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Wednesday 1 August 2012

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Born in New Haven, Connecticut of Russian Jewish heritage, Capp was the eldest child of Otto Philip and Matilda (Davidson) Caplin. Capp's parents were both natives of Latvia whose families had migrated to New Haven in the 1880s. "My mother and father had been brought to this country from Russia when they were infants," wrote Capp in 1978. "Their fathers had found that the great promise of America was true—it was no crime to be a Jew." The Caplins were dirt poor, and Capp later recalled stories of his mother going out in the night to sift through ash barrels for reusable bits of coal.

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Animal Portal provides description and animal information on a wide gamut of animals. The animal profiles have been made with a combination of scientific as well as general purpose usage. So when browsing through our list of wild animals, desert and rainforest animals you will find it interesting from your research as well as general knowledge point of view.

At the outset, visitors will find pages on animals pictures and wallpapers. List of Animal Pictures and Wallpapers are sorted out alphabetically. You can search your animal of interest in the search box above. We hope you enjoy our animal pictures and wallpapers. Care has been taken to make these pictures and wallpapers to suite your need. We have also added animal clipart as the latest addition.

The animal pages includes animal information on physical characteristics, habitats, food habits, interesting facts, conservation status etc.

The section of animal issues covers animal rights, animal testing, animal behavior and animal cruelty. We have also included legal rights of animals from the point of view of animal issues. Extinct and endangered animals have been dealt with in the section of extinct animals.
Kids and school children will find baby animals link interesting wherein they get to know what are the names of the baby animals. We will soon be providing service on the animal names for dogs, cats, horses and your pets. Animal Crossing section has been added to give a brief information on the game plan and strategy. Kids and their parents will find the animal sounds interesting, wherein you can find what the sound of animals is called in respective countries.

Visitors who want to gift their pets and animals can find the animal names and animal poems link very suggestive. Cats & Dogs section gives description on various breeds of cats and dogs along with their pictures. The pages explain the physical charecteristics, life span, food habits, their origin and most importantly the breeds' temperament.

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Even though animation was conceived as early as 1824 by Peter Roget, the very first actual methods of animation were made possible by a device called a zoetrope. The zoetrope was a spinning cylinder with open slits that would allow viewing of certain still images in a certain sequence. Someone viewing a zoetrope at a particular angle could see images that appeared to be moving.After Edison and the invention of motion pictures in 1889, film director Emile Cohl combined more than 700 still drawings, which were then each meticulously photographed individually. When Cohl combined all of the shots together, the drawings appeared to be moving on the film, ntasmagorie," which was released in 1908. Other animated films soon followed like "Gertie the Dinosaur" and "Felix the Cat," both released around 1920.First, a storyboard is created showing a quick sketch of the general idea and direction of the cartoon or animated feature. Next, the dialog is recorded before the actual animators create the final inked cartoons on pieces of clear celluloid acetate, or cels. After inking, animators paint in the color on the opposite side of the cel and finally combine all the cels to be photographed, using a special film motion picture camera.

Cel animation allows animators to repeat certain frames, eliminating the need to draw each individual frame over and over in a sequence of animation. Backgrounds and fixed objects may be included in every background cel while other cels are removed and replaced over and over to simulate movement by animated characters.For example, if there are two characters in a scene and only one character is moving in this scene, an animator would draw character A on a clear piece of film called a cel. Then, using another second cel, the animator will draw character B. As character A is jumping up and down in a sequence of moves, a new cel is created for each movement. These cels are then combined and shot on a special film camera in a logical sequence that makes character A look like he's jumping up and down, while character B remains unmoving.

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Don Bluth loves animation. Unlike the early animators who were largely artists who went into animation because it was steady work, and many of the artists today who are fans and have a "gosh wow" approach to the craft, Don has a deep serious love for the art form. This comes across when he talks. His quiet and somewhat humble mannerisms often hide a fierce spirit and drive not found in many.

Born on September 13, 1937, the second oldest of seven children, Don Bluth spent his earliest years in El Paso Texas. His parents were Emalinee Pratt and Virgil Bluth, then a policeman and later a private investigator. Don is a direct descendant of Pocahontas, the Indian princess who saved Pilgrim John Smith.

When he was six, the family moved to Payson, Utah where he lived on the family farm. Bluth remembered that time as, "milking 24 cows morning and night and singing Disney songs." Even then he was "honestly dreaming of working" at the Disney studio.

Bluth's initial experience with Disney was as a member of the audience at age seven. Don remembered the effect it had on him. "The first one was SNOW WHITE. I was extremely impressed with it and when I got home I tried to draw Snow White, the dwarfs, all of them."

"I'd ride my horse to the movie house in town and tie him to a tree while I went in and watched the latest Disney film. Then I'd go home and copy every Disney comic book I could find."

In 1954, the family moved to Santa Monica California. He was a senior at high school. After a year at Brigham Young University, in Utah, he brought a portfolio to the Disney studio in Burbank. He was immediately hired in 1955 as an assistant animator and put to work on SLEEPING BEAUTY. He worked as an assistant to John Lounsberry. Oddly after finally realizing his dream he left in 1957, after only two years.

"I left, I think, because I found it kind of boring. I didn't want to do it," recalled Don.

Don then embarked on a mission for the Mormon Church to Argentina. After two-and-a-half years, he returned to Los Angeles, but not to a career in animation. Though he worked at Disney as an assistant on THE SWORD IN THE STONE for around a year, his main efforts were in live theater.

He opened the Bluth Brothers Theater with his younger brother Fred in an old supermarket in Culver City. They produced musical plays with local talent for two to three years. The shows included such traditional favorites as THE MUSIC MAN and THE SOUND OF MUSIC. Often Don was the musician, playing the piano. One attendee stated it was like an old movie musical where kids decide to put a show on in a barn.

Still not finding what he was looking for, he returned to college and finally graduated with a degree in English Literature. Afterwards Don decided to try again at animation.

In 1967 he began working at Filmation where he worked in layout. In his spare time, Don organized a group of young singers and called them "The New Generation." Numbering sixty at one time, the group toured around the states and even Mexico. Though he was making a good wage at Filmation, working on such series as THE ARCHIES and SABRINA, he wasn't satisfied.

"I realized that all of that industry out there was really making trashy art that wasn't good for kids to look at and eventually ended up in the trash can anyway. Everything was for money; nothing was for art," recalled Don in 1976.

"I grew tired of that and said, 'Well, if I'm going to do this for a living, why don't I go back to Disney because they do it right."

April, 1971 found him once again at the Disney studio in the new training program. He was the first of this new group to reach the rank of animator after only two months. His first project as animator was ROBIN HOOD (1973), followed by work on WINNIE THE POOH AND TIGGER TOO (1974). He moved up to directing animator on THE RESCUERS (1977) then to animation director on PETE'S DRAGON (1977). Next came the title of producer-director on THE SMALL ONE (1978).

"It was all much different because Walt was gone," Don said in 1990. "It was a committee running the place. The pictures did not look very good. I was no longer encumbered with the romantic film over my eyes. I could see a little bit more clearly."

During this period at Disney, Don met Gary Goldman and John Pomeroy. The three found they had similar thoughts on animation and became a true team. Any recounting of Don's career after meeting these two is incomplete without them. In some ways, they became the Three Musketeers of animation. When they began thinking of starting their own studio, rather than come up with some form of grouping of names, initials or a catch phrase all three immediately thought of calling it Don Bluth Productions. "Without a name," recalled Don, "we would just be Acme Animation and we wouldn't have had a chance. When you create a heroic figure, that's what you're marketing, not just a production. We just decided to call it Don Bluth."

Starting as far back as 1973, Don, along with Gary and John, began purchasing and collecting the tools and equipment of their trade and undertook the enormous task of writing, directing and producing their own animated film. The crew worked with a number of other artists in Don's garage.

"People thought we used the garage on purpose - because Walt Disney started in a garage. But we weren't that shrewd. We simply couldn't afford anyplace else. My living room had blackout curtains up and was the projection room. My family room was the camera room. My bedroom had editing equipment in it for years, and the kitchen and patio were the commissary. Any money we had, we put into film making equipment and things that show on the screen."

After one or two false starts, they decided on the featurette, BANJO THE WOODPILE CAT. It was their desire to revive the classical animation style of the early Disney classics. Their attempts to work within the Disney studio system failed.

"I finally came to the conclusion that it was too late to effect a change. The administration didn't want to hear anything."

After five years of laboring nights and weekends, the picture was completed in 1979. Near the end of the featurette, Don and fellow directing animators John and Gary resigned from the Disney studio to begin an animated feature, THE SECRET OF NIMH (1982). They also created the short animated fantasy sequence in XANADU (1982). Don Bluth Productions hoped to fully compete with Disney with a slate of animated features.

"The thought occurred to us that maybe, if we went and did this, that the Disney studio would become a competitor. Competition is usually what makes someone try harder. We needed Disney to try harder just to have competition. That was a very pompous attitude on our part, but it was in our mind that competition might wake the sleeping giant," stated Don.

Unfortunately, NIMH failed to do as well as hoped. Between that and an industry wide animation strike, Don found himself without a project and possibly without a future. Don Bluth Productions filed for bankruptcy.

In 1983, Don, John and Gary formed Bluth Group to work on the historic DRAGON'S LAIR video game. This enormously popular game was followed by another video game entitled SPACE ACE. Work on a LAIR sequel was underway when the video arcade business crashed. Once again, Bluth's studio was left without a source of income and the Bluth Group also filed for bankruptcy.

However, during this gray period, Don met Morris Sullivan, a businessman who believed in the classical animation style. Together they formed Sullivan Bluth Studios and were able to negotiate a film deal with Steven Spielberg to do AN AMERICAN TAIL (1986), and initiate talks with the Irish government about opening a studio in Ireland.

AN AMERICAN TAIL debuted and became the highest grossing animated feature in history on first release. Spielberg and Bluth followed this up with THE LAND BEFORE TIME (1987) which did equally well at the box office. Between the two pictures, Don and his studio moved to Ireland to take residence in one of the world's most modern animation facilities.

After LAND, Bluth and his studio signed an agreement with the European-based Goldcrest company for more animated features. The first of these, ALL DOGS GO TO HEAVEN debuted the Fall of 1989. The next will be out in the spring of 1991.

While in Ireland, Don became involved with the Mormon Church there. However, Don still prefers to keep his religous convictions to himself, lest others search for some "hidden agenda" in his films. "I'm not preachy," stated Don in a recent interview. "I'm not didactic and I don't think movies should do that. But I like movies that fill you with hope. I like things that free you from your ills, your prejudices, and all the other things that hold us in spiritual darkness. If you can make people believe that they have the power to help themselves and help the world, then I think you've done a great deal of good. Movies have the power to do that."

Don continues to oversee his studio's feature projects from beginning to end, as well as do a share of the drawing. In 1990, Don stated "I still draw about six to seven hours a day. I think the day that I stop doing that, I won't be as good a director

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Animated Wallpaper Multimedia. Do you enjoy your desktop having beautiful wallpaper? Just have a look at Animated Desktop Wallpaper "New Year". New Year is a holiday, which happens only once a year. This is the time when people all over the world celebrate the coming of the new year. In many countries a symbol of this holiday is a fir tree. It is impossible to think of the New Year without a fir tree. It should be present in each house. And even in your computer. Here it is standing in the snow-covered forest. Just have a look - it is decorated and a bright star is shining on its top. Amazing, magnificent, holiday fir tree will rejoice you in the New Year's night. Install Animated Desktop Wallpaper "New Year" on your computer and let your New Year's night be full of surprises!

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Everyone, right from the 8-year old kids to 80-year old granddads, loves to watch an animation flick. Have you ever wondered what animation exactly is and how did it come into existence. Animation is basically the rapid display of a sequence of images, of 2-D or 3-D artwork or model positions. The display is so rapid that it creates an illusion of movement in the viewers. The phenomenon of persistence of vision is the main basis behind the development of animation. In case you want to further explore the origin and history of animation, make use of the information provided in the lines below.The earliest instance of animation dates back to the Paleolithic times, when attempts were made to capture motion in drawings. The cave-paintings of that time depict animals in superimposed positions, drawn with an aim of conveying the perception of motion. Persistence of vision, the basis behind animation, was discovered by Ptolemy, the Greek astronomer, in 130 AD. Fifty years later, in 180 AD, an unknown Chinese inventor created an early animation device, which we later came to know as the zoetrope.Phenakistoscope, praxinoscope and the flip book are the other early animation devices, which were invented during the 1800s. All these devices made use of technological means for the purpose of producing movement from sequential drawings. However, it was the introduction of motion picture films, in the late 1890s that gave a boost to the concept of animation. There is no single person who can be credited with the title of the "Creator" of animation. This is because when animation was developed, many people were involved in the same thing at the same time. J. Stuart Blackton was the first person to make an animated film, which he called "Humorous phases of funny faces". For the purpose, he used to draw comical faces on a blackboard, one after the other, and film them. In 1910, Emile Cohl came out with the first paper cutout animation. The development of celluloid, around 1913, made animation much easier to manage. While talking about the history of animation, three names that are definitely worth mentioning are those of Winsor McCay of United States & Emile Cohl and Georges Melies of France. Émile Cohl's Fantasmagorie (1908) was the first animated film that was made using 'traditional (hand-drawn) animation'. Georges Méliès, a creator of special-effect films, was the first person to use animation, along with special effects. He was the one who gave the idea of stop-motion animation. McCay also created a number of animation films, with the most noted ones being Little Nemo (1911), Gertie the Dinosaur (1914) and The Sinking of the Lusitania (1918). In fact, many people take ‘Sinking of the Lusitania’ to be the first animated feature film

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This is usually accomplished with a camera and a projector or a computer viewing screen which can rapidly cycle through images in a sequence. Animation can be made with either hand rendered art, computer generated imagery, or three-dimensional objects, e.g. puppets or clay figures, or a combination of techniques. The position of each object in any particular image relates to the position of that object in the previous and following images so that the objects each appear to fluidly move independently of one another. The viewing device displays these images in rapid succession, usually 24, 25 or 30 frames per second.Evidence of artistic interest in depicting figures in motion can be seen as early as Paleolithic cave paintings. Animals in these paintings were often depicted with multiple sets of legs in superimposed positions. Because these paintings are prehistoric they could be explained a number of ways, such as the artist simply changing their mind about the leg’s position with no means of erasing, but it’s very likely that they are early attempts to convey motion.
Another example includes a 5,200-year old earthen bowl found in Iran in Shahr-e Sukhteh. The bowl has five images painted along the sides, showing phases of a goat leaping up to nip at a tree.

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