Direct Animation vs Paint-on-Glass Animation
ダイレクト・アニメーション / ペイント・オン・グラス・アニメーション
Direct Animation comes from Experimental Film and Paint-on-Glass Animation from Animation Techniques. They are reached for with some of the same intent, which is where they get confused.
Direct Animation
Images made without a camera, by drawing, scratching and pasting directly onto the filmstrip. The film stock itself becomes the brushstroke and the rhythm.
Paint-on-Glass Animation
Paint-on-glass animation adds and removes slow-drying paint on one pane beneath a camera. It does not replace one finished drawing with another: brush marks, wiped traces and mixed color accumulate as a continuous history on the same surface.
| Direct Animation | Paint-on-Glass Animation | |
|---|---|---|
| Era | 1935– | 1940s– |
| Family | Experimental Film | Animation Techniques |
| Kind | Technique | Technique |
| Cues | Hand-drawing on film / Scratched marks / Continuity that ignores frames / Physical blots of color | Contours pushed by brush and finger into the next form / The previous image lingering as stains and streaks / Opaque masses beside translucent wiped passages / The whole field transforming fluidly instead of cutting |
| Best used for | Short experimental films and titles that put the material itself in front · Abstract runs of color and scratch cut by hand to a piece of music | Showing memory or emotional change as transformation within one image · Using painterly marks as time-bearing material in music film rather than as static texture |
| Type | Write letters by hand one frame at a time and keep the drift | Keep long copy on a separate layer; if words are painted, reveal and erase them one at a time at the painting's pace. |
| Composition | Ignore the frame line and pull marks as long continuous bands | Retain one focal trace while wiping the surroundings into the next scene. Reduce returns to a completely blank frame. |
| Material | Paint onto clear stock, scratch into black, and switch between them | Put slow-drying oil paint or gouache on glass and add or subtract it with brush, finger and cloth beneath locked camera and light. |
| Caution | Laying one scanned scratch texture over the footage so the dirt sits still instead of changing every single frame. | Morphing between finished digital paintings is different. Each frame should carry the actual history of wet paint added to and removed from one surface. |