Pioneers of stop-motion animation

Research and Illustarate

• Josheph Plateau (phenakitoscope)

Joseph Antoine Ferdinand Plateau (October 14, 1801 – September 15, 1883) was a Belgian physicist. He was the first person to demonstrate the illusion of a moving image. To do this he used counter rotating disks with repeating drawn images in small increments of motion on one and regularly spaced slits in the other. He called this device of 1832 the phenakistoscope.

Born in Brussels,In 1827 he became a teacher of mathematics at the "Atheneum" school in Brussels. he then studied at the University of Liège (Liège), where he graduated as a doctor of physical and mathematical sciences in 1829.  In 1835, he was appointed Professor of experimental physics in Ghent University.

 

  

• William Horner (zoetrope)

William George Horner (1786 – 22 September 1837) was a British mathematician and schoolmaster. The invention of the zoetrope, in 1834 and under a different name (Daedaleum), has been attributed to him.

Horner published a mode of solving numerical equations of any degree, now known as Horner's method. According to Augustus De Morgan, he first made it known in a paper read before the Royal Society, 1 July 1819, by Davies Gilbert, headed A New Method of Solving Numerical Equations of all Orders by Continuous Approximation, and published in the Philosophical Transactions for the same year. But this version of the history is comprehensively denied by later historians.

This is Horners method.                                              this is the Zoetrope.

Emile Reynaud (praxinoscope)

Charles-Émile Reynaud (8 December 1844–9 January 1918) was a French science teacher, responsible for the first projected animated cartoon films. Reynaud created the Praxinoscope in 1877 and the Théâtre Optique in December 1888, and on 28 October 1892 he projected the first animated film in public, Pauvre Pierrot, at the Musée Grévin in Paris. This film is also notable as the first known instance of film perforations being used.

http://www.youtube.com/watch?v=A5MXcxaRXNc

 

Edward Muybridge

Eadweard J. Muybridge 9 April 1830 – 8 May 1904) was an English photographer who spent much of his life in the United States. He is known for his pioneering work on animal locomotion which used multiple cameras to capture motion, and his zoopraxiscope, a device for projecting motion pictures that pre-dated the flexible perforated film strip.

http://www.youtube.com/watch?v=Yib9JhsNIQQ

Edison (kinetoscope)

Thomas Alva Edison (February 11, 1847 – October 18, 1931) was an American inventor, scientist, and businessman who developed many devices that greatly influenced life around the world, including the phonograph, the motion picture camera, and a long-lasting, practical electric light bulb.

George Pal;

George Pal (February 1, 1908 – May 2, 1980), born György Pál Marczincsak, was a Hungarian-born American animator and film producer, principally associated with the science fiction genre. He became an American citizen after emigrating from Europe. He was nominated for Academy Awards (in the category Best short subjects, Cartoon) no less than seven consecutive years (1942–1948) and received an honorary award in 1944.

He graduated from the Budapest Academy of Arts in 1928. From 1928 to 1931, he made films for Hunnia Films of Budapest, Hungary.

In 1931 he married Elisabeth "Zsoka" Grandjean, and moving to Berlin, founded Trick film-Studio Gmbh Pal und Wittke, with the UFA Studios as its main customer from 1931 to 1933.

http://www.youtube.com/watch?v=jVzQ7bbuaKM

Techniques and development of Stop-Motion animation

This is a example of stop animation.

http://www.youtube.com/watch?v=2_HXUhShhmY

Stop motion

(also known as stop action) is an animation technique to make a physically manipulated object appear to move on its own. The object is moved in small increments between individually photographed frames, creating the illusion of movement when the series of frames is played as a continuous sequence. Clay figures are often used in stop motion for their ease of repositioning. Motion animation using clay is called clay animation or clay-mation.

Squash and stretch

The most important

Animated sequence of a race horse galloping. Photos taken by Eadweard Muybridge. The horse's body demonstrates squash and stretch in natural musculature.

 principle is "squash and stretch",the purpose of which is to give a sense of weight and flexibility to drawn objects. It can be applied to simple objects, like a bouncing ball, or more complex constructions, like the musculature of a human face. Taken to an extreme point, a figure stretched or squashed to an exaggerated degree can have a comical effect. In realistic animation, however, the most important aspect of this principle is the fact that an object's volume does not change when squashed or stretched.

Anticipation

Anticipation is used to prepare the audience for an action, and to make the action appear more realistic. A dancer jumping off the floor has to bend his knees first; a golfer making a swing has to swing the club back first. The technique can also be used for less physical actions, such as a character looking off-screen to anticipate someone's arrival, or attention focusing on an object a character is about to pick up.thahttp://www.youtube.com/watch?v=uTMqCIMol0t 7







Staging
This principle is akin to staging as it is known in theatre and film. Its purpose is to direct the audience's attention, and make it clear what is of greatest importance in a scene; what is happening, and what is about to happen. Johnston and Thomas defined it as "the presentation of any idea so that it is completely and unmistakably clear", whether that idea is an action, a personality, an expression or a mood.


Straight ahead action and pose to pose
These are two different approaches to the actual drawing process. "Straight ahead action" means drawing out a scene frame by frame from beginning to end, while "pose to pose" involves starting with drawing a few, key frames, and then filling in the intervals later. "Straight ahead action" creates a more fluid, dynamic illusion of movement, and is better for producing realistic action sequences. On the other hand, it is hard to maintain proportions, and to create exact, convincing poses along the way. "Pose to pose" works better for dramatic or emotional scenes, where composition and relation to the surroundings are of greater importance.

 Follow through and overlapping action

These closely related techniques help render movement more realistic, and give the impression that characters follow the laws of physics. "Follow through" means that separate parts of a body will continue moving after the character has stopped. "Overlapping action" is the tendency for parts of the body to move at different rates (an arm will move on different timing of the head and so on). A third technique is "drag", where a character starts to move and parts of him take a few frames to catch up.

Slow in and slow out

Is the movement of the human body, and most other objects, it needs time to accelerate and slow down. For this reason, an animation looks more realistic if it has more frames near the beginning and end of a movement, and fewer in the middle. This principle goes for characters moving between two extreme poses, such as sitting down and standing up, but also for inanimate, moving objects, like the bouncing ball in the above illustration.

(http://www.youtube.com/watch?v=66iUd7Jc4os)

Arcs

Most human and animal actions occur along an arched trajectory, and animation should reproduce these movements for greater realism. This can apply to a limb moving by rotating a joint, or a thrown object moving along a parabolic trajectory. The exception is mechanical movement, which typically moves in straight lines.

(http://www.youtube.com/watch?v=6ZEdOx2J_Fg)

Anticipation

Anticipation is used to prepare the audience for an action, and to make the action appear more realistic. A dancer jumping off the floor has to bend his knees first; a golfer making a swing has to swing the club back first.

(http://www.youtube.com/watch?v=-gm8a__jGpk)

Secondary action

Adding secondary actions to the main action gives a scene more life, and can help to support the main action. A person walking can simultaneously swing his arms or keep them in his pockets, he can speak or whistle or he can express emotions through facial expressions. The important thing about secondary actions is that they emphasize, rather than take attention away from the main action. If the latter is the case, those actions are better left out.

(http://www.youtube.com/watch?v=_tawRqLGG9M)

Solid drawing

The principle of solid drawing means taking into account forms in three-dimensional space, giving them volume and weight. The animator needs to be a skilled draughtsman and has to understand the basics of three-dimensional shapes, anatomy, weight, balance, light and shadow etc. For the classical animator, this involved taking art classes and doing sketches from life. One thing in particular that Johnston and Thomas warned against was creating "twins": characters whose left and right sides mirrored each other, and looked lifeless.

(http://www.youtube.com/watch?v=JfxrQXZwZCA)

Appeal

Appeal in a cartoon character corresponds to what would be called charisma in an actor. A character who is appealing isnot necessarily sympathetic villains or monsters can also be appealing, the important thing is that the viewer feels the character is real and interesting.

(http://www.youtube.com/watch?v=MJwlI-LyzLY)