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Culture Documents
CARTOC^NS
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Olin/Kroch Library
DATE DUE
EB VB
The
original of this
book
is in
restrictions
text.
in
http://www.archive.org/details/cu31924075701304
BOOKS BY
With
E. G.
LUTZ
Illustrations
by the Author
the general
diagrams
their origin
and
DRAWING MADE
EAS'T
ANIMATED CARTOONS
CARTOONS BY CUT-OUTS.
Below : Completed scene showing one phase of the performance of the little cardboard actors and stage property. [See page 90|
ANIMATED CARTOONS
HOW THEY ARE MADE
THEIR ORIGIN AND DEVELOPMENT
BY
E. G.
LUTZ
ILLUSTRATED
NEW YORK
CHARLES SCRIBNER'S SONS
1926
COFTEIGHT, 1920, SY
/yi^'^^
INTRODUCTION
We
sight
Before the
dawn
man was
of
visually cogni-
On
it
the
development
realistic
pictur-
ing
was
possible,
more
or less truthfully, to
of things
not
the
The cogency
the agency
of
graphic
faithfulness
of
pictorial
of the
work
It
distant thing.
by means
of
mind
made
the past and put into relationship with the learning and reasoning of the present.
methods
of
imparting
knowledge
delineatory
vi
Introduction
fix
of extending
upon the
variations of
any
individual's skill
of material
means.
Thoughts and ideas once represented and preserved by picture-writing, recorded by symbolical
by alphabetical marks were, in 1877, registered by mere tracings on a surface and again reproduced by Mr. Edison with his phonograph. As in the photograph, the prosigns,
and
at last inscribed
artificial
of the exterior
Or
it
preserves these
Introduction
pictorial matters in a material
vii
we should
And now
is
movement.
sotmds by
of
and amusement.
The motion-picture
main
Duradaptof.
means
of diversion or entertainment.
its
growth, however,
its
line
has
should be.
true, that
may
be considered
in theatres
shown
and
halls.
manufacture
of
some
manner
viii
Introduction
in
of proceeding
some
field
of
human
activity.
effected entirely
of their
by photography
Our concern
of
is
drawings.
the inception and the development of motionpictures in general, will be referred to in our work.
At
present, of the
two
most developed.
of the
It is for this
reason that so
much
book
is
duction.
of
has
been
said.
This
moment
the
vicissitudes of the
it is
word cartoon.
Etymologically
paper,
or pasteboard.
Its
best-accepted
that
of
employment
of
bygone
times
was
Introduction
ix
for
tapestry.
Raphael's
cartoons in the
coming under
this
mean-
(They
when
this
meaning
is
up to
been to specify a
or pohtical topic
and
in
cari-
catured.
larize this
The word
kind
of pictorial
plied to
any humorous
When some
for
began
making
of drawings
nothing seemed
thfe
expres-
"animated cartoons."
X
it
Introduction
the industry to
any
film
made from
was
of a
humorous or
of
acter.
as
it
people, scenes,
and
objects.
Teachers
tion."
now are talking of "visual instrucThey mean by this phrase in the special
it
Travel
geography
or
micro -cinematographic
films
for
good examples
of such films.
But not
artist
all
by the camera
must be
ings
called in to prepare
draw-
made
in a certain
moving diagrams
any school
As
it
is
Introduction
ulate
xi
attention,
ties of things
when
it is
by
films
projector
will
CONTENTS
FAQB
I.
II.
...
35 57
III.
IV.
V.
VI.
On Movement
Human Figure
99
131
....
.
.
VII.
153
VIII.
171
IX.
X.
XI.
On Humorous
223
...
245
ILLUSTRATIONS
Illustrating the
method
of
cut-outs
...
PAOB 7
Geneva movement
9
11
A motion-picture projector
Illustrating the proportions of light
The thaumatrope
Two
instruments used
in
early
investigations
of
optical
phenomena
Apparatus on the order of Faraday's wheel
18 19
An
20
21
A phenakistoscope
Phenakistoscope combined with a magic-lantern
....
22
movement
23
The
zootrope
24
25 26
Reynaud's praxinoscope
The
theatre praxinoscope
28
XV
xvi
Illustrations
Projection praxinoscope
Optical theatre of
29 30
31
Sellers
. .
.
Beynaud
The kineograph
Plan of the apparatus of Coleman
36
Facing page
The
ostrich walking;
from Muybridge
40
42 43
Plan of Edison's
first
kinetoscope
46
48
49 50
51
.
T^es
One
of
53 61
...
63
67
Illustrating the
making
of
of celluloid sheets
75 78
79
....
80
84
Illustrations
xvii
PAGE
The laws
an object
Perspective applied in the drawing of birds as well as in the picturing of objects
Articulated cardboard figures
Illustrating the animation of a
86
87
89
kitchen
Successive phases of
movements
101 103
ground
Successive phases of
movements
in walking
105 107
.
109
Order in which an animator makes the sequence of positions 112 and 113 for a walk
Phases of movement of a walk.
Six phases complete a step
115 117
A perspective walk
Four
positions for a perspective run
118 119
121
Running
figure
123
134
135
xviii
Illustrations
PAOB
A panorama ^ect
Galloping horse for a panorama effect
138 139
The The
140
141
Pigeon
b flight;
of a
from Muybridge
....
Facing page
142 143
Comic walk
duck
144
movement
Running cow
Phases of movement of a walking lion
145
147
148 149
Dog
walking
.
150
157
falling
water
159
161
An
explosion
finishing stroke of
162
The
some
farcical situation
163
Piano practice
164
Three drawings used in sequence and repeated as long as the particular effect that they give is desired
165
166 167 172
constellation
Illustrations
xix
rAGB
173
"close-up"
175
"model" hats
to vivify a scene
176 178
"Cut-out" eyes
Illustrating the Illustrating the
making
of "in-between" drawings
of drawings required for a
....
movement
179
number
180
182 183 186 190 193
moving limb
....
Making drawings
in turning the
head
Foreground
details of
a pictorial composition
compared
195
197
198
effect of
trembling
203 208
211
title
dissolve
To
213
217
218 219
....
224
The
227
XX
Illustrations
FAOE
The pinwheel
producing
effect of
it
two boys
...
fighting, elements
needed in
...
.
231
man
spinning like
.
.
235
regarded as funny
236
239
Hats
Radiatmg "dent"
lines
.
240
. .
241
246
by Michel Angelo
.
248
. .
Mr.
249 250
251
The peep-show
Demeny's phonoscope
Drawings used
tion
in
making a
...
255
Character of drawings that would be prepared in producing moving diagrams of the muscles in action
258
CHAPTER
'TT^HE
--
design
is definite;
and
if
from a photographic
discernible.
It is
slide,
unless
it is
moving amusing
mechanism
subjects operated
quiescent picture.
by the
picture projector
is
an
illusion, too.
an
same
less
in-
And secondly, it
mere
is
and movement.
4
ing activity of
Animated Cartoons
life, is
And
of a
it is
of projecting
machines.
its
improved form,
shown
in succession.
Each
picture
is
But the
pic-
at rest
succession.
This succession
is
at such a rapid
which one
for the
picture
moves out
of place to
it
make way
next
is
so short that
is
nearly imperceptible.
In
consequence,
the
slightly
varying pictures
we have a phantasmagoria
movement
movement.
The phenomenon
of this
this sem-
The Beginning
blance to
life
of Animated Drawings
a subject proper
some aspects
Memory
all
organic matter.
An
on
its
retina
is
That
when an
object impresses
image upon
image
This singular-
sistence
positive
after-images.
And
it is
referred to as a positive
after-image in
sional
contradistinction to
called
is
another
vi-
phenomenon
the
negative
after-
image.
few
gazed
at.
Animated Cartoons
The
art
of
first
the
motion-picture began
when
of
physicists
the
The
whole art
is
based on
its verity.
It is the special
makes
possible
An
attempt at giving to
effect of life
was by means
of
series of drawings.
later,
When
photo-
had reached
were
development
and
universality,
on the screen.
To
mated
describe
how
is
these
drawings are
made,
of ani-
their use
cartoons,
the de-
make
at
if
we
give,
in
method
of
throw-
by the motion-
The Beginning
of Animated Drawings
The
projector
for
motion-pictures,
like
the
This
last part is
the
B Refieeton
L Light
C Condenser
O Objective S Screen.
GLASS SLIDE
PICTURE
upside;
15
s^
-FILM
THE PICTURES ARE UPSIDE DOWN
P>ROt/SCTQR
MAGIC-LANTERN AND MOTION-PICTUEE PROJECTOR COMPARED.
h'ght
rays
carrying
the
pencils of
lights
and
them on the
screen.
There
is,
in the magic-lantern,
Animated Cartoons
thrust.
make way
on the screen.
Now
ob-
pantomime.
rows of
size
and
of the distances
between them.
It is
by means
of wheels with
movement
ribbons.
mecha-
inflammable a substitute is sought one that has the advantages possessed by celluloid but of a non-combustible
it is
But as
material.
The Beginning
of Animated Drawings
nism that the ribbon or film is carried across the path of light in the projecting machine. The
device for moving the film, although not of a
is
nevertheless of an inaction
It is intermittent in
and
a second, moved away and another section, with the next picture, brought into place to be
projected in
its turn.
This
way
of working, in
most
by the use
part
of
movement.
The
pattern of
its principal
is
cross.
FOUR PHASES OF THE ACTION OF THE INTERMITTENT GEARING KNOWN AS THE GENEVA MOVEMENT.
10
Animated Cartoons
It is obvious that while
of the
way
would be a blur on
if
movement
it.
some means
is
This
found
by
change
The
detail of the
a revolving shutter
(This
is
because
way
is
in
which the
as an example.)
This shutter
me-
chanism that
path of
place;
(1)
moving into
and that
at rest
and
its details
are being
may be
why
the eye
is
opaque part
It
But
moves
not ordinarily
perceptible.
The Beginning
of
Animated Drawings
11
A MOTION-PICTURE PROJBOTOR.
A. Film.
B. Upper magazine. C. Feed reel. D. Lower magazine; containing tlie talce-up reel. E. Crank to operate mechanism by hand. F. Motor. G. Where the film stops intermittently to be projected. H. Lamp-house. /. Port, or window in the fireproof projection booth. J. Rotating shutter. K. Lens. L. Condenser. M. Switches. N. Fire shutter; automatically drops when the film stops or goas too slowly.
One
rate pictures,
in one second.
One
But
not
all
of this fraction of
a second
is
given to the
some
of the time is
it
The
apportionment
12
Animated Cartoons
it (five
ninety-
of its picture,
and
second)
is
given to the
movement
of a section of
by the
the
old
type of
shutter
which
caused
flicker,
Nowadays a three-bladed
shutter
that
nearly
%ILLUSTRATING THE PROPORTIONS OF LIGHT AND DARK PERIODS DURING PROJECTION IN TWO TYPES OF SHUTTERS.
1.
2.
Old single-blade type; caused a "flicker." Regular three-blade type; light evenly distributed. It is to be noted that while the picture is on the screen two opaque sections of the shutter eclipse the light.
The Beginning
does
use.
of Animated Drawings
13
light is in general
poses of description
It turns
once in
one-sixteenth of a second;
is
by one blade
of the time
of the shutter.
five-sixths of
is
stationary
of the
and
two blades
light.
From
is
this it
short
moments when the light rays are cut oflf. This is not perceived by the spectator on account
of the speed of the revolving shutter
and the
strong illuminant.
by making
and dark
an equal apportioning
periods.
of light flashes
With the old shutter there was one long period of light and one short period of darkness.
It
was
this
rise
to the flicker.
a two-bladed shutter
used
also.
reel of film
may vary
14
Animated Cartoons
In width,
of per-
that
on the
containing
the
photographs.
Sometimes
these
ignated as "pictures."
across and three-quarters
an inch
in height.
As noted above, these frames contain photographs of scenes that record, by changes in their
action, the incidents
and episodes
of the story
of
any
particular reel.
graphs,
sets of progressive
animated cartoon.
modem
is
directed, as the
mechanism
The
Beginning of Animated Drawings
in
15
elementary features
nearly
all
apparatus used
They
are as follows:
series of pictures
drawings or photographs
representing an action
by
one at
time,
(3)
in
rapid
succession.
upon the
light
or the vision
is
is
from
other
jecting machines
have been
TOON FILM.
Exact
size.
16
Animated Cartoons
is
moved
so
and
in a particular
not needed.)
Now,
ical fact
phenomenon
of the
persistence of vision
One
it,
made
thaumatrope.
It
1826.
It
and
was made to
twirl
rapidly.
Each
printed or
drawn upon
was twirled
A
The
favorite
empty
bird-cage on
designs
way
of
as the
marks and
insignia of the
two
sides
most
coins.
The Beginning
of Animated Drawings
17
two
sides,
we turn the
coin
The thaumatrope
Simply ex-
design
is
true image
upon the
away
after-image
The
image
THE THAUMATROPE.
Above:
How
other.
Below: The
the designs of the two aides are placed with respect to each _. , J combined Image when the thaumatrope la twirled.
18
Animated Cartoons
first
after-image of the
picture.
In rapid sequence
by a toy
of this character.
Two
FARADAY'5 WHEEL
1S57
1'841
^m
^
TWO INSTRUMENTS USED
IN EARLY INVESTIGATIONS OF OPTICAL PHENOMENA.
of 1837 and 1841.
Later when
scientific investigators
were busy
phenomena
The Beginning
of
Animated Drawings
19
when
objects,
This
made
to travel,
directions,
gearing, in opposite
speed.
Around the
making the
solid
portions between
wheel.
them
With the
APPARATUS ON THE ORDER OF FARADAY'S WHEEL. disks moving as marked, the disk B wiU appear to be motionless
when viewed through
the passing slots of disk A.
When
this
machine was
set in
20
Animated Cartoons
^were distinctly
effect could
Then
it
The
reflection
experiment.
From
some
sort of
series of
move-
ment
in connection with
drawings or photographs.
The Beginning
of
Animated Drawings
21
Plateau (1801-1883).
This toy
was a
side that
through
a mirror.
The
pictures
drawn
in sequence rep-
would lend
blance in
itself
by which
the
open sections
revolving
of the
shutter;
while the solid portions of the disk ana phenakistoscope before a axaor +Vi< nnnnilP opaque Holdingand to ine SWer +r ready to twin it around.
mirror
22
Animated Cartoons
As
it
made
to
arrange
it
for projection.
lens
of
a magic-
lantern objective.
When
the
number
of slots in
a phenakistoscope
cycle,
correspond to the
Only
their limbs,
if it is
an action in
movement.
drawings
But
if
there
is
one
slot
row
of
circle.
C'i?-t.r'-^-'^"'"
The Beginning
of
Animated Drawings
23^
This
is
animals.
of
motion to a
soon
or wheel of
life.
It
em-
24
flat
Animated Cartoons
portion with a row of slots passing between
box
of cardboard.
It
could be
made
slots
to
turn
easily
and
very rapidly.
The
Long
place,
fitted into
the box.
it
When
THE ZOOTBOPE.
to be in
twirl.
with the
name
of Desvignes,
The Beginning
of Animated Drawings
25
1 f i
U.S. Pa^t
No.641ir
ii I A pp.
I!
25,
1867
&5j^^^
^:^:&SS^^s,^^;
in
England
in 1860.
of
Providence,
zoetrope.
He
called
his
device
the
This
cyhndrical
synthesizing
apparatus
was
paper
many
years.
Bands
of
satisfied
with
was
first
fabricated.
26
Animated Cartoons
plan,
This
of
M. Reynaud,
of France.
create
show movement.
Dead pomt,on
the line
jv^hich
Miprops placed
half-way between, tlie ccntpe and+Ke
of
cipcumfepence
A.
EEYNAUD'S PRAXINOSCOPE.
B.
The Beginning
of Animated Drawings
27
The praxinoscope
cylindrical
and
lidless,
and pivoted
in the centre
so that
it
turned. placing
of
plan
of
The them
strip of drawings,
and the
inside
of
the box
two
features
the
zootrope^were both
retained.
But instead
on an inner
section or drum.
The
number
as the drawings
The
on the drum
struction
looking over the rim of the box, viewed their reflections in the mirrors.
actual place
of the
of
reflection
cylinder.
it
was
was possible to
Reynaud next
28
Animated Cartoons
provements that made the characters in his drawings appear to be going through a performance
on a miniature
stage.
He
called his
Z7\
scenium.
of this
had a
Not
satisfied
The Beginning
of
Animated Drawings
29
PROJECTION PRAXINOSCOPE.
(After picture in
La
Nature, 1882.)
illusion.
A
in
more
later
devised by Reynaud.
mimic
with
story.
It, of
course,
was an enlargement
of
But
of mirrors
and
30
Animated Cartoons
From
when
series,
illusion of
movement.
Im
Nature, 1892.)
first
employed for a
little
about
a
It consisted of
side,
The manner
flip
of its
from
The Beginning
of
Animated Drawings
31
The
pictures,
all
of
a series depicting
some action
of
the particular
subject of the
kineograph.
Now when
be
the
camera began to
employed
in
taking pictures of
figures in action,
one
uses
of
the
first
made
of such
THE KirrEOGEAPH.
into the book-form so as to
of sallowing the leaves
visional decep-
pictures
was
to
put a
give,
series of
them
by
this simple
method
to
flip
CHAPTER
II
ALTHOUGH
'-
tures photographically
was known as
early
many
devices
movement.
In the
brief
preceding chapter in
historj'-
pictures,
But the
pictorial elements
used
was not
mere
pictures.
Sellers,
of
Mr. Coleman
Philadelphia.
His
by stereoscopic
lenses.
this arrange-
of related
relief.
36
It is to
Sellers,
Animated Cartoons
be remembered that in the days of Mr.
its
means
on a
any method
series of pictures
a move-
U.5 Pat.
No.31357.
Feb. 5.
1661
PLAN OP THE APPARATUS OF COLEMAN SELLERS FOR GIVING THE ILLtJSION OF LIFE TO A SERIES OF PHOTOGRAPHS.
at a time on plates.
The ribbon
and de-
pendable, did not come until more than twentyfive years later.
of instantaneous
The Genesis
of Motion-Pictures
3/
When
scientists
merely
observing
and
recording
exactly
how
movement takes place. At first diagrams and drawings were used by students of movement to fix in an understandable way the facts gained by their inquiries. In England, for instance,
Mr.
J. Bell
Pettigrew (1834-
made diagrammatic
pictures.
He made many
in-
teresting observations
much
tures,
attention to the
movement
of flying crea-
Again in
Paris,
M.
E. J.
is
to be considered a
little
made with
And
38
Animated Cartoons
of flight registered
wing-movements
In our
as to
first
how animated
is
And
although this
we must
we
first
devote
efforts in solving
too,
of the
animated cartoon
first
use of
Academy
of Music, in Philadelphia.
Hen^ II.
Heyl,
life-
of his
He showed on
a screen,
The Genesis
of Motion-Pictures
39
The
magic-lantern,
glass
was made to
off
rotate.
moved out
of
its place.
was
be
The photographs
used
in
the
phasmatrope
At
plates
by the wet
collodion
A notable point
show was that
of the
it
was quite
like
Franklin Institute, he
play
appropriate
music to
the action
of
40
Animated Cartoons
Better
known
move-
of instantaneous
photography and
already
M. Marey,
men-
tioned (1830-1904),
and
his contemporary,
Mr. E.
Muybridge (1830-1904).
his
inquiries
in
Paris,
Muybridge pursued
his
studies in
Marey,
who
in
diagrams
made from photographs and then photographs themselves. He studied the phases of movement from a strictly scientific standpoint, in human
beings, four-footed beasts, birds,
and nearly
all
forms of
life.
And he
and whirl-
ing threads.
a trend toward the educational, in a popular sense of the word; and had a faculty of giving his
works a
pictorial quality.
He showed
this in the
00
-'
c3
^'
^ 3
u
a
d s
S3
19
fa If O
Ct-I
o >
O
Eh 00
as
.S
<t-i
'-S
o
{A
>.
.2
^ S
'S
.ad
b
Q,
P4
The
Genesis of Motion-Pictures
41
In Muybridge's
first
work
in
which he photo-
The
nected with
its shutter.
and so
Muybridge
wet
plate,
in his early
collodion
a serious disadvantage.
Later he had
was
cameras by motors.
his
When Marey
researches
entire action
on one
plate;
while Muybridge's
way was
one plate.
objects
The two men differed greatly in their and methods. Marey in his early experileast, traced
ments, at
42
models.
related
Animated Cartoons
But Muybridge procured single but pictures of attitudes assumed by his suband orderly sequence.
jects in a connected
latter
The
method
lent itself
more
readily to adapta-
and so became
it is
popularly appreciated.
Perhaps
for
this
reason that Muybridge has been referred to as the father of the motion-picture.
The photographic gun was Marey's most novel camera. With this he caught on a glass plate the movements of flying birds. This instrument
was suggested by a similar one used by
Janssen, the astronomer, in 1874, to
M.
make a pho-
at the beginning
Bdiprel contaiRing
laftS
Plata
The
Genesis of Motion-Pictures
43
of this chapter,
by which the
illu-
pictures
number
One
of these
was the
mutoscope, in which
the leaves were fast-
an
axis
in
such a
way
machine in operation
leaf
and then
al-
lowed
to snap
away
in its place.
it
When
this
was viewed
in its turn,
also disappeared to
make way
order.
As yet experimenters were not altogether sure in what particular way to combine a series of
graduated pictures so as to produce one living Besides the ways that have been eximage.
44
Animated Cartoons
some experimenters
tried
to
put
photographs
of the phenakistoscope.
On
jected
this plan of
some
of his
animal photographs.
Another
The
by a
lens
and brought
inter-
into view
mittently.
was
felt
the need
some
made
the
form
of
a ribbon.
The
suitableness
and
the
praxinoscope
obviously
demonstrated
put a
The
Genesis of Motion-Pictures
45
Event-
came
into use,
and
it is
material that
is
now
generally in
use to
make both
improved form
of 1893, that
found imme-
diate recognition
on
its
utilization
on a
on a screen
people, but
in
an auditorium by a number of
at
by one person
a time peering
It
was the kinetoscope, it appears, that set others to work devising ways of using celluloid bands
for projecting pictures
on a screen.
in their efforts
raphy and projection, others were endeavoring to better the material for the film and improve
the photographic emulsion covering
it.
There
is
no need in
this book, in
which we
shall
46
Sight
Animated Cartoons
opaning
Receptacle t^d^lSlivg alum, solution to
Pulley
LigM
Reflector
Rollers
Rdl leps
making
of
animated screen
machines used in
improvements
of the
be out
The
mechanism
apparatus
that
prints
pictures
photographically.
The Genesis
of Motion-Pictures
47
The mechanical
of the first
much
alike that
some
of
The essential details of the three machines named above can be described briefly as follows:
(1)
camera has a
light-tight
in
which a fresh
(When
as the
developed
it is
known
into place
a strong Ught.
light
is
on and
off.
when
it
is
known
The
projector
moves
between a
light
and a
lens;
a rotating shutter,
and
on.
When
48
Animated Cartoons
on the screen.
of the ubiquity
and the
SUBJECT SHUTTER
Vresh
unexposed film
CAMERA
SCREEN
SHUTTER
lUUMINANT
/
CONDENSER
POSITIVE FILM
is
The Genesis
of Motion-Pictures
of
49
such
and shade.
motion-picture camera of the most approved
is
pattern
finely
adjusted instrument.
practically a snap-shot
dition of a
A NEGATIVE.
POSITIATB PRINT.
exposure
field,
holds
it
moves
desired
it
away
length
film
has
been taken.
is
This
the same
a projector
previously
is
explained
The
method
in
many
instruments
an alternate one
of the going
of a pair of claw-levers
50
Animated Cartoons
into perforations on
The patterns
projector differ.
or
That
viously made.
camera shutter
a disk with
an open
section.
The
fit
can be varied to
The
Genesis of Motion-Pictures
51
The
pictuTes
move
Eight
made on
But
in a
artist uses,
picture
is
To photograph drawings
films
in
making animated
is
necessary,
and requirements
thought
of
the
purpose
one.
should
be
in
selecting
One important
is
matter that
may
be mentioned here
that there
should be an easy
way
dis-
made use
of,
but for
52
Animated Cartoons
it is essential
drawings
to be able to focus on a
the camera.
are
certain
There
those
numerical
formulas
that
going
into
motion-picture
work should
he
Their com-
how both
film,
and
shown on the
form
screen.
goes,
any
single sub-
spoken of as a
reel;
but in
one thousand
As
it is
generally reckoned,
ma-
will
Now
And
as sixteen
we
get an idea
the great
number
of
such
The
Genesis of Motion-Pictures
53
especially
his work.
that regarding
are
vital
mind as he plans
PHPJECTOa
IN
ONE 5EC0ND
CHAPTER
III
IN
a foot
of film passes
When
a camera
man
to
sets
up
way
this
is
have the
rate of
single
move
in the
camera at
same
As each
a foot of
film,
the camera
the the
must
learn
to appraise time
durations
turn the
artist,
instead of using
on his
film,
of related
drawings, on every
58
progressive,
Animated Cartoons
These drawings
in
make a
positive film.
This
is
used, as
we know,
and
same whether they are employed in making the usual reel in which people and scenes are used,
or animated cartoon reels from drawings.
When
reel (five
it is
hundred
theoretically
different, it
seems
of
But an
as
doesn't
many
and
this length,
none
is
so important as
that of the
skill
to plan the
of
lowest possible
for
number
drawings need be
made
any particular
is
scenario.
"Animator"
endeavor.
new branch
of
artistic
59
many
accomplishments.
whether
serious,
educational,
or humorous,
he
of form;
that
is
to say,
the subject
is
and
it
is
of
a humorous nature,
his appreciation
of a comic situation
must be
keen.
And then
ing
him
of
and attending
before his film ing
His
skill
as a
mana-
ger comes in
when planning the whole work in the use of expedients and tricks, and an economy of labor in getting as much action with the use of
as few drawings as possible.
others,
such as
and photographers,
from drawings.
60
Animated Cartoons
Comments on
self
it,
we
but
if
on
He
will pro-
ceed to
make
sketches of
his models,
be drawn of
and
of
is
contained
the
little
is
films;
or eight
inches.
For
titles
some kinds
plain
is
titles
and "trick"
^the
on
a larger
by eighteen inches
61
Now
by twelve
inches,
ways
and
of going
cartoons,
trick titles,
will
But
in the par-
method
of
The two
pegistzping pcds
G12lSS
Electric
ANIMATOR'S" DRAWING-BOARD.
nowthat
in
which
drawings are
made
in ink
all
the workers
make
a sheet
62
of thick glass.
light.
Animated Cartoons
Under
an
electric
On
to the
wood a bar
fixed.
of iron
These
pegs are a
doesn't matter
much what
this distance
all
is,
ex-
the boards in
sets of pegs
And
all of
of
an inch
this
by the
fact that
article
seven
thirty-seconds
an inch in
diameter.
Each one
pile
of the sheets of
63
As
fiat
under-
to enable
him
64
lines
Animated Cartoons
on a second sheet of paper underneath; and
also to
make the
Now
is this:
as in an
and other
in action,
figures,
And
as they
is
to another.
The
sheets are
place
insure
When
the
will
become
a back-
further ex-
The
The
light
under the
glass,
65
Next a
selected
for its transparent qualities, as well as its adaptability for pen-drawing, the ink lines of the scene
underneath are
visible.
is
to
men
and
talking.
They are
if
and move
speaking.
ing description
we will ignore this movement of mouth and the have it assumed that the artist
drawing this action,
also, as
is
he proceeds with
the work.)
are sketched in
some
of
the figures
started.
the
men
light,
a sheet of paper
and the
drawn,
is
tion
is
drawn.
Now, with
is
still
another sheet of
drawn.
all
As the man
the time his
and
66
Animated Cartoons
a tracer
in
the picture,
is
who
all this
line as
he was
first
drawn
is
in the preliminary
key
sketch.
This again
When
his
made,
in
movement
arms
first
is
the
way
of
working in the
division of labor
monotonous
upon the
tracer.
the
first
artists
tracing
of
paper
and
through
COMPLETE -SCENE
1^/
t^
-"'^*
ILLUSTRATING THE GREAT AMOUNT OP DRAWING REQUIRED IN ANIMATING A SCENE WITHOUT THE HELP OF TRANSPARENT CELLULOID.
67
68
Animated Cartoons
the
expedient
is
adopted
daylight.
animating a
figure, as it is called,
we
have
left
trees, foreground, or
what-
ever
is
They go
be
sure.
of paper.
a feasible a
way
There
much more
it
way than
that.
was
act.
He
planned
when he did
by
crossing lines
for
The reason
be apparent when
is
it is
explained that
of transparent
the scenery
celluloid.
is
drawn on a sheet
celluloid
with
it
its
scenery
completes
the picture.
The
celluloid
two
69
it is
by
can
correit
tJhis
single celluloid
if it is
(A sheet
to
now
is
known
in the craft
The employment
to save other
of celluloid can
work
are in the
same
To exempKfy: In
giving an
move.
Now,
monotony
of all this,
but once.
This celluloid
or figures.
70
Animated Cartoons
guard
against,
having
several
celluloids
is
paper underneath
three.
if
Scenery,
qualities that
make
photography an uncertain
element.
The methods
so far described of
making drawand
are
easy to manage.
For
effective
animated scenes,
are required
For complete
films of ordinary
expedients or ingenious devices to help the work ^number into the hundreds.
!ii||it,iiiii'i""'
^Ihii
B^
ON CCLt-ULCXDo
-a
ON CELLULOID
^Sm
t2^'
ILLUSTRATING THE SAVING OF TIME AND LABOR IN MAKING USE OF THE EXPEDIENT OP DRAWING THE STILL PARTS ON CELLULOID SHEETS.
71
72
Animated Cartoons
We
will use,
celluloids that
we have completed
to explain the
moving-picture camera
is
placed on a frameit is
work
supported over
It
downward with the lens The camera is arranged centred on the table. for a "one picture one turn of the crank" movement, and a gearing of chain belts and pulleys, to effect this, is attached to the camera and frameplaced so that
it
faces
work.
This gearing
is
is
moved
into
is
made.
The view
we know,
when a complete turn of the crank handle is made, moves eight pictures, or one-half of a foot of film,
into position.
On
73
field
was
Two
registering
field as
Over the
it
field,
placed.
The
glass
must
it is
and firmly
in the frame, as
intended to be pressed
down on
the drawings
Wood
serves
metal
practical,
but
there
is
of surface
where glass and metal touch, the presin holding the drawings
sure put
down
there
is liable
With wood,
this is
as
is
not so
likely to
Considering
filled
now
and
then wind
up into
its
proper receptacle,
we can
74
Animated Cartoons
The pioneers
in the art
who
first tried
to
make
Their
much
Nowadays the Cooper Hewitt mercury vapor light is used almost exclusively. The commonest
method
of fighting is to fix a tube of this illumi-
by any
pofished sur^
and
To
means
fittle
prefiminary experiment.
little film
we
find that
celluloids.
one
pic-
we should
much
Here at
animator must
75
much
To
film as possible,
i. e.,
few drawings.
begin
:
The
first
men
is fitted
scenery
is pirt
When
this
is
in place
glass
pressed
down
it is
first figures
will
diately
no,
a certain time
audience to appreciate
76
sciousness
resents
Animated Cartoons
that
men
two men
carry on a conversation.
showing the
motionless
photographed on
film.
on the
screfen just so
many
seconds
^two or three
This
will give
by the audience of the particulars of the pictorial composition. Next to show the first figure going through his movements we lift the framed glass and take off the celluloid with the scenery and the paper with the two men motionless. Now we put down over
^for
there
is
the celluloid
first
Next the
Then
glass is lowered
and pressed
an even surAfter two
down
face,
the picture
is
photographed.
77
it
the frame
is
^photographing
is
on two
raised
and the
oflf
of
the pegs.
The photographing
of the second or
intermediate position
same way.
photographed.
continued by taking the
first
The photographer
is
position,
The
idea
is
figure
warrant
it.
It is not to
celluloid
with
the scenery
is
will
and drawings
extra footage
slight
first
dramatic pause
gesticulat-
man's
By
this is
first
78
Animated Cartoons'
motionless
is
men
film.
In a
course,
story.
little
is
required to help
is
This
effected
of
on a separate piece
called
paper
balloons,
it
they are
for each
sign
somewhere so that
will
The
neces-
BALLOONS.
sary
amount
of film for
its lettering is
that
is
it
It
by the
79
drawings.
is
CELLULOID
Three elements when
fitted
CEU-HLOID
over the pegs complete the scene above.
80
CHAPTER
CARTOONS
IV
ONE
toons
is
art of
making drawings
it
for
animated car-
that
versatile
artist
true
in
dehghts in encountering
new problems
The very
art
fact that
he
some
is
activity,
rather
mechanical, evinces
this.
and
finish
the work.
The
first
As has been
explained,
it
parts of
raphy.
The employment
83
now
84
in
Animated Cartoons
common
usage in the
art.
It is
found an ex-
made on paper;
or, again, in
an-
By
this
is
also
put on
image
of
is
in graduated
ton^
a monochrome drawing.
Animators sometimes are released from the
movement, as that
of
an ob-
the other,
by using
little
out in silhouette.
It is
an
airplane, as
an instance, we
will say,
that
is
For
this,
the air-
around
its
contour so that
it
ically
spoken of as a "cut-out,"
pushed over
85
The
would be thought
of
It is
however, as
it
move
too, there
a change
of spacing
tionate.
relatively proporair-
Of course,
is,
plane cut-out
after each
it
move, photographed.
the
The
distance that
will
is
moved determines
screen.
If,
speed that
ample,
it is
show on the
for ex-
each time,
of
an inch
slow.
When an
effect in
a more natural
is
makes some allowance for the laws of perspective by making several cut-outs in which
used, he
differently according to
is
viewed on
field.
To
To
explain:
Begin-
86
Animated Cartoons
The laws
ning with an extreme side position, the lines defining the thickness
go
off
somewhat obtusely
to
as the object
moves and
always
The
direction
is
vision,
is
and the
on a
angle, with
always sharper.
if it
In the
is
level with
in profile.
The
tive
In the movement
of the subject
or cutillusion
are
is
sufficiently
resembhng actuality to
There
87
The
principles of perepeoUye are applied In the drawing of birds as well as in the picturing of objects.
With the
delinea-
and
Such screen
stories,
when the
formably incongruous and with a unity of ridiculousness and absurdity in story and action, are to
art.
The mode,
moving parts
generally, of
is
black-and-white effects
to
and
The
made
as
dummies, with
88
jointed Kmbs.
Animated Cartoons
This makes
it
possible to put
them
background.
Thfese
detail
little
black negatives.
animals,
are
of these figures or
thinnest
kind
of
Some-
Where
Instead, the
artist
must
find
some way
of fashioning card-
board
figures.
dummies and
Here we
may
titles
They
89
little
variety to the
tedium of a long presentation of monotonously toned photographs. In them, the letters make
The produc-
cut capers
all
come
90
Animated Cartoons
The separate letters, cut out of cardboard, are laid down to be photographed one at a time as they spell the words. Where they are first made to move about in an amusing manner,
manoeuvre.
they are similarly manipulated on the background
of posi-
The
titles,
when
it is
to be solid black,
This
material
is it
a serviceable
gives
article in motion-picture
work
and
as
if
wrinkles form in
it
is
intended that
some part
part
is
of the design is
being photographed.
if
a simple
matter
the background
is
a dark one, as a
same
is
color
placed over
it
taking
place.
A
by
hne
to appear
paper
to
but
is
pulled
away
91
be to
clip off
provide
giving
away the
ruse.
is
advisable to pick
surfaces
mat
and
reject
As previously mentioned,
larger field is
for
trick
titles,
toons.
It
dummies
illusion is
first
An
The audience
which of
itself
mass
of clay
seems
to
plastic composition.
it
It is
may
The
clay,
trick of
animated sculpture
is
is
produced
like this:
camera
is first
which
photographed in
form.
sculptor
now pushes
when he has
gets out of
is,
92
Animated Cartoons
is
photographed
clay,
complete form.
The
was work-
The way
making animated
sculp-
little,
closed
is called
the "stop-
motion" method.
The motion
of the
camera
is
photographed.
When on
93
reptilian
appearing on one
side,
crawKng
and
exem-
photography.
This extraordinary performance of a plain
line,
But
it
is
managed very
For
news ] picture
reels
it
satirizing
When
a
are wanted
in a hurry,
We
few para-
a film
like this.
The
is
sketched out
then
its outlines
down
94
Animated Cartoons
graphic
field.
makes a preliminary
to see
of his blue
and developing
the negative.
If
it
if
they show at
will
be neces-
less distinct,
and only
When
not a
marks
will
not
It is
him
^he
little
by
Each stroke
is
it
has been
made,
the
photographed.
movement on the
if
and
rapid.
artist
turns the
camera handle once, twice, or three times for each pen stroke has its effect upon the speed with
which the
lines
If
somewhat
95
is
made and
the exposure
will
but
run in
and
finish
On
the
other hand,
ILLUSTRATING THE ANIMATION OF A MOUSE AS HE BUNS AROUND THE KITCHEN AND FRIGHTENS THE COOK.
The
general scene Is dra^ni on celluloid, while fifty or more sheets of paper hold a sequence of plctiu'es of the mouse in attitudes of running.
96
Animated Cartoons
on
making a
line,
a patch of tinting, a
item after
it
is
continued until
completed.
lines
Variety
is
go
CHAPTER V
ON MOVEMENT IN THE HUMAN FIGURE
T TAVING
-^ -*
now
in
its
chronicled in a brief
way
the
art,
particularly
animated screen
in
now
that
its
we
ment and
depiction
by drawings that
life.
will give
The very first thing that a tyro in the animating art must learn is to draw a walk; or in other words, to become skilled in sketching the successive phases of limb and trunk movements so that
they give in their order the appearance of walking
when projected
Walking
calls into action
as a film.
directly effected
The upper
limbs act,
counterpoises in main-
100
Animated Cartoons
An
understanding of
man
walking or running
^is
an important matter to
artist
When an
in the
knows the
figure,
movement
movements
human
he
more
all
readily
and
other
is
that of the
in considering
is
also
by a harmony
of exertion in the
tnmk, we
will
of ac-
is
to serve
air,
walking.
The trunk
in the
is
some
thirty inches
moving
forward.
Attached to
and
alternately
its
ground.
we
will,
at
first,
mechanism
As
'
cO
102
Animated Cartoons
come down,
strikes,
on the ground.
As the
heel
the body
is
slightly jarred
line of
the Umb,
its axis,
the vertical.
and the
Then the
changes
with
it
its verticality
the body.
the
But
region
before
the foot
is
is
of the phases of
movement
it
bends
the
little
more and
lifts
the foot to
clear
ground.
On Movement
in the
Human
is
Figure
103
beginning to ad-
When
it
has done so
it
Now, the limb of the other side has gone through the same movements, too, but the cor-
One
is it
when
it
its
advancing move-
ment forward,
rarely represented
by the graphic
104
Animated Cartoons
The
when they
pictorial
spread
is
out
his usual
symbol
for walking.
is
But the
its
position,
an important phase
continuance that
movement, as
is
it is
during
A movement
to be as
it
of the trunk in
is its
walking that
is
remarked
hmbs
while
It
a movement that animators do not always can imagine movement clearly enough to
it.
man
we
reproduce
To
describe the
movement
better
We
and
see the
tnmk
in profile
exactly
in profile,
of course,
tion.
when the arms are at the middle posiAs the near-side arm moves forward we
back view of the upper
we
when the arm swings back and with the arm moving
and the upper part
of
still
106
Animated Cartoons
is
the trunk
If
(1)
file;
(2) pro-
add to
It
in a
humorous
gait.
as swinging in a
It
remembered that an
one looks
arm moves
opposite side.
if
it
hinges
and
the lower
Umb
will
be per-
ABC
ABC
step.
108
particular
Animated Cartoons
moment when
coincident
when one
is
nearly rigid as
is
it
at
its
median phase
the
swinging movement.
the
is
note of by the
It illustrates, in connection
This
is
sort of opening
movement
following
by a
closing
one.
In the
human
and at
adequately
in the pre-
made
plain in jumping.
Specifically:
the
lie close
to the
The
entire
body
is
On Movement
like
in the
Human
Figure
109
plaije,
a spring.
is
there
selves outward.
A
this
rower in a
phenomenon
of
a spring-like
is
closing
and
expansion.
also a typical
two
pairs of limbs.
When
on
and
in
Then when
and
the animator
is
110
Animated Cartoons
is
one matter
he punctiUously takes
rise as it
heed
is
of.
It is this:
to
upon one
and then
slightly
upon the
it falls
In this alternating
and
The
highest point
wave
is when the trunk is supported on and the lowest point when both limbs
if
flying
113.)
draws one
(It is
is
of the
extreme outstretched
positions (A).
going from
of
Then
on another sheet
stretched position
one step in
advance.
will
be kept in register
On Movement
by the two pegs
of
in the
Human
Figure
111
in the board.
As now
fall
placed,
two
steps.
foot that
is
is
about to
on the
meet
to in-
about to leave
is
it
Here a mark
made
dicate a footprint.
print
of the
is
similar
mark
for a foot-
made on each
steps.
is
two
sheet of paper
drawn.
In
and supportleft, is
bent
ground.
The next
stage will be to
make
first
the' first
extreme
fresh
position.
It is
made on a
about to plant
limb
is
its
left
depicted as
it
position that
(C)
and the
glass,
on another
ORDER
IN
lUuEtrating
how
diifering only
s,ltemating series of positions are ttie same in with respect to whether the near or the far limb
outline,'
is
mov-
ing forward.
113
114
Animated Cartoons
is
drawn.
on the ground.
We
have now
ment.
The two extremes {A and B) spoken of as the outstretched ones have the same contours but
differ in
is
forward, and
while
for-
the
left
directed
it is
obliquely backward,
left
in the other
the
right has
an obliquity backward.
Now,
if
we make
and E),
and the
left
limbs,
we
shall
As a better understanding
fact should
right
we
will say, is
And
first step.
ABC
2*
It
m .~.-l
5+
4*
5*
6*
1+
&
c
Six phetses complete
a,
ABC
step.
116
Animated Cartoons
Any
sil-
set,
To
by an example:
left is flexed, in
coincidental drawing,
is
the
is
left
that sup(See 2
ports the
right
flexed.
and 3+,
of engraving
this it
differ
on page
113.)
From
drawings
general contours.
These
details will
be such mark-
on
trousers, indica-
and the
buttons on boots.
trouble to
mark
One
of the
most
diflScult
actions to depict in
calls
a per-
spective walk.
By
is
this
either
away from
in
It
is
obvi-
coming
forward
the
figure
gets
larger
and
On Movement
larger,
it
in the
Human
To do
Figure
117
and
gets smaller
and
smaller.
this success-
Only
after a
a great deal
to
getting
sizes of
perspective lines in a
But
There
is
Every
artist
would have
his
own
individual
way
A PERSPECTIVE WALK.
of drawing this.
for
feeling
form and understanding anatomy solve problems of this kind by methods for which it is impossible to give
any
recipe.
Some would
start
118
Animated Cartoons
have
Happily in most
spective walk
is
of the occasions
when a
it is
per-
required in a story
for
it
some
humorous
incident.
This
signifies
that
can be
CO
<D
119
120
Animated Cartoons
into a speedy action,
made
screen
when they begin to make drawings for pictures find a new interest in studying
In the study of art the student gives
movement.
some
ment.
move-
is
not disskilled
But
If
to
become
and analytic
is
the artist
a real
its
consideration will be
less
shght study
motion" screen
pictures.
movement
taking
the
in actuality.
This
is
effected
by
pictures
it
with
its
camera
so
con-
structed that
faster
moves
nil
121
122
Animated Cartoons
as
The speed of the ordinary camera, moves during every second but one
made.
of
we know,
foot of film
Now,
in one type of
num-
taken on
during this
same time
of one second.
lasting
To
ment
of
a model
many
cor-
much
as our eyes
camera records on a
attitudes during the
length of film
many more
see.
is
When
this
extra-rapid camera
shows us on
artist
becomes, through
the training of his eye to quick observation and the studying of films of the nature immediEftely
On Movement
in the
Human
Figure
123
noted above,
an.
Ex-
124
Animated Cartoons
in the performances of the jugglers
Then
and
in
animator finds
imagery.
much
to spur
him on to
creative
The
make
is
an
illustration, is content
which
more
for
likely to
be the
one that
is easiest
But the animator must have sharp and quickly observing eyes and be able
to draw.
him
On Movement
in the
Human
Figure
125
12
i2
3456
l+a3*4*5*6+l
e.cr. Vi.
to
series
of phases of a
movement.
is
a rich study.
To
bending
126
so easily
Animated Cartoons
of
body
lively
and
and a
mental photography.
to
and trunk.
in all parts
But
it is all
natural.
is
co-ordination of move-
ment
This co-ordination
^follows
the business of
It
is,
clos-
and that
of extension or
an opening.
With these
and running.
Very strongly
nimbleness
of
is
this
to
be noticed in the
bizarre figures
and
falls into
exaggerated poses.
same
direction
and brings
On Movement
enough to touch
limb.
in the
Human
Figure
127
^the
extension
is
human
things.
a characteristic
non-living
many
bow
move
in unison.
128
''.I
CHAPTER
VI
IN
the reciprocal
movement of the two pairs, is the same as that of man. When, for instance, a fore Umb moves, corresponding to the human arm, the
diagonally opposite hind limb, corresponding to
the
shall find it
helpful to give a
An
artist
man
crawling
on
his
Before beginning to
if
he can,
if
not,
try
it
by
personal experiment.
right hand,
Then he
left
when the
we
the
right
left leg
time.
131
132
Animated Cartoons
the completion of this advancing action,
On
the hand and the knee touch the floor nearly at the same instant.
is
carried forward
anticipates
concluded,
it is
arm and
This
is
leg to go through
the manner, in a
An understanding
of this
an
artist
from time to time wish to put into his carNaturally, they will be in most cases
story.
toons.
Their
humorous
way and
those
of
dumb
creatures.
of
such photographs
133
move-
ment adaptable
to animation.
Besides photographs,
an ingenious
little
it is
auxiliary,
cardboard
Say
one to rep-
make the
series of
movement.
pins,
well to
be
approximalte only.
Take the
will
instance.
probably fasten
them
to the trunk at
some
fixed place.
That
is
way that they are joined in the bony framework. The joining of the fore limbs is not by a hard articulation as in the arms of man which
not the
are joined, through the intermediary collar-bone,
to the breast-bone.
body
is
by
soft tissues.
That
is,
by
lay-
and bands
of muscle.
it
will
be
TROTTING HOB8E.
The
horse in the
the second
silhouette
moves from to C D. The drawings on the next page, with plus marks are the same as the correspondingly numbered ones of the first series. 134
first series
AB
series,
in in
TROTTING HOESE
In the second
series
(continued).
the horse moves from C the same attitude as that of number 1 of the
he takes
135
136
Animated Cartoons
on their
forefeet.
Any hard
of these landings.
When
they land,
the soft
yielding
and
elastic
The
and
extension,
Taking
it
to furnish the
to land
position.
certain rapid
methods
of progression,
and
it
it will
has been
fore limbs
have
For
and
its
the ground.
137
In a rapid walk
that
of
is
of
the lifting
nearly
falls
by the
fore foot.
There
In
of
As the speed increases the lengthens and the footprints are much
in advance.
farther
the
panorama
ter,
the artist
of
a quadruped
is
a lively bewildering
effect of
agitated limbs
This
a resemblance to
and the
a proof of the
To produce
from
of
this effect,
a gallop, or
This
means,
specifically, that
138
Animated Cartoons
The drawings
are
made
in a cycle so that
when
In a panorama
it
is
about a matter that in other forms of screen representation of locomotion are highly important.
This
is
to
have the
in
feet register,
by which
is
meant that
139
where a foot
is
should do
all
all
of the
series.
glass, while
the only
way
to get foot-
The
awkwardly
GALLOPING HOKSE.
Three phases of the action
for
panorama
effects.
140
set
Animated Cartoons
limbS; has
sort
a
of
diferent
movement,
some
in
of his paces,
re-
from that
marked as natural
to quadrupeds.
In the
giraffe,
the
two limbs
of the
same
at the
side
move
same
same time
and
in the
direction.
The
seems to be a combination of
the amble and the
Now
and then
141
an ungainly ostrich
is
a good example, or a
droll
duck, perhaps.
will
Here he
plenty
of
have
in as
scope
applying
his skill
humorous draftsman.
A nodding
of the
of the
body from
side
and
ostrich
a wiggling of
priate adjuncts to
such animation.
human
THE ELEPHANT IN MOTION
(continued)
figure.
Par-
ticularly,
too,
must
142
Animated Cartoons
With
movement
in flying birds,
Japanese
artist
demonstrated by photography.
artist,
The Occidental
shot camera, had but one or two stereotyped positions for picturing flying birds.
Generally one
of these positions
had the wings pointing upward, and another with them outspread, more or less,
horizontally.
artist
antici-
body and pointing downward. One good way, if an animator wishes to rep-
is
to
have
action
^five
or seven
out.
These
|x<*4
-*
move
to C.
143
144
Animated Cartoons
The
slight
wavering from
may
occur
by
this cut-out
much.
The
way
as he
flies
^its
when
145
an
artist
The problem
the picture.
is
to specify:
When
146
it is
it
Animated Cartoons
represented in a side view, which changes as
After
it
has
been viewed in
again and
in
when
again
a perspective side view, slightly from the back. In the mode of progression that was given as
the usual one in quadrupeds, in which a diagonallyopposite fore and hind limb
there
is
moved
simultaneously,
an
effect,
creatures and in
some
of
them can be
an
clearly seen.
lizard, as
instance,
when
As one
fore
Umb
for-
moves
forward, that
body
the
right shoulder,
moves
left
This causes
an alternating obliquity
of the shoulder
body
of the reptile as
this alternate
And
rise
?^ff^
RUNNING COW.
PositionB selected
Js2. ^J3
^itk'M
."k^i
A
B
C
Be
148
149
The mode
is
distinguished, too,
by a
lateral
bending in and
out.
Snakes and
eels, for
=^Lr
DOG WALKING.
150
Animated Cartoons
to the
tail,
the
spring-
like coiling
flexion
is
in the snake.
The undulatory motive impulse of a creeping animal is somewhat like the sudden lashing of a
whip, or the wave-Hke disturbance given to a
rope
when
it is
certain way.
LIZARD
WATER-WAVES
VARIOUS KINDS OP WAVE MOTION.
characteriBtic of
many forms
CHAPTER
'TpHERE
--
VII
very
little effect of
motion on the
screen of a
moving
straight line
by
itself
Or, as the
it
does not
animate
well.
is
Now
is
supposing a picture
intended of a
man
The
tugging at a rope.
taut and
it
He
pulls hard
but the
It
the rope a
little
or
in
even a snake-like
motion
effect
of
any disturbance
This sort of
would do
ter
if
would be bet-
fibre
154
Animated Cartoons
is
rope
supposed to be going.
it
But
still
better
would
the
rope
that of
^three
of progressive positions.
have
photographed, the
one
The
artist
arm movements
we have
mind the
picture of the
man
tugging at the
rope, of course.
Then the
the
and
good judgment.
This idea of arranging things in cycles
eral
all
is
the gen-
way
of
Nearly
man-
Inanimate Things
in
Movement
155
The problem
any cycle
is
in
to
the
first
The
action
must not
skip, cause
a hesitation, or go backward.
would be
difficult
to
give
by words any
is
directions exactly
ing,
how
the surest
way
of accomplishing
it.
As
general
an odd number
intervals
not,
of
above
be equidistant.
Where the
tator
an animated drawing
of a
waving banner,
or flag, he
If it is
makes a
flag,
sort
of
necessitating
age audience.
But
if
156
Animated Cartoons
more attenit
nearer
there
carried
flag.
Then he
contrive
that
is
As
end
it
lessens its
volume
This
and at
will
In planning
the cycle
will
phase of the
of course,
give a
fied
can be diversi-
by an occasional break
in the order in
which
An
is
easily
animated by making
it
in three phases.
This
will
when projected
about or
any
bit of
drapery that
is
blown
flutters
on a
figure in action.
Flowing water,
waves,
An. Early
Amepicatv
Flag
157
Animated Cartoons
158
animate if the
artist
ingredients the
most
striking effects
on
the screen.
It is customary, again, for artistic particulars
like these to
drawings.
is
The
water-splash
is
Animators have
it.
When
some unlucky
The
made
in the
In such a particular as a
of drawings is also used.
jet of water,
a cycle
The
may
give
an
Inanimate Things
in
Movement
159
C^
CYCLE OF DBAWINGS FOR AN EFFECT OF FALLING WATER.
The drawings
are repeated,
number
1 following
number
3.
effect
of
is
funny-
touch
what
is
wanted
in a
humorous
picture,
celluloids
with
lilies
in their
160
Falling
Animated Cartoons
snow
that
indispensable ingredient of
the provincial
melodrama
is
simply managed
celluloids,
by spreading,
at
general tinting, of
A blank
drawing
of
is
components
an incident.
Each
is
made on
and photographed as
it is
made.
Supposing that
There
first
is
off
in the
to be
shown
in hurried
sombre
a blank
or in white
on
Inanimate Things
in
Movement
161
effect
The
also be
drawn
pressed
down
its surface.
i\>Och ^
A cycle of three drawings Is siifBcient to give a vivid representation of the
puffing exhaust from
an automobile.
Little
by
cycles of
To
we may
cite puffs of
vapor
from an automobile, steam pouring out of the spout of a teakettle, and smoke from a chimney.
162
Animated Cartoons
exactly-
lines in
Some-
on paper, representing
it
by crayon-sauce
an
artist is picturing in
firing of
jectile leaving
The
it
artist
seems in
to
become
visionally
smaller
is easily
This animation
AN EXPLOSION.
Inanimate Things
in
Movement
of
163
managed.
certain
number
models of the
in size
from the
first
mouth
They
are used
by putting one
Not many
the action
of these
is
any
should
provide
for
some cataclysmic
chmax
part of
Such things
for the
animator are
not hard.
Then
zagging
and
similar whimsical
markings
PIANO PRACTICE.
A. General effect of the animation. B. Fart of the design which is drawn on the transparent celluloid. Below: Three separate drawings, used in sequence, with the design on
the stationary celluloid.
164
Inanimate Things
in
Movement
165
are
ness, they
But
Tbeae three drawings are used in sequence and repeated as long as the
particular effect that they give
is
desired.
Besides, being
presents no
The
several
produced are:
To arrange
their
components
166
in cycles;
(2)
Animated Cartoons
drawing them in their order under
the
(3)
camera
have
little
and
photographing
progressively;
cut-out pieces to
to.
Take
a nonsensical conceit
<^.
A CONSTELLATION.
The
fovir
simple elements above give on the screen the lively animation indicated by the lower sketch.
This could be
made by
having
(2)
(1)
drawing
by having
and
a number of
little
Inanimate Things
in
Movement
167
1, 2,
and
3,
effect
shown
in A.
One can
see
from
all
mak-
168
Animated Cartoons
make very
little
progress
he were to refuse
to take advantage of
The animator,
as
weU
makes use of
signs to
CHAPTER
VIII
yfANY
mind
of the striking
ways
of telling
in-
-^*-'- cidents of
in
of the pictorial
is
An
example
Then
there
is
dreaming.
These
and other
ways
They
animated
They
certain
to apprise the
audience of what
abed.
of
creating
any
of
172
these effects.
Animated Cartoons
of
is
a sleeper,
and the
details of the
five
moving
on three or
sheets of paper.
more
telling
by
indicating,
with ^ appropriate
sound of snoring.
the sleeper would be drawn on celluloid and the pictvires in the clouds on separate sheets of paper.
is
superimposed over
the draw-
ings in a
way
'
Pictures
173
-4
^
j5* snS*
1 ^
Series of drawings
marked
it
show the screen effect desired. Below: the that are used with the simple component on
or at
in rhythm, in series of
These would be
desired.
174
Animated Cartoons
of balloons
^is
The employment
alluded to before
screen work.
they
have been
They
con-
the characters.
Their
more or
less balloon-shaped,
hovers over
The
come
can come in
word by word.
talking.
When
the
first
duced and an
effect
But now an
put as
artist
who
cares enough
as possible will
show
artist
must think
ings,
of while
he
is
and one
of the
weighty ones
to have the
lettering for
to be
Pictures
175
its
own
special rule as to
the
number
as
for a word.
clusion
to arrive at
film
any conany
have
In
to take for
title, is 'to
sentence in a balloon, or on a
this reading.
A "CLOSE-UP.'
this
way
tell
how much
be able,
rule with
to give
He
will
own
favorite
method
of telling something, or to
is
to follow,
is
to have
176
Animated Cartoons
an exaggerated type.
There
The
design
is
usually en-
this particular
encircling design.
a way
^ "Sy
f'
^~^\
ally it is a
good plan
this teleit
to
employ
be
scopic mat, as
may
solid
called, as its
forcible
contrast of
^<^ ife^y
black
margin
form
photographic
An amusing
currence
oc-
sometimes
that of having a
fly
man's hat
To
vivify
this
from
air
on
are
"model" hats
photography.
^^^
Pictures
177
head again.
having a
little
cut-out
dummy.
A single
dummy
ing,
gets a very
humor
of the situation is
it
were, and
it
lands
artist to
make
a cycle or a
For instance, he
move.
there
is
much
simpler way.
The
left
On
a nar-
row piece
slipped
of
Now
the
ma-
Animated Cartoons
<
"Ata^""
'
>
CUT-OUT" EYES.
easy.
The
various posiit is
under-
by the stop-motion
method.
The
contrivances or expedients
to
Ughten irksome
and monotonous
And
and
means
of
economizing
labor, so that
ough drawing
needed.
He
must, in short, in
Pictures
179
it
and no more.
By
learn to
know where
respect
to
to sUght
it will
experience he
will
isn't ex-
With
there
is
it
this
suppose
ing as
Hands,
if
it is cer-
draw, and
they are
it
would
series.
But
make
quickly lined
marks
lines,
Exactly
how
to
learned only
by
actions,
numbers 2 and
4.
180
Animated Cartoons
is
Often there
a hand,
for
if
some
it
swift action
for a slower
is
action
But
it
even more
Pictures
181
for instance,
reflective attention.
To be
precise,
suppose the
action
is
to represent an
movement the same degree of flexure at the articulations must not be present in the drawings. The whole arm
in
any
as
is
it
hangs by the
side, before
little
it
bending at either
it is
elbow or wrist.
In moving
upward,
not
same
relative straightness
all
of joint
angularity in
the
elbow and
wrist
is
at
this
different degrees of
flexure.
Especially
difference
to
vary
more, or just a
best com-
182
Animated Cartoons
if
prehended
the
artist,
Then he would
if it
hinged
at
the
shoulder,
the
movement would
be
false
and not
The
natural
manner
of moving.
Pictures
183
An
artist
shows
eation in the
way
of
from
side to side.
graphic
Front
face, profile,
The animator
But he
must be
a
skilled, besides
in these views, in
skill
drawing
in
any view.
is
And
that
is still
more needed
that of being
In tiiming the head from profile to ftill face, one drawing between the ctremes is sufBcient for a quick moTement. But when It is desired that the action be "smoother" two more drawings are required.
184
Animated Cartoons
the features the same throughout a
To keep
number
spend a
of drawings it is
little
found advantageous to
more time
idea
The
is
is
not so
much
it
to
make a
face that
certain dis-
it.
when
easily represented in
of the tracers.
any view
work
A
of
Uttle trick of
comic graphic
artists is that
making
the features of
or
is
somewhat roundish
curves.
The
circle-
^round eyes,
and a
the features.
given, perhaps,
of his art;
shall
Now
can be for-
when one
we
try to
easy to
copy and
trace.
As
in caligraphy, unfixed
and
Pictures
185
the strokes.
In pen-and-ink draw-
the harder
it
will
be to copy or counterfeit
it.
But
if
the
definite
and
and imitated.
This
why
the
little circles
and
animated cartoons.
There
is
nothing ambigsaucer-
made with
and a nose
like
circle.
Its peculiarities
with faciUty.
As has been
but has a
It can
be well imderis
that
the
members
same quality
One
of the difficulties
And because
is
why they
There
is
186
Animated Cartoons
make
for speed In
animated car-
toon work.
face.
The approved
way
of avoiding this
is
of the characters
drawn on
by
all
from.
week,
it
is
from the
original sketches
and a number
a
set.
of copies
may have
With these
Pictures
187
will
No
times,
doubt, as
it is
it
many
clearly understood
It is
of reproducing
In a face, there
is
a certainty
that
its
if it is
drawn
but once on
but
if
it
is
copied each
a likelihood that
it will
little
For example,
making
making
it
an absolute
by
be outlined
to
with
such
white
line.
This
seems
be
188
Animated Cartoons
judged by the
result
while.
At
of
this point
is
question
artist
what
meant by "animation."
An
with
little
experience
for
may make
a series of move-
ment phases
are tested
it is
that
It
is,
may be
haps, or he
may have
shall
we
one
We
vision,
will
if
cite
little
it
trick
humoring
the
spot,
one
of
may put
this
way: have a
or
patch,
a move-
An example
is
The eye
catching
and forth
is
should be.
An
added
a tiny
Pictures
of
189
left
on the toe
each
black
The
it
is,
One
whether or
them
in a sort of
way
Two
immediately
following
drawings
can
be
tested this
near one comer pressed against the drawingboard, then with the other hand the top drawing
is
moved
rapidly
up and down.
In this
way
the
if
some notion
This
little
of the appearance
on the screen.
phenomenon
typifies
A
is
to the story
to
moving
sists of
a rock, a clump of
a tree trunk.
The
190
Animated Cartoons
drawn on
celluloid
Foreground
ways.
figure.
details of a pictorial composition help the animator in several Their inertness, for one thing, affords a contrast to the moving
sible,
though, for an
artist, if
he
is
dexterous, to
pressed
is
rubber cement.
Pictures
191
an
studio;
especially
it
for
temporaryoff
the animation,
is
the panorama.
In this screen
which
is
thought of as moving,
while the landscape,
normally quiet,
Certainly
tion,
it
is
in motion.
all
we have
seated in
when
has started;
when, in
This simply
our surroundings
we
perhaps
moving
readtrain
expectancy of at any
moment
if,
being on the
had been
fulfilled.
Even
off
in a
moment
or
two,
us,
it
we reahze
is
hard to shake
Now
is
a similar delusion.
192
Animated Cartoons
a figure going
all
the
time.
And we know
All our
it
drawn
In spite of
the
little figure
spectrally advances
know
it
does (visionally)
fast.
when we
ourselves are
running very
The manner
is this:
in
which a panorama
is
is
produced
strip
the landscape
this is to
drawn on a long
little
of paper;
be moved httle by
it
and
has been
is
drawn
cellu-
on sheets of
The
sepa-
relatively
same
place,
same way
or run.
walk
One
B.f'l
193
194
is this:
Animated Cartoons
the limbs as they are sketched in their
attitudes
in
appropriate
the
several
drawings
is,
identical outlines.
That
ex-
in another
way,
if
all of
The bodies
rise
in the
some attention
is
given to the
and
fall of
Slightly shifting
it
up and down on a
would
effect this.
is
The band
figure is
of
moved
which the
supposed to go.
The photographer has many things to think of while he is putting this panorama effect on a film. He must move the landscape strip; sometimes as
little
as
one-sixteenth
of
an inch at
in its proper
a time;
the exposure.
namely, a second
different speed.
panorama
strip to
move, and at a
Pictures
195
This
is
when he
little
wishes to give a
better representation
of
verisimilitude
than
panorama
strip.
Far-off
jects, as
moving ob-
we know, ap-
We
in
are aware of
this
looking
airplane
at
distant
high
up
in the
sky that we
And
an
illu-
minated railway-train
in the valley
below
us,
when we
are
on an
ILLUSTRATING THE APPARENT SLOWNESS OP A DISTANT MOVING OBJECT COMPARED TO ONE PASSING CLOSE TO THE EYE.
To
bring
it
to pass that a
effect of
are distant,
196
Animated Cartoons
panorama detaik
foreground, which
One
is
the
to be
moved much
quicker,
one-eighth of an inch,
will
or so.
second strip
is
moved,
less.
If
moved
on the screen
be a
of
little
rail-
way-coach when
jects
seem to
fly
by.
strip for the foreground is deit
The panorama
can be cut
With
usual to
fill
up the whole length with items of interest, there must be observed some degree
haps
it
of simplicity.
Per-
be a subordination
even
if
they
some
striking fea-
too, automobiles
This brings
Pictures
197
Some
distinguishing
mark on a wheel
is
needed to give
it
the screen
il-
lusion of turning.
ing wheels, or
illusion.
in the screen
going
with
It
is
very
it
little
evidence
of rotation.
only
when
turns unsteadily,
or
when
there
is
Sometimes
it is
a temporary
repair, or
Further amplification
is
make
clear.
So the ani-
some such
mere black
is
some-
198
Animated Cartoons
It is usual to
times sufficient.
They
are turned a
little
at a time
and
To
represent the haater in sketch suddenly trembling with fear as In sketch B, two drawings, 1 and 2, with varying wavy lines are used alternately daring the photography.
CHAPTER IX
PHOTOGRAPHY AND OTHER TECHNICAL MATTERS
TlESPECTING
-'-^
adaptability
and
results,
is
the
used
be used to make
In making cartoons,
must be noted:
and
(1)
The
camera
as
is
is
of the
one-six-
^is
commonly The camera in making animated cartoons is held, pointing downward, by a firmly biult framework. The artist, having decided on the dimenthe case.
sion of the field for his drawings", determines the
Nat-
202
Animated Cartoons
some
cases
making
come
in contact with
The
particular distance
is
dependent
It is a
com-
mon
(fifty-millimetre) lens.
a lens
There
is
no
An
of work,
when he
may have
into practice in
In build-
must be thought
built so that
is less-
The
structure
must be firmly
ened;
(2)
an arrangement
camera in a
203
dHMUi|
yM
TYPICAL ARRANGEMENT OF CAMERA AND LIGHTS TO PHOTOGRAPH DRAWINGS FOR ANIMATED CARTOONS.
C. Camera. L. Lights.
Hinged frame
its
exact height
field
justment.
jarred
The camera,
for instance,
may
get
their
camera
for a
204
Animated Cartoons
This neceschanged,
size of field is
wisdom
is
once
The frame
and the
scribed.
board
with
the
By
having
this
way
it is
possible to
of getting the
Knes adjusted.
Then
if
field
a preponderance of
especially
horizontal
ones,
it
is
The outhnes
are
on the board.
When
the
Photography and Other Technical Matters
field is fixed
205
lines, it is
one-half inch
The
idea of this
all
which
kept.
If
the ordinary
gained then will help him in the matter of focussing, or regulating the
diaphragm
of the lens, so
that
all
fined.
In a
still
that
the focussing
on a ground
it
glass, while in
is
a cine-
matographic instrument
usual to place a
what
loid.
like
film passes.
The
picture
is
blank film
To
field
worker
206
Animated Cartoons
will,
wise in perception
portant work,
make a
This
is
merely a
and developing
it.
found
useful.
There
are
in
all
metropolitan
centres
film
But
work
it is
prudent
of chemicals
it will
be pos-
in
any particular
fixed
it
that
is
in doubt.
The next
in place,
is
to construct a
mechanism by which
This
is
contrived
by a system
of sprocket-wheels
down
handle.
not be a
but
it
207 the
would be an altogether
different
problem
if
many
instance,
that
will
continual
turning on and
off of
is
the power.
Here certainly
motor and
necting
it
fix
camera mechanisms
among
films.
those
who make
this
titles
moving-picture
For
particular
branch
an indispensable
adjunct.
It
in the theatre,
that
when he
any lengthy
way
of effect-
But
way
the matter
is
is
worked
out.
a screen story
film,
The
particular length
foot-
208
Animated Cartoons
age
allowed
of
its
for a
title
amount
titles
ing-matter.
Some
|d jo
One
such, requiring,
HEART KNOWS
WHAT EVERY
p p p
makes
dle
it
necessary to
HEART KNOWS
WHAT EVERY
p p Id
In
forty times,
operation
is
the
by hand.
studios
very
monotonous
title
job.
So
P HEART KNOWS P
jnt
5PMIN.X, riLM
C'-.p
WHAT EVERY
mechanan au-
too,
tomatic counter.
WHAT EVERY
Then
in
photographit is
HEART KNOWS
PART OP A LENGTH OF FILM FOR A TITLE.
For every second that the wording is viewed on the screen, sixteen of these frames pass through the projector.
ing a title
a sim-
the
mechanically
209
have been
the
mechanism.
is
An
form
is
One
perfectly black at
first
of hght appears,
to reveal at the
ject of the film.
This
produced by a vignetter,
is
or
iris
dissolve.
vignetter
a device, fixed
num-
pivoted on a circumference.
When
these seg-
ments move
in unison
toward the
centre,
they
is
in
a contrary direc-
similar de-
^the iris
But
in the
close,
and there
is
left in
the
210
centre.
Animated Cartoons
The
iris
dissolve, or vignetter, is
made
to close completely.
pictures are
"faded on"
is
picture.
is
To "fade
off"
i.
simply reversed;
e.,
being taken.
The most frequent application that an animated cartoon artist makes of a vignetter is making
cross dissolves,
into another.
medium
of
one of these
thinking of
of armor.
how he would
There
will
him
ordinary
photographed.
is
During this
degrees.
closed
by
When
upon
procedure the
211
portionately lessened
on the sensitized
picture-forming
emulsion of the
film, so
all
that
its
used up.
There
is
still
The next
step
is
to replace
the
first
drawing with the one showing the charthe vignetter completely closed, and
acter in armor.
We
left
212
of the lens has
Animated Cartoons
been wound back into the magafield
zine
and
is
again
Now
pic-
is
new
These two procedures in their method of operating and their effects compensate one another.
The gradual
one picture
is
in-
in
out again.
And,
an animator
when he
selects his
camera backward
for
making these
and
any other
trick
work involving
like manipulation.
213
making
of tests
before photographing.
tests should
tion.
be made
It is
should be
evenly illuminated.
justing the hghts;
an
affair of ad-
that
is,
getting
them one on
dis-
away from
the drawing-board.
75
QZ'A
50
37/2
as
121^
12'/2
as
37/2
50
etVz
75
57/2
lOO
lOO
lOO
lOO
100
100
100
first
(The film having been wound back is ready to be photographed upon again for the second part of the procedure.) B. While the vignetter C. The is gradually opened during the taking of the second picture. percentages of light in the two exposures combined and giving the com;plete exposure time.
214
Animated Cartoons
as has been
films,
has
besides
illuminating
it
qualities
another
great merit.
rays.
It is this:
it is
When
remembered that an
some-
numerous drawings
all this
and
that
a desirable
The manner
which
is
of going
re-
In the
made on
but
parency
is
a thing to think
and
it is
preferable,
be no water-mark.
The
design
in tracing
Ordi-
215
is
to be solid black,
it
has
In spite
of the turpentine
it
medium
it is
possible to apply
to paper.
when viewed
draw-
it is
photography.
Whether
come
It is
difficult
to judge beforehand.
best to take out ink lines that are not wanted with
sur-
monia water
is of
make
It
course imderstood
easily
be
washed
off
it
is
well
216
Animated Cartoons
background.
the film.
They
will
come out
as spots on
"broken
best.
in," as the
is
the
The scheme
hold
of
employing
celluloid
sheets to
is
in
common
usage in the
art,
temper pigment.
movements on
work out
all
celluloid it is the
When
is
taken
And
so as
to
off
make
and
it
spoil the
whole
reel,
it
is
sealed around
217
matters
Titles,
made
titles
at the
same
is
made by a
NEGATIVE FILM
Device
to eclipse
the light
PRINTING APERTURE
is
called the
POSITIVE
tlSHT
Part of the
Intermittent mechamism
NEGATIVE FILM
work
exclusively
and then
With
is
laboratory.
But
as
it is
not
difficult to do,
the
animator
218
Animated Cartoons
PAPER,
REG15TERJNG PEG
LIGHT
lamp.
and not caring to wait until the laboratory will try his hand at it, no doubt. it
finish
He
little
two ends
on the overlapping
This
is
section a little
hesive.
film cement.
a firm ad-
The
is
cement
by a
little
moistening.
203
J^HH
yM
TYPICAL AREANGEMENT OF CAMEBA AND LIGHTS TO PHOTOGRAPH DRAWINGS FOR ANIMATED CARTOONS.
C. Camera.
Hinged
L. Lights. M. Mechanism to turn camera shutter. F. firame with glass to press down on the drawings. B. Board
its
exact height
field
justment.
jarred
The camera,
for instance,
may
get
their
camera
204
Animated Cartoons
This neceschanged,
field is
wisdom
is
once
The frame
and the
scribed.
with
the
By
having
this
way
it is
possible to
of getting the
Then
if
field
a preponderance of
horizontal
ones, especially
it
is
The
outlines
are
When
the
Photography and Other Technical Matters
field is fixed
205
lines, it is
one-half inch
The
idea of this
all
which
kept.
If
the ordinary
gained then will help him in the matter of focussing, or regulating the
diaphragm of the
lens, so
that
all
fined.
In a
still
that
the focussing
on a ground
it
glass, while in
is
a cine-
matographic instrument
usual to place a
what
loid.
like
ground
where the
film passes.
The
picture
is
blank film
To
field
worker
206
Animated Cartoons
will,
wise in perception
portant work,
make a
This
is
merely a
and developing
it.
found useful.
There
are
in
all
metropolitan
centres
film
But
work
it is
prudent
of chemicals
it will
in
a few minutes,
in
be pos-
any particular
that
is
in doubt.
The next
in place,
is
to
This
is
contrived by a system
of sprocket-wheels
down
handle.
would
but
it
not be a
207
the
would be an altogether
different
his
problem
if
camera with an
many
instance,
that
will
continual
turning on and
off of
is
the power.
Here certainly
install
to
have an expert
the
motor and
necting
it
fix
camera mechanisms
among
those
who make
this
titles
moving-picture films.
of the industry
For
particular
branch
adjunct.
It
in the theatre,
that
when he
any lengthy
this title
way
of effect-
But
this
is
not the
way
the matter
is
is
worked
out.
title in
a screen story
film,
The
particular length
foot-
208
Animated Cartoons
age
allowed
of
its
for a
SPZ-MNX FILM
title
amount
titles
ing-matter.
Some
|a
Trtfcr
SPMINX FrLM
PKL
-_l
Corp
jo
One
NTS
WHAT EVERY
MEART KNOWS
P P [a
la
makes
dle
it
necessary to
Corp
forty times,
operation
is
the
by hand.
studios
very
monotonous
title
job.
So
SPMINX. FILM
Cn.p
mechanan au-
la
too,
tomatic counter.
WHAT EVERY
Then
ing a
in
photographa sim-
MEART KNOWS
PAST OP A LENGTH OF FILM FOR A TITLE.
For every second that the wording is viewed on the screen, sixteen of
these frames pass through the projector.
title it is
the
mechanically
on the
209
have been
the
mechanism.
is
An
form
is
One
of light appears,
produced by a vignetter,
is
or
iris
dissolve.
vignetter
a device, fixed
num-
pivoted on a circumference.
When
these seg-
ments move
in unison
is
in a contrary direc-
similar de-
But
in the
close,
and there
is
left in
the
210
centre.
Animated Cartoons
The
iris
dissolve, or vignetter, is
made
to close completely.
pictures are
"faded on"
it
is
picture.
is
To "fade
off"
i.
simply reversed;
e.,
being taken.
The most frequent apphcation that an animated cartoon artist makes of a vignetter is making
cross dissolves,
into another.
medium
of
one of these
thinking of
of armor.
how he would
There
will
him
ordinary
photographed.
is
During
degrees.
this
closed
by
When
was
just
photographed
upon
procedure the
211
portionately lessened
on the sensitized
picture-forming
emulsion of the
film, so
all
that
its
used up.
There
is
still
The next
step
is
to replace
the
first
drawing with the one showing the charthe vignetter completely closed, and
acter in armor.
We
left
212
of the lens has
Animated Cartoons
been wound back into the magafield
zine
and
is
again
Now
pic-
is
new
and
their
effects
The gradual
one picture
is
made up by the
gradually in-
in
out again.
And,
an animator
when he
selects his
camera backward
for
making these
and
any other
trick
213
making
of tests
on a small piece
of film
before photographing.
tests should
tion.
be made
It is
should be
evenly illuminated.
justing the lights;
an
affair of ad-
that
is,
getting
them one on
dis-
each side of the camera in their proper positions with reference to the lens opening and the
tance
'OOCXX)00
Q7'/2.
75
GZ'A
50
57'/z
25
12 '/a
'OOOOOOO
IZVz
2.5
37/2
50
62-/2
75
87/2
'OOCXXDOO
lOO
lOO
lOO lOO 100
100
100
IN A
first
When
the vignetter
is
(The film having been wound back is ready to be photographed upon again for the second part of the procedure.) B. While the idgnetter is gradually opened during the taking of the second picture. C. The percentages of light in the two exposures combined and giving the complete exposure time.
picture.
214
Animated Cartoons
as has been
films,
in
its
quaHties
another
great merit.
rays.
It is this:
it is
When
remembered that an
some-
numerous drawings
all this
and
that
a desirable
The manner
which
is
of going
re-
In the
made on
but
parency
too,
is
a thing to think
and
it is
preferable,
The
design
Ordi-
215
is
to be solid black,
it
has
In spite
of the turpentine
it
medium
it is
possible to apply
to paper.
when viewed
an uncertain quanit
photography.
Whether or not
will
come
It is
difficult to
judge beforehand.
best to take out ink lines that are not wanted with
sur-
monia water
is of
flow evenly.
It
easily
be
washed
off
it
is
well
216
Animated Cartoons
background.
the film.
They
will
come out
as spots on
the
The scheme
hold
of
employing
celluloid
sheets to
is
in
common
usage in the
art,
temper pigment.
movements on
celluloid it is the
When
is
taken
And
so as
to
ofif
make
and
it
spoil the
whole
reel, it is
sealed aroimd
217
matters
Titles,
made
titles
at the
same
is
NEGATIVE FILM
^
to eclipse
made by a
Device
the light
PRINTING APERTURE
is
cailed ttie
POSITIVE
LIGHT
Part of the
Intermittent mechanism
NEGATIVE FILM
work
exclusively
and then
With respect to
is
laboratory.
But
as
it is
not
the
animator
completed,
218
Animated Cartoons
lamp.
and not caring to wait until the laboratory ^will try his hand at it, no doubt. it
finish
He
little
two ends
proper re-
This
is
a firm ad-
cement
by a
little
moistening.
On Humorous
Effects and
on Plots
235
cyide of drawings, like those above, used in turn and repeated for a time will give the screen illiision of a man spinning like a top.
mated
scenes.
hill
little
ning up
and down
is like this is
dale.
:
The manner
or so
is
of his
performance
he runs up the
first hill
moment
when the
supposed
to be running
down the
hill.
hill,
Soon
at the
he
is
236
Animated Gafrtoons
run down
In another
hill
as a
waves.
The
rise
and
fall of
runs up
valleys.
A pause
comic
series
situation.
in fact,
proper to any
And
some
negative
moment
adverting
our
On Humorous
thoughts for a
Effects
and on Plots
237
moment
to physical activity -^
having a
we
did not
a species of regularly
matter of the
stirring
The
up by
FBOM "THE
repetition.
'BAB' BALLADS."
liking or plea-
sure in these
What
is
238
Animated Cartoons
Is it the
regulamess
music of the
Perhaps
essen-
two
any
art
work
The
In
satisfies
Keeping step
ment.
is
is
an
artificial
recurrence of move-
It pleases, of course,
takes on im-
In some of
S. Gilis
bert, of
On Humorous
Effects
and on Plots
239
HATS.
well expressed.
for instance,
like
mechanic-
One
is
of the
head.
is
And
its
a stovepipe pattern.
240
Animated Cartoons
is
passing
is
moin
The
graphic artist
by representing a stone
the missile
is
the
air.
in reality
and
in
the
picture
mere
anticipation
is
enough
to
awaken the
tion
risibilities.
The animator,
of course,
of seeing the
consummation
Many
professional entertainers
have
built their
it
On Humorous
will
241
in doffing
If
a hat
is
too small,
it is
sure to
create laughter;
and
if
too large,
it is
a certainty
And even
The
pencil are
all sorts of
strange
incident
an animated cartoon.
CHAPTER XI
ANIMATED EDUCATIONAL FILMS AND THE FUTURE
NEARLY
making
of
far, in
accord with
They
gratify
strike
re-
Now
there
satis-
fying a
human
upon
animated
films
of
educational subjects.
if
By
educational
films
woidd be meant,
is
the term
tional.
It is to
lightened opinion
now
of educational subjects
children, even
if
for
or diverting
is
to be found in
245
The kind
thought par-
246
ticularly in
Animated Cartoons
mind, especially
fitted for the screen
His "Alice in
Won-
derland"
tale
is
And
Sir
of the
animated screen.
The Mad
make an
an aniclassics
An
artist desiring to
be the author
of
mated story
built
would need a
the fantastic.
if
gleeful imagination
and a turn
for
And he would
require,
besides,
247
quali-
a screen draftsman.
As
clown
refinement
is
is
neither found
for.
But
in a story with
and told
artistically, it is obliga-
tory that
quality.
its
interpretation be of a corresponding
drawing
difficult actions
and perspeclatter
tive walks.
As remarked
before,
this
when the
requires
dexterity
And
to
become expert
in this particular
means study.
contem-
For examples
of foreshortened figures to
the
Chapel in Rome.
of
Photographs or copies,
no
doubt,
these
248
Animated Cartoons
^C^
man
of
many
ar-
activities,
would have
tried his
hand at
In our
own
in
the matter of depicting action and the delineation of character are found in the drawings of
Mr. A. B. Frost.
these respects in his
particularly noteworthy.
on
The
old-fashioned peep-show
249
cineit
passed
its
way, and in
its
place has
come the
matographic exhibition.
Children consider
commonplace occurrence
to the "movies."
imbibe
250
the
Animated Cartoons
medium
of the films.
in-
structional
THE PEEP-SHOW.
Detail of a composition of a French eighteenth-centviry tapestry designed by Bouclier.
quently
presented
in
motion-picture
theatres,
but the
have not
been exhausted.
Some
who looked
into
251
and
pictorial synthesis to
M. G.
Demeny,
in Paris, to cite
an instance, invented
His
in-
of a person speaking
by the
photographs of a
person speaking.
tures were cycle which,
The
pic-
arranged
in
a
[
when the
disk
was made
to rotate, proeffect
duced a continuous
of the action.
One form
ratus, or
of this
photophone, was
^"if^mr^! ?^r
*"
made
to be turned
by
hand, and the combined picture or illusion viewed through a lens by one person at a time. Another
type was constructed so that the synthesized picture of the speaking face could be thrown on a
screen.
252
Animated Cartoons
is
There
And
an
artist
bring into
It
graphic
as
be
way
of
making
of
Then, instead
an
when he
is
The
shown
day
in
many
in
and day
out.
Methods and
principles of the
more advanced
composition,
^pictorial
As one example, we
pose
is
to
253
First
an
indiflferent picture,
poorly arranged,
is
shown;
then
little
things
detail that is
not quite
were a real
moved
again,
Methods
Ornament can be
natural form, to the
it
shown
first
as
it
evolves from
its
passes into
it
becomes, as
And
can be shown, as
scroll.
All these
managed
254
Animated Cartoons
as
if
Presuming that
all
knowledge
an animated
film.
Some
of the experi-
Explanations on the
would be
To
difficul-
It
complicated
1^ Rockcp Arm.'*
'
Fop Canvs
Fop Valve
/Celluloid
.*.?ft.
^'m.'.
A FEW OF THE DRAWINGS USED IN THE MAKING OF A FILM TO SHOW A GASOLENE-ENGINE IN OPERATION.
255
256
of motion.
Animated Cartoons
With vivid
which
clear.
it
On
this subject of
who invented one form of the zoorecorded as having made a series of picshowed a
steam-engine in motion.
The teaching of history could be made still more interesting than it is by series of changing maps. Such maps would show, as their outlines
changed, the growth or modification of a coimtry
as affected
by events
of history.
Historical battles
still;
instead,
they would move about to illustrate the progress This form of animated maps
fre-
news
reels.
moving pictures
cases available
are in
many
and
their
photography
257
But for some details that cannot be taken with the camera, animated diagrams would
have
to
be
substituted.
To
suggest
very-
this could
be photographed.
Most
would have
to be told
by animated diagrams.
first,
There would be at
perhaps, a sectional
auricles,
and
ventri-
The
would
diagram
It
colored
interest
if
blood blue.
(This
is
when
printed
books.)
it
can be understood,
scenario
practically
must be planned
would be written
well
it.
for
The manner
in
258
Animated Cartoons
bony frame
onstrated
of the
body
arm.
The two
muscles
of
antagonist
be
made
show as
they
swelling
and lengthen-
ing, alternately, as
flex
arm.
A
of
the
skeleton would
be that of
the
bony
com-
levers in the
frame.
human
mechan-
And
as a
parison, actual
ical levers
of all three
orders
could be
made
TPE ACTION OF THE MUSCLES ON THE FRAME COULD BE SHOWN ON THE SOBEEN. A series of drawings like this would be the flrst thing to prepare for
making the
film.
259
would be
possible, to
some
extent, to put
On
it,
bone
life,
would be
Odd
a
little
would branch
off
still
higher
split into
two
reptiles
and
birds,
respec-
The
tree
off into
and quadrumana.
The
story could be
branches and
tell
ment
of the
The
art of the
veloped to
its
highest point.
It needs, for
thing, color.
ent, in
monochrome
Of course
260
Animated Cartoons
Effecting the tinting
practical
aid of stencils.
stencil-cutting
by the help
of machinery.
all
spired
a lens-
will
have attained to a
A
too,
consummate
an
artist's
losing
Then
ings.
One
when
this
achieved,
to an exhibition
gallery
art
261
interest of
movement
And,
too, our
museums
will
have project-
seems
like fantastic
notions; but
many