Overview

Full Product Details

Author:   Walt Stanchfield ,  Don Hahn
Publisher:   Taylor & Francis Ltd
Imprint:   Taylor & Francis Ltd
Edition:   2nd edition
ISBN:  

9781032494876

ISBN 10:   1032494875
Pages:   786
Publication Date:   27 July 2023
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Mixed media product
Publisher's Status:   Forthcoming
Availability:   Not yet available  
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Table of Contents

Volume 1 Foreword Acknowledgements Basics 1. Enthusiasm 2. 2 Principles of Animation 3. Consider Anatomy Alone 4. Anatomy Continued 5. Consider Weight 6. Squash and Stretch - I 7. Squash and Stretch - II 8. Stretch and Squash - III 9. Line and Silhouette 10. Basic Shapes versus Details 11. Using Basic Shapes as Aid in Diffi cult Drawings 12. Simplify Where Possible 13. Straights and Curves 14. Overlap, Follow-through, and Drag 15. Eyes 16. Avoiding Tangent Lines 17. Some Simple Rules of Perspective 18. Some Ways to Create Space and Depth 19. Some Principles of Drawing 20. Great Performance or Just a Drawing? 21. Drawing Calories 22. Sketching 23. Animation and Sketching 24. Simplicity for the Sake of Clarity 25. Construction Observations Useful in Animation 26. The Opposing Force Gesture 27. Anatomy vs. Gesture 28. Mental and Physical Preparation 29. Dividing the Body into Units 30. Dimensional Drawing 31. The Value of an Action/Gesture Analysis Study 32. Using a Simple (But Logical) Approach to Drapery 33. Drapery - Its Role in Drawing 34. The Seriousness of Head Sketching/A New Phrase: Body Syntax 35. The Head in Gesture 36. From the Living Model to the Living Gesture 37. A Little More on Heads 38. Feeling the Pose 39. The Pose Is an Extreme 40. Pose and Mood 41. Pose and Mood Plus Timing and Phrasing and Texture 42. Symbols for Poses 43. Positive and Negative 44. Silhouette 45. P.S. The Metaphysical Side 46. Draw Verbs Not Nouns 47. Osmosis 48. Drawing and Caricature Seeing 49. What Not to See 50. A Bit of Introspection 51. It Ain't Easy 52. A Good First Impression 53. Stick to the Theme 54. Sometimes I Wonder Why I Spend the Lonely Hours ... 55. Cleanup - General 56. Cleanup 57. Inbetweening 58. Problems with Drawing in Line 59. Superficial Appearance vs. Creative Portrayal 60. Creative Energy 61. More Meanderings 62. Those Who Cannot Begin Do Not Finish 63. Body Language 64. Note Taking and Sketching 65. Using the Rules of Perspective 66. Applying the Rules of Perspective 67. Copy the Model ... Who Me? 68. Talk to Your Audience - Through Drawing 69. Getting at the Root of the Problem 70. Doodling vs. Drawing 71. Purpose in Drawing 72. When Acting (Drawing) is an Art Analysis 73. Action Analysis Class I 74. Action Analysis Class II 75. Using Cylinders 76. Action Analysis - Hands and Feet 77. Angles, Angles, Angles 78. Using Angles 79. Angles and Tension 80. Applying Angles and Tension in Our Drawings 81. Tennis, Angles, and Essences 82. More on the Same 83. More on Essence Drawing 84. Driving Force Behind the Action 85. A Drawing Style Appropriate for Animation 86. A Drawing Style for Animation, Part II 87. Learn to Cheat 88. One Picture Worth A Thousand Words? 89. Double Vision 90. Lazy Lines 91. Spot It for Yourself 92. Do You Promise to Draw the Action, The Whole Action, and Nothing But the Action? 93. The Pose - A One-Drawing Story 94. My Eye Is in Love 95. Become the Director 96. Hone Up or Bone Up 97. The Illustrated Handout Creativity 98. Drawing on the Artist Within 99. Fine Tuning the Gesture 100. For a Better Gesture, Adverbs 101. Omni - on Creativity 102. Metamorphosis 103. Mime 104. True Gesture Drawing 105. A Second Chance to Make a First Impression 106. A Good Sketch Is Like a Good Joke 107. Opposition 108. Elastic Band Tension 109. Get Out of the Way 110. Play-Acting 111. A Storytelling Drawing 112. Drawing Techniques 113. Step Into It 114. It Could Be That ... 115. A First Impression - Your Intended Goal 116. Gallery of Class Drawings 117. Think First ... 118. Piles of Nuts 119. A Meaningful Assembly 120. The Time has Come, The Walrus Said ... 121. Clarity 122. Action or Reaction? Thinking 123. Be Transformed 124. Be Relentless 125. Adjust Your Crystal 126. A Love for Drawing 127. A New Slant on Drawing 128. Think Gesture 129. Precious Instruments 130. Gesture Drawing, Enthusiasm, and Stuff Like That 131. Shape - A Multi-Form Drawing Tool 132. Deciphering and Defi ning Gestures 133. The Decisive Moment 134. Relationship of Character to Prop 135. Drawing 136. Words That Help in Drawing 137. A Simple Approach to Drawing 138. Vocalizing 139. Abstracting the Essence 140. Common vs. Uncommon Gestures 141. A Thinking Person's Art 142. Lines, Lines, Lines 143. Feel, as Well as See, the Gesture 144. Savvy Sayin's 145. The Inner Force 146. The Power of mmm 147. Gestural Symbolism 148. Some Left Over Thoughts 149. The Right Way? Afterword/Bonus Material Credits Volume 2 Foreword Acknowledgements Innovation 1. Review and New Approach 2. Artist/Actor 3. Don't Be Ordinary 4. Sketcher 5. Plus or Minus 6. Mood Symbols 7. Breaking the Constraint Barrier 8. The Agony and the Ecstasy 9. Making All Parts Work Together to Shape a Gesture 10. Forces (Energy, Animation, Power, Vim, Vigor, and Vitality) 11. Pure Performance 12. Different Concepts 13. A Time for This and a Time for That 14. Look to This Day 15. Entertainment 16. Follow-Up Department 17. Entertainment II 18. Playing to the Balcony Drawing 19. A Sack of Flour 20. Pantomime (Drawing) Preparation 21. That Darned Neck 22. Crayolas? 23. Hands (Those Darned?) 24. Plight of a Gesture 25. Concepts for Drawing 26. Drawing Appropriate Gestures for Your Characters 27. Drawings Ain't Just Drawing 28. The Importance of Sketching 29. Getting Emotionally Involved 30. Gesture Further Pursued 31. Caricature 32. Perspective 33. Have Something to Say and Keep It Simple 34. Keeping Flexibility in Your Drawing 35. Seeing and Drawing the Figure in Space 36. Don't Let the Facts Get in the Way of a Good Drawing 37. Hey, Look at Me ... Look at Me! 38. Learn From the Mistakes of Others 39. Quest and Fulfillment 40. Getting Adjusted to New Production 41. More Animal Talk 42. In Further Praise of Quick Sketching 43. Impression - Expression = Depression Expression 44. Drawing a Clear Portrayal of Your Idea 45. Think Caricature 46. Going Into That World! 47. Understanding What You See 48. An Inspirational Journey 49. Comic Relief 50. If It Needs to Lean, Then Lean It 51. Don't Tell, But Show! 52. Mainly Mental 53. The Shape of a Gesture 54. Dreams Impossible to Resist 55. Short Book on Drawing 56. Encompassing Reality with All Your Senses 57. Gestures, Moons, and Tangents 58. Include Your Audience 59. The Wonders of the Right and Left Hemispheres 60. Making the Rules of Perspective Come to Life 61. In Further Praise of the Rules of Perspective 62. There Is No End to Thinking Overlap 63. Space is Created 64. Words and Experience 65. Look, This Is What I Saw 66. Breaking Away 67. The Shape of the Gesture II 68. A Tribute Afterword/Bonus Material Credits

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Author Information

Don Hahn produced some of the most successful animated films of all time, including Disney's Beauty and the Beast, the first animated film to be nominated for a Best Picture Oscar (R). Three of his films, Who Framed Roger Rabbit, Beauty and the Beast, and The Lion King. are now on the Library of Congress collection as culturally, historically and esthetically significant. Don's films include Disney's Maleficent, Frankenweenie, Hunchback of Notre Dame, Atlantis, and Emperor's New Groove. He was a founder and executive producer of the acclaimed Disneynature Films, executive produced the PBS American Masters documentary Tyrus about Disney Legend Tyrus Wong, and has directed the acclaimed documentaries Waking Sleeping Beauty, and Howard featured on Disney+. He has authored many books on animation, guest lectures at Microsoft, Deloitte, Apple, and is on the advisory board of the Walt Disney Family Museum and a former trustee of PBS SoCal. He holds two Academy Award nominations, two Emmy nominations, two Golden Globes for Best Picture, two Honorary Doctorate degrees, and in 2022 he was named a Disney Legend for his extraordinary contributions to The Walt Disney Company.

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