A. Fernández Sánchez

University of Granada (SPAIN)
The aim of this article is to review animation techniques in which individual frames and means of creation are not linked to traditional audiovisual animation reproduction. In order to bring new forms of frame by frame playback such as interactive projections or pre-animation techniques to the classroom, the art form must be recognized as dynamic and also existing temporally which separates it from other means of static artistic expression. The methodology formed is based in bibliographic research, focusing on the question: “Is there existing infrastructure for supporting means of creating animation outside of the common dogma of audiovisual reproduction?” The goal of this article is to present real data displaying to the reader that animation is not only an entertainment format, but also indicates that it is one of the most diverse and complex techniques of artistic creation contemporarily. This article will functionally convey to the reader the value that animation can bring to the artistic community internationally.

Animation is the most complete artistic technique. Within the forms of animation, many other art forms are employed. In animation one can find music and sound, drawing, painting, sculpture, performance, etc. Even so, one can see animations in which it is not clear whether we are watching animation or captured video. Therefore, positing the idea in which, for instance, if drawing (as a technique) would be the word that includes all the graphic materials that refer to it, then animation would include, all graphic techniques of drawing, and then, all graphic materials. This means that while all other artistic techniques are composed of two levels, animation has three: the technique of animation itself, the different graphic techniques, and graphic materials. It is the ambition of the article to contribute to this great technical wealth with the concept that this article posits: time and movement. If the basic graphical techniques can be employed masterfully, one cannot doubt the value inherent in adding movement and sound. Furthermore, adding the concept of narrative development (which can be expressed in the figurative or abstract.) That is why animation is not only an experimental art technique, but also a temporary art, and as such, it makes the animation a complete and highly complex technique. This article shows how the common misconception about animation as only entertainment is fallacious. One can find real-time animation, not only recorded with techniques such as Stop Motion or Rotoscoping, but also that real-time capture is fundamentally essential to certain animation techniques. From secondary school through university, many varied forms of animation techniques can be employed even without computers or electronic media. Animation is available as an expressive form to people of any age through a multitude of avenues.