![]() To be technically and legally accurate, McCay did not develop any original devices that merited a patent. The only device he used was a variation of The Mutoscope where he mounted his drawings onto a type of slotted cylinder operated by a hand crank. By placing his hand against the top edge, the cranking created a "flipping" of the action. This is how he checked his action before photography. ![]() Story has it that Bray, using his previous association with the paper, posed as a reporter and visited McCay claiming to be working on a story about his processes for making animated cartoons. Bray discovered that McCay never registered any patents on his methods. Įven before Gertie, another cartoonist, John Bray, saw the commercial potential of animated cartoons. Bray was a friend of Max's from their days working at The Brooklyn Daily Eagle. Three years later, the American cartoonist Winsor McCay started his experiments beginning with Little Nemo Moving Comics which was first seen in 1911. He made two more animated cartoons after this. The most famous was Gertie The Trained Dinosaur, which was designed as an interactive film for a Vaudeville act. This caught the attention of many aspiring animators, including Max Fleischer. So, by definition, he can be recognized as the first true "Animator." Cohl made successive positions in drawings and photographed them frame-by-frame. Stuart Blackton's Humorous Phases of Funny Faces, which was more of a demonstration of Stop Motion techniques using growing line segments and cutouts. Then, in 1908, Emile Cohl in France released what is probably the first true animated cartoon, Fantasmagorie. ![]() The first animation experiments came between 19. The first that we know of was J.
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