My personal enjoyment with animation has inspired me to write
this essay, pertaining to animation. Since I was a child I have
been fascinated with cartoons; from when they started out to be
black and white, and until now with full colour and computer
effects. To better perceive what my personal feelings about
animation are, I must first discuss in full detail, a general
overview of how animators bring traditional animation alive with
motion.

Animation seems like a smooth movement of drawn sequences of
artwork, pasted together to form a single sequence of animation.
This is the basis of animation, but animation is far simpler than
it may seem. "The true meaning of animation is that it is a
series of drawings strung together to create the illusion of
smooth fluent movement."1 But the process of creating this so-
called illusion, is a pain staking process during which artists
must spend tremendous hours of agony to produce only seconds of
animated film.

Before an animator goes about creating an animation he or she
must have the knowledge of several rules of animation, which
animators around the world follow. The first rule of animation is
that an animator must hold the understanding of the techniques
used to produce single cells of animation. Second rule, and one
of the most important ones is that, the animator must have great
patience, so that his or her piece of artwork is not rushed, to
prevent the animation from looking choppy and not as smooth as it
should look. Finally what is required from an animator is "it
takes commitment and effort to make the basis of animation come
alive with fresh ideas."2 The following is not a rule of
animation, but is often taught to animators around the world.
"Animators were often taught that animation is only limited by
the imagination and skills of its creators."3 Using these rules
animation companies hire artists who are familiar with the rules
previously discussed, but to create a feature full-length
animation you need more than just these rules. Below the process
of creating a feature full-length animation will be discussed in
further detail.

To create a traditional animation requires a team of cooperative
artists and editors. It also demands a collective, creative
approach, within which the individual artists and editors of the
team must harmonize and communicate well with the other members
of the team, for the final product to be successful. Because so
many personnel are involved in producing a single piece of
animated film, creation of this is very costly. Companies must
create a team of animators that are willing to work together to
get the finished product perfect the first time around. No matter
how modest or ambitious the project, the team of animators follow
a strict number of structured procedures, and must possess the
understanding of the concepts and terminology in traditional
animation.


When the team has been assembled. The team begins a long process
of set procedures, which all animators worldwide use. Below the
many set procedures are described in full detail.

1.Script
The script is the first stage in all film production. In an
animation script, the visual action in the plot and performance
is far more important than the dialogue.

2.Storyboard
The storyboard is a series of roughly drawn images that convey
the action described in the script. This scene-by-scene portrayal
helps the writer, director and animation team to access the
content of the project and to correct any deficiencies in the
scripted story.

3.Soundtrack
After the script and storyboard are completed, the recording of
any dialogue or key music is undertaken. Since traditional
animation relies on perfect synchronization of the picture to the
soundtrack, the animator must receive the recorded track before
beginning to draw.

4.Design
Designers create visual interpretations of all the actors in the
script. When these interpretations are approved, the actors are
drawn from many angles on a model sheet which the animators will
use as a reference.

5.Leica Reel
A Leica reel is a filmed storyboard which can be projected in
synchronization with the soundtrack. It helps the director see
how the film is shaping up and make any changes to its visual
aspects before animation is begun.

6.Line Tests
Line tests are animation drawings, produced in pencil on paper,
filmed to the precise timings of each scene. As line tests are
approved they are cut into Leica reel, replacing the original
drawings and giving the director an even better idea of how the
final film will look.

7.Cleanup
Cleanup artists take the animation drawings now and clean them
up, to give them a consistent visual style.

8.Trace and Paint
When a cleaned-up line test is approved, each drawing is
transferred to a sheet of celluloid or acetate (a cell) and
painted