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Elemental Magic, Volume I: The Art of Special Effects Animation
PDF Download Elemental Magic, Volume I: The Art of Special Effects Animation
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Review
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 art form. -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 hos 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
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About the Author
In his 32+ year animation career, he has worked with such studios as Walt Disney Feature Animation, Don Bluth Animation, Productions Pascal Blais and the National Film Board of Canada. At Walt Disney Feature Animation, he served as Supervisor of Visual Effects for the Disney features Lilo & Stitch and Brother Bear. At Disney he also served as Head of Special Effects Units for the Disney features Kingdom of the Sun and Tarzan, and was Special Effects Animator on such notable titles as Pocahontas, The Hunchback of Notre Dame, James and the Giant Peach, Hercules and Mulan. He served as Designer and Supervisor for all 2D and 3D visual effects on the television series Silverwing, and Chaotic at Bardel Animation in Vancouver. He has also designed and directed a wide variety of television commercials. Clients include General Motors, CocaCola, Honda, MacDonald's, Gillette, Players Tobacco, Larrouse Dictionaries, and Radio Quebec. For almost three years, he was the Head of animation, and Digital Character animation at the Vancouver Film School. He lectures at animation schools in Canada, Europe and Asia, and has conducted workshops at animation festivals and schools around the world. he is a professional musician and performer as well.He has been writing professionally for over three years now, and has a bi-monthly column in the online Animation World Magazine, entitled 'The Animated Scene' which has an enormous readership around the world. He has also had articles published in Animation Magazine, the world's foremost industry magazine, as well as well as an article in 'Cartoons' The International Journal of Animation.
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Product details
Paperback: 328 pages
Publisher: Focal Press (March 4, 2009)
Language: English
ISBN-10: 9780240811635
ISBN-13: 978-0240811635
ASIN: 0240811631
Product Dimensions:
11 x 0.8 x 8.8 inches
Shipping Weight: 2.4 pounds (View shipping rates and policies)
Average Customer Review:
4.5 out of 5 stars
44 customer reviews
Amazon Best Sellers Rank:
#207,942 in Books (See Top 100 in Books)
I must preface with saying that I am NOT an artist. I can't draw squat. Even my 5 year old draws better than I can. But, I do have a strong background in physics, having made all A's in college physics, and I've always been fascinated, to a certain extent, with the how forces effect various objects and liquids. This book delves into the study of the physical nature of the sequence of events of how solids, liquids, gasses or those somewhere in-between those three stages change due to various forces put upon them either externally or internally, and how to artistically depict such changes accurately. It becomes clear very soon that it would take many hours to re-create in exact replication the great detail, for example, of a wicker/reed woven cabinet. So instead of spending hours slavishly drawing out the hundreds of minute details of it, the author succinctly tells you how to take the most obvious elements of the subject and bring them out while not drawing the millions of other details that also occur. The eye still sees the drawn object in full detail though it is only drawn in partial detail.I also thought this was a computer graphics program and was at first disappointed to find it was a book instead. However, my feelings about that soon changed as I read through the pages and observed the carefully explained reasons how certain things flow....a smoke flume for example, and how to draw such an event so that it doesn't take hours to do, but in a much shorter amount of time and with only enough detail to make it very realistic looking. The author very interestingly explains how to draw the necessary details in the right proportions and how to avoid errors such as drawing, for example, too big and out-of-proportion water rings radiating away from a stone tossed into a pool of water. Step by step diagrams are frequently given so that you can visually see each individual stage of a physical event occurring from glass breaking, to different viscosity liquids splashing, as well as many other natural events including some man-made events such as draping cloth folds.I can't help but feel that if you are an aspiring artist, or even an established artist, you cannot go wrong by reading this book. It's so very informative and also simply beautiful to look at. It is a beautiful work of art in itself. I may never actually try to draw any of these, but it satisfies my need to understand more how physical processes work coming from a physics perspective.
I've been hoping for years that someone would write a comprehensive book on 2D effects animation. Something more than the little "how to draw and flapping flag" or "how to make a fire cycle" bits that get tacked on in other animation books.Disney veteran Joseph Gilland has finally given us that first book dedicated to 2D effects animation. He's broken down effects into four broad categories (water/liquids, fire/smoke, props/solid objects and magical effects) and laid out the principles needed to bring them to life on paper.Since every real-world splash and flame is unique, Elemental Magic isn't so much of a "how to draw" type book as it is a "how to approach" book. Gilland breaks down the basic behaviors of different types of matter and the working methods needed for an animator to capture the dynamic essence of an effect without being tied to a hyper-real style or getting bogged down in an unmanageable level of detail.And this book doesn't solely apply to hand-drawn effects. Each section on a type of matter includes several pages on how to apply these classical animation principles to digital effects work. How to get the most out the computer's ability to do the heavy lifting on effects.Hopefully this isn't the last book ever published on 2D effects animation. Gilland himself mentions that he's only scratching the surface with this book and that water, smoke or any other element could warrant a full volume treatment.I hope someone takes him up on that offer, and with Elemental Magic we now have a solid foundation to build on.
Special Effects (SFX) is as old as Cinema. Any and all methods have been used to simulate effects in live action as well as animation films.This book and its sequel gives this unique art a detailed treatment that is long overdue. It is essential in teaching art not to focus too much on How to do 'this', How to do 'that' etc. It is always easy to teach that. But art is about creativity and not about repeating something like one does in an assembly line. More so in this niche domain of Special effects which is at the same time as much of a science as art.This book deals it the right way by introducing the reader to the approaches of special effects, beginning with early attempts at animation special effects. A great amount of detail is provided in the study of the elements, and how it gets integrated into an effect. One begins to appreciate how much the study, observation of the real world in extreme detail is an essential ingredient of understanding effects.The book equips the reader with all the mental tools needed to get started on a journey, where one goes into his/her own path of exploration, study, experimentation and producing Effects. Instead of merely showing, say, how to make smoke.The study of Effects animation, is in essence a study of natural phenomena. Hence wast.For instance when we say water it implies... (I quote from the book:) Splashes, Ripples, Waves, Bubbles, Fountains, White water, Geysers, Water hoses, Raindrops, Rivers, Waterfalls, Oceans, Ice, Snowflakes, Avalanches and Slush !! Whoa!.. You get the point!This volume deals with two categories.(1) Liquid(2) Fire, Smoke and ExplosionsThe author uses a very very simple, clear and lucid language, breaks down the process ever so slowly, with enough examples, time and explanations that aid in the assimilation of the subject.Since the treatment is at a fundamental level, what one learns forms the foundation for any medium.
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