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Interiors Dream Group

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Paper Dreams The Art And Artists Of Disney Storyboards.pdf

A renowned expert in the field of animation, John Canemaker narrates the creative search for, and development of, memorable stories, situations, and personalities for Disney's finest animated films, from Snow White to The Hunchback of Notre Dame. Profusely illustrated with rare examples of original sequential story sketches from the Disney archives, Paper Dreams explores the art and craft of storyboarding as it was -- and still is -- performed by master artists. Offering an exciting, behind-the-scenes glimpse of a crucial and intricate part of the animation process, here is an essential volume for animation fans, Disney collectors, and pop culture enthusiasts alike. What people are saying - Write a reviewReviews aren't verified, but Google checks for and removes fake content when it's identifiedPaper dreams: the art & artists of Disney storyboardsUser Review - Not Available - Book VerdictCanemaker's second volume on Disney animation (his first was Before the Animation Begins, LJ 11/15/96) covers new territory. Focusing on the birth and progression of the storyboard method, the noted ... Read full review

Paper Dreams The Art And Artists Of Disney Storyboards.pdf

According to Christopher Finch in The Art of Walt Disney (Abrams, 1974),[4] Disney credited animator Webb Smith with creating the idea of drawing scenes on separate sheets of paper and pinning them up on a bulletin board to tell a story in sequence, thus creating the first storyboard. Furthermore, it was Disney who first recognized the necessity for studios to maintain a separate "story department" with specialized storyboard artists (that is, a new occupation distinct from animators), as he had realized that audiences would not watch a film unless its story gave them a reason to care about the characters.[5][6][7] The second studio to switch from "story sketches" to storyboards was Walter Lantz Productions in early 1935;[8] by 1936 Harman-Ising and Leon Schlesinger Productions also followed suit. By 1937 or 1938, all American animation studios were using storyboards.

However, some filmmakers rely heavily on the storyboarding process. If a director or producer wishes, more detailed and elaborate storyboard images are created. These can be created by professional storyboard artists by hand on paper or digitally by using 2D storyboarding programs. Some software applications even supply a stable of storyboard-specific images making it possible to quickly create shots that express the director's intent for the story. These boards tend to contain more detailed information than thumbnail storyboards and convey more of the mood for the scene. These are then presented to the project's cinematographer who achieves the director's vision.

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