If you want to do character facial modeling and animation at the high levels achieved in today’s films and games,Stop Staring: Facial Modeling and Animation Done Right, Third Edition, is for you. While thoroughly covering the basics such as squash and stretch, lip syncs, and much more, this new edition has been thoroughly updated to capture the very newest professional design techniques, as well as changes in software, including using Python to automate tasks.
Take an official cartooning lesson from the demented folks behind The Simpsons, and pick up oodles of insider tips on how to draw cartoons like a pro. Find out the secrets of Marge's mile-high hair...Homer's donut-driven physique...Bart's spiky noggin...and much more!
The art. The craft. The business. Animation Writing and Development takes students and animation professionals alike through the process of creating original characters, developing a television series, feature, or multimedia project, and writing professional premises, outlines and scripts.
It covers the process of developing presentation bibles and pitching original projects as well as ideas for episodes of shows already on the air. Animation Writing and Development includes chapters on animation history, on child development (writing for kids), and on storyboarding. It gives advice on marketing and finding work in the industry. It provides exercises for students as well as checklists for professionals polishing their craft. This is a guide to becoming a good writer as well as a successful one. Download Sever01
Falk Nat, How To Make Animated Cartoons , New York, Foundation Books, 1941.
PDF / 10 MB / Eng / 73 pp
The people from animationresources scanned this book, one of the very first on animation history. A foreword was made by Paul Terry, which is real funny because he talks about the artistic possibilities of cartooning: animation as an art form! ... I mean, this comes from the same cheap bastard that proudly used to said: "If Disney is making chicken pâté, then we are making chickenshit!" In the first chapter we have a brief history of the attempts to give illusion of movement to drawings: from the Altamira cave pictures till Emile Cohl's animated cartoons. A sweet mention to the Big Four: John Bray, Earl Hurd, Raoul Barre and... Paul Terry of course. According to the book he was the greatest pioneer of them all (I'm not being sarcastic here, I sort of agree with that). So Terry got the most pages and attention: Little Herman, Farmer Al Falfa, and the Aesop's Fables. And then the usual topics: McCay's Gertie the Dinosaur, Felix the Cat, Max Fleischer and Walt Disney (didn't give his permission to show pictures of Disney characters, BOO!!). In the second chapter we take a journey through each of the "seven major" cartoon studios at the time: The Fleischer Studios; Walt Disney Productions; Terry-Toons; MGM cartoon Division; Walter Lantz Productions; Leon Schlesinger Productions and Screen Gems.
The book was written and drawn by Disney artist Ken Hultgren, who later did The Art of Animal Drawing: Construction, Action Analysis, Caricature (Dover Art Instruction); It's got some good-looking illustrations like all of the old Disney cartoons in the '40s, and it has some fun and educating stuff you see in several pages with the squirrel and chipmunk characters. To a certain extent, this book only served as a forerunner of what Preston's and Richard William's animation books were gonna be; In The Animator's Survival Kit (original and expanded), Dick borrowed some visual elements from Ken Hultgren's book; he even copied the bouncing ball drawings from Ken, which was later refined by Preston Blair.