreamworks studios, thus put resources into PC games, there is high
imaginative yearning among youngster specialists, however a note of wariness likewise should be
added. As Bill Fleming has noticed, 'The issue with innovation is it can significantly work on
certain errands while extraordinarily entangling others … In 2D, the artist basically draws the body
impeccably and doesn't need to stress over the innovation disrupting everything or missing the
mark. Being a computerized illustrator implies likewise being a specialized designer and generally
speaking a developer. '5 Anyway, going with decisions is pivotal - what is the best methodology
for you, your thoughts, your capacities and your desires? This book will attempt to assist you in
making those decisions. Liveliness offers uncommon flexibility and reach in its style and
strategies, however there are a few major standards at heart recognize it as a work of art, a useful
specialty, and an unmistakable method for articulation. It is trusted that the accompanying
conversation will feature those standards by drawing in with the cycle in fostering an enlivened
film; characterizing the numerous jobs and viewpoints in contemplating the utilization and
execution of activity; what's more, through the guidance and backing presented by a scope of
contextual investigations where understudies and experts causing vivified films in different
settings to talk basically about their ventures, and offer 'best practice'. At the point when there is a
rising number of books about activity - and quite a few 'making of' narratives accessible, worried
about specialized contemplations, verifiable viewpoint, innovative results and basic investigation
- it is pivotal that these perspectives are not viewed as independent, however part of a similar
methodology. The general purpose of this conversation, subsequently, is to keep these points of
view cooperating in a book that we trust will be provocative and down to earth, and, at last, on a
very basic level helpful to the fundamentally connected with, imaginative specialist.
Index

Sr.No. Contents Page Number

Introduction to 2D classical animation.
1 1. Introduction
2. Early Approaches
3. Techniques of Animation
2D Classical Animation Pipeline.
2 1. Pre-Production
2. Production
3. Post-Production
12 Principles of Animation.
1. Squash and stretch.
2. Anticipation
3. Staging
4. Straight-ahead action and pose-to-pose.
5. Follow through and overlapping action.
3 6. Slow in and slow out.
7. Arc
8. Secondary action
9. Timing
10. Exaggeration
11. Solid drawing
12. Appeal
Introduction to Lightbox
4 1. Early Approaches
2. History of Lightbox
3. Uses of Lightbox in Animation
Classical Animation Practical-
1. Bouncing Ball
2. Jumping Sack
3. Pendulum Animation
5 4. Bird Fly
5. Wave Principle
6. Walk Cycle
7. Smears in animation
Unit 01

Introduction to 2D classical animation.

Introduction
2D animation is the art of creating Animation in a two-dimensional space. This includes
characters, creatures, FX, and backgrounds. The illusion of Animation is created when individual
drawings are sequenced together over time. One second of time is usually divided into 24 frames
What is 2D animation?
Animation means making visual objects move. 2D animation is the process of creating that illusion
of Animation for characters and objects within a two-dimensional space. Traditional 2D animation
was hand-drawn, but it can now also be computer-generated.
In 3D animation, characters and objects move through three-dimensional space, but 2D animation
is limited to up, down, left, and right Animation s, giving the appearance of length and breadth,
but no depth.
2D animation production process
The process of 2D animation involves three parts: preproduction, production, and post-production.
Pre-production for 2D animation includes character design, sketching background designs, and
storyboarding – a comic strip-like graphic visualization of the actions and events across an entire
animation. It is during the production phase, however, that the animation takes place.
The animation of 2D characters or objects occurs when multiple frames – singular, static images
– are shown in quick succession. Slight differentiations are drawn on each frame, and this causes
the illusion of Animation , just like a flipbook or stop-motion animation.
One second of animation is traditionally produced from 24 frames. Also known as 24 fps (frames
per second), this means that 24 unique drawings are required per second of animation time.
However, animation is now generally done at 12 fps, or one drawing every two frames, to save on
production time and costs.
When creating an actual scene of an animated film or cartoon, animators combine the character
model sheets, storyboard, layout, and backgrounds from the preproduction phase and ‘act’ out the
scene before animating to ensure all the elements work together in harmony.
The pencil drawings are then cleaned up, and, when not using animation software, photographed
on an animation camera to check the Animation s and background transitions. When this rough
animation is ready, solid, clean lines are drawn over the pencil sketch. This is cleaned up further
by adding a new drawing layer to color the final frame.
These final frames are then transferred onto the background of each scene. Each animated
Animation within that scene, made up of those multiple frames, then undergoes the process of
“tweening.” This means generating the intermediate frames between two images to give an even
transition, and ultimately, smooth animated Animation .
2D animation types and techniques
Stop-motion animation
Stop-motion animation involves physically
manipulating objects in front of a camera to
create the illusion of Animation . This
approach can be used in both live-action and
computer-generated animations, and it’s often
used in television shows and video games. A
common example of stop-motion animation is
the Claymation technique common in
children’s shows.
Frame-by-frame animation
Frame-by-frame animation involves drawing each frame of an animation separately, but as a series
rather than individually. The individual frames are then played back in rapid succession to create
the illusion of motion. This technique is often used to create complex animations with large

numbers of moving parts.

Cutout animation
Cutout animation involves selectively removing
and replacing different pieces of an animated
character or object in order to create the illusion
of Animation . This technique is commonly used
in cartoons and animated films because it allows
for a high degree of control over the shape, color,
and size of the animated characters.
Rotoscoping
Rotoscoping is an animation technique that traces
over a live-action video or frame in order to create
an animated version of it. This technique can be
used to simulate realistic Animation , as well as
more stylized animation effects. A good example
of rotoscoping is the early cinematic animation
films, which were hand-drawn over live-action
footage.

Computer animation
Computer animation involves creating digital versions of hand-drawn or 3D models, then
manipulating them on the computer to achieve the desired Animation and look. This technique is
often used in advanced video games and animated films because it allows for great flexibility and
detail in the animation process.

While the historical backdrop of Animation started significantly sooner, this article is worried
about the advancement of the medium after the development of celluloid film in 1888, as created
for dramatic screenings, TV and (non-intuitive) home amusement.
2. Early Approaches
Somewhere in the range of 1895 and 1920, during the ascent of the artistic business, a few different
Animation procedures were re-concocted or recently created, incorporating stop-Animation with
objects, manikins, earth or patterns, and drawn or painted liveliness. Hand-drawn activity, for the
most part liveliness painted on cels, was the predominant strategy all through the vast majority of
the twentieth 100 years and became known as conventional Animation .
Around the turn of the thousand years, PC activity turned into the predominant Animation strategy
in many areas (while Japanese anime and European hand-attracted creations keep on being
exceptionally well known). PC Animation is for the most part connected with a three-layered
appearance with point-by-point concealing, albeit a wide range of liveliness styles have been
produced or reenacted with PCs. A few creations might be perceived as Glimmer liveliness,
however by and by, PC Animation with a moderately two-layered appearance, unmistakable
frameworks, and little overshadowing, will commonly be thought of "conventional activity". For
example, the principal include film made on PCs, without a camera, is The Heros Down Under
(1990), however its style can barely be recognized from cel liveliness.
1888–1909: Earliest animations on film
Thaetre Optique
Charles-Emile Reynaud formed his projection praxinoscope into the Theatre Optique with
straightforward hand-laid out beautiful pictures in a long punctured strip twisted between two
spools, licensed in December 1888. From 28 October 1892 to Walk 1900 Reynaud gave north of
12,800 shows to a sum of more than 500,000 guests at the Musee Grevin in Paris. His Mimes
Lumineuses series of vivified films each contained 300 to 700 edges controlled to and fro to last
10 to 15 minutes for every film. A foundation scene was projected independently. Piano music,
tune and some exchanges were performed live, while a few audio effects were synchronized with
an electromagnet. The principal program included three kid's shows: Pauvre Pierrot (made in
1892), Un bon bock (made in 1892, presently lost), and Le Jokester et ses chiens (made in 1892,
presently lost). Later on the titles Autour d'une cabine (made in 1894) and A reve au coin du feu
(made in 1894) would be important for the exhibitions.
Standard picture film
Regardless of the progress of Reynaud's movies, it required some investment before liveliness was
adjusted in the entertainment world which happened after the presentation of Lumiere's
Cinematograph in 1895. Georges Melies' initial dream and stunt films (delivered somewhere in
the range of 1896 and 1913) sometimes contain components that fairly look like activity, including
painted props or painted animals that were moved before painted foundations (for the most part
utilizing wires), and film colorization the hard way. Melies likewise promoted the stop stunt, with
a solitary change made to the in-the-middle between shots, that had proactively been utilized in
Edison's The Execution of Mary Stuart in 1895 and presumably prompted the improvement of
stop-Animation liveliness a few years later. It appears to have gone on until 1906 preceding
legitimate vivified films showed up in films. The dating of a few assumed before films with
Animation is challenged, while other early movies that might have utilized stop Animation or
other liveliness strategies are lost or unidentified, and in this manner can't be checked.
Printed Animation film
Katsudo Shashin (c. 1907)
By 1897, German toy maker Gebruder Bing had a first model of their toy "kinematograph", which
they at last introduced at a toy show in Leipzig in November 1898. Before long, other toy makers
in Germany and France, including Ernst Board, Georges Carette, and Lapierre, began selling
comparable gadgets. The toy cinematographs were essentially customary toy enchantment lights,
adjusted with a couple of little spools that pre-owned norm "Edison hole" 35mm film, a wrench,
and a screen. These projectors were planned for a similar sort of "home diversion" toy market that
the greater part of the producers previously furnished with praxinoscopes and sorcery lights. Aside
from moderately costly surprisingly realistic movies, the makers created numerous less expensive
movies by printing lithographed drawings. These Animation s were presumably made in highly
contrasting from around 1898 or 1899, however at the most recent by 1902 they were made in
variety. The photos were frequently followed from surprisingly realistic movies (similar as the
later rotoscoping strategy). These exceptionally short movies normally portrayed a straightforward
tedious activity and most were intended to be projected as a circle - playing unendingly with the
film closes set up. The lithograph interaction and the circle design follow the custom that was set
by the stroboscopic plate, zoetrope and praxinoscope.
Katsudo Shashin (somewhere in the range of 1907 and 1912), conjectured to be the most
established work of activity in Japan, was presumably made in impersonation of comparable
Western printed film strips.
The Captivated Drawing (1900)
J. Stuart Blackton was an English American producer, fellow benefactor of the Vitagraph Studios
and one of the first to utilize Animation in quite a while films. His The Captivated Drawing (1900)
can be viewed as the primary dramatic film recorded on standard picture film that included
energized components, albeit this concerns only a couple of casings of changes in drawings. It
shows Blackton doing "lightning draws" of a face, stogies, a container of wine and a glass. The
face changes demeanor when Blackton empties wine into the face's mouth and when Blackton
takes his stogie. The method utilized in this film was fundamentally the stop stunt: the single
change to the scenes was the substitution of a drawing by a comparable drawing with an alternate
look. In certain scenes, a drawn container and glass were supplanted by genuine items. Blackton
had potentially involved a similar method in a lost 1896 lightning sketch film.
Blackton's 1906 film Entertaining Periods of Silly Appearances is in many cases viewed as the
most seasoned known hand-drawn Animation on standard film. It includes a grouping made with
slate drawings that are changed between casings to show two countenances changing articulations
and some surging stogie smoke, as well as two successions that highlight pattern liveliness with a
comparative search for more smooth Animation .
Alexander Shiryaev
Alexander Shiryaev was a Russian ballet performer, expressive dance expert and choreographer
who served at the Mariinsky Theater who is credited with the free innovation of stop Animation
liveliness. From 1906-1909, made the earliest realized energized films made in Russia, utilizing
manikin Animation , drawn liveliness, and blended methods. While some were made as tests (for
instance, a 20-minute drawn Animation showing the trip of birds in a consistent line), the vast
majority of them were made for instructive motivation behind showing the ballet artists what their
Animation ought to resemble. The manikin livelinesss went long from a little more than a moment
to 10 minutes in length. Shiryaev's movies were just screened inside the Mariinsky Theater for the
entertainers, not freely, and were for the most part obscure until 2003, when Russian documentarist
and expressive dance student of history Viktor Bocharov delivered a one-hour film named A Late
Debut which included sections of the different movies.
Segundo de Chomon
Spanish producer Segundo de Chomon made many stunt films for French film organization Pathe.
By 1906, he involved stop Animation in a few short movies, including La maison ensorcelee and
Le theatre de Bob (both delivered in the USA in April 1906). Blackton's The Spooky Inn (23
February 1907) contains stop Animation components that are basically the same as those in La
maison ensorcelee. Assuming that the delivery dates are right (and in the event that interpreted
titles have not been stirred up), Blackton probably been roused by De Chomon's work as opposed
to the other way around, yet it has been accepted that The Spooky Lodging was a success in France
and other European nations, and would have been the film that enlivened nearby producers,
including Emile Cohl, to begin working with the creative Animation technique.De Chomon
likewise made the connected short film Hôtel électrique (1908), which incorporates a short scene
with pixilation.
Emile Cohl
Fantasmagorie (1908)
In 1907, the French craftsman Emile Cohl began his filmmaking profession with Japon de
faintasie, with creative utilization of stop Animation methods. His next short can be viewed as the
principal enlivened film utilizing what came to be known as conventional activity techniques: the
1908 Fantasmagorie. The film generally comprises of a stick figure moving about and
experiencing every kind of transforming objects, for example, a wine bottle that changes into a
bloom. There are likewise segments of surprisingly realistic where the illustrator's hands enters the
scene. The film was made by drawing each casing on paper and afterward shooting each edge onto
negative film, which gave the image a board look. Cohl later went to Stronghold Lee, New Jersey
close to New York City in 1912, where he worked for French studio Éclair and spread its liveliness
method to the US.
1910s: From original artists to "assembly-line" production studios
During the 1910s bigger scope Animation studios started to appear. From that point onwards, solo
craftsmen blurred from the public eye.The principal known proficient female illustrator, Bessie
Mae Kelley, started her vocation in 1917.
Winsor McCay
Gertie the Dinosaur (1914)
Beginning with a short 1911 film of his most well known character Little Nemo, effective paper
illustrator Winsor McCay gave substantially more detail to his hand-drawn Animation s than any
liveliness recently found in films. His 1914 film Gertie the Dinosaur highlighted an early
illustration of character improvement in drawn animation. It was likewise the principal film to join
true to life film with activity. Initially, McCay involved the film in his vaudeville act: he would
remain close to the screen and address Gertie who might answer with a progression of signals.
Toward the finish of the film McCay would stroll behind the projection screen, consistently being
supplanted with a prerecorded picture of himself entering the screen, getting on the animation
dinosaur's back and braving of frame. McCay by and by hand-drew pretty much all of the a large
number of drawings for his films.Other vital titles by McCay are The means by which a Mosquito
Works (1912) and The Sinking of the Lusitania (1918).
Animation Film Organization - Buxton and Dyer
Somewhere in the range of 1915 and 1916 Dudley Buxton, and Anson Dyer created a progression
of 26 effective kid's shows, during WWI, using primarily pattern liveliness, delivered as the John
Bull's enlivened sketchbook, The episodes incorporated the shelling of Scarborough by German
battleships, and The Sinking of the Lusitania, No.4 (June 1915).
Barre Studio
Around 1913 Raoul Barre fostered the stake framework that made it simpler to adjust drawings by
puncturing two openings beneath each drawing and putting them on two fixed pins. He likewise
utilized a "cut and tear" method to not need to draw the total foundation or other still parts for each
edge. The parts where something should have been changed for the following casing were
painstakingly removed from the drawing and filled in with the expected change on the sheet below.
After Barre had begun his vocation in Animation at Edison Studios, he established one of the
primary film studios committed to activity in 1914 (at first along with Bill Nolan). Barre Studio
had accomplishment with the creation of the transformation of the well-known funny cartoon Mutt
and Jeff (1916-1926). The studio utilized a few illustrators who might have striking professions in
liveliness, including Forthright Moser, Gregory La Cava, Vernon Stallings, Tom Norton and Pat
Sullivan.
Whinny Creations
In 1914, John Whinny opened John Bawl Studios, which changed how Animation was created.
Duke Hurd, one of Whinny's representatives, licensed the cel technique. This elaborate vivifying
moving items on straightforward celluloid sheets. Illustrators captured the sheets over a fixed
foundation picture to produce the grouping of pictures. This, as well as Whinny's imaginative
utilization of the sequential construction system strategy, permitted John Bawl Studios to make
Colonel Heeza Liar, the first vivified series. Many hopeful visual artists began their vocations at
Whinny, including Paul Terry (later of Pester and Jeckle notoriety), Max Fleischer (later of Betty
Boop and Popeye acclaim), and Walter Lantz (later of Woody Woodpecker popularity). The
animation studio worked from around 1914 until 1928. A portion of the principal animation stars
from the Bawl studios were Rancher Hay (by Paul Terry) and Bobby Knocks (by Baron Hurd).
Hearst's Global Film Administration
Krazy Kat – Bugologist (1916)
Paper mogul William Randolph Hearst established Global Film Administration in 1916. Hearst
baited away the vast majority of Barre Studio's illustrators, with Gregory La Cava turning into the
top of the studio. They created variations of numerous funny cartoons from Heart's papers in a
somewhat restricted style, giving a tiny bit of Animation to the characters while essentially
utilizing the discourse inflatables to convey the story. The most prominent series is Krazy Kat,
likely the first of numerous human animation feline characters and other talking creatures. Before
the studio halted in 1918, it had utilized a few new gifts, including Vernon Stallings, Ben
Sharpsteen, Jack Ruler, John Cultivate, Troubling Natwick, Burt Gillett and Isadore Klein.
Rotoscoping
In 1915, Max Fleischer applied for a patent (truly in 1917) for a procedure which became known
as rotoscoping: the most common way of involving true to life film accounts as a kind of
perspective highlight all the more effectively make practical vivified developments. The strategy
was frequently utilized in the Out of the Inkwell series (1918-1929) for John Whinny Creations
(and others). The series came about because of trial rotoscoped pictures of Dave Fleischer
proceeding as a jokester, developing into a referred to person as Koko the Comedian.
Felix the Feline
In 1919, Otto Messmer of Pat Sullivan Studios made Felix the Feline. Pat Sullivan, the studio head
assumed all of the praise for Felix, a typical practice in the beginning of studio animation. Felix
the Feline was conveyed by Vital Studios and pulled in a huge audience, ultimately becoming one
of the most perceived animation characters in film history. Felix was the main animation to be
merchandised. [Citation needed]
Quirino Cristiani:
The primary realized enlivened highlight film was El Apostol by Quirino Cristiani, delivered on 9
November 1917 in Argentina. This fruitful 70-minute parody used a cardboard pattern strategy,
purportedly with 58,000 edges at 14 casings each second. Cristiani's next highlight Sin dejar rastros
was delivered in 1918, however it got no press inclusion and unfortunate public participation
before it was seized by the police for strategic reasons. None of Cristiani's element films survived.
1920s: Absolute film, synchronized sound and the rise of Disney
During the 1910s bigger scope Animation studios started to appear. From that point onwards, solo
craftsmen blurred from the public eye. The principal known proficient female illustrator, Bessie
Mae Kelley, started her vocation in 1917.
Winsor McCay
Gertie the Dinosaur (1914)
Beginning with a short 1911 film of his most well-known character Little Nemo, effective paper
illustrator Winsor McCay gave substantially more detail to his hand-drawn Animation s than any
liveliness recently found in films. His 1914 film Gertie the Dinosaur highlighted an early
illustration of character improvement in drawn animation. It was likewise the principal film to join
true to life film with activity. Initially, McCay involved the film in his vaudeville act: he would
remain close to the screen and address Gertie who might answer with a progression of signals.
Toward the finish of the film McCay would stroll behind the projection screen, consistently being
supplanted with a prerecorded picture of himself entering the screen, getting on the animation
dinosaur's back and braving of frame. McCay by and by hand-drew pretty much all of the a large
number of drawings for his films.Other vital titles by McCay are The means by which a Mosquito
Works (1912) and The Sinking of the Lusitania (1918).
Animation Film Organization - Buxton and Dyer
Somewhere in the range of 1915 and 1916 Dudley Buxton, and Anson Dyer created a progression
of 26 effective kid's shows, during WWI, using primarily pattern liveliness, delivered as the John
Bull's enlivened sketchbook, The episodes incorporated the shelling of Scarborough by German
battleships, and The Sinking of the Lusitania, No.4 (June 1915).
Barre Studio
Around 1913 Raoul Barre fostered the stake framework that made it simpler to adjust drawings by
puncturing two openings beneath each drawing and putting them on two fixed pins. He likewise
utilized a "cut and tear" method to not need to draw the total foundation or other still parts for each
edge. The parts where something should have been changed for the following casing were
painstakingly removed from the drawing and filled in with the expected change on the sheet below.
After Barre had begun his vocation in Animation at Edison Studios, he established one of the
primary film studios committed to activity in 1914 (at first along with Bill Nolan). Barre Studio
had accomplishment with the creation of the transformation of the well-known funny cartoon Mutt
and Jeff (1916-1926). The studio utilized a few illustrators who might have striking professions in
liveliness, including Forthright Moser, Gregory La Cava, Vernon Stallings, Tom Norton and Pat
Sullivan.
Whinny Creations
In 1914, John Whinny opened John Bawl Studios, which changed how Animation was
created.Duke Hurd, one of Whinny's representatives, licensed the cel technique.This elaborate
vivifying moving items on straightforward celluloid sheets. Illustrators captured the sheets over a
fixed foundation picture to produce the grouping of pictures. This, as well as Whinny's imaginative
utilization of the sequential construction system strategy, permitted John Bawl Studios to make
Colonel Heeza Liar, the first vivified series. Many hopeful visual artists began their vocations at
Whinny, including Paul Terry (later of Pester and Jeckle notoriety), Max Fleischer (later of Betty
Boop and Popeye acclaim), and Walter Lantz (later of Woody Woodpecker popularity). The
animation studio worked from around 1914 until 1928. A portion of the principal animation stars
from the Bawl studios were Rancher Hay (by Paul Terry) and Bobby Knocks (by Baron Hurd).
Hearst's Global Film Administration
Krazy Kat - Bugologist(1916)
Paper mogul William Randolph Hearst established Global Film Administration in 1916. Hearst
baited away the vast majority of Barré Studio's illustrators, with Gregory La Cava turning into the
top of the studio. They created variations of numerous funny cartoons from Heart's papers in a
somewhat restricted style, giving a tiny bit of Animation to the characters while essentially
utilizing the discourse inflatables to convey the story. The most prominent series is Krazy Kat,
likely the first of numerous human animation feline characters and other talking creatures. Before
the studio halted in 1918, it had utilized a few new gifts, including Vernon Stallings, Ben
Sharpsteen, Jack Ruler, John Cultivate, Troubling Natwick, Burt Gillett and Isadore Klein.
Rotoscoping
In 1915, Max Fleischer applied for a patent (truly in 1917) for a procedure which became known
as rotoscoping: the most common way of involving true to life film accounts as a kind of
perspective highlight all the more effectively make practical vivified developments. The strategy
was frequently utilized in the Out of the Inkwell series (1918-1929) for John Whinny Creations
(and others). The series came about because of trial rotoscoped pictures of Dave Fleischer
proceeding as a jokester, developing into a referred to person as Koko the Comedian.
Felix the Feline
The 1919 Cat Indiscretions by Pat Sullivan
In 1919, Otto Messmer of Pat Sullivan Studios made Felix the Feline. Pat Sullivan, the studio head
assumed all of the praise for Felix, a typical practice in the beginning of studio animation. Felix
the Feline was conveyed by Vital Studios and pulled in a huge audience, ultimately becoming one
of the most perceived animation characters in film history. Felix was the main animation to be
merchandised.
Quirino Cristiani: the primary enlivened highlights
The primary realized enlivened highlight film was El Apostol by Quirino Cristiani, delivered on 9
November 1917 in Argentina. This fruitful 70-minute parody used a cardboard pattern strategy,
purportedly with 58,000 edges at 14 casings each second. Cristiani's next highlight Sin dejar rastros
was delivered in 1918, however it got no press inclusion and unfortunate public participation
before it was seized by the police for strategic reasons. None of Cristiani's element films survived.
1930s: Color, depth, cartoon superstars and Snow White
During the 1910s bigger scope Animation studios started to appear. From that point onwards, solo
craftsmen blurred from the public eye. The principal known proficient female illustrator, Bessie
Mae Kelley, started her vocation in 1917.
Winsor McCay
Gertie the Dinosaur (1914)
Beginning with a short 1911 film of his most well-known character Little Nemo, effective paper
illustrator Winsor McCay gave substantially more detail to his hand-drawn Animation s than any
liveliness recently found in films. His 1914 film Gertie the Dinosaur highlighted an early
illustration of character improvement in drawn animation. It was likewise the principal film to join
true to life film with activity. Initially, McCay involved the film in his vaudeville act: he would
remain close to the screen and address Gertie who might answer with a progression of signals.
Toward the finish of the film McCay would stroll behind the projection screen, consistently being
supplanted with a prerecorded picture of himself entering the screen, getting on the animation
dinosaur's back and braving of frame. McCay by and by hand-drew pretty much all of the a large
number of drawings for his films.Other vital titles by McCay are The means by which a Mosquito
Works (1912) and The Sinking of the Lusitania (1918).
Animation Film Organization - Buxton and Dyer
Somewhere in the range of 1915 and 1916 Dudley Buxton, and Anson Dyer created a progression
of 26 effective kid's shows, during WWI, using primarily pattern liveliness, delivered as the John
Bull's enlivened sketchbook,The episodes incorporated the shelling of Scarborough by German
battleships, and The Sinking of the Lusitania, No.4 (June 1915).
Barre Studio
Around 1913 Raoul Barre fostered the stake framework that made it simpler to adjust drawings by
puncturing two openings beneath each drawing and putting them on two fixed pins. He likewise
utilized a "cut and tear" method to not need to draw the total foundation or other still parts for each
edge. The parts where something should have been changed for the following casing were
painstakingly removed from the drawing and filled in with the expected change on the sheet
below.[19] After Barre had begun his vocation in Animation at Edison Studios, he established one
of the primary film studios committed to activity in 1914 (at first along with Bill Nolan). Barre
Studio had accomplishment with the creation of the transformation of the well-known funny
cartoon Mutt and Jeff (1916-1926). The studio utilized a few illustrators who might have striking
professions in liveliness, including Forthright Moser, Gregory La Cava, Vernon Stallings, Tom
Norton and Pat Sullivan.
Whinny Creations
In 1914, John Whinny opened John Bawl Studios, which changed how Animation was
created.Duke Hurd, one of Whinny's representatives, licensed the cel technique.This elaborate
vivifying moving items on straightforward celluloid sheets. Illustrators captured the sheets over a
fixed foundation picture to produce the grouping of pictures. This, as well as Whinny's imaginative
utilization of the sequential construction system strategy, permitted John Bawl Studios to make
Colonel Heeza Liar, the first vivified series.Many hopeful visual artists began their vocations at
Whinny, including Paul Terry (later of Pester and Jeckle notoriety), Max Fleischer (later of Betty
Boop and Popeye acclaim), and Walter Lantz (later of Woody Woodpecker popularity). The
animation studio worked from around 1914 until 1928. A portion of the principal animation stars
from the Bawl studios were Rancher Hay (by Paul Terry) and Bobby Knocks (by Baron Hurd).
Hearst's Global Film Administration
Krazy Kat – Bugologist (1916)
Paper mogul William Randolph Hearst established Global Film Administration in 1916. Hearst
baited away the vast majority of Barré Studio's illustrators, with Gregory La Cava turning into the
top of the studio. They created variations of numerous funny cartoons from Heart's papers in a
somewhat restricted style, giving a tiny bit of Animation to the characters while essentially
utilizing the discourse inflatables to convey the story. The most prominent series is Krazy Kat,
likely the first of numerous human animation feline characters and other talking creatures. Before
the studio halted in 1918, it had utilized a few new gifts, including Vernon Stallings, Ben
Sharpsteen, Jack Ruler, John Cultivate, Troubling Natwick, Burt Gillett and Isadore Klein.
Rotoscoping
In 1915, Max Fleischer applied for a patent (truly in 1917) for a procedure which became known
as rotoscoping: the most common way of involving true to life film accounts as a kind of
perspective highlight all the more effectively make practical vivified developments. The strategy
was frequently utilized in the Out of the Inkwell series (1918-1929) for John Whinny Creations
(and others). The series came about because of trial rotoscoped pictures of Dave Fleischer
proceeding as a jokester, developing into a referred to person as Koko the Comedian.
Felix the Feline
The 1919 Cat Indiscretions by Pat Sullivan
In 1919, Otto Messmer of Pat Sullivan Studios made Felix the Feline. Pat Sullivan, the studio head
assumed all of the praise for Felix, a typical practice in the beginning of studio animation.Felix the
Feline was conveyed by Vital Studios and pulled in a huge audience, ultimately becoming one of
the most perceived animation characters in film history. Felix was the main animation to be
merchandised.
Quirino Cristiani: the primary enlivened highlights
The primary realized enlivened highlight film was El Apóstol by Quirino Cristiani, delivered on 9
November 1917 in Argentina. This fruitful 70-minute parody used a cardboard pattern strategy,
purportedly with 58,000 edges at 14 casings each second. Cristiani's next highlight Sin dejar rastros
was delivered in 1918, however it got no press inclusion and unfortunate public participation
before it was seized by the police for strategic reasons.None of Cristiani's element films survived.
1940s
During the 1910s bigger scope Animation studios started to appear. From that point onwards, solo
craftsmen blurred from the public eye. The principal known proficient female illustrator, Bessie
Mae Kelley, started her vocation in 1917.
Winsor McCay
Gertie the Dinosaur (1914)
Beginning with a short 1911 film of his most well known character Little Nemo, effective paper
illustrator Winsor McCay gave substantially more detail to his hand-drawn Animation s than any
liveliness recently found in films. His 1914 film Gertie the Dinosaur highlighted an early
illustration of character improvement in drawn animation.It was likewise the principal film to join
true to life film with activity. Initially, McCay involved the film in his vaudeville act: he would
remain close to the screen and address Gertie who might answer with a progression of signals.
Toward the finish of the film McCay would stroll behind the projection screen, consistently being
supplanted with a prerecorded picture of himself entering the screen, getting on the animation
dinosaur's back and braving of frame. McCay by and by hand-drew pretty much all of the large
number of drawings for his films. Other vital titles by McCay are the means by which a Mosquito
Works (1912) and The Sinking of the Lusitania (1918).
Animation Film Organization - Buxton and Dyer
Somewhere in the range of 1915 and 1916 Dudley Buxton, and Anson Dyer created a progression
of 26 effective kid's shows, during WWI, using primarily pattern liveliness, delivered as the John
Bull's enlivened sketchbook, The episodes incorporated the shelling of Scarborough by German
battleships, and The Sinking of the Lusitania, No.4 (June 1915).
Barre Studio
Around 1913 Raoul Barré fostered the stake framework that made it simpler to adjust drawings by
puncturing two openings beneath each drawing and putting them on two fixed pins. He likewise
utilized a "cut and tear" method to not need to draw the total foundation or other still parts for each
edge. The parts where something should have been changed for the following casing were
painstakingly removed from the drawing and filled in with the expected change on the sheet
below.[19] After Barré had begun his vocation in Animation at Edison Studios, he established one
of the primary film studios committed to activity in 1914 (at first along with Bill Nolan). Barré
Studio had accomplishment with the creation of the transformation of the well-known funny
cartoon Mutt and Jeff (1916-1926). The studio utilized a few illustrators who might have striking
professions in liveliness, including Forthright Moser, Gregory La Cava, Vernon Stallings, Tom
Norton and Pat Sullivan.
Whinny Creations
In 1914, John Whinny opened John Bawl Studios, which changed how Animation was
created.Duke Hurd, one of Whinny's representatives, licensed the cel technique. This elaborate
vivifying moving items on straightforward celluloid sheets.Illustrators captured the sheets over a
fixed foundation picture to produce the grouping of pictures. This, as well as Whinny's imaginative
utilization of the sequential construction system strategy, permitted John Bawl Studios to make
Colonel Heeza Liar, the first vivified series.Many hopeful visual artists began their vocations at
Whinny, including Paul Terry (later of Pester and Jeckle notoriety), Max Fleischer (later of Betty
Boop and Popeye acclaim), and Walter Lantz (later of Woody Woodpecker popularity). The
animation studio worked from around 1914 until 1928. A portion of the principal animation stars
from the Bawl studios were Rancher Hay (by Paul Terry) and Bobby Knocks (by Baron Hurd).
Hearst's Global Film Administration
Krazy Kat – Bugologist (1916)
Paper mogul William Randolph Hearst established Global Film Administration in 1916. Hearst
baited away the vast majority of Barré Studio's illustrators, with Gregory La Cava turning into the
top of the studio. They created variations of numerous funny cartoons from Heart's papers in a
somewhat restricted style, giving a tiny bit of Animation to the characters while essentially
utilizing the discourse inflatables to convey the story. The most prominent series is Krazy Kat,
likely the first of numerous human animation feline characters and other talking creatures. Before
the studio halted in 1918, it had utilized a few new gifts, including Vernon Stallings, Ben
Sharpsteen, Jack Ruler, John Cultivate, Troubling Natwick, Burt Gillett and Isadore Klein.
Rotoscoping
In 1915, Max Fleischer applied for a patent (truly in 1917) for a procedure which became known
as rotoscoping: the most common way of involving true to life film accounts as a kind of
perspective highlight all the more effectively make practical vivified developments. The strategy
was frequently utilized in the Out of the Inkwell series (1918-1929) for John Whinny Creations
(and others). The series came about because of trial rotoscoped pictures of Dave Fleischer
proceeding as a jokester, developing into a referred to person as Koko the Comedian.
Felix the Feline
The 1919 Cat Indiscretions by Pat Sullivan
In 1919, Otto Messmer of Pat Sullivan Studios made Felix the Feline. Pat Sullivan, the studio head
assumed all of the praise for Felix, a typical practice in the beginning of studio animation.[26]
Felix the Feline was conveyed by Vital Studios and pulled in a huge audience,ultimately becoming
one of the most perceived animation characters in film history. Felix was the main animation to be
merchandised.
Quirino Cristiani: the primary enlivened highlights
The primary realized enlivened highlight film was El Apostol by Quirino Cristiani, delivered on 9
November 1917 in Argentina. This fruitful 70-minute parody used a cardboard pattern strategy,
purportedly with 58,000 edges at 14 casings each second. Cristiani's next highlight Sin dejar rastros
was delivered in 1918, however it got no press inclusion and unfortunate public participation
before it was seized by the police for strategic reasons. None of Cristiani's element films survived.
3. Techniques of Animation
In today’s world, the animation is popular among kids and can also see traces of animation in some
educational videos as well. Nowadays by animation, the animator creates such type of visualization
which are not played in reality, also we can create those scenes which are beyond thinking.
But before going deeper into this topic, it is important to discuss some techniques which were used
by the people when animation word was created and till now some techniques also built by which
anyone can animate and creates its own animation. People can also practice there thinking
limitations on this platform because if they do so they know their inner skills as well.
Now some of the important techniques which evolved from past till now discuss below:
Traditional Animation or Classical 2D Animation: In this animation, every picture for a scene
is created by hand if anyone loves to paint then traditional animation is very interesting for those
people. In this animation, an individual draw painting in a sheet or paper and also the pictures that
create a scene will be created by the hand and frame them together to create a proper scene.
Digital 2D Animation: This animation technique is widely used in the market to form a better
animation with digital technologies. It does not include to draw the painting by hand but we can
draw them by computer also and arrange those pictures in a fixed manner and play them to create
a proper scene.
Digital 3D Animation: If anyone is interested in making an unreal character in the real-world than
this animation technique is awesome to work with. 3D animation is very popular in the animation
industry from this technique anyone can create any type of unreal short film to an unreal film in a
real way. Those models which are created by this technique is highly realistic.
Puppetry Animation: Animation is created using puppets instead of objects. Indian traditional
‘KATPUTLI’ is basically a better example of this animation in 90s puppets are used in many small
towns to organize a short pictures and scenes to entertain the audiences. Those puppets are hung
with thread and those threads were controlled by any person who played these characters and
creates a film or scene. Also in the circus, we can find these animation technique.
Clay Animation or Claymation: If anyone is interested in clay art than this technique of creating
animation is better for those. In this animation, a clay structure is formed and these clay arts are
used to create an animation. There are also many types of clay art such as oil clay art, dry clay art,
etc.
Cut-Out Animation: Cut-out animation is one of the oldest animations of all time and this was
the initial form of animation which was evolved in the industry of animation. The first cut-out
animation was created by LotteReiniger in 1926 and it was named “The Adventures of Prince
Achmed”.
Sand Animation: This animation is used by those who loved to play with sand this was very
laughable but it is true because this technique is used among those who do not irritate with sand.
This technique is a little bit tough for beginners but as we familiar with this technique than we love
to create those pictures by own. As we see in realities show like ‘Indias Got Talent’ various sand
animation artists will come and perform there.
Paint on glass Animation: This animation is somewhat typical to create because the painting will
be created on glass and as we know anything or liquid cannot settle on glass but after this
technique, the painting created will be so soothing and fresh because of its surface (i.e., glass).
Slow drying paints are used on glass and in place of glass sometimes turpentine is also used by the
animators.
Eraser Animation: As the name suggests, the sketches which are created by this technique is full
black and white because the pictures are created through pencils and these sketches can be erased
as well. Many popular charcoal eraser films have been created using this technique and one famous
animator is William Kentridge.
Pinscreen Animation: Alexandre Alexeieff and Claire Parker invented the pinscreen animation
technique in the 1930s. The pictures will create through many pins that are pinned on a plan with
vertical alignment. Pinscreen animation makes use of a screen filled with movable pins, which can
be moved in or out by pressing an object onto the screen.
Flip-flop Animation: When computers are not introduced to people there would some parts where
animation is applicable. Painters and artists carry a small diary that is filled with some similar
sketches and when the diary flipped up it creates some Animation which is known as flip flop
animation. Flipbook animation is one of the oldest but fascinating kinds of animation.
Unit 02

2D Classical Animation Pipeline.

Animation has come a long way since the early days of hand-drawn cartoons. Whether it’s a short
film or a full-length feature, creating a 2D animation takes a lot of work across multiple stages.
The 2D animation pipeline refers to the typical production workflow and stages involved in
creating a 2D animated film or project. The process from initial idea to final output is lengthy but
rewarding. In this post, I’ll provide an overview of what goes into the 2D animation pipeline.

Key Components of the 2D Animation Pipeline

The question is, how many step processes in 2D animation production are required? Let’s take a
look behind the scenes at the typical 2D animation pipeline:

• Pre-Production

• Production

• Post-Production
Pre-Production in 2D Animation Pipeline
The pre-production includes the following stages in the 2D animation pipeline:

Idea Generation
Everything starts from here, exactly where the idea is on the table, ready for visualization. Bringing
a 2D animated film to life begins long before drawing the first frame. Like any creative endeavor,
everything flows from the seed of an idea. Developing a compelling concept provides direction
and purpose for production. While a high-concept animation idea is critical, the execution matters
just as much. With an idea solidified, the style and tone can be developed to best suit it. Maybe it
calls for an energetic, exaggerated look or a hand-painted, lyrical style. Let the idea inform the art
direction.

Script Writing
In 2D animation, the script transforms a story from abstract ideas into tangible words on a page.
Animation scriptwriting is the crucial first step in defining the narrative before visualizing it
through animation. A compelling script lays the groundwork for the film to blossom.
Through each draft, the world becomes increasingly tangible.

Scriptwriting transforms nebulous ideas into a defined narrative for the animation process. It’s the
crucial first step in every 2D animated film’s journey from imagination to fully animated
realization.

Storyboarding
Animation storyboarding brings the script to life visually before full production begins. Story
artists illustrate the script scene-by-scene in a sequence of panels, like a comic book. The boards
visualize the storytelling by
showing the following:

• Camera angles and

composition in each shot
• Character staging,
poses, and facial expressions
• Scene setting and
atmosphere
• Key storytelling
moments
Storyboards provide an illustrated outline of the entire film. This enables the director and team to
evaluate story flow, scene pacing, and continuity.

Animatic
In 2D animation, animatics represent a preliminary assembly of the film with basic motion and
audio. They combine storyboards, rough animation, initial voice recordings, music, and sound
effects into a moving story reel.
Though visuals are rough, animatics provide the first impression of the film’s rhythm and
storytelling impact. This enables crucial iterations on the pace and staging before full animation.
In essence, animatics bridge the gap between static storyboards and fully animated footage. They
allow the 2D film to dynamically come to life before a finished shot is produced. Animatics
transform plans on paper into an engaging rough cut.

Concept Art
Concept art is the key step in visually defining a 2D animation pipeline.

Character designers explore various sketches for the main characters before finalizing model
sheets. These provide definitive references for
proportions, expressions, and poses. Concept
artists paint color keys and environments to
establish the visual tone. Prop and vehicle
designers add storytelling flourishes.

Finalized character model sheets provide

definitive templates for proportions,
turnarounds, facial expressions, and poses.
Beyond characters, concept artists paint color
keys, establishing lighting, ambiance, and architectural styles for settings. Prop designers sprinkle
storytelling details into props and vehicles. The goal is to create a visually captivating world
tailored to the story.

The styles, palettes, and design motifs form the DNA that unifies the visuals across shots and
sequences. Every detail aims to complement the narrative’s tone and themes.
2D Animation Production Pipeline
Layout
Layout is a crucial early step in the animation
production pipeline. Layout artists take the
storyboard and design the scene compositions,
camera angles, and character staging that will be
used in the final animation.

In traditional 2D animation, layout artists draw the

background environments, determine the camera
Animation s, and block out the key character poses
that will be required. This 2D layout provides a guide
for the animators to follow as they create the final
animated footage. The layout creates the overall look
and continuity of the scenes before detailed
animation begins.

Design
2D Character Design
Design artists conceptualize and draw the main characters, defining their visual appearance,
personalities, and unique attributes. Once the core characters are designed, they are typically drawn
from multiple angles to create model sheets used by the animators.

Environment Creation
Environment creation involves designing and painting the background settings the characters will
inhabit. Background painters illustrate the locations, landscapes, and architecture in alignment
with the story and scene requirements. Additional asset creation produces any props, vehicles,
effects, or other elements needed.

Asset Creation
These assets help complete the mis-en-
scène. All of these creation steps happen
early in a 2D workflow, providing visual
guides for the entire crew as animation
begins. The characters, environments, and
objects emerge from the concept art and
design process with 2D drawings or
paintings. This foundational art direction
allows 2D animation and other types of animation to stay visually consistent as different animators
work on shots with the same characters and worlds.

Rigging
Rigging is an important process in the 2D
animation pipeline that prepares character
assets for efficient animation. During rigging,
the 2D character drawings are organized into
layers and hierarchical parts that can be
manipulated. For example, a character may
have separate layers for the body, arms, legs,
eyes, mouth, etc.

Controls are then built into the rig to allow an

animator to easily move these parts around
without having to redraw everything. This
includes things like rotation points, morphing
abilities, and other controls to flex, pose, or transform the character.
Rigging in the 2D animation production pipeline helps bridge the gap between the initial character
design and the ability to achieve fluid, dynamic animation.

Key Animation
Key animation is the core process in 2D animation, where the visual Animation and sequences
are created. After the layout and rigging stages, key animators bring the characters and scenes to
life through sequential drawings and frames. Key animators draw the most important “key” poses
that define the major positions and Animation s.

Key animators must understand timing,

weight, arcs, and character appeal as
they visually communicate the story
through sequential drawings. Their work
defines the acting, motion, and
personality. Drawing directly on paper
or using a graphics tablet, 2D key
animators breathe life into characters by
crafting engaging performances frame by frame through their animation skills.
Inbetweening
Inbetweening is an essential part of the
traditional 2D animation production
process. After the key animators create the
important poses that define the animation
in-between, add the drawings that go in
between these keyframes. Inbetweens help
complete the illusion of smooth, seamless
motion and gradual transitions. Without in-
between frames, the animation would look
choppy and disjointed. Inbetweeners are
tasked with studying the key poses and
interpolating the positions of the characters and elements in the intermediate frames.
Their drawings finely tune the Animation s, making them more realistic and natural. Inbetweens
happen on twos (every other frame) or threes (every third frame). More in-betweens lead to
smoother but more labor-intensive animation. Fewer in-betweens are more efficient yet can look
more staggered.

compositing
Compositing is the process of combining all of the separate animation elements together into final
scenes and shots. During the 2D animation production process, background paintings, character
drawings, effects, and other elements are produced by different artists and departments.
Compositors take all of these disparate pieces and assemble them into seamless wholes.

Using specialized animation

software, they layer the
components together while
matching colors, lighting,
camera angles, and grain.
Compositors also do paint
touch-ups by digitally
painting over mistakes or
gaps in the frame-by-frame
artwork. Proper compositing
unifies everything together
for a consistent look according to the intended cinematography and visual style.
2D Animation Post-Production Pipeline
Editing
Editing is the process of reviewing all the compiled animation and arranging it into the final order
and pacing. In 2D animation, an editor reviews the story reels and animated footage that have been
produced frame by frame. They assess the timing, ordering, transitions, and flow to create the best
narrative cut. The editor collaborates with the director to achieve the right comedic or dramatic
beats and emotional arcs.

Visual Effects
2D VFX adds enhanced layers of imagery and spectacle to 2D animated films. While effects were
traditionally more limited in 2D animation, the integration of CGI and digital compositing has
expanded the possibilities. From subtle enhancements to major set pieces, visual effects introduce
eye-catching elements that would be difficult or impossible to achieve otherwise

Some common 2D animation effects are smoke, weather like rain or snow, magic spells and blasts,
artificially generated crowds of people or creatures, and dynamic simulated environments like
water or fire. Particle effects, matte paintings, and color corrections are also used to boost ambiance
and excitement.

Sound Design
Sound design is the crafting and selection of audio elements that enhance an animated film. It
weaves together three key aspects – dialogue, sound effects, and music. Dialogue includes the
vocal performance and recording of the animated characters. Sound effects surround the world
with ambient noise and punctuate the action with impacts, Animation , and other auditory cues.

Final Output
The final output stage comes after all animation production and post-production are complete. This
involves exporting the finished animation in its final delivery format and quality. The animation
project is exported at the required specification whether it be for broadcast, streaming platforms,
Blu-ray/DVD, or digital formats.
Unit 04

Introduction to Light Box

Early Approaches
Stages in Traditional Hand Drawn Animation
Introduction
Traditional-hand-drawn animation process involves animating on a light box and paper. It’s
completely done on paper, from key frames to cleanup and ink and paint. But nowadays software
that are based on the traditional animation process are often used to do clean-ups and ink & paint
digitally. This often saves time and helps make the work process efficient.

There are three major steps involved while animating both traditionally and digitally.
They are:

1. Key frames
2. Breakdown
3. In-betweens

and then, there is clean-up and ink & paint to finish the final look.

Key frames:
These are the most important drawings or the drawings that define your action strongly. A good
animator is aware of how many key drawings or the sufficient key frames that are needed for the
required animation. These are often defined as the ‘storytelling poses’.

Breakdown:
As the name suggests, Breakdowns helps us to break the action and these are the drawings that
helps us work out how to go from one pose to another. Also helping us fins the best transition
between two poses. It’s also referred to as passing position.

In-betweens:
These are the drawings that come in-between the key-frames and the break-downs. Which can be
our eases that provide cushion to the action. More the number of in-between slower the action
becomes.

Line Test:
Once your rough animation is complete you need to check the animation for verification of your
action. So to check this basic line test setup is required where you place the sheets under a
camera and capture it through software which will help you play the animation and view it frame
by frame to check the Animation. There are various software’s available online for line test. One
can also use ‘Monkey Jam’ software for this purpose; it’s an open source free software for stop
motion and line test.
Clean-up:
This is almost at the end of the animation
process and probably the most critical and
difficult part in the process. Clean-up refers to
cleaning the rough drawings/frames made
during the process of animation and making
them nice precise drawings with only single
line strokes so that the ink & paint stage can
be comfortably achieved. Since it’s really hard
to fill colors in the rough drawings directly
after scanning them (The software won’t fill
them because of random gaps and spaces left
due to rough strokes). A good clean-up helps
fill color easier.

Also, the most important thing to be kept in mind while doing clean-ups is:
'Maintaining the line thickness throughout the drawings' or else, your drawings will wobble in
the end due to inconsistent line thickness.
Equipment’s and Materials
Basic equipment’s required for doing Animation are:
1. Lightbox
2. Peg Bars
3. Paper Punch
4. Line Testing Set-up
1. Lightbox:

2. Peg Bars:
3. Paper Punch:

4. Line Testing Set-up:

Technique
The technique for ‘Traditional-Hand-Drawn Animation’ method is as follows:

Draw your thumbnails for planning the action.

Drawing the key poses, breakdowns and then the in-betweens.
Check the line test and comeback to the animation if more frames are needed.

Drawing Ladders:
While planning your animation drawing, a ladder helps plan the spacing and timing of your
action effectively. It also allows you to chart out just the necessary frames required for the
action.
• Arcs:
In character animation ‘ARCS’ are very
crucial. In basic human motions like - A
head rotation, a walk or any other action,
our body does not move in a linear fashion,
it follows an arc all the time.

So always animate with arcs in mind, as it

will make your actions believable and
much richer in its motion.

Also, principles are the key part of

animation without which your animation would look lifeless. So principles like anticipation and
adding cushion at necessary places in your animation is important. Remember no human action
start or stops abruptly, it always starts with anticipation at the beginning and eases or settles down
as it ends. So adding a few frames to give a cushion to the actions helps the action look smooth
and believable. Also one can play with squash and stretch in a character if necessary.
• Maintaining Volumes throughout the Animation:
To keep a check of your volumes keep flipping (as explained in the video).This not only helps you
check the volume but also gives you a quick feedback of the motion.
Unit 05

Classical Animation Practical

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