|aThe animation bible :|ba practical guide to the art of animating, from flipbooks to Flash /|cMaureen Furniss.
|aPractical guide to the art of animating, from flipbooks to Flash.
|aNew York :|bAbrams,|c2008.
|a340 p. :|bill. (chiefly col.) ;|c29 cm.
|aOriginally published: London : Laurence King Pub., 2008.
|aIncludes bibliographical references (p. 328) and index.
|aConcept, medium, and style -- Storytelling strategies -- Structure -- Presenting images -- Sound -- Color-- Applications I -- Hearing sound -- Dynamics of color -- Color rhythms -- Developing personality / Leslie Bishko -- Pre-production -- Personnel -- Developing the concept -- Pitching the project -- Scripts -- Sound design -- Timing -- Storyboard -- Animatic -- Layout -- Scheduling and budgeting -- Marketing and promotion -- Rights and ownership -- The studio -- Style guides -- The test run -- Production and post-production -- Applications II -- Timing action -- Developing frames -- Twisted wire and clay figure -- Early motion devices -- Automata -- Motion studies -- Magic lanterns, slides and animated effects -- Two-state devices -- Kaleidoscopes -- Multiframe animation devices -- Case study: George Griffin -- Applications III -- Thaumatrope -- Flipbook -- Direct filmmaking: practice and presentation -- Related art practices -- Presentation strategies -- Case study: Peter Tscherkassky -- Direct filmmaking: vision, sound and collective experience -- Expanding vision -- Case study: Donna Cameron -- Visualizing sound -- Case study: Richard Reeves -- Collaborative approaches -- Direct animators in the industry -- Application IV -- Direct motion graphics loopology / Devon Damonte -- Direct sound / Richard Reeves -- 16mm animated sound notes / Richard Reeves -- Mixed media and drawing -- Case study: Michael Sporn -- Drawing -- Case study: Philippe Vaucher -- Water-based media -- Case study: Iain Gardner -- Oil-based media -- Case study: Clive Walley -- Applications V -- Texture book --Characteristics of media -- Coloring test -- Stop-motion animation: a survey of techniques -- 2D stop-motion media -- Case study: Lynn Tomlinson's cutout workshops -- 3D stop-motion media -- Case study: Charles daCosta -- Animation in real world contexts -- Puppet animation -- Case study: Tim Burton and Corpse Bride -- Pixilation and related techniques -- Case study: Norman McLaren -- Installations and performance animation -- Case study: Miwa Matreyek -- Applications VI -- Replacement animation and lip sync -- Cutout figure using paper pivot hinges -- Pixilation -- Digital media and Computer animation -- Case study: Larry Cuba -- Case study: Juan Ospina -- Digital visions -- Advantages of digital media -- Case study: Ghokan Okur -- Case study: B醀rbel Neubauer -- Case study: Lorelei Pepi -- Applications VII -- Playing with flash.
The Animation Bible is the first book any aspiring animator will want to own—and with increasingly affordable tools for digital animation and the vast forum of the Internet for free distribution, animation is becoming more popular than ever. Animation authority Maureen Furniss covers every aspect of production, from finding a concept, choosing a medium, and creating characters all the way to getting the end result screened and distributed. In addition to traditional cel animation, Furniss also examines direct filmmaking, stop-motion animation, and Flash, as well as early motion devices and toys that produce animated images, all with case studies illustrating the successes and difficulties experienced by professional animators. Furniss goes beyond the image on the screen, discussing visual storytelling, sound design, and how to schedule, budget, and pitch an animated film. The Animation Bible is the essential guide for a new generation of animators.