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

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All he knew was that he wanted this thing, wanted to do this thing, and then went in this direction, but in fact, he didn't necessarily know why it was like this. The Illusion of Life is the most massive, formidable-looking book I have ever seen about classic Disney animation. It's a deep charming journey in their creativeness, their ideas, their vision, and their powerful, simple, poetic aesthetic art; an art that will never be reached again(especially now that animation is just about lifeless CG movies).However, the creator must not be able to clearly know everything in the entire life of this character. Is the action clear-cut, realistic, prolonged sufficiently, and exaggerated enough to be seen by the whole audience? Disney has reached several peaks in the course of nearly a hundred years of life, and perhaps he will still reach more peaks in the coming days, but it is undeniable that one day he will decline and die. An artist could represent the actual figure, if he chose, meticulously capturing its movements and actions.

The "authors simultaneously give a history of Disney animation and explain the processes involved in clear, nontechnical terms. More Hamburger icon An icon used to represent a menu that can be toggled by interacting with this icon. It's pretty wild that my school depended on this and only a couple of other books to teach our classes. 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. Contact animators, must not only be allowed one aspect but to be in several different fields have reserves and knowledge.

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. The important thing is to make readers feel empathetic and have similar feelings to animated characters. Additionally, what felt like a rather long portion of the book (in a good way), was chapter ten, titled, “How to Get It on the Screen”. The descriptions of animation and storytelling processes are both lively and informative, and the huge amount of pictures is just what is needed for a book on the subject. 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.

The authors, Frank Thomas and Ollie Johnston, worked not only with the legendary Walt Disney himself but also with other leading figures in the half-century of Disney films. What kind of contradiction to show and how to show it is a question that the artist has to ponder over and over again.

With electronic aids being perfected and new tools and materials being used, who can possibly foresee what lies ahead? Though the latter aren't essential for understanding the animation itself, they are a great personal touch and give glimpses into the personalities of the caricaturists and their subjects.