| rdfs:comment
| - Limited animation is an animation process in which highly stylized figuration and depictions of motion are used in order to cut down on costs for overall production. As limited animations depart significantly from the laws governing reality, a certain amount of imagination is required on the part of the viewer. The relatively inexpensive animation techniques of limited animation have allowed countless animated shorts and television series to be produced. The techniques usually aim towards reducing the number of drawings required for an animated work. This is accomplished by reusing drawings, animating only a portion of a character's body, cleverly choosing camera angles and techniques, and by relying more on dialogue or other aural elements of the animation.
- The practice of using mix-and-match parts in animation, rather than drawing every single new cel. This trope also covers using deliberately abstract character designs and backgrounds that will not obviously clash with the low production values. This technique was popular in the early days of animation. It is seen in Emile Cohl's first animations and early comedy shorts like the Colonel Heeza Liar series. Common Sub-Tropes:
* Ring Around the Collar
* Stock Footage
* Unmoving Plaid
* Wheel-O-Feet
* Wraparound Background Contrast Disneyesque.
- Limited animation is a process of making animated cartoons that does not redraw entire frames but variably reuses common parts between frames. One of its major characteristics is stylized design in all forms and shapes, which in the early days was referred to as modern design. The short-subject and feature-length cartoons of Walt Disney from the 1930s and 1940s are widely acclaimed for depicting animated simulations of reality, with exquisite detail in every frame. This style of animation is time-consuming and expensive. "Limited" animation creates an image with abstract art, symbolism, and fewer drawings to create the same effect, at a much lower cost. This style of animation depends upon animators' skill in emulating change without additional drawings; improper use of limited animation i
|
| abstract
| - The practice of using mix-and-match parts in animation, rather than drawing every single new cel. This trope also covers using deliberately abstract character designs and backgrounds that will not obviously clash with the low production values. This technique was popular in the early days of animation. It is seen in Emile Cohl's first animations and early comedy shorts like the Colonel Heeza Liar series. Traditional cel animation took over and dominated the field for years, until Chuck Jones's The Dover Boys short reminded people that extreme stylization was okay. Studios like United Productions of America , MGM Animation and, of course, Hanna-Barbera revived the technique. Initially it was a way to stand out from Disney, but in very short order it was recognised as a way to save time and money, too. A strength of Limited Animation is that it emphasises the writing and voice acting by making the visuals rather minimal. When the creators wrote well, it led to some of the most beloved cartoons ever. John Hubley from UPA was a well-known advocate of Limited Animation as art, who encouraged animators to experiment with primitivism and expressionism in the 1950's and 1960's, leading to the development of some pretty trippy stylized backdrops and character models that became a major influence on European avant-garde, modern Thick Line Animation, and Flash Animation. Unfortunately not all the cartoons had good writing. Some were written very much from the Viewers are Morons mentality. The Saturday Morning Cartoon was conceived as a way to focus advertising onto young kids, so this resulted in a flood of slapped-together cartoons, most of which are not held in high regard, due to bland and unimaginative writing. There were, and still are, exceptions, but they tend to be Screwed by the Network for attracting the wrong audience and failing at their job. But by itself, limited animation can be a powerful tool. Take some of the cartoons by Chuck Jones in the 1950s, or John Hubley's work in the same period. Limited animation actually facilitated the artistic look of those short films more than the traditional kind. Anime also uses limited animation. The only difference is that anime does not use layers of cels to do this but rather the use and reuse of cels that sets it apart from western limited animation. This effect is noticeable in talking scenes where the characters speak. Video Games also use it by necessity. See also The Dark Age of Animation. Common Sub-Tropes:
* Ring Around the Collar
* Stock Footage
* Unmoving Plaid
* Wheel-O-Feet
* Wraparound Background Compare Lazy Artist (what this trope is sometimes associated with), Stylistic Suck (when this trope is invoked as an intentional Shout-Out to low-budget cartoons). Contrast Disneyesque.
- Limited animation is a process of making animated cartoons that does not redraw entire frames but variably reuses common parts between frames. One of its major characteristics is stylized design in all forms and shapes, which in the early days was referred to as modern design. The short-subject and feature-length cartoons of Walt Disney from the 1930s and 1940s are widely acclaimed for depicting animated simulations of reality, with exquisite detail in every frame. This style of animation is time-consuming and expensive. "Limited" animation creates an image with abstract art, symbolism, and fewer drawings to create the same effect, at a much lower cost. This style of animation depends upon animators' skill in emulating change without additional drawings; improper use of limited animation is easily recognized as unnatural. It also encourages the animators to indulge in artistic styles that are not bound to real-world limits. The result is an artistic style that could not have developed if animation was solely devoted to producing simulations of reality. Without limited animation, such groundbreaking films as Yellow Submarine, Chuck Jones' The Dot and the Line, and many others could never have been produced. The process of limited animation aims to reduce the overall number of drawings. Film is projected at 24 frames per second. For movements in normal speed, most animation in general is done "on twos," meaning each drawing is displayed twice, for a total of 12 drawings per 24 frames per second. Faster movements may demand animation "on ones" with a new drawing in each frame, while characters that do not move may be done with a single drawing (a "hold") for a certain amount of time. It is said that the Disney average was about 18 drawings per second, pretending that all characters of a scene share the same sheet of paper. Limited animation mainly reduces the number of inbetweens, the drawings between the keyframes which define a movement, and can cause stuttering if inbetweens are poorly set up. Overall, the use of limited animation does not necessarily imply lower quality as it allows the use of many time-saving techniques that can improve the quality and flow of the keyframes and overall presentation of an animation.
- Limited animation is an animation process in which highly stylized figuration and depictions of motion are used in order to cut down on costs for overall production. As limited animations depart significantly from the laws governing reality, a certain amount of imagination is required on the part of the viewer. The relatively inexpensive animation techniques of limited animation have allowed countless animated shorts and television series to be produced. The techniques usually aim towards reducing the number of drawings required for an animated work. This is accomplished by reusing drawings, animating only a portion of a character's body, cleverly choosing camera angles and techniques, and by relying more on dialogue or other aural elements of the animation. Examples of successful works utilizing limited animation include Chuck Jones's The Dot and the Line, The Yellow Submarine, and much of the work coming from the Hanna-Barbera animation studio. Early on, limited animation was used more for its distinct artistic qualities than for its inexpensive nature. Some of the work of the UPA animation studio, such as the Oscar-winning short Gerald McBoing-Boing, and Chuck Jones' short The Dover Boys used limited animation in this manner. Japanese anime uses limited animation extensively, both small-budget television serials and in larger-budget feature films. These techniques have become a grounded part of the anime style. Japanese anime uses limited animation to utilize the power of the still pose. Anime is very much grounded in comic art and graphic novels and their use of limited animation alludes to this.
|
![[RDF Data]](/fct/images/sw-rdf-blue.png)