A forerunner of today’s comic strip can be found in an Egyptian wall decoration circa 2000 B.C.In successive panels it depicts the actions of two wrestlers in a variety of holds.In one of Leonardo da Vinci’s most famous illustrations,he show the limbs would look in various positions. Giotto’s angles seem to take flight in their repetitive motions.The Japanese used scrolls to tell continuous stories.

Since the beginning of time,human beings have tried to capture a sense of motion in their art.From the eight-legged boar in the Altamira caves of Northern Spain to paintings alongside the remains of long dead pharaohs,this quest for capturing motion has been a common theme throughout many of mankind’s artistic endeavors.Figura1

True animation cannot be achieved without first understanding a fundamental principle of the human eye the persistence of vision. This was first demonstrated in 1825
by Frenchman,Paul Roget, who invented the thaumatrope. It was a disc with a string or peg  attached to both sides. One side of the disc showed a bird, the other an empty cage. When the disc was twirled, the bird appeared in the cage. This proved that the eye retains images when it is exposed to a series of pictures, one at a time.

 

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Two other inventions helped to further the case of animation.The phenakistoscope, invented by Joseph Plateau in 1826,was a circle card with slits around the edge.The viewer held the card up to mirror and peered through the slits as the card, the viewer saw a progression of images resulting in a moving object.The same technique applied to the zoetrope. cj71In 1860,Pierre Desvignes inserted a strip of paper containing drawings on the inside of a drum like cylinder. The drum twirled on a spindle, and the viewer gazed through slot at the top of the drum. The figures on the inside magically came to life, endless looping in an acrobatic feat.

The development of the motion camera and projector by Thomas A. Edison and others provided the first real practical means of making animation. Even still, the animation was done in the simplest of means. Stuart Blackton, issued a short film in 1960 entitled Humorous Phases of Funny Face where he drew comical face on a blackboard, photographed them, and the erased it to draw another stage of the facial expression. This “stop-motion” effect astonished audiences by making drawings come to life.

In the early twenties, the popularity of the animated cartoon was on the decline, and movie exhibitors were looking elsewhere for alternative entertainment media. The public was tired of the old formula of stringing sight gags together without including a story line or any character development. What the art of animation could accomplish was not yet evident in this period ,except for in the works of Winsor McCay such as Gertie the Dinosaur, 1914.

Mccay’s major accomplishment was the fact that he had developed a character in his dinosaur, something that had previously only been seen in Otto Messmer’s, Felix the Cat. McCay’s piece had a galvanizing effect on audiences. The motion of a dinosaur coming to life on the screen was astonishing.Of all the early animations,Felix the Cat developed the strongest screen personality, but failed to develop any further, relying on crude visual tricks to entertain the audience as opposed to developing a stronger screen persona.

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