Drawn to Life: 20 Golden Years of Disney Master Classes: Volume 2: The Walt Stanchfield Lectures (英語) ペーパーバック – 2009/4/23
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Discover the lessons that helped bring about a new golden age of Disney animation!
Published for the first time ever, Drawn to Life is a two volume collection of the legendary lectures from long-time Disney animator Walt Stanchfield. For over twenty years, Walt helped breathe life into the new golden age of animation with these teachings at the Walt Disney Animation Studios and influenced such talented artists as Tim Burton, Brad Bird, Glen Keane, and John Lasseter. These writings represent the quintessential refresher for fine artists and film professionals, and it is a vital tutorial for students who are now poised to be part of another new generation in the art form.
Written by Walt Stanchfield (1919-2000), who began work for the Walt Disney Studios in the 1950s. His work can be seen in films like Sleeping Beauty, The Jungle Book, 101 Dalmatians, and Peter Pan.
Edited by Academy Award®-nominated producer Don Hahn, who has prduced such classic Disney films as Beauty and the Beast and The Lion King.
For nearly thirty years, the artists that passed through the gates of Disney Animation, and even non-artists like myself, were influenced by the craft, skill, wisdom, writings and sketches of Walt Stanchfield.
Walt was a kind of Mark Twain for us at Disney. He always taught with humor and skill. You learned to see the world through his eyes. I remember him one day encouraging us to leap into our drawings with boldness and confidence, "Don't be afraid to make a mistake. We all have 10,000 bad drawings in us so the sooner you get them out the better!" Sitting in Walt's class was as much a psychology course as it was a drawing class. One couldn't help walk away with your mind and soul a little more open than when you entered.
Glen Keane, Walt Disney Animation Studios
Walt Stanchfield's classes and writings were little distillations of the man: quirky, strongly stated in a genial voice, and brimming with a lifetime of sharp observations about story telling and graphic communication. Whether he drew with a ball point pen or painted with a brush dipped in his coffee cup, he got to the essence of things and was eager to share what he learned to his eager disciples, myself among them. He was grizzled and he was great and proof that there was more than one Walt at the Disney Studio that could inspire a legion of artists.
John Musker, Walt Disney Animation Studios
Walt Stanchfield was one of Disney Animation's national treasures. His classes and notes have inspired countless animation artists, and his approach to drawing of caricature over reality, feeling over rote accuracy, and communication over photographic reproduction gets to the heart of what great animation is all about. Huzzah to Don Hahn for putting it all together for us!
Eric Goldberg, Walt Disney Animation Studios
During the Animation Renaissance of the 1990s, one of the Walt Disney Studio's best kept secrets was Walt Stanchfield. Once a week after work, this aged but agile figure jumped from drawing board to drawing board, patiently teaching us the principles behind the high baroque style of Walt Disney Animation drawing. Being in a room with Walt made you feel what it must have been like to have been taught by Don Graham. Having one of your life drawings be good enough to be reproduced in one of his little homemade weekly bulletins was akin to getting a Distinguished Service medal! Senior animators vied with trainees for that distinction.
Tom Sito, Animator/Filmmaker/Author of Drawing The Line: The Untold Story of the Animation Unions from Bosko to Bart Simpson
This exciting collection of master classes by the great teacher Walt Stanchfield is destined to become a classic on the order of Kimon Nicolaides' exploration of the drawing process. Stanchfield (1919-2000) inspired several generations of Disney animators and those of us outside the studio fortunate enough to happen upon dog-eared copies of his conversational notes, which we passed around like Leonardo's Codex Leicester. Stanchfield beautifully communicates the essence and joy of expressing ideas through the graphic line and accumulating a visual vocabulary. DRAWN TO LIFE is a treasure trove of cogent, valuable information for students, teachers and anyone who loves to draw.
John Canemaker, NYU professor and Academy Award-winning animation filmmaker
Walt Stanchfield, in his own unique way, taught so many of us about drawing, caricature, motion, acting and animation. Most important to me, was how Walt made you apply what you had observed in his life drawing class to your animation. Disney Animation is based on real life, and in that regard Walt Stanchfield's philosophy echoed Walt Disney's:
'We cannot caricature and animate anything convincingly until we study the real thing first.'
Andreas Deja, Walt Disney Animation Studios
Walt Stanchfield's renewed emphasis on draftsmanship at the Disney Studios transformed the seemingly moribund art of animation. His students were part of a renaissance with The Little Mermaid and Who Framed Roger Rabbit, a renaissance that continues with films ranging from The Iron Giant to Lilo and Stitch to Wall-E.
Charles Solomon, Animation Historian
I'm so grateful to Focal Press for publishing these fabulous Walt Stanchfield books. They are veritable 'gold dust' for the serious (and aspiring) animator! So 'hurrah' to Focal and 'hurrah' to Don Hahn to committing himself to compiling them. I ordered my copies the minute I saw them and will of course hope my students are smart enough to do so too!
Tony White, DigiPen, Author of 'Animation: From Pencil to Pixels' and 'How to Make Animated Films'商品の説明をすべて表示する
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So in short if you are getting to animation, storyboards, Graphic Novels, or just want to draw better save your money and get volume 1 and 2.
Finally these books are not "How to draw a horse" or "how to draw (insert whatever)" they are about rules and pronciples for making dynamic and energetic characters, drawings, and scenes.
Still have these books in my library and constantly refer to them. I am getting into storyboards professionally and these books are always helpful. Again they are INDUSTRY STANDARD PRINICPLES that all animation and art studios use and that are taught in major schools such as Academy of Art University, Cal Arts (in so cal). If you are trying to make your drawing better and more appealing get these books, read them, and put the principles into practice. Volumes 1 and 2 cost about 80-90 dollars and a class at AAU in SF costs about $2500, and they will teach you these principles. Save money and get ahead of the curve. These "rules" are so important that they are mentioned in all animation classes and are the foundation for any good illustration.
I haven't worked at Disney and probably never will, but I've been given the chance to get tip sheets from an old master. These pages used to be photocopies that were handed out in Disney classes for its artists. This means you can read a handout, making for a fun read; crack it open and quickly absorb a couple pages. Good for short attention spans. Important concepts are revisited again and again, like creating depth by overlapping, scaling, repetition and such. Some may find this repetitive but it works for me as I'm kinda thick-headed anyway.
Powerful knowledge directed primarily at animators, but the ideas apply to anyone who is trying to give life to their drawings. (think storyboarders, comic book or children's book artists) Let me emphasize that this is not directed at fine artists or non-representational ones, but artists whose bread and butter depends on creating figurative art.
Such an incredible book. You'll have to read it over again because there's so much useful information inside, it can be a lot to retain the first time around.
Character Design, Drawing in Perspective, Foreshortening, etc.
This book arrived very quickly and in great condition.
I would highly recommend this seller to any and all!
Drawing issues like overlap and perspective are better explained. If you did not get the concepts of the first book, this one surely will clear up your confusion. I liked this book because when Walt gives a correction sketch, he actually explains the logic and the thought process behind it; unilke some drawing classes where the teachers say this and that is wrong, draw on your paper, and you still don't get it because they really don't explain the why behind it. I highly recommend this book as a supplement to any drawing class. It will help you more than Brigham or any other drawing book because his explainations are simple and common sense. In my opinion, the first and second volumes of this book is great for the beginner artist. Good foundation art concepts are in this book. Almost like drawing "101".