It was never too late to make a change; nothing was ever set as long as the possibility existed that it could _ be made to relate better to the overall picture or communicate more strongly with the audience.

He contributed to most Disney animated features, including Snow White and the Seven Dwarfs, Fantasia and Bambi. I thought and thought about getting this book-I had seen online videos of it and really wasn’t sure.Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses. The authors' pride in their work shines through, and it's astonishing how much time, effort, and teamwork went into each movie, especially without the aid of computers.

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. This kind of decision is sometimes not entirely the result of rational analysis, and sometimes it is even contrary to rationality.

There was advice that felt not just scattered here and there, but really enforced to make sure the reader is presented with concepts. 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. Contact animators, must not only be allowed one aspect but to be in several different fields have reserves and knowledge. 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. Two of Walt Disney's famous "Nine Old Men," Frank Thomas and Ollie Johnston met as students at Stanford University and joined the Disney studio within a year of each other in the mid-1930s.

Nostalgia and film buffs, students of popular culture, and that very broad audience who warmly responds to the Disney "illusion of life" will find this book compelling reading (and looking! As Charlie Chaplin said of his own beginnings in the movie business, mL little as I knew about movies, I knew that nothing t ascended personality. The authors really put an emphasis on how animation shaped and changed with Disney as Disney shaped and changed animation. As a music lover and aspiring animator, it has been rather difficult for me to find any sources that can go over both topics and not just one or the other.

But he was also practical enough to work with what he had, rather than wait for what he wished he had. I initially got this for animation school, but I've found that I've been using it even after I got out. It's an inspiring book recommended to animators, great for those who want a flashback to the golden era of animation.

Along with the advice and information given by the book, what really tied it up in a bow-tied package was all of the charming artwork that really helped keep a fun pace for the audience. We struggled to build interesting, appealing characters, but most of all we worked to find ways to make the audience feel the emotions of the animated figures— emotions the audience could “'relate to, identify with, and become involved in. This direction is probably the mission and path given to everyone by the unknown will of the universe. An artist could represent the actual figure, if he chose, meticulously capturing its movements and actions. Only when people are in an environment beyond their expected time, people's reaction is the closest to its origin.

The important thing is to make readers feel empathetic and have similar feelings to animated characters. We hope that some readers will be stimulated to carry on these traditions and elevate this art form to an ever-higher level.