By Hans Bacher, Don Hahn
Hans Bacher is stated as one of many greats of construction layout for animation and he has been given unprecedented entry to Disney's documents to discover eye-popping examples of either his personal paintings and that of his colleagues. With illustrations from Bambi, Mulan, attractiveness and the Beast, Brother endure and lots of extra - it's a visible banquet of never-before-seen art, entire with perception from the artist on how and why they have been designed as they have been. Key good points and advantages: * Sneak a height behind the curtain! With four hundred never-before-seen illustrations from vintage motion pictures like Bambi, good looks and the Beast and Lilo & sew * research from one of many actual greats!Hans Bacher is without doubt one of the most sensible identified construction designers within the * attractive and insightful - deals idea to designers in animation, movie and online game
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Additional info for Dream Worlds: Production Design for Animation
31 32 We all worked in the Purdum studio during early fall of 1989. I will always keep these weeks in my memory as one of the best work experiences, to be in such a creative environment with all these high caliber artists and especially with Dick and Jill as the “parents” of the project, and Don Hahn with his unmatched humor. We were all so committed that we worked 14 to 16 hours a day. At that time I remember that I did not see anything of London. We just worked like crazy. And we finished a story reel in color in a very short time, about 50 minutes long.
Back in the late eighties when I was planning my own feature film, he gave me a crash-course, a four-hour lecture in producing an animated movie. I will never forget that Saturday morning. Afterwards, I had a headache for the whole weekend. The only basic thing to understand is that everything on a film production happens overlapping in very carefully timed steps. As you might have thought, the script comes first. But storyboarding goes on for a while. I even had experiences in which boards were still being redone during the last months of production.
I am happy I had a chance to be part of it. ” Probably after the good experience with the European artists in London who worked on Roger Rabbit, Disney chose Dick and Jill Purdum as the directors for a new adaptation of Beauty and the Beast. Dick and Jill had an animation commercial studio in the West End. Their own work commitments did not allow them to leave London immediately to work on the project in Los Angeles, so they all decided to move some of the Disney artists for a few months to London to work on a story-reel of the project.