Elemental Magic The Art of Special Effects Animation by Joseph Gilland

Elemental-Magic-Volume-I-The-Art-of-Special-Effects-Animation-260x206.jpg Author Joseph Gilland
Isbn 9780240811635
File size 30 Mb
Year 2009
Pages 328
Language English
File format PDF
Category drawing


Now, finally classical effects animation gets its day in the sun with Joseph Gilland’s fascinating new book. It’s a revelation of the amazing blend of the art and craft behind the magic of this wonderful artform. —Don Hahn, Academy Award-nominated Producer of Beauty and the Beast and The Lion King Veteran Disney animator Joe Gilland’s informative book delivers, for the first time, the real nitty-gritty on the art of hand-drawn special effects. The mysteries of how to believably animate abstract forms representing rain, fire, smoke, etc. are revealed in articulate prose, revelatory graphs and elegantly beautiful sequential imagery. A must-have guide for animation pros, teachers and students! —John Canemaker, Academy Award-winning animator, internationally-renowned animation historian and teacher. Joseph Gilland will excite any artist with the prospect of animating a water splash. And that is just for starters. Elemental Magic is an essential reference not only for special effects artists, but for character animators. An excellent performance sparkles all the more when the special effects are right. Animated applause for Joseph Gilland and his wonderful book, Elemental Magic. —Ed Hooks, author, Acting for Animators This page intentionally left blank Elemental Magic This page intentionally left blank Elemental Magic The Art of Special Effects Animation Joseph Gilland With a Foreword by Michel Gagne Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK © 2009 Elsevier, Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (⫹44) 1865 843830, fax: (⫹44) 1865 853333, E-mail: [email protected] You may also complete your request online via the Elsevier homepage (http://elsevier.com), by selecting “Support & Contact” then “Copyright and Permission” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Gilland, Joseph. Elemental magic : the classical art of special effects animation / Joseph Gilland. p. cm. Includes index. ISBN 978-0-240-81163-5 (pbk. : alk. paper) 1. Animated films—Technique. 2. Drawing—Technique. I. Title. NC1765.G49 2009 741.5⬘8—dc22 2008046558 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-81163-5 For information on all Focal Press publications visit our website at www.books.elsevier.com 09 10 11 12 13 5 4 3 2 1 Printed in China Dedicated to my parents, Frank and Tommy Contents Foreword by Michel Gagne XI Preface XV Acknowledgments XXV Chapter 1 - A Brief History of Classical Animated Special Effects Chapter 2 - The Art of Drawing and Animating Special Effects Chapter 3 - The Specific Effects Categories Chapter 4 - Liquids 73 87 Chapter 5 - Fire, Smoke, and Explosions 161 Chapter 6 - Magic 225 Chapter 7 - Props and Everything 249 Chapter 8 - The Last Element 293 Index 297 1 15 Foreword I was the luckiest man alive when I landed the job of my dreams and started working for Don Bluth as a character animator in 1986. Somehow though, right from the start, I felt miscast. I watched my finished work move on to the effects department, where all the cool stuff was being added: fire, water, mud, lava … you name it! So, after three difficult years in character animation, I asked to be transferred to the effects department. By far, one of the best decisions I have ever made! Effects animation was like my newfound freedom. While staying within the stylistic boundaries of the movie, I could design my drawings without having to stick to the strict character model sheets. I could stylize the timing and motion without having to adhere to the confines of a dialogue track. I felt like a scientific magician, moving water molecules, creating lightning, and conjuring fiery whirlpools, all from the tip of my pencil. I remember the first time I saw a scene animated by Joe Gilland. I was watching a pencil test of a duck splashing around in a pond. I was mesmerized by the intricacy of the water animation and the attention to every detail. XII FOREWORD My first exposure to Joe’s work left an indelible impression on me. Through the years, while I’ve drifted onto other mediums, Joe has remained dedicated to the craft of effects animation, creating wonderful work for many feature films and teaching new generations of creative professionals. Many animators and students have asked me to write a volume such as the one you now hold. Although I saw the necessity for such a project, I never felt the calling to create it. I love doing effects animation, but I have never really tried to understand it beyond what comes to me instinctively. Joe, on the other hand, is a true scholar on the subject. When he told me of his intention to write this book, I breathed a sigh of relief and felt great enthusiasm for Joe. I knew the subject matter was in the most capable hands. As I’ve said, I truly love the art of effects animation. To me, it is poetry in motion, inspired by the most primal forces in creation. I hope that the wealth of knowledge and gorgeous artwork contained within these pages will ignite the same passion in the hearts of young animators, and will encourage a whole new generation to carry on the swirling, smoking and sparkling torch of classical effects animation. Michel Gagne July 2008 This page intentionally left blank Preface In the spring of 2004, at the Annecy International Animation Festival in France, a dear friend and I had a conversation about animation books. Interesting, we noted, that there is not a single book dedicated to classical hand-drawn special effects animation, even though it is an enormously important aspect of the animation business, and a very specialized and specific art form in its own right. While there is a proliferation of books dealing with various kinds of visual effects work, most of these are focused purely on the kinds of polished photorealistic visual effects that we are used to seeing in Hollywood action and science fiction films, using optical live-action film techniques, and more recently, computer-generated techniques. Yet the fine art of animating special effects—like water, fire, smoke, pixie dust, and every imaginable kind of magic—by hand with a pencil and paper, has never really been documented thoroughly (much less broken down and analyzed, explained and discussed in depth). On that fateful day, in the picturesque alpine village of Annecy, my dear friend uttered the words, “YOU should write that book Joseph!” After that, I realized that I really didn’t have any choice: This book simply had to happen. XV XVI PREFACE So here I sit, late at night, staring into my laptop and pondering the infinite world of hand-drawn animated special effects, and the almost thirty years of my life that I have devoted to animating them. What kind of book should this be? A handbook? A textbook? A “how to” book? A pretty coffee table book? A historical document? Maybe it will be a bit of each of those things. I’ll leave that for you to decide. First and foremost, I hope this will be a book which pays homage to the men and women who have created special effects for animated films spanning the last 70 years. Most of them have worked thanklessly in the trenches, often in complete artistic obscurity, fueled only by their intense dedication to their craft. Considering the insane pencil mileage and the technical difficulties required by such work, one must have true passion to draw effects. PREFACE XVII Keep in mind, too, that this has never been a path to great recognition or filthy lucre. For all of the countless animated films that we have all watched over the past seven decades, there is a universe of gorgeous artwork that is largely unknown to the average viewer. It is my goal to honor both the artisans and the craft with this book, to bring to the fore what has often been treated as a secondary, less vital part of the animation process. Our planet is an infinite source of design perfection! Regardless of your interest, whether you are a student of 2D or 3D animation or a casual moviegoer, I hope you will find this volume informative, entertaining, and somehow imbued with the magic that initially drew me into this mysterious world. Since September of 2003, I have been involved in teaching animation to both classical animation students and CGI animation students for the first time in my long animation career. Students often bring their special effects questions to me, XVIII PREFACE and I frequently will make a series of thumbnail sketches to best explain a particular technique or idea. I have accumulated an interesting collection of research material and lecture notes through the years, and I often make copies of these for the students, but again and again it becomes apparent that a special effects handbook would be an extremely valuable companion to other animation books such as “The Illusion of Life” and the “The Animation Survival Kit.” For my students, and anyone out there starting a career in animation, I hope that this book will delight you and inspire you to keep on drawing, and pushing the effects envelope. For those of you moving into the wonderful world of 3D visual effects, I hope this book will pique your interest and get you to try drawing these effects, and help you understand them more deeply, before using the fantastic digital tools that you have at your disposal. PREFACE XIX An enormous aspect of learning to be an effects animator has to do with learning how to see, how to observe and soak in the phenomenon of pure energy and life all Never a dull moment conducting effects research! around us. As with “art” in general, and every form of it—be it acting, or writing, or dance, or painting or sculpting—we need to learn to be observers of life, to be the antennae of society, the first ones out there, inquisitive, probing, observing, questioning, examining and interpreting life. It is that inquisitive spirit that the best teachers are able to imbue in their students. When we are successful as art teachers, our students are infected for life, and incapable of ever seeing this world as anything but magical, mysterious and infinite. The dedicated effects artist will never know boredom. One never needs to stop learning on this journey.

Author Joseph Gilland Isbn 9780240811635 File size 30 Mb Year 2009 Pages 328 Language English File format PDF Category Drawing Book Description: FacebookTwitterGoogle+TumblrDiggMySpaceShare Create amazing animated effects such as fiery blazes, rippling water, and magical transformations. Animation guru Joseph Gilland breaks down the world of special effects animation with clear step-by-step diagrams and explanations on how to create the amazing and compelling images you see on the big screen. ‘Elemental Magic’ is jam-packed with rich, original illustrations from the author himself which help explain and illuminate the technique, philosophy, and approach behind classical hand drawn animated effects and how to apply these skills to your digital projects.     Download (30 Mb) Manga: The Ultimate Guide to Mastering Digital Painting Techniques The Artist’s Guide To Drawing Animals: How To Draw Cats, Dogs, And Other Favorite Pets How To Draw Manga Anime – For Beginner Force: Animal Drawing: Animal locomotion and design concepts for animators Botanical Painting with Watercolour Load more posts

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