History of animation - Wikipedia. Animation is the process of making the illusion of motion and the illusion of change[Note 1] by means of the rapid display of a sequence of images that minimally differ from each other. Humans have probably attempted to depict motion as far back as the paleolithic period. While there were several predecessors, the 1. However, the movement of these images were the result of moving parts rather than a rapid succession of sequential images. The introduction of the phenakistiscope in 1. Early approaches to motion in art[edit]There are several examples of early sequential images that may seem similar to series of animation drawings.

Most of these examples would only allow an extremely low frame rate when they are animated, resulting in short and crude animations that are not very lifelike. However, it's very unlikely that these images were intended to be somehow viewed as an animation. Watch They Online Hollywoodreporter.

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It is possible to imagine technology that could have been used in the periods of their creation, but no conclusive evidence in artifacts or descriptions have been found. It is sometimes argued that these early sequential images are too easily interpreted as "pre- cinema" by minds accustomed to film, comic books and other modern sequential images, while it is uncertain that the creators of these images envisioned anything like it.[1] The notion of instances smaller than a second that are necessary to break down an action into sufficient phases for fluent animation would not really develop before the 1. Early examples of attempts to capture the phenomenon of motion into a still drawing can be found in paleolithiccave paintings, where animals are often depicted with multiple legs in superimposed positions. It has been claimed that these superimposed figures were intended for a form of animation with the flickering light of the flames of a fire or a passing torch illuminating different parts of the painted rock wall, revealing different parts of the motion.[5][6]Archaeological finds of small paleolithic discs with a hole in the middle and drawings on both sides have been claimed to be prehistoric thaumatropes that show motion when spun on a string.[5]. Sequence of images that minimally differ from each other - from the site of the Burnt City in Iran, late half of 3rd millennium B.

C. A 5,2. 00- year old pottery bowl discovered in Shahr- e Sukhteh, Iran has five sequential images painted around it that seem to show phases of a goat leaping up to nip at a tree. An Egyptianmural approximately 4. Fantasia_2000 Full Movie.

Khnumhotep at the Beni Hassan cemetery, features a very long series of images that apparently depict the sequence of events in a wrestling match.[9]The medieval codex. Sigenot (circa 1.

Each page has a picture inside a frame on top of each page, with great consistency in size and position throughout the book (with a consistent difference in size for the recto and verso sides of each page).[1. Seven drawings by Leonardo da Vinci (c. Windsor Collection, Anatomical Studies of the Muscles of the Neck, Shoulder, Chest, and Arm, have detailed renderings of the upper body and less- detailed facial features. The sequence shows multiple angles of the figure as it rotates and the arm extends. Because the drawings show only small changes from one image to the next, together they imply the movement of a single figure.

Ancient Chinese records contain several mentions of devices, including one made by the inventor Ding Huan, that were said to "give an impression of movement" to a series of human or animal figures on them, but these accounts are unclear and may only refer to the actual movement of the figures through space. Since before 1. 00. CE the Chinese had a rotating lantern which had silhouettes projected on its thin paper sides that appeared to chase each other. This was called the "trotting horse lamp" [走馬燈] as it would typically depict horses and horse- riders.

The cut- out silhouettes were attached inside the lantern to a shaft with a paper vane impeller on top, rotated by heated air rising from a lamp. Some versions added extra motion with jointed heads, feet or hands of figures triggered by a transversely connected iron wire.[1.

These and other occurrences of moving images, like for instance shadow play with jointed puppets or moving parts in book illustrations (like volvelles), are not considered true animation. Technically they lack the rapid display of sequential images and the results are usually not very lifelike. The Magic Lantern[edit]. Christiaan Huygens' 1. Death taking off his head. Slide with a fantoccini trapeze artist and a chromatrope border design (circa 1. Moving images were possibly projected with the magic lantern since its invention by Christiaan Huygens in 1.

His sketches for magic lantern slides have been dated to that year and are the oldest known document concerning the magic lantern.[1. One encircled sketch depicts Death raising his arm from his toes to his head, another shows him moving his right arm up and down from his elbow and yet another taking his skull off his neck and placing it back.

Dotted lines indicate the intended movements. Techniques to add motion to painted glass slides for the magic lantern were described since circa 1. These usually involved parts (for instance limbs) painted on one or more extra pieces of glass moved by hand or small mechanisms across a stationary slide which showed the rest of the picture.[1. Popular subjects for mechanical slides included the sails of a windmill turning, a procession of figures, a drinking man lowering and raising his glass to his mouth, a head with moving eyes, a nose growing very long, rats jumping in the mouth of a sleeping man.

A more complex 1. Two layers of painted waves on glass could create a convincing illusion of a calm sea turning into a very stormy sea tossing some boats about by increasing the speed of the manipulation of the different parts. In 1. 77. 0 Edmé- Gilles Guyot detailed how to project a magic lantern image on smoke to create a transparent, shimmering image of a hovering ghost. This technique was used in the phantasmagoria shows that became very popular in several parts of Europe between 1. Other techniques were developed to produce convincing ghost experiences.

The lantern was handheld to move the projection across the screen (which was usually an almost invisible transparent screen behind which the lanternist operated hidden in the dark).