Pinscreen animation makes use of a screen filled with movable pins, which can be moved in or out by pressing an object onto the screen. The screen is lit from the side so that the pins cast shadows. The technique has been used to create animated films with a range of textural effects difficult to achieve with traditional cel animation.
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The technique was developed by Alexandre Alexeïeff and his wife Claire Parker who were often guests of the National Film Board of Canada. They made a total of 6 very short films with it, over a period of fifty years. Despite the short running time and the monochrome nature of these films, they won numerous awards over the years.
On August 7, 1972, Alexeïeff and Parker demonstrated the pinscreen to a group of animators at the National Film Board of Canada. This demonstration was filmed, and released by the NFB as Pin Screen. This film, along with "Pinscreen Tests" (1961), appear on disc 7 of the Norman McLaren: The Master's Edition DVD collection.
One animator who remains involved in pinscreen animation to this day is the National Film Board's Jacques Drouin.
Ward Fleming patented the vertical three-dimensional image screen, a toy which to date has sold more than 50 million pieces worldwide.[1]
A pinscreen is a white screen that consists of thousands and thousands of pins in small holes. Light shines from the side of this platform causing each and every single pin to cast its own shadow. Each pin, being able to slide easily back and forth through the holes, can cast different shadows. The white screen becomes darker the farther the pins are pushed out. The more the pins are pushed in, the lighter the screen becomes, giving a grayish tone and eventually an all white screen again.
Smaller, cheaper models have since been developed as a 5×7 inch toy version called "Pin Art", sometimes sold in Science museums or through the Web and printed catalogs.
According to Claire Parker, the images created by the pinscreen made it possible to make an animated movie which escaped from the flat, "comic" aspect of cel animation and plunged instead into the dramatic and the poetic by the exploitation of chiaroscuro, or shading effects. To obtain the desired gray tones that are cast from the shadows of the pins, several methods are used.
The original pinscreen used by Alexeïeff had 240,000 pins which were usually pressed with a small tool, one pin at a time or with other specialized instruments. Frames are created one at a time, each frame modifying the one previous to itself. After each frame has been photographed, the images are strung together to create an image without pauses. The pin and frame assembly was built very solidly and mounted in a secure fashion to offer a stable image to the animation camera day after day, week after week as each image of the movie was painstakingly composed.
This form of animation is extremely time consuming and difficult to execute, rendering it the least popular method of animation. An additional reason for its unpopularity is its expensive nature. Individually, the pins are relatively cheap; however, it is not uncommon that a million or more may be used to complete a single screen, quickly increasing the cost for manufacture.
Because of the cost and labor-intensive animation process, several computer programs have been made with the goal of simulating the images generated by a physical pinscreen.
One of the advantages of using digital pinscreen animation is the recovery of images. With the traditional pinscreen, there is no way to recover a previous image except for creating it all over again with no guarantee of precision. With digital pinscreen, the same image can be retrieved and altered without having to be recreated.
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