The Illusion of Life: Disney Animation (Disney Editions Deluxe)

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I initially got this for animation school, but I've found that I've been using it even after I got out. This book gives a history of Disney animation, explaining the processes involved in clear, non-technical terms. While reading, though, it is more understandable as to why they phrased the preface the way they did.

The most interesting character in the world is not very exciting when sitting and listening to a symphony concert.

To me, the key take away is how a complex, stylized animation style can be decomposed into smaller, understandable chunks (i. One portion of the book that I found rather interesting was in chapter seven, titled, “Hyperion: The Explosion”. t probably will not be another Walt Disney who will lead the way, but someone or some group of artists will surely discover new dimensions to delight and entertain the world. Whether it’s a movie or an animation, if you want to impress the audience, you have to work harder on the details. If we are only obsessed with technology and cannot tell a good story, show a good character, a character, then even if we have powerful tools, It's just tangible and godless, unable to make truly great animation works.

The basics have not changed and the wisdom and history of the animation process is something any animator or animation student needs.Then later when Disney got it’s magic back (after this book was written) I went out on a date with a girl to see Beauty and the Beast. I think if you put in the continuous effort, even if you don't have the talent and luck, you can at least be worthy of yourself. Being a freelancer, I'm always questing out for knowledge and cutting-edge views - but back in the day when Disney was just getting its animated little paws on the ground, the guys behind everything were really doing something that would shake the cinematic world to its core. In all regards, the book, The Illusion of Life: Disney Animation, by Frank Thomas and Ollie Johnson, is an insightful read for any aspiring animator as it provides wisdom and experience from one of the most successful animation companies of all time.

Its biased Disney-perspective gave it a sense that Disney is the only studio that has the capability to create such stunning films. I looked through it constantly, and many of the pages still have depressions along the edges of the characters where I traced them. I recently purchased the HUGE hard-bound copy to share with my animation students and once again enjoyed both the organization and the voice(s) of the book.You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice. When I was a kid, I checked this book out from the library over and over and over again until my parents finally bought me my own copy.

Like Balzac once said that he was not the creation of those figures, but he described those figures, by the nature of his pen flowing out, the tool this time, he has become an expression of it. I loved the continuous flip book in the upper right hand corner of this tome, and I spent countless hours of my childhood looking at images of the Disney films I loved, and photographs of the people who made them.You appreciate 1940 Pinocchio more when you learn about all the labour that went into its painterly qualities and its cel inking. One of the purposes is also to hope that some of the future readers can be inspired by them, inherited by them, and share their dreams. In addition to the personality, however, there should be a change in the initial action that will enable an animator to show more than one side of this personality. Not to be mistaken for just a "how-to-do-it," this voluminously illustrated volume (like the classic Disney films themselves) is intended for everyone to enjoy.