{"id":"limited-animation","no":196,"name":"Limited Animation","ja":"リミテッド・アニメーション","era":"1940s–","family":"アニメーション技法","kind":"技法","collection":"Dictionary expansion 11","addedAt":"2026-08-18","source":{"title":"Britannica — Animation","url":"https://www.britannica.com/art/animation"},"reference":{"status":"verified","pageUrl":"https://www.britannica.com/art/animation","credit":"Britannica — Animation","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Hell-Bent%20for%20Election%20Title%20Card.jpeg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Hell-Bent%20for%20Election%20Title%20Card.jpeg","credit":"UPA『Hell-Bent for Election』タイトルカード 1944 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Clutch%20Cargo%20card.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Clutch%20Cargo%20card.jpg","credit":"Cambria Productions《Clutch Cargo》のキャラクターカード 1959年頃 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Screenshot%20of%20File%20Col%20Bleep's%20Arrival%20on%20Earth%20webm%20-%20Wikimedia%20Commons.png?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Screenshot%20of%20File%20Col%20Bleep's%20Arrival%20on%20Earth%20webm%20-%20Wikimedia%20Commons.png","credit":"《Colonel Bleep》1957 の一場面 — Wikimedia Commons / CC0"}]},"essence":"動画枚数を意図的に減らし、止め絵・繰り返し・部分だけの動きを様式として使う技法。UPAが美学として確立し、テレビアニメと日本の商業アニメが独自の文法へ発展させた。","cues":["少ない中割り","止め絵の活用","部分アニメーション","動きの様式化"],"intents":["遊び","技術","懐かしさ"],"works":["予算と工数が限られる連続もので、印象的な数カットに枚数を集めるとき","テレビや配信の長尺シリーズを、一定の品質で毎週回し続けるとき"],"recipe":{"type":"字幕も効果文字も止め絵として構図に組み込む","layout":"引きの止め絵と寄りの動きを交互に並べ、緩急をつくる","material":"口や目など動かす部位を分離し、繰り返し素材にする"},"avoid":"「枚数が少ない＝手抜き」と読まず、制約を様式へ転化した設計を見る。作る側では、止めを予算で決めれば動きが足りないだけの画になる。","colors":["#d5caab","#063570","#1e1418"],"motif":"motion","pair":["cartoon-modern","cel-animation"],"study":["UPAの制作体制","ハンナ・バーベラのTV文法","手塚治虫『鉄腕アトム』"],"en":{"essence":"Deliberately reduces the number of drawings, using held frames, repeats and partial movement as style. UPA established it as an aesthetic; television and Japanese commercial animation grew it into grammars of their own.","cues":["Few in-betweens","Held frames put to work","Partial animation","Stylized movement"],"works":["Serial work on a tight budget, saving the drawings for a few striking cuts","Long running television or streaming series that must hold quality every week"],"recipe":{"type":"Titles and effect lettering composed as held frames, not as overlays","layout":"Alternate wide held shots with close movement to build rhythm","material":"Separate mouths and eyes as reusable parts for repeated cycles"},"avoid":"Do not read few drawings as laziness, and look at the design that turned the limit into style. When holds are chosen by budget rather than by staging, the result only looks underanimated.","study":["UPA's production system","Hanna-Barbera's TV grammar","Osamu Tezuka, Astro Boy"]},"links":{"page":"https://indexstyle.org/styles/limited-animation","json":"https://indexstyle.org/api/styles/limited-animation","designSpec":"https://indexstyle.org/styles/limited-animation/design.md","imagePrompt":"https://indexstyle.org/styles/limited-animation/prompt.txt"},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}