Introduction To begin, this workshop will contain more information on developing animation and dialogue expressions. Since animation is closely connected with art, the beginnings of animation are influenced by artists taking self-portraits. According to them, when a person looks at himself in the mirror, lowering his chin and looking out from under his eyebrows, the true nature of the person is visible. Therefore, people's facial expressions reveal a lot about their personality and their mental and emotional state. Looking at the works of the Renaissance, their main figures were always drawn with their heads pointing upwards, as the authors wanted to achieve an innocent and pure appearance of their characters, even if it does not seem to be based on truth and reality. When an animator wanted to present a cute and vulnerable character, he used this technique, some used it on purpose, but for Fred Moore it was an instinctive way of drawing and for this reason it was he who truly created the Disney style. Furthermore, considering any existing art, it can be noted that each author has his own special imprint, his own attitude, which he transmits throughout his work, so the same thing happens with animation or paintings, except that in Animation in a single drawing could not show anything other than the author's attitude. But when it comes to multiple drawings that all contain different movements, following one after the other, a change in expression might occur. For an example: “When the subject gradually lowers his eyebrows into a frown – pauses – and then raises one eyebrow and looks to the side, he moves from one thought to another.” Therefore, only through a change of expression, the c... in the center of the card... -subtle from Pluto. Ham Luske, who was given this last gag, didn't know how to present a convincing scene so he consulted with his assistant Ward Kimball. They agreed to design the cat with steam coming out of its ears right when it mentions the steamroller. Walt, feeling their idea ridiculous, banned it and ordered a new, more realistic way of presenting the scene, what the audience expected. Eventually the arbitrariness began to disappear and a natural type of acting was established. When an animator was able to understand his character's feelings, he drew him perfectly. And from then on animators didn't just design characters and movements, but began to capture the feeling of life. Works Cited Thomas, Frank and Ollie Johnston. Disney Animation: The Illusion of Life. New York: Abbeville Press, 2009.