Download Drawn to Life: 20 Golden Years of Disney Master Classes (The by Walt Stanchfield, Don Hahn PDF

By Walt Stanchfield, Don Hahn

Author note: Don Hahn (Editor)
Publish 12 months note: First released March twenty third 2009

Volume 2 of 2
Discover the teachings that helped lead to a brand new golden age of Disney animation!

Published for the 1st time ever, Drawn to Life is a quantity number of the mythical lectures from long-time Disney animator Walt Stanchfield. For over 20 years, Walt helped breathe lifestyles into the recent golden age of animation with those teachings on the Walt Disney Animation Studios and encouraged such proficient artists as Tim Burton, Brad chook, Glen Keane, and John Lasseter.

These writings symbolize the fundamental refresher for nice artists and movie execs, and it's a important educational for college kids who're now poised to be a part of one other new iteration within the paintings form.

Written via Walt Stanchfield (1919-2000), who started paintings for the Walt Disney Studios within the Nineteen Fifties. His paintings may be visible in motion pictures like dozing good looks, The Jungle ebook, one zero one Dalmatians, and Peter Pan.

Edited through Academy Award®-nominated manufacturer Don Hahn, who has prduced such vintage Disney motion pictures as good looks and the Beast and The Lion King.

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Read or Download Drawn to Life: 20 Golden Years of Disney Master Classes (The Walt Stanchfield Lectures, Volume 2) PDF

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Extra resources for Drawn to Life: 20 Golden Years of Disney Master Classes (The Walt Stanchfield Lectures, Volume 2)

Sample text

In animation there are certain rules that determine the best staging and the best acting. You may get away with “murder” in modern painting but at Disney Studios, the story has to come through loud and clear. In this last drawing, the student has made a very powerful statement — you can feel the tremendous stretch of the left arm and the pulling up of the right shoulder, the nice knee bend and spread of the feet (which in my haste I missed in my sketch). The reason I picked on this drawing was because the student Walt Stanchfield had copied some very nebulous shapes on the back of the model.

Of course there are a few afflictions that need to be healed and others that will have to be accepted as normal occupational aftereffects. Here are some of the things we will have to deal with. Inbetweener’s elbow is a malady that is not necessarily confined to elbows, and it attacks the strong as well as the weak. No one in the business is immune to this indisposition. It will assault inbetweeners, assistants, animators, directors, and computer operators alike. Management seems to be the only department that is immune.

I first established his bend forward, and where his buttock was situated so I could get his knees situated, where his elbows were going to have to be, and of course the important thing — the crystal. There is a “school” of drawing that advocates drawing the center of interest first, then adjusting everything else to suit. That approach would require a great amount of visual skill. I think the sculptor’s method is the safest — first comes the armature, then build it up from the inside out. Anyway, here’s the drawing, and incidentally, can you see that third dimensional area in this drawing that I mentioned in the above sketch?

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