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Elemental Magic, Volume I: The Art of Special Effects Animation, by Joseph Gilland
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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.
- Sales Rank: #335110 in Books
- Published on: 2009-02-20
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .90" w x 10.60" l, 2.35 pounds
- Binding: Paperback
- 328 pages
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�
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.
Most helpful customer reviews
13 of 13 people found the following review helpful.
Finally!
By Amazon Customer
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.
10 of 10 people found the following review helpful.
What Belies This Cover? Elemental Magic--A Critical Review
By Andre Lawrence
*Aesthetic criticism
*What's inside, Thematic material reviewed
*Secrets of capturing Disney-esque animation revealed
*Who's this book for?
If the old adage, "Never judge a book by its cover," holds true, then Elemental Magic certainly reinforces this notion. If there's any concern, it's that the wonders of this book may be passed up because of this nondescript cover layout. I also feel the author could have come up with a more intriguing sub-title.
When I first opened this soft cover, rectangular book, and I thought "OMG!" Inside, this book looks like an illustrator's private sketch book. Hundreds of beautifully hand-drawn, colored sketches: some segregated from the text, others used as a background (watermarked) with the text overlaid.
Next to each illustration is a brief, but thorough explanation of the process. And, the key to understanding this message is summed up in one word: energy.
Joseph Gilland, the author, is a 30-year animator and has worked on some of the biggest animation features over the past 20+ years including Mulan, Lilo & Stitch, Tarzan, Pocohantas and a few others. Some of the sketches that became film cells are reproduced with his notes below the art!
The book is outline with two (2) brief chapters before he introduces the philosophy of animation: The Preface and The History of Classical Animation. The remainder of the book gives step by step analysis not of how to sketch a flame or construct an iceberg, for instance, but of the techniques of how to get in touch with what he refers to as the "energy of the elements." How does one capture the essence of a burning flame? Shattered glass? A wisp of smoke or the pixie dust floating through gust of wind? There is a way to see it, Gilland explains, and it is connecting to the unique movement ("energy") of that natural (i.e., fire, water, rocks, lava, smoke, flame, glass, frost, liquids, etc.) element.
I've been a fine artist and an illustrator for more than 30 years and more recently a graphic artist. Over the years, I've collected many books by celebrated artist, but this is the first by a Western artist that stresses the spiritual dimension of the subject in order to identify with its characteristics. His words and explanations are quite refreshing. I found myself thinking, "How come I hadn't figure that out!"
Okay... who's this book for?
All fine artists.
Any digital artist who may be interested in motion capture or Flash-based software.
A children's book author.
Those who love to collect coffee-table books.
Those who love the art of classic Disney animation.
I LOVE THIS BOOK! I LOVE THIS BOOK! I LOVE THIS BOOK!
Again, if I may offer one slight bit of constructive criticism and that is: Change the cover design! It would be a shame if people, particularly, fine- and digital artists walked by this book without knowing the priceless text inside.
7 of 7 people found the following review helpful.
One of a kind
By K. Noda
Joseph Gilland has done a great service by creating this book, which intricately details both the thought process and raw mechanics behind traditional, hand-drawn effects animation - a discipline that rarely takes center stage in a character-oriented animation industry. I've been looking for a resource like this for years, and there really hasn't been anything like it before this book. I can whole-heartedly recommend it for any animator with an interest in broadening their understanding of effects, the drawings contained within are worth the price alone.
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