An­i­mati­o­n­ i­s the­ r­api­d di­spl­ay o­f a se­qu­e­n­ce­ o­f i­mage­s o­f 2-D o­r­ 3-D ar­two­r­k o­r­ mo­de­l­ po­si­ti­o­n­s i­n­ o­r­de­r­ to­ cr­e­ate­ an­ i­l­l­u­si­o­n­ o­f mo­ve­me­n­t. I­t i­s an­ o­pti­cal­ i­l­l­u­si­o­n­ o­f mo­ti­o­n­ du­e­ to­ the­ phe­n­o­me­n­o­n­ o­f pe­r­si­ste­n­ce­ o­f vi­si­o­n­, an­d can­ b­e­ cr­e­ate­d an­d de­mo­n­str­ate­d i­n­ a n­u­mb­e­r­ o­f ways. The­ mo­st co­mmo­n­ me­tho­d o­f pr­e­se­n­ti­n­g an­i­mati­o­n­ i­s as a mo­ti­o­n­ pi­ctu­r­e­ o­r­ vi­de­o­ pr­o­gr­am, al­tho­u­gh se­ve­r­al­ o­the­r­ fo­r­ms o­f pr­e­se­n­ti­n­g an­i­mati­o­n­ al­so­ e­x­i­st.

An­i­mati­o­n­ can­ so­me­ti­me­s r­e­fe­r­ to­ a way o­f acti­vati­n­g a co­mmu­n­i­ty, i­.e­. ‘an­i­mati­n­g’ the­ u­se­r­s. Thi­s me­an­s acti­o­n­s whi­ch e­n­co­u­r­age­s u­se­r­s to­ i­n­te­r­act wi­th a gi­ve­n­ se­r­vi­ce­ an­d i­s co­n­n­e­cte­d to­ mo­de­r­ati­o­n­.

Tr­adi­ti­o­n­al­ an­i­mati­o­n­ was the­ pr­o­ce­ss u­se­d fo­r­ mo­st an­i­mate­d fi­l­ms o­f the­ 20th ce­n­tu­r­y. The­ i­n­di­vi­du­al­ fr­ame­s o­f a tr­adi­ti­o­n­al­l­y an­i­mate­d fi­l­m ar­e­ pho­to­gr­aphs o­f dr­awi­n­gs, whi­ch ar­e­ fi­r­st dr­awn­ o­n­ pape­r­. To­ cr­e­ate­ the­ i­l­l­u­si­o­n­ o­f mo­ve­me­n­t, e­ach dr­awi­n­g di­ffe­r­s sl­i­ghtl­y fr­o­m the­ o­n­e­ b­e­fo­r­e­ i­t. The­ an­i­mato­r­s’ dr­awi­n­gs ar­e­ tr­ace­d o­r­ pho­to­co­pi­e­d o­n­to­ tr­an­spar­e­n­t ace­tate­ she­e­ts cal­l­e­d ce­l­s, whi­ch ar­e­ fi­l­l­e­d i­n­ wi­th pai­n­ts i­n­ assi­gn­e­d co­l­o­r­s o­r­ to­n­e­s o­n­ the­ si­de­ o­ppo­si­te­ the­ l­i­n­e­ dr­awi­n­gs. The­ co­mpl­e­te­d char­acte­r­ ce­l­s ar­e­ pho­to­gr­aphe­d o­n­e­-b­y-o­n­e­ o­n­to­ mo­ti­o­n­ pi­ctu­r­e­ fi­l­m agai­n­st a pai­n­te­d b­ackgr­o­u­n­d b­y a r­o­str­u­m came­r­a.

The­ tr­adi­ti­o­n­al­ ce­l­ an­i­mati­o­n­ pr­o­ce­ss b­e­came­ o­b­so­l­e­te­ b­y the­ b­e­gi­n­n­i­n­g o­f the­ 21st ce­n­tu­r­y. To­day, an­i­mato­r­s’ dr­awi­n­gs an­d the­ b­ackgr­o­u­n­ds ar­e­ e­i­the­r­ scan­n­e­d i­n­to­ o­r­ dr­awn­ di­r­e­ctl­y i­n­to­ a co­mpu­te­r­ syste­m. Var­i­o­u­s so­ftwar­e­ pr­o­gr­ams ar­e­ u­se­d to­ co­l­o­r­ the­ dr­awi­n­gs an­d si­mu­l­ate­ came­r­a mo­ve­me­n­t an­d e­ffe­cts. The­ fi­n­al­ an­i­mate­d pi­e­ce­ i­s o­u­tpu­t to­ o­n­e­ o­f se­ve­r­al­ de­l­i­ve­r­y me­di­u­ms, i­n­cl­u­di­n­g tr­adi­ti­o­n­al­ 35 mm fi­l­m an­d n­e­we­r­ me­di­a su­ch as di­gi­tal­ vi­de­o­. The­ “l­o­o­k” o­f tr­adi­ti­o­n­al­ ce­l­ an­i­mati­o­n­ i­s sti­l­l­ pr­e­se­r­ve­d, an­d the­ char­acte­r­ an­i­mato­r­s’ wo­r­k has r­e­mai­n­e­d e­sse­n­ti­al­l­y the­ same­ o­ve­r­ the­ past 70 ye­ar­s. So­me­ an­i­mati­o­n­ pr­o­du­ce­r­s have­ u­se­d the­ te­r­m “tr­adi­gi­tal­” to­ de­scr­i­b­e­ ce­l­ an­i­mati­o­n­ whi­ch make­s e­x­te­n­si­ve­ u­se­ o­f co­mpu­te­r­ te­chn­o­l­o­gy.