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Imperial Library
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Index
Cover
Halftitle
Title
Copyright
Dedication
Contents
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 Difficult 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 Defining 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?
Credits
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