As animators gained experience through trial, error and collaborations, cartoons became more professional and dominated by specific rules of how to make them. Moreover, because the drawings had to be mass-produced to create the illusion of movement, they had to come up with a compromise where characters were less detailed and time consuming, but at the same time alive and complex enough.
In the strips, they had no need to think of their work in three dimensions or how they moved, but at the same time this extra aspect gave them the opportunity to introduce gags and elements not possible in comic stills. The artists experimented with what worked and what did not, and what they could and could not do. Many of them became fascinated with the introduction of moving drawings, and saw them as new possibilities and challenges to use their skills on something they found more exciting than the newspaper strips.įor this reason, many of the first cartoons had many similarities with moving comic strips. Animation was a new phenomenon and there were no experienced animators yet there were skilled artists working on newspapers, creating comic strips in a time when even the comic strips themselves were relatively new.
In the early days of hand drawn animation in the 1920s, the studios' main areas were not in Hollywood, but New York City.
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