[citation needed] The February 1917 issue ofPopular Science Monthly included an article about the motion-picture novelty of "animated sculpture".

Illustrations included photographs of Dayton with her clay figures, a picture from the animated sculpture play Battle of the Suds, a part of a film strip showing circa ten frames of three dancing chorus girls and another of a man and a snake.

[9] Later in the year, Dayton admitted: “The difficult thing at first was to determine just how much to move an arm or a head, to avoid an appearance of jerkiness.

I used to make the changes too great, but am learning to overcome that now.” Dayton created 16 poses for her sculpted figures for each foot of film, with up to 30 figurines moving in a scene.

[11] She contributed the short film Pride Goeth Before a Fall, featuring “dances and other stunts”, to the second issue of Pathe’s Argus Pictorial "screen magazine" released on 25 November 1917.

[12] Her forays in sculpture and animation had contributed greatly to her income by this point: her bank account contained $12,000 in 1917, the equivalent of $256,000 in 2018 dollars.

After working as a canteen director for the YMCA in Paris during World War I, she created sculpted figures depicting scenes in France.

[15] One New York Times art critic praised her work, calling her portraits in this exhibition "unflattering and sound, with a mining for individual character.

The door served as an autograph book for nearly 250 bohemians and is now held by the Harry Ransom Center at the University of Texas at Austin.