Reiniger enrolled in the acting group to which Wegener belonged, the Theatre of Max Reinhardt. She began by making costumes and props and working backstage. She started making silhouette portraits of the various actors around her, and soon she was making elaborate title cards for Wegener's films, many of which featured her silhouettes.
Reiniger, in devising the predecessor to the first multiplane camera for certain effects, preceded Walt Disney and Ub Iwerks by a decade. Above her animation table, a camera with a manual shutter was placed in order to achieve this. She placed planes of glass to achieve a layered effect. The setup was then backlit. This camera setup was later popular in cell animation.
Reiniger had a distinct art style in her animations that was very different from other artists in the time period of the 1920s and the 1930s, particularly in terms of characters. In the 1920s especially, characters tended to rely on facial expressions to express emotions or action, while Reiniger's characters relied on gestures to display emotions or actions. She also utilized the technique of metamorphosis often in her animations. This focus on transformation greatly benefits her tendency to work with fairytale stories.
Love and light,
Trace
xoxo