By Tony White

The Animator's Workbook bargains a whole direction at the rules and methods of drawn animation. Stressing that animation is a refined and exacting paintings shape which breathes existence into inanimate drawings, Tony White, an award-winning animator, covers each point of the method. He offers technical info and explains in easy-to-follow textual content and step by step illustrations, tips on how to seize circulate, expression, and emotion. He exhibits you ways to convncingly animate birds and animals and explores lighting tricks - wind, water, fireplace, and strong gadgets - which can upload realism, drama, and surroundings to animation.

This publication takes the secret out of the animation approach and gives sound, trustworthy counsel and data. subject matters include:

The strategy of Animation
The Animator's Toolkit
Head Turns
Realistic Touches
Technical Information
Exaggerated Action
The Animal Kingdom
Animated Effects

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Extra info for The Animator's Workbook: Step-By-Step Techniques of Drawn Animation

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A thin swath of wash selectively applied over the eyes provides a hint of three-dimensional rendering but keeps the focus on flat patterns and optical contrasts. TWINACT Juanita L. Gammon . Wash with pen and ink . indd 33 2/13/07 10:08:37 AM RAIN OR SHINE Lori Lyn Greenstone . Pen and ink wash . 19" × 24" (48cm × 61cm) Creative Drawing Tool On a rainy Sunday in Arles, France, I sketched Van Gogh’s distinctive marks at an exhibit of his drawings. Deeply inspired, I stepped out onto the wet street just as a band marched by.

Indd 40 2/13/07 10:10:12 AM PEANUT VENDER Mr. Dana Fravel . Pen and ink with computer enhancement . 11" × 8½" (28cm × 22cm) MUSIC MAN Mr. Dana Fravel . Pen and ink with computer enhancement . 11" × 8½" (28cm × 22cm) Sketching for Ideas My original ideas come from sketchbooks. Illustrated characters evolve from quickly rendered pencil sketches. I work up compositions using traditional design vellum overlays with ink over original pencil sketches to make a final ink master. I then scan this ink master into the computer to be further worked with Adobe Photoshop Elements.

Indd 55 2/13/07 10:30:16 AM No Rubbing Compound Working from a photograph, I used a grid to ensure proper placement of the subject in 51 on 31. I like to build my drawings in layers, using softer degree pencils from 5H to 9B. Drawing in layers makes pencil-only blending easier, so I can avoid using fingers, stumps or other tools to blend. I used a flat watercolor brush to blend the shadow on the hood of the car. Most of my drawings are from photographs, mainly because of time. It took me approximately seventy hours to complete this drawing.

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