A report on Traditional animation, Animation and Storyboard

Painting with acrylic paint on the reverse side of an already inked cel, here placed on the original animation drawing
Nr. 10 in the reworked second series of Stampfer's stroboscopic discs published by Trentsensky & Vieweg in 1833.
A storyboard for The Radio Adventures of Dr. Floyd episode #408
Sketch of an animation peg bar, and measurements of three types, Acme being the most common.
A projecting praxinoscope, from 1882, here shown superimposing an animated figure on a separately projected background scene
A storyboard for an animated cartoon, showing the number of drawings (~70) needed for an 8-minute film.
A camera used for shooting traditional animation. See also Aerial image.
Fantasmagorie (1908) by Émile Cohl
A storyboard template.
This image shows how two transparent cels, each with a different character drawn on them, and an opaque background are photographed together to form the composite image.
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 films, including the world's first animated feature film El Apóstol.
A horse animated by rotoscoping from Eadweard Muybridge's 19th-century photos. The animation consists of 8 drawings which are "looped", i.e. repeated over and over. This example is also "shot on twos", i.e. shown at 12 drawings per second.
An example of traditional animation, a horse animated by rotoscoping from Eadweard Muybridge's 19th-century photos.
A clay animation scene from a Finnish television commercial
A 2D animation of two circles joined by a chain
World of Color hydrotechnics at Disney California Adventure creates the illusion of motion using 1,200 fountains with high-definition projections on mist screens.

Traditional animation (or classical animation, cel animation, hand-drawn animation, or 2D animation) is an animation technique in which each frame is drawn by hand.

- Traditional animation

A storyboard is a graphic organizer that consists of illustrations or images displayed in sequence for the purpose of pre-visualizing a motion picture, animation, motion graphic or interactive media sequence.

- Storyboard

In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film.

- Animation

Animation production usually begins after a story is converted into an animation film script, from which a storyboard is derived.

- Traditional animation

A few minutes of screen time in traditional animation usually equates to months of work for a team of traditional animators, who must painstakingly draw and paint countless frames, meaning that all that labor (and salaries already paid) will have to be written off if the final scene simply does not work in the film's final cut.

- Storyboard

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 as a whole.

- Animation
Painting with acrylic paint on the reverse side of an already inked cel, here placed on the original animation drawing

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Scottish Canadian animator Norman McLaren drawing on film, 1944

Animator

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Scottish Canadian animator Norman McLaren drawing on film, 1944
Stop-motion animated character from 20 Million Miles to Earth (1957).

An animator is an artist who creates multiple images, known as frames, which give an illusion of movement called animation when displayed in rapid sequence.

Other artists who contribute to animated cartoons, but who are not animators, include layout artists (who design the backgrounds, lighting, and camera angles), storyboard artists (who draw panels of the action from the script), and background artists (who paint the "scenery").

As a result of the ongoing transition from traditional 2D to 3D computer animation, the animator's traditional task of redrawing and repainting the same character 24 times a second (for each second of finished animation) has now been superseded by the modern task of developing dozens (or hundreds) of movements of different parts of a character in a virtual scene.