Abstract

Animation is created using two fundamentally different types of graphics: raster and vector. Understanding their differences is essential for choosing the correct production workflow. Raster graphics, also known as bitmaps, are made from a grid of individual pixels. This method is ideal for creating complex, painterly textures and detailed shading, and it is the basis for traditional “frame-by-frame” animation where each frame is drawn individually. The primary limitation of raster images is that they are resolution-dependent; scaling them larger causes a loss of quality, resulting in blurring or pixelation.

Vector graphics are made from mathematical paths, points, and lines. Because they are based on formulas rather than a fixed pixel grid, they are resolution-independent. This means they can be scaled to any size, from a watch face to a billboard, without any loss of quality. This property makes vector graphics ideal for “cut-out” or “rigged” animation, where a character “puppet” is created once and then moved, rather than being redrawn for every frame. This method is highly efficient, making it a standard for television, web, and motion graphics production.

Keywords: Raster, Vector, Animation, Rigging, Frame-by-Frame

In digital animation, every image is built in one of two ways: as a grid of pixels or as a set of mathematical paths. This fundamental difference determines an animation’s look, file size, and scalability. Choosing between raster and vector workflows is one of the first and most critical decisions in a production.

Raster: The pixel-based approach

A raster image, or bitmap, is a map of pixels. Think of it as a piece of digital graph paper. Every square on the grid is a pixel, and each pixel is assigned a specific color. When you see a digital photograph or a complex digital painting, you are looking at a raster image.

  • The process: Animation using raster graphics is the digital equivalent of traditional cel animation. Animators must create a new drawing for each frame, or at least for key moments. This is called frame-by-frame animation. Software like TVPaint or the bitmap tools in Toon Boom Harmony are designed for this, allowing animators to draw and paint with textured brushes.
  • The look: Because raster images are pixel-based, they can support immense detail, complex color blending, and rich textures. This method is used to achieve grainy, painterly, or organic hand-drawn looks.
  • The limitation: Raster’s primary weakness is resolution. The image is created at a fixed size. If you scale a raster image up, the computer has to guess what color to put in the new pixels, resulting in the blurry or “pixelated” look. An animation drawn for a phone screen cannot be scaled up to a cinema screen without distortion.

When to use raster: Use raster animation when the final artistic style is the top priority. It is suited for projects that require a traditional, hand-drawn feel, detailed textures, or painterly backgrounds.

Vector: The path-based approach

A vector image is not made of pixels. It is made of points, lines, and curves connected by mathematical equations. The computer simply follows a formula, such as “draw a blue line from Point A to Point B.”

  • The process: Vector graphics allow for a highly efficient workflow often called cut-out or puppet animation. Instead of redrawing a character 24 times for one second of film, an animator builds the character once from individual vector shapes (head, arm, leg). These pieces are connected in a digital “rig.” The animator then sets key poses, and the computer generates the movement in between, a process called tweening.
  • The look: The most identifiable trait of vector animation is its clean, sharp lines. Because the image is a mathematical formula, it is resolution-independent. It can be scaled infinitely larger or smaller and will remain perfectly sharp and clear. This made it the standard for web animations in the era of Adobe Flash.
  • The limitation: The mathematical nature of vectors can make it difficult to create complex, painterly textures. Styles can sometimes look “flat” or overly clean compared to the organic feel of raster.

When to use vector: Use vector animation when efficiency and scalability are priorities. It is the standard for television series (Rick and Morty and My Little Pony are prominent examples), web content, and motion graphics, where tight deadlines and multiple screen sizes are a factor.

Hybrid animation: Using both

Modern animation programs like Toon Boom Harmony are built to combine both methods. This hybrid approach is common in professional studios. Animators can use vector tools to create clean, scalable outlines for a character. Then, they can use raster brushes to paint textures and shadows inside those vector lines. This provides the efficiency and scalability of a vector puppet while achieving the artistic, textured look of a raster painting.