Animation Art: From Pencil to Pixel, the World of Cartoon, Amime and CGI

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9781844511402: Animation Art: From Pencil to Pixel, the World of Cartoon, Amime and CGI
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Nearly a century before the ground-breaking phenomenon Toy Story, Little Nemo appeared in the New York Herald and ushered in a major new art form. The thrilling journey from such humble origins to the blockbuster movies of today's CGI extravaganzas like Shrek had begun, capturing the imagination of successive generations and embracing the onslaught of an accelerated technological revolution. Covering every aspect of animation (from the movies to MTV) from every part of the world, Animation Art revels in the techniques, the stories, the technology and the personalities which have fashioned the development of this truly modern art form. The list of authors includes producers, animators, voice artists, animation magazine editors, writers, directors, importers, educationalists and enthusiasts. It includes the Head of Artistic Development at Dreamworks, a director/writer/producer for Disney, Warner and Nickelodeon, and one of the animators of the Sixties classic Yellow Submarine.

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General Editor, Jerry Beck, has extensive and senior experience in the film industry, and has become one of the top names in the business. He has written numerous books on animation including I Tawt I Taw a Putty Tat: 50 Years of Sylvester and Tweety (Henry Holt, 1991). Beck has taught at UCLA and conducted seminars for the American Film Institute, New York University, and at the School of Visual Arts. He has been an animation consultant for Walt Disney Television Animation, has compiled many collector's editions of cartoons for Columbia House, VCI Entertainment, and even formed Cartoon Research Co. to write books, consult on animation projects, and various other supply methods for cartoons, new features, and TV series.

From The New Yorker:

While mentioning such precursors as the nineteenth century's zoetrope and the lantern slides that afforded crude animated effects as early as the seventeenth century, Beck and his contributors concentrate on the history of film animation and provide a comprehensive overview. The pioneers here include Winsor McCay, Walt Disney, and a variety of European and Asian auteurs whose work tended to be less populist. This dichotomy between the medium's high-art potential and its commercial appeal has persisted into the present, with such innovators as Pixar, on the one hand, and Jan Svankmajer, on the other. The two strands met in the career of Oskar Fischinger, a German émigré to California, whose abstract animations elaborating his concept of "visual music" were influential but who lasted just nine months on Disney's "Fantasia."
Copyright © 2005 The New Yorker

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