Disney Animation: The Illusion of Life

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The Illusion of Life is the most massive, formidable-looking book I have ever seen about classic Disney animation. But the text is so readable and there are so many fantastic visual aids that you can get through a decent chunk of the book in one or two days. The "moving hold" animates between two very similar positions; even characters sitting still, or hardly moving, can display some sort of movement, such as breathing, or very slightly changing position. This prevents the drawing from becoming "dead". [21] Slow in and slow out [ edit ]

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. Computer animation removes the problems of proportion related to "straight ahead action" drawing; however, "pose to pose" is still used for computer animation, because of the advantages it brings in composition. [18] The use of computers facilitates this method and can fill in the missing sequences in between poses automatically. It is still important to oversee this process and apply the other principles. [17] Follow through and overlapping action [ edit ] Follow through and overlapping action: the galloping race horse's mane and tail follow the body. Sequence of photos taken by Eadweard Muybridge. Walt was also a gambler when it mattered most. If he believed in an idea, he would risk absolutely everything to get it before the public. But he was also practical enough to work with what he had, rather than wait for what he wished he had. He would say, we don't know if it's art, but I know I like it,'' and he felt intuitive that if he liked it the rest of the world would like it, too—if only he could find the right way to present it. ” De Stefano, Ralph A. "Anticipation". Electronic Visualization Laboratory, University of Illinois at Chicago . Retrieved June 27, 2008. Willian (July 5, 2006). "Slow In and Out". Blender. Archived from the original on February 16, 2009 . Retrieved June 28, 2008.

The book has been referred to by some as the " Bible of animation", [2] and some of its principles have been adopted by traditional studios. In 1999, The Illusion of Life was voted the "best animation book[...] of all time" in an online poll done by Animation World Network. [3] While originally intended to apply to traditional, hand-drawn animation, the principles still have great relevance for today's more prevalent computer animation.

We hope that some readers will be stimulated to carry on these traditions and elevate this art form to an ever-higher level. ”

Open Library

This is probably the most important book written in the subject of animation, even though familiarity with the subject has grown since its writing. With the full cooperation of Walt Disney Productions and free access to the studio's priceless archives, the authors took unparalleled advantage of their intimate long-term experience with animated films to choose the precise drawings to illustrate their points from among hundreds of thousands of pieces of artwork carefully stored away. The principle of solid drawing means taking into account forms in three-dimensional space, or giving them volume and weight. [12] The animator needs to be a skilled artist and has to understand the basics of three-dimensional shapes, anatomy, weight, balance, light and shadow, etc. [32] For the classical animator, this involved taking art classes and doing sketches from life. [33] One thing in particular that Johnston and Thomas warned against was creating "twins": characters whose left and right sides mirrored each other, and looked lifeless. [34] In computer animation [ edit ] a b c d e f g h i Lightfoot, Nataha. "12 Principles". Animation Toolworks. Archived from the original on June 9, 2016 . Retrieved June 27, 2008. We can not at the beginning of time, put everything wants to know, what the character to appear, the story is what. In fact, many times, things are a little different. So, at the beginning stage, just do it and just think about it. In the process of thinking and doing, the work will evolve itself. I think this is the art of life force lies.

De Stefano, Ralph A. "Timing". Electronic Visualization Laboratory, University of Illinois at Chicago . Retrieved June 28, 2008.

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Osipa, Jason (2005). Stop Staring: Facial Modeling and Animation Done Right (2nded.). John Wiley & Sons. ISBN 978-0-471-78920-8. These are two different approaches to the drawing process. Straight ahead action scenes are animated frame by frame from beginning to end, while " pose to pose" involves starting with drawing key frames, and then filling in the intervals later. [12] "Straight ahead action" creates a more fluid, dynamic illusion of movement, and is better for producing realistic action sequences. On the other hand, it is hard to maintain proportions and to create exact, convincing poses along the way. "Pose to pose" works better for dramatic or emotional scenes, where composition and relation to the surroundings are of greater importance. [16] A combination of the two techniques is often used. [17] In computer animation [ edit ] An action is defined by the number of drawings or frames which corresponds to the speed of the action on film. 10. Exaggeration Bancroft, Tom; Glen Keane (2006). Creating Characters with Personality: For Film, TV, Animation, Video Games, and Graphic Novels. Watson-Guptill. ISBN 978-0-8230-2349-3. Source Disney Animation: The Illusion of Life, published in 1981, is an acclaimed book by two of Disney's Nine Old Men, Ollie Johnston and Frank Thomas. It is widely considered to be one of the best books ever published on the topic of character animation. It tops the list of "best animation books of all time" in a poll at AWN.