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single frames of liveaction film are projected onto a drawing surface where they can be traced onto sheets of paper, animation cels, or other materials that can then be rephotographed onto motionpicture film. When projected, the rephotographed sequence of drawings appears as animation. It seems very lifelike because it is based exactly on the movements of a liveaction figure. This patent was granted in 1917 and formed the basis of the Fleischer Studio and also of much of the early work of the animators (Furniss www.afionline.org).

The brothers started their animation careers at the studio of John Randolph Bray. The Fleischers later branched out on their own, and in 1921, they founded Out of the Inkwell Films, Inc., which became one of the most important animation studios in the United States (it was renamed the "Fleischer Studios" in 1928). Max Fleischer worked on the business side as producer, while Dave worked on the creative end of the studio as an animator. One of their first releases was the film "Modeling" (1921), which featured Koko the Clown, a character created using the rotoscope process, with Dave Fleischer himself donning a clown suit and performing before the camera. Dave and other artists would later trace the liveaction clown performance into drawings that would then be shot as animation. A viewing of the "Out of the Inkwell" films gives the impression of liveaction and animation coexisting, and this illusion was often created by using still photos of a background along with cutouts of the Koko character. "Modeling" was somewhat unique in its use of clay (Plasticine) animation. This method was fairly uncommon during the silent era. Clay animation could not be produced through an assemblyline process, like drawings or cel animation, which is why it was generally deemed impractical for commercial animation production. Koko the Clown appeared in the "Out of the Inkwell" series and other films from 19...