The story is about a guy named Noodell and a dog named Riggatoni. Riggatoni wants to play with Noodell, but Noodell is too busy and doesn't have time to play. The dog keeps appearing and wanting to play, but Noodell doesn't want to, so eventually Noodell tries to get rid of the dog, only to end up where he began. Within the past 50 years of animation, there has been huge progress in the complexity of story, characters and camera shots. Animations have evolved from simple, 2-minute pieces, to very complex, full-length feature films. However within the last 10 years there has been a sudden integration of computer-generated imagery (cgi), with traditional animated pieces. There have been various techniques invented to create a painterly feel to a 3d generated image, so that it blends with a traditional 2D environment. Most attempts generally involve shader writing for a 3d software package, and all solutions require programming to some extent. Some solutions are hideously complicated, and many attempts, in-fact, are quite convincing at first. A very popular shader is a toon-shader. This technique a gives a 3d computer image, a flat, 2D traditional cell look. There has been much improvement on the toon shader since it was first used. Disney is the expert at this. At Siggraph 2003, much emphasis was placed on what Disney is doing regarding the blending of 2D with 3D.  Disney tries to avoid the "look" of 3D computer animation.  They have always had to have the "Disney look", which is "flat 2D".  They eventually developed a sophisticated program called “Deep Canvas,” developed by Lance Williams in 2002. It was used in Tarzan, Atlantis and Treasure Planet. Williams in-fact received the "Scientific and Technical Academy Award" in 2002 for his achievement. Traditional animation studios have used this integration to manipulate multiplane backgrounds with pan, zoom and change in focus to create 2.5D environments and complex staging possibilities. Again, using an appropriate rendering style, if these backgrounds were recreated frame by frame, viewers might feel more like they were immersed in the environment, rather than watching paintings move by themselves. Regardless of the purpose of this integration, the visual distinctions between the two elements are visually noticeable, whether intentional or not. Typically the integration is meant to be unnoticeable; unfortunately many times it is not. Simulating a hand drawn style within a 3d environment has been studied by engineers, mathematicians, and other scientific backgrounds. I hope to focus not necessarily on the integration of the two mediums, but rather on achieving the traditional style totally in 3D.