THE ART OF WALT DISNEY (1988, Christopher Finch)

Christopher Finch. The Art Of Walt Disney: From Mickey Mouse to the Magic Kingdoms. New York. Portland House. 1988

/ PDF / English / 160 pages / 0517664747 / 978-0517664742

First published in 1973, The Art of Walt Disney is one of the most successful and influential illustrated art books on American popular culture ever published. This book was the first to reveal the wealth of concept art, animation drawings, and archival material created in the course of animating films. In this newly revised edition, author Christopher Finch has thoroughly reworked every chapter to incorporate the vast achievements of The Walt Disney Company in filmmaking, theater, and theme parks, from Walt’s day to the present, including all-new exciting chapters on Pixar Animation Studio and Walt Disney Animation along with extensive interviews with their chief creative officer, John Lasseter, and president, Ed Catmull. Offering hundreds of new images and unparalleled access to leading filmmakers and artists at The Walt Disney Company, The Art of Walt Disney will once again capture the imaginations of animation fans young and old.

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A DISNEY SKETCHBOOK (2012, Ken Shue)

Ken Shue. A Disney Sketchbook. Disney Editions, 2012.

/ PDF / English / 152 pages / 1423165691 /978-1423165699

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WORKING WITH DISNEY (2011, Don Peri)

Don Peri. Working with Disney: Interviews with Animators, Producers, and Artists. Jackson, University Press of Mississippi, 2011.

/ EPUB / English / 192 pages / 1604739401 / 978-1604739404

Frank Thomas reveal us a picture about Walt, and what exactly made him so great: couldn't actually animate or even draw, couldn't write, wasn't a designer... He just knew exactly which was the right way to go and what was good and what wasn't "He was always right" (Dave Hand) though he shares some of his regrets on how they weren't able to follow the path traced by Fantasia (1941) (seems to blame the war for that)

Ollie Johnston tell the story of the dark days of the strike... such an emotional episode, leaving a mark on everyone involved, almost 40 years later!

According to Marc Davis, Wilfred Jackson was pedantic as fuck and Le Clarc "way ahead of any of us"; seems that he hated a lot of persons in the studio but

"It was like being on a baseball team, and if a guy hits a Home Run, even if you don't like him you

love him at that moment because you win the game."

None of them try to hide the fact that Disney was a fucking pain in the ass (Lance Nolley remember multiple stories about the famous Disney's Wrath), but they all try to explain in awe his genius: like little children that cannot fully comprehend what just happened. 

And there's a lovely touching moment on the last time Marc saw an already very sick Walt, showing him his pictures and how he was very pleased laughing at them: if anyone has any doubts that Walt was an animator at heart, that's exactly how the Man spent the last days of his life... 

Any conversation with Walter Lantz is like diving on Animation History; he was in the business from the very first days of the William Randolph Heart and similar, he sort of gives the boss to boss perspective with Walt. 

Then you got some Inbetweeners, background artists and just good old simple animators interviews (which is great, cause gives a different perspective, ya'know?), TV shows, some park people... etc.

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THE ART OF FROZEN (2013, Charles Solomon)

Charles Solomon. The Art of Frozen. San Francisco, Chronicle Books, 2013.

/ JPEG / English / 150 pages / 1452117160 / 978-1452117164

Preface by John Lasseter. With a Foreword by Chris Buck (Director) and Jennifer Lee (Director, Screenplay)

The film originates in 2008 when Chris Buck talked John Lasseter about his interest in making a feature on Andersen's The Snow Queen (1844). But really this project has been a favorite for Disney's Studio since 1938!!! The new management faced the same problem the old studio had back in the day: a very difficult story to adapt because of its episodic nature. The solution they found was to make an entirely new story loosely based on the tale. They've replaced the classic princess/romance format with a story about siblings: two antagonist sisters.

Many artists talking about the process of Storyboarding (Drawings pinned to large sheets of cork board in a sequence that explains an action or scene). The script; the artist first pass, the struggle to put words into images, and then images into words when you're explaining your sequence to the rest of the team. And the key to a good animated scene, ask yourself: can you do it without dialogue?

Nowadays the majority of artist draw on computers; so they get to see the scenes in rough form before any animation is done. The artist made a trip to Norway, in order to get a feeling of the place, decorative arts (patterned) and architecture. You get to know all the little choices made by Michael Giaimo (Art Director). To him all you see must be related; the enviroments are related to the characters, and the characters to their costumes. He favored yellow greens, ochres, and olive colors with Ana to reflect her sunny nature. Elsa, a repressed character, is like a beautiful and harmonious ice crystal. Hans is an elegant chameleon.  

Nice movie, nice book. (by pelida77)

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FRANK AND OLLIE (1995, Theodore Thomas)

Frank and Ollie / DIR: Theodore Thomas / WRITTEN: Theodore Thomas / PHOTO: Erik Daarstad / EDIT: Kathryn Camp / MUSIC: John Reynolds / PRD: Kuniko Okubo; Theodore Thomas / 1995 / 1h 29m.

INTERVIEWEES: Frank Thomas; Ollie Johnston; Jeanette Thomas (Wife); Marie Johnston (Wife); John Canemaker (Animator, Critic); John Culhane (Critic); Andy Gaskill (Animator); Glen Keane (Animator).

A documentary on this notable pair of animators, among the most talented and famous of Disney's so-called "Nine Old Men". And sure they have earned this reputation: main animation in 23 film features!!! In this doc what I really like, is how they edited the acting of Frank and Ollie with its animation counterpart; so you get to see what's behind animation, and how all the classical Disney scenes were born in their minds. (In their books they insist on how an animator is really an actor)
They will share their memories on: Alice's Queen; Pinocchio's nose; Bernard the janitor; Prince John thumb sucking problem; Bambi and Thumper; How Mowgli got "lured" by woman. The spaghetti scene in Lady and the Tramp; How Captain Hook managed to play the piano; and many more...

There's also a segment dedicated to their colleagues and mentors: Norm Ferguson; Ham Luske; Freddy Moore; Bill Tytla. You can tell how deeply they respect them. Ollie recall the huge impact that the flypaper scene in Playful Pluto had on him. Frank shows Freddy's pencil and reveal us that there's still some of Moore's talent on it. They loved everything about their jobs.
If you are an animation fan, you'll like this documentary. So, enjoy! (by pelida77)




AVI / 1.08 GB / 1h 29m / Audio: Eng / (6 RAR parts)
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W. DISNEY: The Triumph of American Imagination (2007, Neal Gabler, *Audiobook)

Gabler Neal, Walt Disney: The Triumph of American Imagination, London, Vintage, 2007. "This is audible" :) Narrated by Arthur Morey.

Some critics describe Walter Elias Disney as a greedy capitalist, a mercenary butching fairy tales for profit. Intellectuals prefer to see him as a cultural pollutioner manipulating masses into merchandising consumption. "He wasn't an animator. He couldn't draw, not even his own signature" - they say - Always reminding us some sad story about employees working for pennies or how he was an abusive boss bully, a conservative dickhead, an anti semite nazi...!!!
This book is not a simple biography, it's a very well founded defense of the genius that was also a man; the most positive biography on Walt I've ever read (hear really) but not at the risk of losing objectivity: you'll know about his outbursts of wrath (sometimes his cruelty), the fierce oposition to laborist activism ("Commies sons of the bitches" used to said; Walt was a fervent hater of anything he though was communist influenced).
But beyond the shadows of the man's life there are some fine examples of his initiative, risky spirit, obsessive perfectionism, and inventiveness; all of which can be found on this book: Inverting the live-action animation relationship (Alice's Series). Giving Oswald personality. A bet on sound animation (Mickey). Mickey inbetween of Charlie Chaplin - Douglas Fairbanks type of heroe. Donald as an anti-Mickey (a bad-ass duck). Conceiving excellence as a corporate value. Insisting on specialization (extremes - inbetweens); Art classes for animators. Investing on colour. A full length feature cartoon, a perfect movie (Snow White). Colaboration with Lepold Stokowsky. Animation as an art experience: Fantasia. The Studio war output. Controversy about Bambi as reflecting negatively on hunters. Using "quickies" to finance quality on better pictures. The release of Song of the South in a socially unstable country. Failed project with Salvador Dali. Nice anecdotes (They hired real life dwarfs to draw them for Snow White!), some very obscure: Walt's mother died from monoxide poison. Wildlife documentaries with the Disney touch. 1st big studio producing for Television. The creation of a cultural icon: Disneyland...
This book has all of this and much more; a fascinant reflection about Walt Disney overcoming the myths and rumors surrounding his public persona and his own inner shadows: a real triumph to his unlimited imagination.
(by pelida77)





AUDIOBOOK / MP3 / 700 MB (180 MB X 4 parts) / 33hours / Audio: Eng
Narrator Arthur Morey /(Sample) 16.0 KHz / 48.0 Kbps.
4/4 parts (RAR container)

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THE HAND BEHIND THE MOUSE: The Ub Iwerks Story (1999, Leslie Iwerks)

The Hand Behind the Mouse: The Ub Iwerks Story / DIR: Leslie Iwerks / WRITTEN: Leslie Iwerks / PHOTO: Shana Hagan / EDIT: Stephen Myers; Seth Flaum / NARRATION: Kelsey Grammer / MUSIC: John Debney; Louis Febre / PRD: Leslie Iwerk Productions / 1999 / 1h 30m.

INTERVIEWEES: Ollie Johnston; Chuck Jones; Mark Davis; Ed Friedman; Mark Kausler; John Lasseter; John Hench; Richard Edlund; Don Iwerks; Virginia Davis; Roy Disney; Leonard Maltin, Russell Merritt, and Joe adamsom.

Who was Ub Iwerks? A pioneering animator? An Special Effects Technician? A great and generous teacher? A fast work at drawing? A free-spirited Artist? Through the years a man's work comes to form his face; looking at his photo I think it's possible to have a glimpse of Ub Iwerks life. He was all of that and more: he was a Genius.

Leslie Iwerks made her directorial debut in 1999 with this documentary about the achievements of his grandfather, the animation legend Ubbe Eert Iwerks (1901-1971). Overcoming a tough childhood; Ub learned the basics of animation in a comercial art job; where he got to know Walt Disney. Together they planted the seeds of an empire: they were two sides of the same passion. Like Walt, Ub was obsessed with perfection, and like him he was not marked by conformity to customs: he didn't rest on his laurels.

An inside look into the art of Iwerks. The "circle drawing, perfect perspective, rithmic animation". His legendary ability to draw faster and better than anyone: an average of seven hundred drawings per day for Plane Crazy (1928); Gallopin Gaucho (1928); and the first Silly Symphonies totally animated by him - layout, design, animation-, including masterpieces like The Skeleton Dance (1929).

You'll see him experimenting with the mixing of live action and animation. From the rough techniques used in the Alice's Comedies of the 20's; to the subtle and fluid illusions of The Three Caballeros (1945) and Mary Poppins (1964). Remaining loyal to Disney when the Charles Mintz / Oswald the lucky rabbit affair. Of course, creating the Mickey Mouse character. Breaking with Walt a couple of years later to make his own path with the opening of a Studio, Celebrity Productions (selling up his shares of Disney). There he nurtured some future talents: Shamus Culhane, Irv Spence, Ed Friedman, Grim Natwick, Steve Bosustow, and Chuck Jones. And his work would become a tour de force of the improvisatory, anarquist and surreal animation style: Flip The Frog, Wille Whopper and the Comicolor Cartoon's.

Finally you'll see him retiring from animation, and becoming the head of the photographics FX laboratory back at Disney's; where he earned the reputation of great creativity for solving technical problems: helping with the development and improvement of the multiplane camera, the Xerox's inking process, the sodium vapor travelling matte...

A captivating documentary; with some flaws (like Walt's southern accent off-voice used to read the letters) but made - you can tell - with love for the subject. (by pelida77)

AVI / 800 MB / 1h 31m / Audio: Eng / (5 RAR parts)
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MARAVILLAS DE LOS DIBUJOS ANIMADOS (1968, Bob Thomas)

Bob Thomas, Maravillas de los Dibujos Animados, Valencia, Gaisa, 1968.

JPEG / 66 MB / Spanish - Espanol / 185 pp / (A scan made by Ernest Pfluger)

This is the spanish translation of The Art of Animation (1958, Bob Thomas) The original english book is no longer being published. (If you can't read spanish, you'll still be able to enjoy the art, and inside-studio photographs.)

Like the Thomas and Johnston Illusion of Life, this is an absolute classic of animation literature. This book inspired a whole generation to become animators. John Lasseter once said that through this book he realised that people made cartoons for living... and of course, that's what he wanted to do. The book was used as an advertising teaser for the upcoming release of Sleeping Beauty (1959); which is treated as the pinnacle of Disney's Art form, and so this movie serves as a unifying theme for the book. Each chapter focuses on a particular aspect of the animation process; explaining its history, with recurrent memories about the old days, how things were made in the 20's (or even before) and how far with Sleeping Beauty they've come.

This was the first Disney book that gave partial credit to the artist (though it's funny-awkward how Walt Disney is depicted as someone that would actually make the drawings; and every now and then we get a boss ass-kissing sentence). Of course the nine are credited Ollie Johnston, Frank Thomas, Les Clark, Marc Davis, Milt Kahl, Ward Kimball, Wolfgang Reitherman, John Lounsbery and Eric Larson; and other famous artist like: Ub Iwerks, Fred Spencer, Wilfred Jackson, Albert Hurter, Gerry Geronimi, Fred Moore, Norm Ferguson, Burt Gillett, David Hand, Ham Luske, Byll Tytla... And more. But also some forgotten figures, like: Don DaGradi (writer); Webb Smith, Ed penner and Joe Rinaldi (Storyboards); Tead Sears and Dick Huemer (ex Fleischers animators). A MUST in your collection. (by pelida77)

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ALADDIN THE MAKING OF AN ANIMATED FILM (1992, John Culhane)

John Culhane, Aladdin The Making of an Animated Film, New York, Hyperion, 1992

JPEG / 43 MB / 123 pp / ENG / 1562828924 / 156282757X / 9781562827571

What we have here is a book on one of the milestones of Disney Reinassance, the multiple awarded film Aladdin (1992, Clements-Musker, Disney). It has a peculiar organization: "Each chapter is devoted to a particular aspect of animation as illustrated by a character" (So we get to see each of this departments for separate, one character for each department..., frankly thats quite stupid; e.g.: to ilustrate the Layout he chooses Abu!)

Story: The changes and variations over the original folk-tale. The exclusion of the "mother of Al" character. The biggest theme: freedom. The meaning of Aladdin "just be yourself". Jasmine as an independent-minded woman (almost like an animated feminist, really). Most of the coments included are by Clements and Musker.
Design: There's a detailed description of the work made by Eric Goldberg (great animator; in this film a designer); there's no mention at all of Glen Keane here... at least he got his own chapter (animation)
Direction: In this chapter we have a rather messy biographical aproach to Ron Clements and John Musker.
Sound: "You start from the story, you start from the characters, and where the plot goes. You need to have a number that expresses what the character wants" Alan Menken (Music Composer).
Animation: An interesting summary of Glen keane's career. And a shocking discovery for me: Acording to Keane the major influence for Al was... TOM CRUISE!!! in Top Gun (the crew watch the film over and over) This book is filled with memorable quotes, interesting anecdotes, an valuable lessons, like "Think in terms of movement: not one drawing at a time." G.Keane

"Ten thousand years will give you such a crick in the neck!"

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WALT BEFORE MICKEY (2011, Timothy S. Susanin)

Timothy S. Susanin, Walt Before Mickey: Disney's Early Years 1919-1928, Jackson, University Press of Mississippi, 2011.

PDF / 4 MB / 373 pp / 1604739606 / 978-1604739602

Another Book on Walt Disney, this one about his early years in animation business (really, that is the only period that matters in Disney's life as an animator). An insight into the mind of the genius, in the days when the world was young... (by pelida77)

Thanksgiving 1966. B 1: Kansas City. The road to the First Studios: Comercial Art, Film Ad, and "Home Experimenting". Kaycee Studios (1921-1922). The Laugh-O-gram Films (1922-1923).
B 2 Los Angeles. First steps in Hollywood. Disney Brothers Studio 1923 - 1926. Alice's Wonderland. Ub IWerks. 2719 Hyperion Avenue. Walt Disney Studio 1926 - 1928. Oswald the lucky rabbit.The creation of Mickey Mouse. Epilogue: After Mickey.

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THE ART OF TANGLED (2010, Jeff Kurtti)

Jeff Kurtti. The art of Tangled. San Francisco, Chronicle Books, 2010.

JPEG / ENG / 121 MB / 169 pp / 0811875555 / 978-0811875554

- A preface by John Lasseter
- Foreword by Nathan Greno and Byron Howard (Directors)
- The original concept sketches; background art
- The influence on art of: Pinocchio; Cinderella; Sleeping Beauty.
- Artwork by: Glen Keane; Laurent Ben-Mimoun; Dan Cooper; Claire Keane; Victoria Ying and more..

Artbook for the first succesful attempt of making a Disney Fairy Tale in CGI.
I wouldn't dare to call it a Disney work in the classical sense; this has the Pixar smell all over it, and the Dreamworks sarcastic way of approaching a fairy tale. But it is an attempt to emulate Disney Style, so... (by pelida77)

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WALT DISNEY: THE MOUSE THAT ROARED (2011, Jeff Lenburg)

Jeff Lenburg. Legends Of Animation. Walt Disney: The Mouse that Roared. New York, Chelsea House, 2011

PDF / 6 MB / Eng / 145 pp. / 160413836X / 978-1604138368

A very simple book. Maybe not a must-have for Disney hardcore fans, but If you have never read a Walt's bio, this would do as a great intro. The usual topics of Walt Disney's life: Childhood; first steps as an animator; Sync sound cartoons, Mickey Mouse; Three-Strip Technicolor, The Silly Symphonies; The multiplane camera, The Old Mill, Snow White; The Strikes, Bambi, Pinocchio, etc.; Disneyland, last projects and the final years. (by pelida77)

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THE LITTLE MERMAID SKETCHBOOK

Walt Disney's The Little Mermaid. The Sketchbook Series. Bedford MA, Applewood Books, 1997.

PDF / 14 MB / Eng / 73 pp / 155709344X / 978-1557093448

Features the preliminary sketches used to create the Disney animated classic Little Mermaid (1989), containing 150 black and white sketches by the hand of Mark Henn, Glen Keane, Ruben Aquino, Andreas Deja and Dan Haskett. Introduction by Ron Clements.

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SLEEPING BEAUTY SKETCHBOOK (1997, Thomas and Johnston)

Frank Thomas and Ollie Johnston [editors]. Walt Disney's Sleeping Beauty. The Sketchbook Series. Bedford MA, Applewood Books, 1997.

PDF / 15 MB / Eng / 75 pp / 1557093431 / 978-1557093431

Features the preliminary sketches used to create the Disney animated classic Sleeping Beauty (1959), containing near 200 black and white sketches by the hand of Marc Davis, Ollie Johnston, Eyvind Earle, Milton Kahl and Frank Thomas. Thomas and Johnston are credited as "contributing editors", which means they get to choose the artwork worth to publish.

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THE LADY & THE TRAMP SKETCHBOOK (1998, Thomas and Johnston)

Frank Thomas and Ollie Johnston [editors]. Walt Disney's Lady and The Tramp. The Sketchbook Series. Bedford MA, Applewood Books, 1998.

PDF / 13 MB / Eng / 75 pp. / 1557093466 / 978-1557093462

Features the preliminary sketches used to create the Disney animated classic The Lady and the Tramp (1955), containing near 150 black and white sketches by the hand of Joe Grant, Ollie Johnston, John Lounsbery, Milton Kahl and Frank Thomas. Thomas and Johnston are credited as "contributing editors", which means they get to choose the artwork worth to publish.

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PETER PAN THE SKETCHBOOK (1998, Thomas and Johnston)

Frank Thomas and Ollie Johnston [contributing editors], Walt Disney's Peter Pan. The Sketchbook Series. Bedford MA, Applewood Books. 1998

PDF / 15 MB / Eng / 74 pp. / 1557093458 / 978-1557093455

Walt Disney's Peter Pan: The Sketchbook Series features the preliminary sketches used to create the Disney animated classic Peter Pan (1953) and contains more than 150 black and-white sketches done by such Disney greats as Milt Kahl, Frank Thomas, Marc davis and Ollie Johnston. In addition this sketchbook contains 12 color reproductions of original background studies done by David Hall and Mary Blair used in styling the film.

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THE ART OF THE LION KING (1994)

Finch Christopher. The Art of The Lion King. New York, Hyperion, 1994.

JPEG / 110 MB / Eng / 192 pages / 0786860286 / 978-0786860289

The Last epic movie by the greatest animation studio of all times. (Well, at least the last one that really worths watching.)

- Concept art, colour pencil storyboards, and film stills.
- Character Designs and Background paintings.
- Sadly, no interviews or explanations of any kind. You only have some lines explaining the plot.

I don't know if an artbook needs any further explanation, so I would like to say a few words about a rumor that has spread through the web. It is said that with LK Disney committed plagiarism, copying scenes and characters from Tezuka's Jungle Taitei.

If you ever watched Jungle Taitei you know this is bullshit, because it suck sooo bad (yeah I'm making a really stupid argument... that's not even an argument!... who cares... let me tell you my golden rule: if you can do it better than the one you took it from, and you raise a piece of trash to the heights of art, that's not plagiarism that's merely... inspiration). So stop repeating this kind of things, you put yourself in evidence. I like Tezuka, but it's not fair to compare him with Disney.

(by pelida77)

Well then my little ones, remember, you must take your place in the Circle of Life...

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THE ANIMATED MAN: A LIFE OF WALT DISNEY (2007, Michael Barrier)

Barrier, Michael. Animated Man: A life of Walt Disney, Los Angeles, University of California Press, 2007.

PDF / 3.66 MB / 411 pp. / Eng / 0520241177 / 978-0520241176

The ultimate biography on Walt Disney (though its author doesn't apreciate this title). Usually the bio's suck: the critics easily forgets that their primary goal is not to write a literary piece but to give well based information (and just secondarily, to make it interesting); well... it could be argue of course that someone's life - even the one of a genius - isn't really that important, and the only reason why you may want to read this actually is because it could be... fun.

Barrier has interviewed almost anyone who once knew Disney (begining in 1969), probably read every book and magazine on the subject, hear Walt himself telling his story (by tape recordings
of a planned, never published autobiography), and of course watched all animation (and live action) made by the studio during Disney's life (specially interesting - at least for me - is the analisys of the silent cartoons period); So... he seems to be very well documented. He is able to "read" in the small trivial affairs of a man's life and then drop into conclusions about how it builded his genius. Also he gave his biography a novel style, that doesn't suit a serious research (but, you know, who wants to be serious?).

So if you can forget this new Dickens voice, you're sure gonna enjoy this book. Because Walts life could be real, real fun:

- His Childhood as a farmboy in Marceline; and as a city lad in Kansas City.
- His entry into animation world. The work with Ub Iwerks.
- The close (sometimes conflictive) relationship with Roy, his brother.
- Oswald, the Lucky Rabbit. Mickey Mouse and the Sound Cartoon.
- The creation of the Silly Symphonies.
- Snow White. The arrival of the Disney feature films. The art of Walt Disney.
- The strike of 1941.
- Walt Disney World.
- The eternal freezer dreams (nah...sadly, that was a myth)
- A well done portray of a man, whith his lights and shadows.

(by pelida77)


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BAMBI THE SKETCHBOOK

THOMAS, Frank y Ollie Johnston (editores), Walt Disney's Bambi The Sketchbook Series, Bedford (Massachusetts), Applewood Books, 1997.

PDF / 14.4 MB / Eng / 75 pp. / 1557093423 / 978-1557093424

- Los Diseños originales de la película Bambi, por sus artistas:
Eric Larson,Frank Thomas, Marc Davis, Milton Kahl,Maurice Noble, Ollie Johnston,Tyrus Wong.

- Imágenes restauradas digitalmente.

- Pequeños comentarios de los artistas.

The classic story of the gentle fawn and the seasonal joys and sorrows of life in the forest has warmed and inspired the hearts of all ages since the film was first released in 1942. Featuring the work of Disney animation greats, and in celebration of the 55th anniversary of this beloved film, this sketchbook is a fine tribute to one of the greatest animated films of all times.

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THE ILLUSION OF LIFE (Frank Thomas y Ollie Johnston)

THOMAS Frank y Ollie Johnston, Disney Animation: The Illusion of Life , New York, Disney Edition, 1981.

PDF or JPG images / 111 MB or 138 MB / Eng / 548 pp /0786860707 / 978-0786860708

Este es el mejor libro para poder apreciar el arte del estudio Disney y de la animación en general. La razón principal se encuentra en que sus autores no son críticos sino animadores de la vieja escuela. Nos ofrecen testimonio de un mundo que hoy ha dejado de existir, el de la Edad de Oro de la Animación (Verflossen ist das Gold der Tage). Disney representa el punto más alto que ha alcanzado este arte. Frente a las extraordinarias películas de los americanos las producciones del resto del mundo palidecen.

- Principios de la animación de Disney. Thomas y Johnston (los autores, y miembros del grupo de los 9) fueron los primeros en enunciar y explicar los principios aquí contenidos (muchos especialistas luego repetirán estos principios). Debido a esto The Illusion of Life se ha vuelto una obra canónica de la crítica de animación.

- Visión y Figura de Walt Disney. Un acercamiento distinto al genio estadounidense a través de los ojos de sus más íntimos colaboradores y amigos.

- Historia de la animación de Disney, desde los orígenes, atravesando distintas etapas de descubrimiento 1923-1936, pasando por la Edad de Oro de la animación (propiamente dicha): 1937- 1943; y el Período posterior a 1944, hasta finales de los 70's.

- Distintos aspectos en una obra de Arte de animación: Sonido, Diseño de Personajes, Planos, Background, Argumento, Color, etc. Con consejos, técnicas, secretos, etc., de los principales creativos de la historia de Disney.

- Tecnologías utilizadas. El libro explica las dificultades técnicas que debieron superar los animadores, y logra transmitir la excitación que provocaba cada uno de los descubrimientos.

- Cientos de Ilustraciones (a color), Background Art, Células, Storyboards, etc., de las distintas películas y cortos de Disney (con interesantes anécdotas acerca del proceso creativo en cada una de ellas).

En unas pocas palabras, es un libro absolutamente apasionante. (by pelida77)

Thomas and Johnston, two of Disney's original animators, here give the inside scoop on how the studio created the works that have charmed the world. "The text is ambitious. The authors simultaneously give a history of Disney animation and explain the processes involved in clear, nontechnical terms." Along with the splendid text are dozens of color and black-and-white photographs and illustrations. A "magnificent volume" that remains "essential for film collections and a feast for the most casual peruser."

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