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A typical animation is a long drawn out process with some history behind it. I will focus on some history behind the animation that we know today. As in the first few American animations that have been created and touch on how far it's come since the beginning.

One of the earliest surviving American animated films had restrictions when bringing it to life. The exposure it needs was very limited in 1897. However, they manage to make animations through sketches and cutouts to give the illusion that it was moving but due to the operators of the cameras back then, it failed to achieve the constant exposure the animation needed.

During the 1910s, the production of animated short films typically referred to as "cartoons", became an industry of its own and cartoon shorts were produced for showing in movie theaters. The most successful producer at the time was John Randolph Bray, who, along with animator Earl Hurd, patented the cel animation process that dominated the animation industry for the rest of the decade.

Italian-Argentine cartoonist Quirino Cristiani showing the cut and articulated figure of his satirical character El Peludo (based on President Yrigoyen) patented in 1916 for the realization of his movies, including the world's first animated feature film El Apóstol.

El Apóstol (Spanish: "The Apostle") was a 1917 Argentine animated film utilizing cutout animation, and the world's first animated feature film. Unfortunately, a fire that destroyed producer Federico Valle's film studio incinerated the only known copy of El Apóstol, and it is now considered a lost film.

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Animation

History

The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics.

A 5,200-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.[3][4] In 1833, the phenakistiscope introduced the stroboscopic principle of modern animation, which would also provide the basis for the zoetrope (1866), the flip book (1868), the praxinoscope (1877) and cinematography.

Charles-Émile Reynaud further developed his projection praxinoscope into the Théâtre Optique with transparent hand-painted colorful pictures in a long perforated strip wound between two spools, patented in December 1888. From 28 October 1892 to March 1900 Reynaud gave over 12,800 shows to a total of over 500.000 visitors at the Musée Grévin in Paris. His Pantomimes Lumineusesseries of animated films each contained 300 to 700 frames that were manipulated back and forth to last 10 to 15 minutes per film. Piano music, song, and some dialogue were performed live, while some sound effects were synchronized with an electromagnet.

When the film became a common medium some manufacturers of optical toys adapted small magic lanterns into toy film projectors for short loops of film. By 1902, they were producing many chromolithography film loops, usually by tracing live-action film footage (much like the later rotoscoping technique).

Some early filmmakers, including J. Stuart Blackton, Arthur Melbourne-Cooper, Segundo de Chomón, and Edwin S. Porter experimented with stop-motion animation, possibly since around 1899. Blackton's The Haunted Hotel (1907) was the first huge success that baffled audiences with objects apparently moving by themselves and inspired other filmmakers to try the technique for themselves.

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Section: Bibliography A typical animation is a long drawn out process with some history behind it. I will focus on some history behind the animation that we know today. As in the first few American animations that have been created and touch on how far it's come since the beginning.

Sandbox Copyedit Part 2:

An animator is an artist who creates a visual sequence (or audio-visual if added sound) of multiple sequential images that generate the illusion of movement, that is, an animation. Animations are currently in many areas of technology and video, such as cinema,television,video games, or the Internet. Generally, these works require the collaboration of several animators. The methods to create these images depend on the animator and style that one wants to achieve (with images generated by computer, manually ...).

Animators can be divided into animators of characters (artists who are specialized in the movements, dialogue and acting of the characters) and animators of special effects (for example vehicles, machinery or natural phenomena such as water, snow, rain).

Production The creation of non-trivial animation works (I.e., longer than a few seconds) has developed as a form of filmaking, with certain unique aspects.[108] Traits common to both live-action and animated feature-length films are labor-intensity and high production costs.[109]

The most important difference is that once a film is in the production phase, the marginal cost of one more shot is higher for animated films than live-action films.[110] It is relatively easy for a director to ask for one more take during principal photography of a live-action film, but every take on an animated film must be manually rendered by animators (although the task of rendering slightly different takes has been made less tedious by modern computer animation).[111] It is pointless for a studio to pay the salaries of dozens of animators to spend weeks creating a visually dazzling five-minute scene if that scene fails to effectively advance the plot of the film.[112] Thus, animation studios starting with Disney began the practice in the 1930s of maintaining story departments where storyboard artists develop every single scene through storyboards, then handing the film over to the animators only after the production team is satisfied that all the scenes make sense.[113] While live-action films are now also storyboarded, they enjoy more latitude to depart from storyboards (I.e., real-time improvisation).[114]

Another problem unique to animation is the requirement to maintain a film's consistency from start to finish, even as films have grown longer and teams have grown larger. Animators, like all artists, necessarily have individual styles, but must subordinate their individuality in a consistent way to whatever style is employed on a particular film.[115] Since the early 1980s, teams of about 500 to 600 people, of whom 50 to 70 are animators, typically have created feature-length animated films. It is relatively easy for two or three artists to match their styles; synchronizing those of dozens of artists is more difficult.[116]

This problem is usually solved by having a separate group of visual development artists develop an overall look and palette for each film before animation begins. Character designers on the visual development team draw model sheets to show how each character should look like with different facial expressions, posed in different positions, and viewed from different angles.[117][118] On traditionally animated projects, maquettes were often sculpted to further help the animators see how characters would look from different angles.[32][117]

Unlike live-action films, animated films were traditionally developed beyond the synopsis stage through the storyboard format; the storyboard artists would then receive credit for writing the film.[119] In the early 1960s, animation studios began hiring professional screenwriters to write screenplays (while also continuing to use story departments) and screenplays had become commonplace for animated films by the late 1980s.

=== Part C- Wikipedia ===

Live-action/animation is a technique combining hand-drawn characters into live action shots or live action actors into animated shots.[46] One of the earlier uses was in Koko the Clown when Koko was drawn over live action footage.[47] Other examples include Allegro Non Troppo (Italy, 1976), Who Framed Roger Rabbit (US, 1988), Space Jam (US, 1996) and Osmosis Jones (US, 2001). Original sources:

For option b:

1.

  This is a secondary source and popular.

2.

  This is a primary source and a scholarly.

3.

  This iWhat questions arise after having read the piece?  What information do you want to know as a reader or as a researcher? s a secondary source and academic journal.

Wikpedia Part D

Questions that arose after reading the article. Other information that is still lingering in the brain, as researcher or reader.

Is there more information about the history of animation? What other movies or shows mixed both with live action and animation? How are different techniques of animation are being used today?

Set terms: 1. History and animation 2. Live action/animation movies, videos, or Tv 3. Techniques in animation

https://www.britannica.com/art/animation

Britannica is an encyclopedia with relevant information and it's kept up to date. I was able to find an author, the date it was published, and where they found their information by clicking the Info and cite buttons.

https://www.gamedesigning.org/animation/different-types

Gamedesigning gives some information about the techniques in animation and where it's being used today. There's a date posted when it was uploaded and the websites copyrighted is up to date.

Animation has a history like anything and anyone else. It's come a long way from a phenakistoscope that was created by Belgian Joseph Plateau in 1832 to what it is today. Today animation is crossing over with live action, stop motion, claymation, 3D animation, and so forth. There is even Top 10-20 lists being created by people.

Before additional info. (from different sections of the article):

• the phenakistiscope introduced the stroboscopic principle of modern animation, which would also provide the basis for the zoetrope (1866), the flip book (1868), the praxinoscope (1877) and cinematography.
• Live-action/animation is a technique combining hand-drawn characters into live action shots or live action actors into animated shots.[45] One of the earlier uses was in Koko the Clown when Koko was drawn over live action footage.[46]
• 3D animation is digitally modeled and manipulated by an animator. The animator usually starts by creating a 3D polygon mesh to manipulate.[81] A mesh typically includes many vertices that are connected by edges and faces, which give the visual appearance of form to a 3D object or 3D environment.[81] Sometimes, the mesh is given an internal digital skeletal structure called an armature that can be used to control the mesh by weighting the vertices.[82][83] This process is called rigging and can be used in conjunction with keyframes to create movement.[84]

After additional info. (from different sections of the article.):

• which would also provide the basis for the zoetrope (1866), the flip book (1868), the praxinoscope (1877) and cinematography.
• Other examples include Allegro Non Troppo (Italy, 1976), Who Framed Roger Rabbit (US, 1988), Space Jam (US, 1996) and Osmosis Jones (US, 2001).
• Other techniques can be applied, mathematical functions (e.g., gravity, particle simulations), simulated fur or hair, and effects, fire and water simulations.[85] These techniques fall under the category of 3D dynamics.[86]

Wikipedia Part A

Betty Boop is a recognizable character who featured in animations by Fleischer Studios. When people see her they will recognize her as a cartoon that they've seen at some point in their life. Plus a cartoon is a type of animation that is still being used today.

References

A 5,200-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.[3][4] In 1833, the phenakistiscope introduced the stroboscopic principle of modern animation, which would also provide the basis for the zoetrope (1866), the flip book (1868), the praxinoscope (1877) and cinematography.

Arcticle: Animation

Evaluating Content: In reading all the content in the article, every section is related to the topic of Animation. Starting with what animation is, the etymology, then the history, techniques, animator, production, criticism, and the awards. All of which was extremely intriguing to read about. However, the links that were used were all connected to another Wikipedia page. The writing had some errors that needed to be fixed and more information can be added to each section of the article. In addition, the writing didn't have just some errors, it has a bunch. I've only fixed a few of them, but there is plenty of room for improvement throughout the rest of the article.

Tone: The tone in the article is completely neutral. There isn't any bias going on and it doesn't suggest that there is an opinion based, by the writer, either good/bad or any "feeling based" ideas. All citations were in the correct spot and everything seems to be correct.

Sources: All the links in the article work. However, all the links go to other Wikipedia pages about that subject. This article needs more outside sources that aren't connected to Wikipedia. That will give the article more reliability and information on the topic. Rather than it looking lazy in the eyes of the reader and editors.

Checking the Talk Page: Conversations range from March 4, 2016-December 12, 2018. They are still relevant to the article and help with fixing it by giving advice. Most were about modifying the external links and one was about some advice in the Rotoscope section to add a correct animation of Eadweard Muybridge’s horse instead of using an animated 2D horse. The links were modified by different people by either adding information to a link. Although, there needs more conversation in the talk page. This will allow others to know what's been added, deleted, modified, etc.