anim hist ppoint

8/6/2019 Anim Hist Ppoint

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A HISTORY OF ANIMATION


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MANY scholars write that

the history of animation started

over 30,000 years ago in thecaves of France and Spain

where Neanderthals drew

running and vaulting animalsto suggest living motion.


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Thanks to Non Sequitur writer and

cartoonist Wiley Miller (who spent his

high school years in McClean,Virginia,and who graduated from Virginia

Commonwealth University), today we

know the true story about Neanderthalsand the history of animation . . .


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The history of animation

has also been tracedback to the early- to

mid-1700s when Dutch

scientists and brothersPieter and Jan van

Musschenbroek created

the forerunner of the

modern slide projector.


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Their creation became

known as the MAGIC

LANTERN, which could

project a series of slides.

This is a photo of the

oldest known existing

lantern made around1720 by Jan van

Musschenbroek.


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The wooden case stands on a height adjustable,

base. Smoke and heat from the oil burning lamp

escaped from a tin chimney on top of the body.


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A concave mirror and an ingenious

lens arrangement projected a imagevisible up to a distance of ten metres.


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IN 1824, Peter MarkRoget published

Persistence of

Vision with Regard

to Moving Objects,

which established

four principles of

animation:


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1. The viewers vision must be

restricted to one still picture at atime.

2. The eye blurs many images into oneimage if they are presented in quicksuccession.

3. A certain minimum speed isrequired to produce this blurring

effect.4. A large quantity of light is essential

to create a convincing image.


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In 1829, Belgian artist &

scientist Joseph Plateau

developed the

PHENAKISTOSCOPE,

a series of pictures

mounted on aspinning disc.


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Major cities of the world offered ahundred variations of this new toy,

with moving pictures of running dogs,

horses, monkeys, fish, and acrobats.

These first animation devices were

called a variety of names fromANIMATOSCOPE to ZOETROPE.


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The PHENAKISTOSCOPE set the stage for the developments

of the last decade of the nineteenth century:

The invention of the camera (attributed to The EdisonCompany), the invention of film (attributed to Eastman Kodak

Company), and the first successful film projection (attributed

to the Lumire brothers in 1896).


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One early version of claymation

using stop-camera produced by the

Thomas Edison Company in 1900

was Fun in a Bakery Shop.


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IN 1883 IN NEW

YORK CITY,

Joseph Pulitzer

bought the

New York World,

giving it a new

flair and style.

Competition for

newsstand salesbegan in earnest.


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Another New Yorker,

William Randolph Hearst

bought the Journal, and

started to imitate Pulitzers

style. As competitionheated up, Pulitzer sought

an edge. In 1893, he

bought a four-color rotary

press to print famous

works of art for his New

York WorldSundaysupplement.

Though the art series was

unsuccessful, Pulitzers

Sunday editor, Morrill

Goddard, talked Pulitzerinto using the equipment

for comic art similar to the

work done in Judge, Puck,

and Life, the most popular

humor magazines of

the time.


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Goddard hired Richard Outcalt,

a young American comic artistwho created the first comic

series, Down in Hogans Alley,

published in 1895. Hogans

Alley, as the series came to be

called, attempted to burlesquecurrent events using a group of

neighborhood characters.


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The setting for Hogans Alley wasthe city slumssqualid tenements

and backyards filled with dogs,

cats, and little tough guys. One ofthe street kids was a nameless,

one-toothed, bald-headed boy

dressed in a long, dirty nightshirt,the front of which was often used

for additional commentary.


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At the time, yellow ink

had a tendency tosmudge on newsprint.

To experiment, a press

foreman arbitrarily

chose the bald-headed

kids nightshirt onwhich to try out a

quick-drying yellow

ink. The Yellow Kid

was born, and withhim, some say, the

comic strip.


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The Yellow Kidwas so popular that the

close association of wild-headlines withthis yellow-shirted character gave rise to

the name yellow journalism. Many

credit Outcalt and the comic strip artistsfollowing him as the ones who gave birth

to animated art on film. Indeed, almost all

of the early animators started as comic

strip artist and were even traded from

paper to paper like sports players.


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Among the most famous of cartoonists was

Winsor McCay, Max Fleisher, and GeorgeHerriman, the creator ofKrazy Kat. Krazy Kat

Goes A-Wooing(1916) and the Krazy Katfilm

series was animated by a different artist,

Leon Searl.


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Many historians credit French

animator Emile Cohl with the first

animated film. American animator

and historian John Canemakercredits J. Stuart Blackton with the

first two animated films:

The EnchantedDrawing, and

Humorous Phases ofFunnyFaces.


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In The EnchantedDrawing

(1900), Blackton, then a

cartoonist for the New YorkEvening World, is photographed

in Thomas Edisons New Jersey

studio, performing a vaudeville

routine knows as the lightening

sketch, supplemented by stopcamera tricks that bring the

objects to life.


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Humorous Phases ofFunnyFaces (1906)

used chalkboard sketches and then cut-outs to

simplify the process. The flickering in the film

was common to the earliest animation and

resulted from the camera operators failure to

achieve consistent exposure in manual

one-frame cranking.


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Winsor McCay put his newspaper-born Little Nemo

on film in 1911. He gave us the first fluid animation,

drawing on translucent rice paper, and using crude

crossmarks for registration from frame to frame.


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After his longtime assistant John A.

Fitzsimmons developed a cel

registration system (a forerunner of

most peg systems used today), McCay

introduced animation cycles, the

repeated use of a series of cels. He

used his cycle technique in How a

Mosquito Operates, and the highly

successful Gertie the Dinosaur.


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The following fragment from Gertie on Tour

(1921) was done in collaboration with

McCays son John and Fitzsimmons. It may

have been released as part of the 1921

Series Dreams of the Rarebit Fiend.


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SOME MILESTONES IN ANIMATION INCLUDE:

Emile Cohl created the first animated seriesPhantasmagorie, a simple blackboard

technique with stick figures.

Raoul Barr established the first

studio capable of producing

animated cartoons in quantity.

Max Fleisher filed for a patent for theRotoscope, a device that allowed the animator

to trace over live-action images


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In Pat Sullivans

studio, cartoonist

Otto Messmer

created Felix the

Cat, the hottestcartoon property

around during

the 1920s.


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But 1927 brought two things: sound

on film, and the loss of Felix.

Wonderful Felix, who walked and

ran to piano music or whatever the

theatre musicians happened to be

playing, had a short lived career.

Sullivan, who owned him, refused to

believe that Felix needed sound

accompaniment. A new animated

animal star would take Felixs place.

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