In a little incident of this sort, dialogue, of course, is required to help tell the point of the story. This is effected by putting the wording on a separate piece of paper—balloons, they are called—for each case and placing it over the design somewhere so that it will not cover any important part of the composition. The necessary amount of film for one of these balloons with its lettering is determined by the number of seconds that it takes the average spectator to read it. It is by the interjection of these balloons with their dialogue that an animator, in comic themes, can get a considerable length of film from a very few drawings.
After the photography is finished the exposed film is taken out of the camera and sent to the laboratory for development.
Three elements when fitted over the pegs complete the scene above.
Phenakistoscope with cycle of drawings of a face to show a movement of the mouth.
FURTHER DETAILS ON MAKING ANIMATED CARTOONS
CHAPTER IV
FURTHER DETAILS ON MAKING ANIMATED CARTOONS
One of the inspiriting things about this new art of making drawings for animated cartoons is that it affords such opportunities for a versatile worker to exercise his talents. A true artist delights in encountering new problems in connection with his particular branch of work. The very fact that he selects as his vocation some art activity, rather than employment that is mechanical, evinces this.
In making drawings for animated films and in following the whole process of their making, the artist will find plenty of scope for his ingenuity in the devising of expedients to advance and finish the work.