European Journal of Applied Science, ©2024 The Author(s). Published under a CC BY 4.

0 license
Engineering and Technology, 2(6): 1-10, 2024 Published by AMO Publisher
DOI: 10.59324/ejaset.2024.2(6).xxx www.ejaset.com

History of Technological Development in Animation

till Early Computer Graphics
Donokhon Maksudova 
Student of Tahkent International School, Uzbekistan

ABSTRACT:
The aim of this research paper is to construct the exact timeline of the development in technology
used for animation, beginning at the paleolithic age, and ending with the rise of digital animation.
The research paper consists of a number of investigation and research papers on the various sub
topics, as well as a look into official documentations published by companies this paper
investigates. This paper investigates animation in 3 major sections; Beginning with the early
historical trajectory of animation, the pre-film era and finlay the industrialization of animation. The
study synthesis the historical progressions.

Keywords: Animation, Technology, History of animation, Early animated films, Industrialization of

animation, Digital animation.

Suggested Citation: D. Maksudova, "History of Technological Development in Animation till Early

Computer Graphics," Eur. J. Appl. Sc. Eng. Technol., vol. 2(6), pp. 185-196, Nov-Dec 2024. DOI:
10.59324/ejaset.2024.2(6).18

INTRODUCTION
Animation is an incredible special medium, merging the line of major creative fields of illustration,
narrative storytelling and cinematography, a trait which simultaneously makes it especially difficult
in the technical aspect. The animation we see today covers behind its stages ranging from concept
planning, character and environmental design, scripting, storyboarding, modeling, texturing,
rendering, composition, visual effects, editing, which is just to name a few. It's no secret, therefore,
that animation had to go through an excessive period of technological development in order to
facilitate the tools which permits it to function the way it does now. Studying the evolution of the
medium can provide a comprehensive understanding of exactly how the seemingly magical process
developed to where it is today, as well as provide an appreciation for the pioneers and inventors
which made it all possible. The study of technological development in animation is therefore not
solely a study of the mechanism, but of human intelligence, and the extent to which it reaches in the
pursuit of a creative outlook on life. This research paper aims to teach or advance one's knowledge
of how the tools of one of the most popular entertainment mediums developed, and project the most
important faces behind it, to hopefully uncover new insights that contribute to a greater general
understanding of the world.

LITERATURE REVIEW
The contents of this research finding, is based upon information collected from a veracity of
published articles/research documents, selected from the reliable, often-cited sources. The range of
these references range from Published pieces covering the long progressive history of animation,
as well as those concentrated on specific subtopics such as the various technologies this paper goes
over. “The Hand Drawn Animation Process; Traditional and Contemporary Methods” [10]. Published
by Venla Linna, an animator and a specific effects artist, covers the history of animation ranging from
cave animation to first Walt Disney productions over 69 pages. The research served to provide the
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structural qualities and a proper timeline to the information presented here, as well as key historical
points to turn attention towards. A similar purpose served “Digital Advances in Animation, From
Traditional To Digital Animation” by [3], who provides more recent research and retells this history
and in more detail in a more prolonged format, heavily pointing its attention to modern technology
as well.
More focused research was used to discuss the different developments of technology, taking focus
on primary sources to ensure accuracy. “Animation in Paleolithic art: a pre-echo of cinema” by [2]
are the archeologists who discover the information provided. “The Lumiere Cinematograph'' [12] is
a 1936 paper, written by Louis Lumiere himself, discussing his own invention. “The Early History of
Animation: Saturday Morning TV Discovers 1915” by [14] a member of the Department of Radio-
Television-FilmTemple University, closely holds the title of a primary source: being written in 1977,
by a professional in the field.
This paper analyzes the topic in the historical context focusing on comparing specifically the
technology of animation graphics.

METHODOLOGY
The research was conducted through the collection of information of both literary works, and
scientific articles, followed by an analysis of information and finally its synthesis. Through the course
of the research, a collection of over 30 articles and research documents were used based on their
contents and relevance to the topic, out of more than 50 viewed. Examples of literary sources used
tio.
The first step of understanding the full historical timeline of animation and its various techniques is
understanding how far back we must look, and in order to do that we must identify what exactly
animation is. In today’s sense it can be described as a series of images which in close and rapid
chronological projection create an illusion of movement in a single image. Though its true definition
is simply the art of creating movement from still images, with the name originating from the latin word
"animātiōn", (stem of "animātiō") which translates to “liveliness” [5]. In this straightforward sense
attempts at animation have been observed to emerge simultaneously from different parts of the world
[5], with its oldest predecessors dating back to ancient Paleolithic cave art.
Although the clear intention of these pieces to convey either narrative or movement can never be
concretely true, the finding made by paleontologist Marc Azema in southwestern france, village of
Montignac “Lascaux caves'' creates a strong case [2]. This network of over 600 parietal wall paintings
depicts 56 images of animals superimposed to create the illusion of movement, most often forward
pace of the animals, characterized by multiplications in the legs or tail. Similar effect is achieved
through juxtaposition of similar subjects, most notable one found in “Grotte de La Vache” cave
displaying several representations of a feline creature in respective stages of running, densely
arranged in a linear fashion [2]. Illusion of movement in the form of mental development here is
created by hovering a light source over the respective drawings, or simply envisioning it in one's
head.
More technical approaches to “animating” have been noted to the Magdelenain culture,[6] (17,000
to 12,000 years ago) found in “Isturitz” cave by Marc Azema and Emmanuel Passemard [2], the
subject in question - a thaumatrope, in the forms of a small bone disk 15.7 x 9.5 cm representing a
carved out image on either side of the same subject, in different stages of movement; a deer upright
on one side, and with its legs tucked in on the other.
“One has to pivot the object rapidly (at 180 degrees, making rapid back and forth movements
with the hand holding the object at the base) in order to mentally superimpose the two spatially
juxtaposed representations” [2].
Akin to its successors the technique is a pioneer of retinal persistence in creation of illusion of
movement. The retina of the eye is what allows our brain to retain the memory of images as they
flash rapidly before our eyes [4], the quality over which advantage is taken by modern filmmaking
today, and as evident, prehistoric cave civilizations some 17000 years prior.

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The turning point for animation technology came in the mid-1700s in the form of the “magic lantern”
or the “Stereopticon”, a construction which pioneered the optical projection quality for animation [8].
Invented by the Dutch scientist Christiaan Huygens in 1659 the machine was a hollow box, with the
mechanism inside involved several transparent images be placed in front of a light source (a flame
which developed into electricity) and expanded up to 50 fold in size through a series of concave
lenses placed in front, allowing the image to be projected onto wall or a screen [7]. The illusion of
movement, primitively, was created through rapid replacements of these images by hand, and
advanced in accordance with technology of the time to mechanical rotations which lined up a limited
amount of images and allowed them to be rotated through a lever, slightly increasing the integrations
between each “shot”.
The apparatus was first assembled by scientists out of pursuit of studying the optical theory and
properties of light [8]. The device was close in its mechanism to camera obscura and earlier invention
which allowed a small lens to capture light from an exterior and project it in the form of an image
onto a dark interior surface, usually used for studying the sun or eclipses [8]. The magic lantern used
the same idea, except in the place of an exterior projection, the image was a fabricated illustration
of a photograph with a light source behind it. The exploitation of the magic lantern for scientific study
was not long lived, and quickly transitioned to either entertainment or information spreading, due to
the quality which allowed the images to be viewed by many people at a time. In many cases the
information split between educational or instructional in a variety of moral and ethical fields, cloning
the object not only as the originator of today’s cinema, but also widespread propaganda [9].
After projection was acquired, the next step in technological development came in the form of motion
fluency in animation. The Phenakistoscope holds an important place in the history of animation,
marking the transition between superimposed methods of fluent projection of movement with the
Thaumatrope to juxtaposition. In many ways juxtaposition is the superior method, allowing more
diverse stages of movement, a linear progression between each one and transitions between various
shadows and values. The device itself is a simple paper or cardboard disc divided equally into about
8 - 12 sections with an illustration on each section displaying the progression of movement in a single
subject. The mechanism which influences the eyes into perceiving movement involves placing the
disc in front of a mirror, and observing the images through the slots, the rest of your vision covering
the disc, which upon rotation, creates the illusion of the images moving. The instrument which
created movement however lied not in the clever design of the phenakistoscope, but its ability to
take advantage of our optical system. Our brain identifies movement if at least 10 images per second
are shown to it in coherent progression, and most importantly, one at a time without letting the eye
follow the previous or subsequent ones. What allowed the eyes to witness images through
phenakistoscope in this manner are the animation slots that blocked these unnecessary transitions
from view, permitting only the sufficient scope of view.
When discussing the history of animation it is important to award the close role cinematography
played in its development. Just like in animation, uts impossible to pin a single inventor of this
medium without discrediting or oversimplifying a history of vast and simultaneous advancements in
technology, yet for the purpose of providing a general understanding of this expansion in visual
storytelling, the focus will lie on a select group of inventors who pioneered some important turning
points in history.
Although it’s Thomas Edison who holds the title of the american father of cinema, the invention of
motion pictures deserves to be credited towards his team of scientific researchers, at the head of
which was William Kennedy Laurie Dickson [11]. Motion picture according to Merriam Webster is
defined as;
“a series of pictures projected on a screen in rapid succession with objects shown in
successive positions slightly changed so as to produce the optical effect of a continuous picture
in which the objects move.”
What gave the Kinetoscope, the title of a motion picture, is several factors invented by Dickenson,
first of which being the discovery of light played in projecting images off a celluloid covered film
frame. A lightsource located directly behind a film frame projected the visual information through the
transparent frame. By perforating the edges of each film (puncturing holes around the perimeter)
and attaching individual frames, after which placing them in a box like structure and rotating images
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one by one in front of a light source, the result is a small projection of a picture, viewed through a
lens situated at the top of the box construction. Kinetoscope was the photographic adaptation (and
advancement) of the Magic Lantern and the blueprint for projection cinematography, which came
into play around 1897 in the form of the Vitascope. Although kinetograph remains the pioneering
technology and the architect for cinematography as we know it today, its popularity during its time
cannot be compared to the one it presents as an item of historical significance. The market for such
an abstract form of entertainment was not large, and as Frank C Gammon, Edison's marketing agent
wrote in 1895:
"The demand for Kinetoscopes (during 1895) has not been enough to even pay expenses of
our company .... In fact our candid opinion is that the Kinetoscope business - at least as far
as the regular company is concerned - will be a 'dead duck' after this season."
The Vitascope was then the redeeming augmentation to the kinetoscope. It was invented by Thomas
Armat and Francis Jenkins In January of 1896, who later sold the license to market the product to
Edison’s company [1]. It's mechanism was very reminiscent of that of the kinetoscope, but with the
ability to project the image on a large wall or a screen by having frames roll over a powerful light
source, which displayed the visual information through a series of size enhancing lenses. The
product quickly gathered its popularity nationwide, with its work being displayed in theaters and
attracting hundreds of audiences daily, making the biggest problem for Edison’s team the ability to
supply enough entertainment material.

Figure 1. An Eight-Legged Bison Drawn in Chauvet Cave Proves that Split-Action

Movement was Used from the Aurignacian
Drawing: C. Fritz & G. Tossello
Source: [2]

Lumier Brothers; Auguste Marie Louis Nicolas Lumière (1862 - 1954) and Louis Jean Lumière (1864
– 1948) are also incredibly prominent faces in cinematic history for having been inspired by the
kinetoscope, released a product which encapsulated the functionalities of a camera and a projector,
all while remaining relatively lighter and transportable, largely due to it being operated through a
continuous spin of a lever and not electricity. The product was the cinematograph, and its invention
would be the turning point in filmmaking, as it marked the beginning of motion pictures. The
mechanism inside the compact box was reminiscent of that of a sewing machine. A fork-like lever
would attach to the holes in perforated film strips, and transport it in a downward linear motion, with
each film passing through a source of light (fig. 1). To control the exposure of the transitions between
frames, (which would be tempered with 5 optical persistence) a circular shutter would rotate
blocking portions of light from passing through the projection lens (Fig.2).

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 Figure 2. The Laugerie-Basse Reconstructed Disc in Movement:
Experiment of a ‘Palaeolithic Thaumatrope’ by Florent Rivere
Note: Extracted images from a film documentary directed
by Marc Az e
́ ma in 2009 (⃝c Pass ́e Simple)
Source: [2]

Theater Optique reminiscent in it's function to the Magic Wheel, enlarging a series of images
illuminated by a background source of light onto a large screen.Its methods of including a large
series of images however required a different rotating mechanism, something which crossed the line
between the zoetrope drum and praxinoscopes internal series of mirrors. Figure 3 illustrates the
function of this mechanism. A marks the circular construction of mirrors facing the exterior of the
circle, C marks the drum rotating the most main and most immediate progressive line of images F
the rapid flashes of which create the animation. The row gets collected by drum D and come out
from drum E. What allows single images to be projected individually in succession, and subsequently
projected onto the screen, is a narrow source of light, located at C, the rays of which upon collecting
the color and light information of each rotating image bounce it off a series of mirrors until the images
are large enough to fill a large screen in intervals of approximately 100 - 300 milliseconds.
First ever animated project, and one of the first uses of perforated film is widely considered to be the
“Pauvre Pierrot” (Poor Pierrot) a 15-minute animated French film created in 1892 by Charles-Émile
Reynaud (1844–1918), and projected using the Theater Optique. The animated film features the
character Pierrot, and his short journey of meeting a lady. The original film spans about 15 minutes
which employed 500 individual hand painted glass frames of moving characters laid over a fixed
background. The succeeding title in animation history is appointed to Emile Cohl (1857–1938), a
bohemian, caricaturist illustrator, and an inspiration to Walt Disney, and his 2-minute film
“Fantasmagorie'' (1908), recognised ad the first known work of traditional hand drawn animation [15].

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Fantasmagorie follows a clown character and his 2-minute journey undertaking various interactions
with characters and shenanigans. Notably, the film is much more simplistic in its nature, which
accounts for the 700 frames it applied to compose just the 2-minute run time, and the apparently
stylistic choice it took to create a shoot in negative film, subjecting the background to black and the
illustration in white. Additionally, the original approach Cohl included repeatedly photographing
individual frames and placing them over a self-constructed lightbox that creates transparency
between each film, and tracing over the image with slight changes to create movement, all while
making an effort to maintain a coherent pace without the previewing ability.

Figure 3. Illustration by Louis Poyet in the Figure 4. Drawing by Poyet of the Lumiere
Instruction Manual, Showing the Interior of Cinematographe Camera Mechanism, ca.
Cinématographe in Open Position 1895, Jonathan Silent Film Collection
(Public Domain)

However, the biggest differentiating factor between it, and the works of its predecessor Reynaurd, is
the application, or at least a more consistent and excessive incorporation of the most traditional
elemental components of animation, including timing, space, squash and stretch, curves, gestures,
and poses. When taking in account this criteria, Pauvre pierrot can be most correlated to puppetry
than animation, although this does not discredit the role it played in the inauguration of cinematic
filming and projecting procedures into animation.
France throughout the 19th century was widely considered the pioneering country of cinema, with
the first cinematic devices being assembled and used in primarily that country, yet inventions
entering the early 19th century preceded their influence throughout the globe. First feature animated
film with sound is Historically considered to be “El Apostol” by Quirino Cristiani (1896 - 1984), and
Italian born animator, who early on his life migrated to Argentina, and applied hsi illustration skills to
create a satirical film with its plot centered around the mockery of Argentina’s new president; Hipólito
Yrigoyen, and his radical attempts of installing liberal agendas in the country.
The Theater optique was the device used to create both the Pauvre Perriott and the El Apostol. It is
considered the predecessor to the Lumier Borther’s Cinematographe, and Edison’s Victograph, with
a major differentiating point of each frame having been drawn by hand, whereas in the former they
were captured through photographic film. This distinguishing feature allows it to be considered an
animation, and sets this medium far from cinema as back in its early stages, and now. Cinema
tackles computer graphics, and digital photo editing, and shares almost no creative illustration
qualities that defy animation. This differentiation however, is what creates separation in subjects
depicted in the two mediums today, Illustration provides the quality of being wide in it's range of
creative possibilities, but incredibly more time consuming in comparison to cinemas photographic
automatism, and it's the combination of these which lead animation to focus primarily on children's
entertainment. The characters and settings must be simple in their visual depiction in order for
animators to create 15 frames of them per second, but then that does not limit its scope of abstract
qualities.
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When discussing animation as an industry rather than a medium, it's crucial to mention that the
names listed previously in this text apply to pioneers in the medium, yet the first name in the
industrialization and assembly line animation practice goes toJohn Bray, as well as the title behind
the first animated series [16]. By inventing a method of stimulating the development of animated film,
John Bray creates a system by which animation could become a cinematic medium, and not just the
project of individual indie artists. This effort is partially credited towards cel system animation,
partially towards systematic division of labor. The “cel system” gets its name from the medium onto
which individual frames of an illustration are painted; the transparent sheets of cellulose nitrate or
acetate (“cels”) [17]. This specific material provides transparent properties to the frames when placed
over a source of light - similar to the lightbox of Emile Cohl - crucial for the tracing step. To
accommodate the proficient technology, a certain amount of labor and a systematic division of it is
required. The prolonged creation period of animation existed prior to its industrialization for the
primary virtue of the many frames it required to bring into work optical resistance, and compare its
smoothness to photographic cinematography, resulting in an average of 15 - 20 frames a second.
Additionally, the process was usually burdened upon a single illustrator, who spent the vast majority
of the time retracing designs rather than creating new ones. John Bray, the first person to create an
animation production company, was able to do so by separating labor and appointing it based on
levels of artistic talent and efficiency. On the spot there would always be multiple persons responsible
for the designing, tracing and photographing portion of creation, most of them operating
simultaneously and employing the full capabilities of their artistic skills.

Figure 5. 1888 Patent Illustration (Top View):

A=praxinoscope, B=axis, C=crown with protruding pins,
D=reel drum with film, E=reel drum, F=flexible band, attached to drum E

Walt Disney is perhaps the most recognizable name and his work the most widespread production
when it comes to the sphere of animation. It is no revelation to say that Dinsye was able to bring the
animation industry onto a new level of mass production, leveling it on the same field as cinema up
to this day, and the outcome of that sits on the bases of developed workforce. Walt Disney himself
excelled not as an illustrator, but a manager able to appoint illustrators in the right direction and
provide them with techniques to clean up and speed up their work. By not only dividing labor based
on designing and tracing, but into delegations for story, color, inking, scene design, stylising, creating
layout, special effects and filming. Storyboarding, a crucial step in animation today, is coined by Walt
Disney’s production team. His excessive steps in the direction of achieving organized continuation
of work centered around first character and setting design, storyboarding, several stages of rough
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animation development ranging in number of frames per second which would be created by one
team before being passed onto the following one appointed for the smoothing out the chopped
movement and filling out the gaps of missing frames between each one. Though it wasn't solely
meticulous structural assignments of roles that allowed Disney's production to surpass the bar,
teams of animators were trained to replicate reality to the extent caricature illustration permitted,
“Walt Disney organized visiting ‘experts’ to come guide young animators through life- drawing
classes and give them nightly ‘action analysis classes’ where they would be walked through
live action film clips, pointing out observations that could be made of the movement.” [10]
Additionally, the physical and anatomical accuracies in Disney animation resulted from “rotoscoping”
a technique traditional animators use to this day where they trace over real footage of actors moving
in accordance to how teh character needs to move in the animation.

Figure 6. A Performance of Pauvre Pierrot as Imagined by Louis Poyet,

Published in La Nature in July 1892

The peruist of realism was largely present in the formulation of backdrops as well as the characters,
meaning the necessity of the impression of depth as well as light and shadow which create the
atmospheric effect of emergence. The invention of a MultiPlane camera is what ultimately permitted
disney and the majority of animation in the following 2 decades to bring their production to the next
level [18]. A camera would be pointed towards multiple panes of glass onto which overlapping
backdrop details would be added creating a mechanism in the style of a closing curtain on theater
stages (figure 7). Similar vertical designs would be used, emulating miniature movie sets (figure 8).
The benefit of this technology was not only in executing depth qualities of realism, but saving money
on production. This phenomenon is best captured in Disney's production in the 30’s and 40’s, which
conveniently for the large part center around fairy tales set majorly in forests and natural
environments, the monotonous scenery of which allows easy plausibility of repeating trees, plants
and other indistinguishable backdrop details. This did not only save managers money on timely
repeatedly illustrating and relocating insignificant details, but avoided any copyright issues which
could arise if the projects were set in urban areas.

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 Figure 7. Emile Cohl using the lightbox
Source: the bioscope.net

Figure 8. Emile Cohl; shots from Fantasmagorie

Source: Animation mentor.com

The beginning of digital animation of the transition of physical to computer graphics happened in
correlation to the development of technology. The first ever form of digital computer was invented in
the 1930’s in the wake of the cold war, and for the following 2 decades used primarily for military
purposes, employing it as a tracking device for aircrafts during the Cold War. The first application of
this product in the form of digital imaging emerged in the 1960’s in the USA's defense department
as a means of gaining technology in preparation for the cold war nuclear arms race, and NASA’s
scientific development. However, it wasn't long until computers became a widespread commodity,
and opened the gate for the first computer graphics to emerge. The extent of visual possibilities of
animation only went as far as the technology permitted, and the first computer graphic animation
was created By John Whitney on an analog computer modified from M - 5 aircraft system of the
1950’s or the oscilloscope for the opening sequence of Alfred Hitchcock's “Vertigo”, which
showcased 4 minutes of a series of abstract coloured shapes in moving across the screen

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 Figure 9. The Multiplane Camera in the Creation of Snow White (1937)
Source: Patentyogi

Figure 10. Another (Vertical) Version of the Multiplane Camera

Source: Patentyogi

Finally, the history concludes at CGI (computer generated images), which only saw a development
in their complexity since their release of Vertigo in 1960. A notable turning point for character
animation in particular happened in the 190's with the adaptation of biochemical lab computers that
analyze human motion into character cgi. The invention of the technology is credited towards Tom
Clavert, a professor of kinesiology and computer science at Simon Fraser University who attached
potentiometers (devices used to detect electric potential) onto patients to detect physical
abnormalities. This device would then be adapted as a motion capture apparatus, that would use
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the analog of a potentiometer to capture motion information and convert it to digital form. This would
first appear mainstream through the film Terminator (1984), as partial integration of CGI onto live
action.

CONCLUSION
Overall, the aim of this research paper was to highlight the rich history and technological
advancements that have shaped animation into the dynamic and diverse medium it is today.
To summarize the findings of this research paper, it begins at the prehistoric age of cave art and
concludes with CGI in the 20th century. Beginning with the rudimentary forms of animation observed
in ancient Paleolithic cave art, the paper explored early animation technologies such as the
Thaumatrope and the Magic Lantern, then delving into the pre-film era, highlighting pivotal
innovations like the Phenakistoscope and the emergence of cinematic animation with inventions like
Thomas Edison's Kinetograph and the Lumière brothers' Cinematographe.
This paper also heavily examines the industrialization of animation and its pioneers like John Bray
and Walt Disney, who brought to life the cel animation system and systematic division of labor that
laid the groundwork for large-scale animation production. Furthermore, the paper covers some
history regarding the transition to digital animation, from the first computer-generated images in the
1960s to the adaptation of motion capture technology in character animation.
From ancient cave paintings to CGI blockbusters, this historic timeline not only serves to inform how
animation technology has emerged and been integrated, but emphasize humanities pursuit for
greater means of creative expression as exemplified by the rapid means with which they achieved
it. The trends observed through this history could also be used as basis to predict the path into which
society will develop its form of entertainment, seeing how it has been driven by continuous
innovations and expansions, the future will likely present enhanced realism, and more immersive
experiences. As animation continues to evolve, it is likely to remain a dynamic and influential medium
for storytelling, entertainment, and artistic expression, as it has been for thousands of years.

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